Healthy Coping

The idea that the ones closest to us will eventually leave this earth is a major aspect of life to grasp and come to terms with. We as humans want to believe that the people around us will live forever. While death is inevitable, it can also give life its beauty.

In my personal experience, understanding grief and loss has been such a long journey that is always changing. In the past couple of years, I have experienced a great deal of people close to me passing, and it has been an extremely difficult and emotionally tolling experience. When it comes to grieving, it is important that people find effective ways to cope. I have accumulated a list of ways that may help someone in need of a solution: maintaining boundaries, practicing relaxing strategies like deep breathing and meditation, physical activity, setting goals, or having a creative outlet.

Many detailed resources can be found online from helpful professionals about what grief might look like and healthy ways to cope. One highly recommended source is, “Coping with Grief and Loss-Stages of Grief, the Grieving Process, and Learning to Heal” by Melinda Smith, M.A., Lawrence Robinson, and Jeanne Segal, Ph.D. These effective strategies can help those grieving find a positive outlook while navigating through emotional challenges.

Personally, I have found comfort in processing my feelings through poetry. Using poetry, I can use symbols and metaphors to explain my feelings that I cannot quite put so easily into simple terms. The poem I wrote below was inspired by my grandpa's passing and captures my struggle to grasp the idea that he is gone and what that means. I found myself in a continuous loop, asking myself the same questions. Is there an afterlife, and is he there? What does the afterlife look like for me if I find myself not in line with religion?

My poem's purpose is to promote asking questions in times of uncertainty. Like when one may feel like they do not align with specific beliefs, or the thought of an afterlife may seem scary and perplexing. I hope that my poem can help someone out there who may be having the same feelings and can find comfort in not being alone.

The Encompass of Brumal Fear

By: Kylee Botten

Frozen lie the bodies,
Fearful, shivering with regrets.
Unbeknownst to the truth of death.
What becomes of souls?
Those who do not reside in the assurance of
a creator—
Those seeking more than the muse of religion.
Do they find comfort in the same After existence?

The unanswered questions loom:
Where will I go if not where you go?
What is the difference between my stature and yours? Those who believe in more than what is perceptible Live without hesitation about their After.

Yet, frozen, desolate,
Still lie the bodies of the fearful,
Uncovering nothing of what they believe to be their After.

When time comes—
And there is no doubt that it shall—
Will they commiserate with their past selves, Or indulge in the unknown of the After?

The Disappearance of Sapphic Spaces By Lily Hodgson, Editor-in-Chief

It is April 2024, and I am on the basement dancefloor of Twisted Element, a gay bar in Calgary. Club music is blasting; fog and colourful lights fill the room; there are rainbow flags and murals on every wall. This should be a space where I feel safe to be out, proud, and 100% myself. But I’m not. I am a queer woman, surrounded mostly by big, drunk, shirtless, bearded men, and I hardly feel more comfortable here than I do at Houston’s or Roadhouse back home in Brandon.

My experience is not unique. Throughout time, lesbians and queer women have been constantly excluded from LGBTQ+ spaces. When I visited Calgary in April, Twisted Element had weekly gay-men-oriented “F*ck Me Fridays” – but no equivalent for the sapphic community to be found. Misogyny is a real issue in the LGBTQ+ community, and it always has been, but it often goes totally unnoticed by the queer people (usually men) who perpetuate it – and since these people are often the most vocal members of the community, the “lesbophobia” extends to society at large without anyone even realizing. For example, if you ask a random person to picture a queer couple, a pair of gay men almost always come to mind first. Even in our brains, lesbians are secondary - an afterthought.

Lesbian bars used to exist all over the world, including nearly every major Canadian city. These were once spaces for women (and non-binary folks who love women!) to socialize, dance, get drunk, have fun, and feel completely safe in their identities. Today, there is not a single lesbian bar in all of Canada. In some places (rarely) there are lesbian-oriented nights at gay bars. And, in cities like Montreal (even more rarely) small groups of queer women and non-binary people have popped up to organize sapphic-oriented events – but these groups usually end up hopping from location to location, without any permanent space to call their own. Permanent, physical spaces for queer women are important! Just like many LGBTQ+ people might feel uncomfortable at a typically straight bar like Roadhouse, I imagine hosting a WLW night at a similar “hetero-bar" that houses these negative associations would not be attractive to many queer people. These people could probably benefit from the same event, if only it were in a safer, more comfortable space.

In the United States, there are less than 20 lesbian bars remaining - compared to over 800 bars oriented mostly to gay men. Here in Canada, there are literally zero lesbian bars left in our country, and around 50 gay bars. Lavender Menace, the most recent lesbian-oriented bar I could find, closed its doors in 2022. A combination of factors led to its closing - financial difficulties following the pandemic was the main cause, but an increase in homophobic violence was also a major concern. It is very hard to stomach that homophobes played a big part in taking away the last of these spaces from our community.

Some have argued that lesbian bars are no longer needed, due to changing social norms that allow queer couples to be visible in straight-dominated spaces, like our very own nightclubs here in Brandon. If that were true, wouldn’t gay bars no longer be needed either? I think the folks who claim lesbian bars are unnecessary are likely the same people who would cringe if they walked into Stons on a Saturday night to see a bunch of queer people making out on the dance floor. They don’t want us to be in their spaces, but they don’t want us to have our own spaces; they want us to stay home and be invisible to them.

Queer women have always, always been overlooked. We’ve used this to our advantage; in several historical contexts, sapphic identity and sexuality flourished in silence, because gay men were seen as the bigger threat to society. But just because we were forced to be invisible then doesn’t mean we should be invisible now or ever.

I don’t have an answer for this question. I’m certainly not trying to argue that gay men should not have spaces where they feel proud and comfortable to be themselves. They absolutely should! But I’m frustrated, because so should we.

The Evolution of the Internet By Danil Buzhor

At its roots, the Internet was as a place for enthusiasts to share information and learn from each other. As it became more accessible to the general public over the years, it has been used more and more as a means of generating profit through sales and entertainment. We are now witnessing a third phase—AI-generated content is beginning to reshape the web.

Nowadays, AI-generated content fills social media in unexpected ways - stories, videos, images, and posts. It's not some Skynet; people use AI to produce as much content as possible to maximize their profit. Humans have always tried to optimize their output/input ratio, but this time, it might be more transformative to the world.

Just recently, I saw a post on Facebook featuring two pictures of a “couple”—one from now and one from 80 years ago. They were allegedly happily married for this long. Of course, these people didn't exist; AI generated both images, which was noticeable due to minor details in the images. While it was possible to differentiate the fakes in this instance, many AI-generated images appear entirely normal and indistinguishable from real ones. Don’t fool yourself into thinking that you’ll be able to recognize a fake—you won't.

If this is what's happening now, can you imagine how it will improve in 5 or even 10 years? The Internet is slowly turning into a Matrix, and we can observe this in the present day. If you Google “baby peacock,” you’ll find that half the images on the first page are AI-generated. And you can’t be sure about the ones that appear to be real.

"Dead Internet" Theory

Some speculate that already, the internet is well on its way to becoming what is called the "Dead Internet": where all information is not created by humans anymore, but by automated bots and AI. It's a theory that suggests much of what we may be meeting online could actually be artificially generated in ways to create an illusion amongst us of a busy and diverse digital world, when in reality, the content we’d be viewing is void of any genuine human origin. That's an interesting, unnerving hypothesis—the Internet is gradually becoming an illusion network, wherein human voices are in danger of being drowned under fakes.

Misinformation and Influence

In the wrong hands, if someone is willing to put their time and mind into it, AI can be easily used to spread misinformation through social media, support political views or even create cults. With AI's ability to generate at-first-look believable stories, it’s straightforward and too easy to influence public opinion.

Consider political propaganda. It’s not just about catchy slogans or flashy ads; it’s about how carefully crafted messages can steer our thoughts and emotions. These AI-generated posts can slip into our feeds and shape our perceptions without us even realizing it. Over time, the lines between what’s real and what’s fabricated will begin to blur. We might find ourselves questioning the very information we consume.

Ethical Implications of AI Content Creation

Putting aside problems of credibility and power that AI can give to anyone, there is an issue of ethics involved in AI flooding over social media. Is it ok to enjoy content created by the use of AI (or rather very soon created by AI) or is that something humanity should stay away from?

First off, there’s the big worry about authenticity. When we consume content, we often (even if we don’t realize it) are looking for a connection to other people's thoughts and feelings. But with AI-generated content, that human touch is missing. It’s like enjoying a meal that looks delicious but has no flavour—there’s no real emotion or intention behind it.

Then there’s the impact on human creativity. Think about all the artists, writers, and creators who pour their hearts into their work, infusing it with their unique perspectives and experiences. In contrast, AI creates content based on algorithms and data, which can lead to a bland feeling of ideas, which might discourage people from pursuing their own passions. We also must consider the ethical side of things, particularly when it comes to exploitation. Some companies have already began relying heavily on AI for content creation, resulting in job losses for the brilliant people who depend on their creativity for a living.

The Potential of AI

I am not throwing shade at AI without admitting that it can be used for good on the Internet - this article is more of a philosophical pondering and raising the awareness of possible problems that come with such rapid technological advancement. There is a lot of good AI could do for content and art of all sorts.

Considering how we’ve dealt with similar changes in the past is helpful and instructive. Take photography, for example. When it first hit the scene, many artists worried it would spell the end for traditional art forms like painting. But instead of disappearing, painters adapted, using photography to inspire new styles and ideas. The same goes for film—initially, there were fears that it would shallow storytelling. Despite that, it opened up new ways to share stories, blending visuals, sound, and motion. Just as with photography and film, AI is a tool that can inspire creativity rather than stifle it.

Building the Past – The Original Building and Clark Hall By Kaelyn Delaurier

The following is the first in a series of articles detailing the history of each of the buildings on Brandon University’s campus. These articles will focus on the history of each building, their impact on campus, and the history of the person the buildings are named after. Questions of whether or not we should view these names with pride or disdain will arise. The purposes of these articles are to understand how we got to where we are today – taking both the negatives and positives into consideration – and whether or not we need to act as students to change the names of buildings, to appropriately reflect the values and diversity of our campus, instead of glorifying potentially controversial historical figures.

Of course, these articles are speculative, and for any real change to happen, we would need to bring the idea to BUSU, who would then bring the issue forward to the council of unions. We would not be alone, though. “BUFA would welcome plans to research and possibly rename the buildings on campus to reflect our diverse history. The core of the movement follows the types of actions we have enshrined in our new collective agreement,” says Ariane, the Vice President of Equity for the Brandon University Faculty Union who advises the association on all matters relating to equity, inclusion, and diversity. The renaming of buildings and streets is a hot topic in recent years, after all, especially with the Truth and Reconciliation movement, and we as the BU community should not ignore this topic. So, to start off the article series, we will look at Brandon University’s first two buildings: The Original Building and Clark Hall.

In 1899, the McKee Academy, formerly known as Prairie College, moved to Brandon and became Brandon College. Mr. William Davies and his sister-in-law Mrs. Emily Davies pledged $25,000 to establish the then-Baptist college in Brandon. Mrs. Davies herself laid the cornerstone for the Original Building on July 13, 1900. The building was completed not long after and officially opened October 1, 1901. Hugh McCowan, a Winnipeg architect, designed the building made from locally produced bricks and Manitoba limestone with a Romanesque appeal. There was a chapel at the centre of the interior where the bell tower sits. The university only offered theology, commercial, and high school departments at first.

On October 27, 1906, Clark Hall joined the lonely Original Building. William Alexander Elliot designed the building to blend with the preexisting Original Building, giving it a less grand tower at its centre. This building was originally used as a women’s residence, which was admirable seeing as women did not even earn the right to vote until 1916 in Manitoba. The new building included a gymnasium, reception offices, a dining hall, and a music studio that was the beginnings of the School of Music. A man named Dr. Charles Whitfield Clark donated $30,000 of the $40,000 it cost to build Clark Hall, and he was honoured with the building being named after him. Some sources name a Dr. W. S. Clark as the basis for the name of the building, but since I found no W. S. Clark in relation to Manitoba, Charles Whitfield Clark is the more likely candidate for the naming rights of this building.

Charles Whitfield Clark was born in 1845 in New Brunswick. He moved to Ingersoll, Ontario at the age of two with his family and later studied medicine in Aylmer, Ontario before completing further schooling in the United States. He made his way back to Canada, and in 1882 moved to Winnipeg, becoming the city’s first homeopathist. His career as a doctor spanned the length of 72 years, with only a two-year break in 1912 when he moved from Winnipeg to Toronto due to poor health. Clark and his wife adopted their nephew in 1882 after the death of the boy’s mother, and they had a son who died at the age of 8 in 1884 due to diphtheria.

Clark was interested in athletics, and some sources claim he was a major supporter of women’s right to education, fittingly providing money for the women’s residence at Brandon College for this cause. However, he was also a part of the Freemasons, Independent Order of Odd Fellows, and the Ancient Order of United Workmen. All three of these organizations were fraternities. If you are not familiar with fraternal orders, that is a rabbit hole you can discover on your own, but to put them in brief terms, they have been around for centuries and most, including the ones noted above, completed charity work and wanted to better their communities. Such organizations were also heavily controversial, as they had ritualistic ceremonies to accept new members, and most of the members allowed into the organizations were rich white men, save for the Independent Order of Odd Fellows who created a women’s organization in the mid-1800s. Some of their practices were so ritualistic, churches condemned association with them, such as the Catholic Church did with the Freemasons. Real human skeletons have been found in Odd Fellows lodges in the United States, that appear to have been dug up for ritualistic purposes. There are even claims that Odd Fellows took part in witchcraft and worshipped Satan. To say the least, while these fraternities helped their community, they were secret societies for the male elites. One almost wonders if their ‘charity’ organizations didn’t start as a way of flaunting power. In the 20th century, these organizations did change to be more inclusive, and today most fraternities focus on charity with minimal rituals. In Clark’s time, though, these were the realities of the organizations he associated himself with.

Moving back to the history of these two buildings, Clark Hall and the Original Building underwent massive renovations in the late 1990s. They were completely gutted and reconstructed, save for the brick exterior. They expanded the fourth floor, created more space in the basement, and added an expansion with a skywalk connecting to the George T. Richardson Centre. Although the architects tried to blend the expansion into the original design of the two brick buildings, if you look closely, or even from a considerable distance, you can very easily tell where the expansion starts and the old exteriors of Clark Hall and the Original Building end. The two buildings now house the Faculty of the Arts with classrooms, study spaces, offices, and Financial and Registration Services.

Now that you know the history of the Original Building and Clark Hall, here are a few questions to leave you contemplating the history of our campus. Considering Clark’s association with the controversial fraternal organizations, is it right for Clark Hall to bear his name? Or is it right for his generous donation and advocacy for women’s education to be immortalized through Clark Hall? Could the Original Building’s name be changed? Would, say, Mrs. Emily Davies be a good candidate, since Brandon University only has two buildings on campus named after women? Or should the Indigenous peoples who were the first peoples on this land be acknowledged in the name of the first building on Brandon University’s campus? After all, why must we keep the names of buildings for hundreds of years, when we as a society and school have changed so drastically?

(Sources used in researching this article include the Manitoba Historical Society, the Brandon University Archives, the Winnipeg Architecture Foundation, history.com, and the blog messynessychic.com.)

Northern Lights Dance Over Brandon By Clements Tyler Roulette

Over the weekend, spectators who stepped outside at around midnight were treated to a vibrant display in the often-empty night sky. I heard about Auroras from a fellow student on campus Monday afternoon, and thought I had missed my opportunity to witness the Northern lights for the first time, but later that evening I decided to go outside and peek up into the night sky. I had always thought the Northern lights were going to be a simple green colour in the sky that was stationary. Instead, I was treated to a spectacular view of the Northern Light phenomenon. What I got to witness were bright shades of neon green and a rose red that filled the blank night sky. It was like watching a gentle stream of watercolour paint flowing through the clear night skies. It was an impressive view for the naked eye, but depending on where you were in Brandon light pollution could have obstructed your view.

What causes the Northern Lights?

The Northern Lights, or Aurora Borealis, are created when the energized particles traveling from the sun slam into Earth’s atmosphere at speeds up to 45 million mph (72 million km/h). Our planet gets hit with these winds all the time; our magnetic field protects us from these continuing storms. As these charged particles slammed into the earth’s ionosphere, or upper atmosphere, an aurora is born. The brightly coloured particles that make up the northern lights are represented by the chemical composition of the Earth’s atmosphere. The vibrant colours seen in the aurora over Brandon are represented by a couple of different factors. The red hue is produced from nitrogen molecules, and comes at a higher elevation, and the green colour production comes from oxygen at a lower elevation.

Why are they visible over Brandon right now?

The sun is going through a roughly 11-year cycle of activity, where the solar winds that travel towards Earth carry extreme amount of energy. With these heightened levels of energy, the lights are brighter and expand further south. This was not the first time southern Manitoba was treated to this phenomenon; in May of this year, the northern lights were visible in parts of southern Manitoba. With this increased activity in the sun, it means more people in parts of southern Canada bear witness to a natural phenomenon that often takes place in the northern parts of Canada.

What does it mean to Indigenous peoples?

Many different Indigenous cultures have their own legends about the Northern Lights, although they are often looked at as a spiritual phenomenon, representing the spirts of our ancestors and the Creator. In some First Nations mythology, the Northern Lights are often associated with the afterlife, as the spirits of loved ones who have passed away. They believe that the spirits of their ancestors live in a place called the Land of the Dead.

One final thought as I took pictures - I looked up, and witnessed a full sky dancing in a calm manner. I could not help but imagine what it would have been like to be one of my ancestors sleeping in the empty plains, surrounded with family and nothing else around. How beautiful and oddly terrifying that would be.

Do You Have Fake 20s? by Josephine

Counterfeit money has been an issue for years, and its impact continues to be felt in small communities across Canada. Recently, Brandon, Manitoba, has seen an increase in the circulation of counterfeit $20 bills, creating unease among businesses, customers, and financial institutions. As someone who works as a cashier at a local supermarket, I’ve had firsthand experience dealing with these fake $20 bills, and the ripple effects of this issue are undeniable.

Working as a cashier has opened my eyes to the real impact of counterfeit money. About a week ago, while scanning groceries for a customer, I received a $20 bill that just didn’t feel right. At first, I couldn’t pinpoint exactly what was wrong, but something about the texture and colour raised alarm bells. I didn’t realize it was fake until closer inspection.

I was shocked. This wasn’t just some hypothetical scenario I read about online; it was happening right in front of me. But it got me thinking, how many fake bills had already passed through our registers unnoticed? How much money had businesses in Brandon already lost because of these counterfeit notes?

While the exact source of the fake $20 bills flooding Brandon is still unclear, many local businesses have reported similar experiences. The issue is particularly concerning because $20 bills are so commonly used for everyday transactions, making it easier for fake bills to circulate without raising immediate suspicion.

If you’re like me and handle cash frequently, knowing how to identify counterfeit bills is crucial. Canadian currency is equipped with various security features that make it harder to counterfeit than other currencies. Some of the key features to look out for in a genuine $20 bill include:

Raised Ink: The large number “20” on the front of the bill should feel raised when you run your fingers over it.

Holographic Strip: Canadian bills have a clear holographic strip on the front with portraits and numbers that should change when viewed from different angles.

Transparent Window: Real $20 bills have a transparent window with intricate details, such as a portrait of the Queen and a building.

UV Light: A real $20 bill will have certain sections that glow under UV light. Counterfeit bills may not have this feature, or the glow will appear inconsistent.

Personally, for me I check for the inclusion of tactile markings, often mistaken for traditional Braille, which helps visually impaired individuals identify the bill. These tactile dots are unique to genuine banknotes, and counterfeit bills often fail to replicate them accurately. Authentic Canadian $20 bills have tactile dots in the top left corner of the front side of the bill. On a real $20 bill, there are three distinct groups of six raised dots. You should be able to feel these dots clearly under your fingertips. Counterfeiters often overlook this detail.

While these features can help, counterfeiters are becoming more sophisticated. Some fake bills may include a mix of real and fake elements, which can make detection tricky for the untrained eye.

The presence of counterfeit money in Brandon is not just an inconvenience, it has real financial consequences for businesses. For every fake bill accepted, that business loses money because they cannot deposit the counterfeit note at a bank. This can quickly add up, especially for small businesses operating on tight margins. Imagine a local bakery or coffee shop unknowingly accepting several fake $20 bills in a week, those losses could significantly impact their bottom line.

But the circulation of fake money doesn’t only hurt businesses; it also impacts consumers. For instance, someone might unknowingly receive a fake $20 bill as change during a transaction. When they try to use that money for their next purchase, they could face embarrassment and frustration if it is detected as counterfeit.

Additionally, consumers might become more hesitant to use cash, opting instead for debit or credit cards to avoid the risk of unknowingly accepting fake bills. This shift away from cash transactions can affect businesses that rely heavily on cash payments.

Beyond Brandon, counterfeit money remains a persistent problem across Canada. According to the Bank of Canada, although instances of counterfeiting have decreased significantly in the last decade due to enhanced security features on polymer bills, it hasn’t been entirely eradicated. Criminal organizations continue to find ways to produce fake money, often focusing on smaller denominations like $20 bills because they’re less likely to be scrutinized as carefully as larger bills.

For communities like Brandon, where the economy is driven by local businesses and personal relationships, the presence of counterfeit money undermines trust. It creates tension between customers and businesses, as no one wants to be accused of knowingly passing a fake bill, but it’s also difficult to prove where the money originated. This erosion of trust can damage the sense of community that small towns rely on to thrive.

Businesses and consumers must remain vigilant. Training staff to spot counterfeit money, investing in detection tools, and reporting suspected fake bills are all critical steps to mitigating the impact of this issue.

It’s time to ask yourself: Do you have fake $20s in your wallet? Be aware, be cautious, and let’s work together to put an end to counterfeit money in our community.

I Forgot a Child Louise Pascua

I encountered two children in their birthday suits, in their semi-fenced backyard happily jumping on their trampoline. It was a sunny morning, and I was out walking my dog around the block when I encountered this innocent but shocking view. The boys, roughly around 2-5 years old, waved happily to me and asked what my dog’s name was while ignoring their three dogs chasing each other around the perimeter of the circular trampoline.

I encountered this scene often in the next coming weeks and, while bizarre to get used to, I found it endearing and a rare sight to see nowadays. With the rise of tablet-kids and pre-teens exposed to sexual innuendos and porn-induced fashion and body trends, two undressed children happily enjoying the summer sun was an outlier. In their world there was nothing else but play; no malice and no shame. I found myself trying to think when was the last time I felt that way. When did I last unabashedly enjoy being alive and being able to laugh without the consequence of living out the rest of the day?

I couldn’t remember when, but I knew that I experienced it multiple times in my childhood days. As I grew up and encountered relationships, felt new emotions, and created ambitions, along the way I forgot to listen to Me. The Me that was here first, before anything else. The young me, the child version of me, or whatever you may call it. This is not an original experience. As we grow, we are often told to ‘wise up’ or to be ‘more mature,’ and many of us equate that to leaving our childish tendencies behind.

Children can be selfish: demanding that their favourite toy be given at this very moment. Children can be annoying: bothering adults for attention to show ‘what they can do’. Children can be loud: crying when they are hurt or scared. As we turn into adults, we are taught to ‘fix’ these traits, and for good reason. It is not appealing to anyone involved to see an adult throw a tantrum in public (ahem Karens ahem). However along with these traits many of us forgot to value ourselves, in order to be selfless, agreeable, and quiet.

We forgot to say that we want to have a better life, and for our leaders to fix social crises now! We stop ourselves from stomping and flailing our arms and yelling “I DON’T WANT IT!” to whoever is in charge. We downplay our feelings and suffer in silence because we were discouraged to ask for attention. Our big feelings of excitement or sadness we assumed to be irrelevant to the world of serious people when, in fact, they should be celebrated or soothed. We forgot to cry when we are tired and overwhelmed, often exclusively reserving it for traumatic milestones in our lives.

Maybe we forgot how to live our lives like those two boys on the trampoline because we don’t consider ourselves children anymore. But are we happier for it? Is the child in me truly gone or buried somewhere, told to stay in the corner and be quiet? These are philosophical questions that many distinguished people and branches of studies have forever debated on, and I don’t have any answer to dutifully report to you. However, as I turned the corner of my street, leash in hand, my eyes lingered on the boys. Their laughs ringing in the silent waking neighbourhood. A small smile on my lips and a tinge of jealousy in my heart: I want to play too.

Winning Eleven: A Soccer Haven in the Heart of Manitoba's Smaller Towns

In the vast world of online shopping, there's a hidden gem that's been quietly making waves in the soccer community: Winning Eleven. This new online store, which emerged earlier this year, has swiftly cultivated a devoted following, particularly in the smaller towns of Manitoba such as Portage, Minnedosa , and Niverville . But what sets Winning Eleven apart from the myriad of other online retailers? The answer lies in its unique blend of merchandise, community engagement, and a mysterious yet passionate owner.

One of the defining characteristics of Winning Eleven is its ability to cater to soccer aficionados seeking elusive jerseys from far-flung corners of the globe. Whether it's a coveted shirt from South America or a beloved team's kit from Europe, chances are Winning Eleven has it in stock. But their offerings don't stop there—Winning Eleven goes the extra mile by creating custom jerseys for local soccer teams, providing a personalized touch that sets them apart.

Moreover, Winning Eleven has made strides in inclusivity by offering a range of women's jerseys alongside their men's collections. By acknowledging and catering to the diverse fan base of the sport, Winning Eleven has become a symbol of inclusivity and progress within the soccer community.

However, the store's offerings extend far beyond jerseys. From practical gear like shin pads and athletic tape to essentials like athletic socks, Winning Eleven has become a one-stop shop for all things soccer-related.

What truly sets Winning Eleven apart, though, is its deep-rooted commitment to growing the game at the grassroots level. Despite the owner's decision to remain faceless and nameless, their passion for soccer is palpable. When asked about their anonymity, the owner simply states that their goal is to foster a love for the beautiful game in the smaller towns of Manitoba. And they're doing just that. When asked what made them start the business, they replied that they started off with only selling the jerseys to their friend and a small circle of about 20 people on Instagram, and slowly started to grow - leading to them creating a website and getting registered as a business.

Winning Eleven has embedded itself in the local soccer community by sponsoring two adult soccer leagues and a youth program through Westman FC here in Brandon . Their support doesn't end there; they've even sponsored the Man of the Match awards at the MCAC futsal playoffs. This level of involvement has endeared Winning Eleven to players, coaches, and fans alike, solidifying its status as more than just an online store but a pillar of the local soccer scene.

Despite lacking a physical storefront, Winning Eleven has managed to cultivate a sense of camaraderie among its followers. Through messaging groups, fans stay informed about pop-up locations, adding an element of excitement and exclusivity to the shopping experience. It's this sense of community that sets Winning Eleven apart from impersonal online retailers.

Perhaps the most surprising success story to emerge from Winning Eleven's inventory is the rise of mini shin pads. Initially met with skepticism from coaches, these compact shin guards have become a hit among players, inspired by seeing professionals don them on the field. Their availability is a testament to Winning Eleven's ability to anticipate and cater to the evolving needs of its customers.

In a world dominated by big-name brands and corporate giants, Winning Eleven stands out as a beacon of authenticity and passion. From its diverse merchandise to its unwavering commitment to grassroots soccer, this online store has become more than just a place to shop — it's a community, a movement, and a testament to the enduring power of the beautiful game.

Follow them on Instagram @mbwinningeleven!

Sustainable Brandon By Yensy López

I had the opportunity and pleasure to sit with Scott Blyth and discuss the group Sustainable Brandon to learn what they’re all about. Sustainable Brandon is a group of caring individuals who have a mutual goal of helping the planet, by helping Brandon become sustainable in all areas.

Blyth stated that the aim of Sustainable Brandon is to “Encourage and enable the city of Brandon and its residents to address the current climate crisis. Moving towards environmental sustainability as quickly as we can, and do so in ways that benefit marginalized community members who are most vulnerable to harms from climate change.”

Sustainable Brandon does a variety of things, such as working with provincial and city officials, workshops, strikes, city clean-ups, and Earth Day events. They have many achievements, one being working with the Riverbank Discovery Centre and helping with the process of installing solar panels on one of their buildings. They are also involved in a project involving the wetland that is south of Brandon, making sure it is acknowledged when expansions are considered.

Many feel hopeless about the climate crisis, but it is important to remember there are always ways to help individually, and as a community. Change is achieved as a collective, and Sustainable Brandon is a great group to be a part of. Some personal ways you can help the climate crisis are: walking/biking, taking public transportation, recycling, composting, consuming less meat, consuming less in general (not buying unnecessary things), and educating yourself and others on the climate crisis.

Everyone is welcome to join Sustainable Brandon! If you are interested, contact Madeline Robinson at bdnclimateaction@gmail.com. You can also follow them on Instagram @sustainablebrandonmb.

Sustainable Brandon By Yensy López

I had the opportunity and pleasure to sit with Scott Blyth and discuss the group Sustainable Brandon to learn what they’re all about. Sustainable Brandon is a group of caring individuals who have a mutual goal of helping the planet, by helping Brandon become sustainable in all areas.

Blyth stated that the aim of Sustainable Brandon is to “Encourage and enable the city of Brandon and its residents to address the current climate crisis. Moving towards environmental sustainability as quickly as we can, and do so in ways that benefit marginalized community members who are most vulnerable to harms from climate change.”

Sustainable Brandon does a variety of things, such as working with provincial and city officials, workshops, strikes, city clean-ups, and Earth Day events. They have many achievements, one being working with the Riverbank Discovery Centre and helping with the process of installing solar panels on one of their buildings. They are also involved in a project involving the wetland that is south of Brandon, making sure it is acknowledged when expansions are considered.

Many feel hopeless about the climate crisis, but it is important to remember there are always ways to help individually, and as a community. Change is achieved as a collective, and Sustainable Brandon is a great group to be a part of. Some personal ways you can help the climate crisis are: walking/biking, taking public transportation, recycling, composting, consuming less meat, consuming less in general (not buying unnecessary things), and educating yourself and others on the climate crisis.

Everyone is welcome to join Sustainable Brandon! If you are interested, contact Madeline Robinson at bdnclimateaction@gmail.com. You can also follow them on Instagram @sustainablebrandonmb.

Tyla's Historic Win: A Milestone for African Music on the Global Stage

In a landmark moment for African music, Tyla, the 22-year-old South African sensation, has made history as the inaugural recipient of the Best African Music Performance Grammy Award. Her chart-topping hit, "Water," which seamlessly blends elements of amapiano with Afro pop influences, triumphed over a field of established names in African music at the 2024 Grammy Awards. This victory not only underscores the Recording Academy's commitment to showcasing diverse musical talent but also highlights the evolving landscape of African music in the global arena.

While Tyla's win represents a significant step forward in recognizing African cultural significance, it also sheds light on the complexities of representation within the industry. "Water," with its incorporation of Western pop sensibilities alongside African rhythms, raises questions about the balance between authenticity and marketability in African music. While the track's crossover appeal undoubtedly contributed to its success on the international stage, it also prompts a broader conversation about the authenticity of African sounds in a globalized music industry.

Despite these complexities, there is no denying the impact of "Water" on the global music landscape. The track's unprecedented success speaks volumes about its universal appeal, topping charts and sparking viral trends across continents. From its No. 1 position on the Billboard U.S. Afrobeats Songs and Hip-Hop/R&B charts to its historic entry into the Billboard Hot 100, "Water" has solidified Tyla's position as a trailblazer in African music and propelled her to unprecedented heights of fame and recognition.

At the heart of "Water" lies a fusion of musical influences that transcends geographical boundaries. Tyla expertly combines the smooth melodies and production techniques of American R&B and pop with the infectious rhythms and instrumentation of South African amapiano, creating a sound that resonates with listeners worldwide. This fusion not only showcases the diversity of African musical traditions but also highlights the interconnectedness of global music cultures in an increasingly interconnected world.

While Tyla's Grammy win marks a significant achievement for African music, there is still much work to be done in terms of representation and recognition within the industry. Recording Academy CEO Harvey Mason Jr. acknowledges the need for deeper acknowledgment of lesser-known genres within the continent and emphasizes the importance of fostering cultural exchange through collaborations and artist relations. As the global music landscape continues to evolve, there is a growing opportunity to celebrate the richness and diversity of African musical traditions on a broader scale.

Tyla's historic win holds particular significance for young female performers in Africa, who continue to navigate a male-dominated industry. Her success serves as a beacon of hope for aspiring female artists across the continent, demonstrating that talent and creativity know no gender boundaries. From Ayra Starr to Bloody Civilian, Tyla's win has paved the way for a new generation of female voices to be heard and recognized on the global stage.

Despite the dominance of Nigerian artists in the Best African Music Performance category, Tyla's win underscores the contributions of South Africa to the global music scene. While artists like Wizkid and Burna Boy have undoubtedly played a significant role in popularizing African music on the international stage, there is a collective responsibility to ensure that the authenticity of African sounds is preserved and celebrated.

In essence, Tyla's historic Grammy win represents a milestone moment for African music, signaling a new era of recognition and appreciation on the global stage. As the industry continues to evolve, there is an opportunity to embrace the richness and diversity of African musical traditions, transcending geographical boundaries and cultural barriers in the pursuit of musical excellence.

$5 Million RenewBu Project Abandoned By Abdul Nadeem Myireh

Brandon University recently sent out a communique announcing that they are no longer going forward with their development of a new student information system, an effort that took four years and cost the university upwards of $5 million dollars. The multi-year project saw the introduction of the “RenewBU” fee to each term’s student fees (more than $300 a year for-time students!), which was intended to finance the modernization of information systems in respect to finances, registration, and student records. However many, myself included, initially believed the RenewBU fee was intended for the renovation of various buildings and facilities around campus. I believe it is this lack of clarity that may have further exacerbated student reactions to the news of B.U.’s withdrawal from their contract with Anthology Inc., the software developer based out of Boca Raton, Florida and tasked with designing the new student information system. Some students went as far as to say we have nothing to show for a multi-million-dollar project, and that the university should seek a refund from the company. One student, who requested that they remain anonymous, wrote that “those funds could have bought every student the textbooks and supplies they needed for their entire degree, or it could have gone towards a free-at-use cafeteria, scholarships, or even better pay for our instructors.”

Another proposed upgrade to the system would have allowed for the recognition of preferred names in student registration and documentation, which would have allowed students and staff alike to better establish their identity in an academic and professional setting. Although the current student portal does allow for the input of a preferred name, its use is merely superficial, as it does not actually change the name students are registered for classes with. The implementation of a new and improved system has been the subject of ongoing discussions among the student body, and for Linden Haubrick, a student at the university and longtime advocate for greater accessibility for queer students within the system, the news of the university’s withdrawal comes as a major setback to his efforts in getting the university to recognize preferred names. With no new student information system in development, many students find themselves growing increasingly frustrated with the lack of progress in the university’s “unwavering and unambiguous commitment to diversity.”

The frustration experienced by the student body is not exclusive, as David Huberdeau-Reid resigned from the board of governors in the week prior to B.U.’s announcing their withdrawal from the project. In an article published by the Brandon Sun and written by journalists Colin Slark and Matt Goerzen, Huberdeau-Reid stated that “it was revealed to the board of governors in January that Anthology had yet to provide any results” and that “three alternatives were pitched: continue with Anthology, continue with a reduced scope, or cancel the project and work on it in-house.” Indeed, the university did state in an email directed to students that they “are not finding a route to successfully implement the project according to the goals we had set and this will end our relationship with our current vendor, Anthology.” The email comes at a difficult time for many, as the Brandon University Faculty Association (BUFA) is finally proceeding in negotiations with the university over several issues after many weeks without progress.

Unfortunately, I find myself increasingly dissatisfied with the direction the university is going in, and in the wake of the university’s announcement I find myself with more unanswered questions; chief of which is the question of how the university can have nothing to show for a multi-million-dollar project, and how in the four years since the start of the project, Anthology Inc. has been unable to deliver even portions of a completed student information system? As the board of governors begins the surely difficult process of contracting a new developer to tackle the challenge of creating a new student information system, I sought further information on Anthology Inc., and unfortunately, the information that I have found has made me question the efficiency of the board of governors.

Anthology Inc. last made headlines in 2022, when they issued a refund of $850,000 dollars to the Oregon-based Rogue Community College. The software developer was found unable to process financial aid, registration, and other records, forcing the college to part ways with Anthology Inc. and return to their previous student information system while they sought another software vendor to pick up where Anthology Inc. left off. Further research into the company revealed a litany of complaints from current and former employees that date back to 2017, and allege of numerous issues such as poor leadership, poor training, and a lack of technical support that left them unable to support their customers, those being other universities. One employee wrote anonymously, “Whenever I worked there it was awful … although the people were nice, the company seemed to have no structure.” Another wrote “The turnover rate here is really high for a reason. My training group of 20 all quit after a few months because of bad equipment and management.” One student, after discovering Anthology’s contract with Rogue Community College, asked, “If the company has such poor performance, and such a poor track record, why was it even an option to get these systems put in place?”

Anthology Inc.’s refund came two years after Rogue Community College withdrew from their contract with the developer in 2020, the same year in which they were selected by the board of governors at Brandon University to develop our new student information system. I question whether or not the board of governors was aware of Anthology’s failure in their contract to Rogue Community College, or of the numerous allegations of mismanagement that circled the software developer; if they were in-fact aware of these issues, how did that affect their decision-making progress in staying with Anthology through a lack of progress and no sign of a finished product?

Although the future is uncertain for the university’s student information systems, as we now have no foreseeable deadline for when we can expect to see a modernized system by, it is up to the student collective to advocate not only for sensible spending, but increased scrutiny of any companies contracted to perform work for the university. Neither the institution nor its students can afford to finance yet another failed project.

Poems - by Mahé Rabesa

Moonlight

A light sheet lays over the fields 

As if to veil the truth 

Clouds act like the finest youth 

Pretending to live through the winds

Night falls slowly 

Leaving alone the graceful Sun before it dies 

The sky and its colours live only 

Through the trees the early star rise 

The moon dances between the trees 

Its faint rays in the valleys 

Shy will be the dawn 

After the night mourn 

Lucifer

The fountain of fire

Where happiness flows

Where sadness, distress are 

Words that don't exist

Do you know this place? 

I've tasted the warmth of the flames 

The beauty of your soul

The flavour of your tears

And, I cried on the Sun 

To make the dark clear

Yes, I cried on the Sun 

To dazzle your shadow

Look at paradise in hell 

And the fires under the sea

The tsunamis on earth

Rain that falls in the desert

I’ve heard the silent thunder 

Seen the invisible lightning  

I saw you dancing like the leaves falling from the trees 

I've seen you cry, you who makes all the ladies turn their heads 

Tell me your secret, and I'll tell you how to get there 

You'll taste the warmth of the flames 

The beauty of your soul 

The flavour of your tears 

Sunday

Sunday 

She is eighteen

And never had a dream

But she is the only one who can see the trees growing

She’s not a teen anymore

But not adult either

Something 

in 

between

Her name is Olympe

And if I didn’t close my eyes, I breathed again

Why didn’t I say something?

Maybe the rain would have stopped falling

She wasn’t ready, she wasn’t ready

She did not wait for the sun to rise

Impatience ran through her veins

She started her journey to the center of the earth far too soon

She wasn’t ready, she wasn’t ready

When leaving, she left behind all her flowers and books never opened 

Olympe once called 

She never called again

Her hands are no longer shaking

She falls asleep in the arms of Mother Earth

And one day,

One day, she’s going to be at peace

Because we will break the fire

And watch the birds fly 

                                     a

                                        w

                                           a

                                              y

Mother Earth

Even from the top of the world, you could not see 

And as we keep moving away

But can’t go anywhere because of those chains 

You should have looked at me 

And it is too late now

The rain started to fall

She is running way faster than you

She is carrying all the complains

All the screams that echo in the air

It is not like we can’t see each other

The wind didn’t warn you

He's a liar anyway

Keep the shouting

The rose never stays long on the grass

It is not because I’m tall

It is because no one listens carefully

You never heard

The river breath out its last breath

You never listened to the colours all around

You just listened to the snow hurt and rocks 

                                                                 revolution 

We are old now

We can have this conversation

Or walk away without ever being understood

I do not want to hide anymore

Please, let me raise the flag

And, if I had told you that they were always there? 

If I had said to you that I was never angry?

That the volcano deep inside me was already extinct 

The water would be clearer

Did I ever say that I wanted to be         with you?

                                                      alone

Student Spotlight - Hannah Delos Reyes by Jordan Dill

Student Spotlight - Hannah Delos Reyes

by Jordan Dill

Today we have an exclusive interview with an emerging artist whose talent and creativity have been making waves within the art community. We have the privilege of speaking with Hannah Delos Reyes (@hannahdelosreyes.art), a student at Brandon University, who graciously granted us a glimpse into her world of artistic expression. As she guided us through the vibrant corridors of Brandon University's art facilities, Hannah shared insights into her journey as an artist and how her education has been instrumental in nurturing her artistic vision. With each piece she creates, Hannah infuses profound meaning drawn from her cultural roots or personal experiences, inviting her audience into a narrative-rich exploration of her work. Unlike some artists who struggle to articulate the essence of their creations, Hannah possesses a unique ability to vividly convey the stories behind her art, offering viewers a deeper understanding of her creative process and the messages she seeks to convey. Below are a few questions we were able to ask her during our interview. 

“Does your culture, upbringing , or any other influences around you get reflected into your work?”

Absolutely, my cultural background and upbringing play a significant role in shaping the themes and motifs that are prominent in my artwork. As an artist, I find myself continually drawn to exploring aspects of my heritage through my creative expressions. Growing up immersed in Filipino culture, traditions, and values, I developed a deep appreciation for the rich tapestry of stories, symbols, and imagery that define my cultural identity. This profound connection to my roots is evident in many of my art pieces, particularly those that I've produced during my time as a student at Brandon University. Whether it's through vibrant paintings, intricate sculptures, or thought-provoking installations, I strive to infuse elements of Filipino culture into my work, celebrating its beauty, resilience, and diversity. From exploring traditional Filipino folklore and mythology to examining contemporary issues faced by the Filipino diaspora, my art serves as a platform for me to reflect on and engage with the complexities of my cultural heritage. By incorporating Filipino symbols, iconography, and themes into my artistic practice, I aim to not only pay homage to my roots but also to spark meaningful conversations and connections with viewers from diverse backgrounds. Through my art, I hope to bridge the gap between cultures, fostering a deeper understanding and appreciation for the richness of Filipino heritage while also exploring the universal themes of identity, belonging, and the human experience.

“Who are your biggest artistic influences?”

My artistic journey has been profoundly influenced by a diverse array of both historical masters and contemporary visionaries, each leaving an indelible mark on my creative ethos. Drawing inspiration from the timeless masterpieces of Michelangelo and Vincent Van Gogh, I am captivated by their mastery of form, colour, and emotion, which continue to serve as guiding beacons in my artistic exploration. The bold, dynamic portraiture of Kehinde Wiley and the evocative storytelling of Kara Walker resonate deeply with me, inspiring me to infuse my work with narratives that challenge, provoke, and uplift. Additionally, the hauntingly beautiful prints of David Blackwood have left an enduring impression on me, igniting a passion for printmaking and the power of visual storytelling. As I navigate the ever-evolving landscape of contemporary art, I find myself continually drawn to the works of these influential artists, integrating elements of their styles, techniques, and philosophies into my own artistic practice. From the classical grandeur of Michelangelo to the bold experimentation of Van Gogh, from the vibrant portraiture of Wiley to the poignant narratives of Walker, and from the haunting prints of Blackwood, each of these artistic luminaries has played a pivotal role in shaping my artistic voice and vision. Through their timeless contributions to the world of art, they have not only expanded my creative horizons but also challenged me to push the boundaries of my own artistic expression, striving to create work that is both deeply personal and universally resonant.

“Describe your ideal work environment.”

My ideal work environment is one that offers a balance of solitude and inspiration, allowing me to fully immerse myself in the creative process while staying energized and focused. I find that I am most productive when I have the space to work alone, free from distractions, enabling me to concentrate deeply on my artistic endeavours and explore ideas without interruption. Whether it's a cozy studio tucked away from the hustle and bustle of the outside world or a quiet corner of a well-lit room, I thrive in environments that foster a sense of calm and concentration.

Natural light is essential to my creative process, as it not only illuminates my workspace but also infuses it with a sense of warmth and vitality. The soft glow of sunlight streaming through windows not only enhances the colours and textures of my materials but also uplifts my mood and enhances my productivity. Similarly, during nighttime work sessions, I appreciate the presence of bright, adjustable lighting that mimics the effects of natural daylight, allowing me to work comfortably and efficiently even after the sun has set.

In summary, my ideal work environment is characterized by solitude, natural light, and a tranquil atmosphere, providing me with the optimal conditions to unleash my creativity and bring my artistic visions to life.

“Do you have a preferred medium ?”

My artistic versatility encompasses a wide range of mediums, from painting and mixed media to watercolour, ceramics, and printmaking. While I am proficient and comfortable working with each of these mediums, drawing holds a special place in my heart as my primary area of expertise and passion. Through drawing, I am able to fully express my ideas, emotions, and observations with a level of precision and detail that resonates deeply with me.

With a solid foundation in drawing techniques and a wealth of experience honing my skills, I approach each artwork with a meticulous attention to line, form, and composition. Whether I'm creating intricate pencil sketches, expressive charcoal drawings, or vibrant ink illustrations, drawing allows me to explore the nuances of light and shadow, texture, and perspective, breathing life into my subjects and narratives.

While I am open to experimenting and pushing the boundaries of my artistic practice across various mediums, drawing remains my preferred and most proficient mode of expression. It serves as the cornerstone of my creative process, providing me with a versatile and powerful tool to convey my artistic vision and connect with viewers on a profound level.

“How do you handle constructive criticism?”

Constructive criticism is an integral part of my growth and development as an artist, and I approach it with a mindset of openness and receptivity. Rather than viewing criticism as a negative reflection of my work, I see it as an invaluable opportunity for learning and refinement. When receiving constructive feedback, I strive to maintain a sense of humility and objectivity, recognizing that there is always room for improvement and growth.

I approach constructive criticism as a form of mentorship, drawing upon the insights and perspectives of others to gain a deeper understanding of my own artistic practice. I actively seek out feedback from peers, mentors, and instructors, valuing their input as a means of gaining fresh perspectives and identifying areas where I can enhance my skills, concepts, and research.

Instead of taking criticism personally, I view it as a catalyst for self-reflection and self-improvement. I carefully consider the feedback I receive, weighing its validity and relevance to my artistic goals and aspirations. From there, I channel that feedback into actionable steps for improvement, whether it involves refining my technical skills, revisiting my conceptual approach, or conducting further research to deepen my understanding of a subject.

“Do you have a favourite piece of your work and why is it your favourite?”

While I don't necessarily have a single favourite piece among my body of work, there is one particular artwork that holds a special significance in my artistic journey. Titled "Metamorphosis," this oil painting marked a pivotal moment in my career as an artist when I received my first major commission in 2022.

"Metamorphosis" not only represents a significant milestone in terms of professional recognition and validation but also holds a deeper personal resonance for me. Through this painting, I had the opportunity to explore themes of transformation, growth, and self-discovery, mirroring my own journey as an artist navigating the ever-changing landscape of the art world.

Beyond its thematic depth, "Metamorphosis" served as a catalyst for expanding my artistic horizons and establishing myself within the broader art community. The success and visibility garnered from this commission opened doors to additional opportunities, allowing me to connect with new clients, showcase my work in prominent exhibitions, and further establish my presence within the art world.

Moreover, "Metamorphosis" embodies the essence of my artistic style and vision, encapsulating the elements of storytelling, symbolism, and emotional resonance that define my creative voice. Its creation not only solidified my identity as an artist but also provided a platform for me to share my unique perspective and connect with audiences on a deeper level.

Overall, while I cherish each of my artworks for their individual significance and contributions to my artistic journey, "Metamorphosis" holds a special place in my heart as a symbol of growth, opportunity, and the transformative power of art.

“What is your favourite time of day to create?”

My favourite time of day to create varies depending on the setting and circumstances. When I'm working on a drawing or painting at home, I find that I am most inspired and productive when I start right away in the morning, as soon as the sun is up. There's something about the freshness of the morning light and the sense of quietude that accompanies the early hours of the day, which invigorates my creativity and sets a positive tone for my artistic endeavours. Beginning my creative process in the morning allows me to establish a focused mindset and dedicate uninterrupted time to fully immerse myself in my work, exploring ideas and bringing my artistic vision to life with clarity and purpose.

On the other hand, when I'm working in the art studios at school, my preferred time to create shifts to the nighttime. The evening hours offer a different atmosphere and energy, characterized by a sense of tranquility and solitude that lends itself well to deep, concentrated work. With fewer distractions and a sense of quietude permeating the studio space, I find that I am able to enter a state of flow more easily, allowing my creativity to flourish and my ideas to take shape with greater freedom and spontaneity. Working at night in the art studios provides me with a sense of creative liberation, enabling me to explore new techniques, experiment with different mediums, and push the boundaries of my artistic practice in ways that are both exciting and rewarding.

In summary, whether it's the early morning light at home or the peaceful ambiance of the nighttime in the art studios at school, I embrace the unique opportunities and creative energies that each time of day offers, adapting my creative process to suit the environment and maximize my artistic potential.

“What challenges do you think artists face today?”

I could go on for hours about this:

Financial Struggles: Many artists face financial instability due to the unpredictable nature of the art market, limited access to funding and resources, and the expectation to produce work without guaranteed income.

Exposure and Recognition: With the vast array of artists and artworks available online and in galleries, it can be challenging for emerging artists to stand out and gain recognition for their work, making it difficult to attract the right audience and establish a strong artistic presence.

Balancing Artistic Vision with Commercial Demands: Artists often grapple with the tension between staying true to their artistic vision and creating work that appeals to commercial tastes and trends, especially when seeking opportunities for exhibition, representation, or sales.

Access to Resources and Opportunities: Limited access to affordable studio space, art supplies, mentorship, and professional development opportunities can hinder artists' ability to fully explore their creative potential and navigate the art world.

Navigating the Digital Landscape: While the internet has provided artists with unprecedented opportunities to showcase their work and connect with audiences globally, it has also created new challenges, such as managing online presence, combating plagiarism and copyright infringement, and navigating the complexities of online sales and marketing.

Social and Political Challenges: Artists often grapple with addressing social and political issues in their work, navigating censorship, criticism, and backlash, while also striving to create meaningful and impactful art that resonates with diverse audiences.

Mental Health and Well-being: The solitary nature of artistic practice, coupled with the pressures of self-promotion, rejection, and financial insecurity, can take a toll on artists' mental health and well-being, leading to burnout, anxiety, and depression.

Ultimately, it is all about finding the right people, whether it’s your audience, support, or resources. People are what factor into all of the above.

“Do you have any upcoming projects or collaborations you are looking forward to?”

As a full-time student nearing graduation and balancing multiple part-time jobs, my schedule is currently quite demanding. However, I am excited about a few upcoming projects and potential collaborations that I have in the pipeline.

While these projects are still in the planning stages, I am eager to dive into them once I have more time and bandwidth available after completing my studies and managing my part-time commitments. Despite the challenges of juggling multiple responsibilities, I am committed to pursuing my passion for art and embracing opportunities for growth, collaboration, and creative expression in the months ahead.

Revolutionizing Learning with FlashIQ: An Insight into its Creation and Impact An Interview with Hashim Farooq by Jordan Dill

Revolutionizing Learning with FlashIQ: An Insight into its Creation and Impact

An Interview with Hashim Farooq by Jordan Dill

Introduction:

Most students in their free time have to balance studying, work, and their social life imagine building an app and fitting it into your schedule. Well, can you imagine the vast amount of time it takes to create and develop an app? Today, I got to sit down with Brandon University senior business student Hashim Farooq as he discusses his app FlashIQ. From the moment he sat down, I could see he was just built different. Brimming with positivity and energy some could only hope to attain after 2-3 cups of coffee.

Interview Questions:

1. What was your Inspiration Behind Creating FlashIQ?

"The inspiration for creating FlashIQ came from my own experiences as a student," says Hashim Farooq. "I often found myself needing a more efficient and engaging way to learn and memorize complex concepts." This desire to enhance the learning experience led to the inception of FlashIQ, with a mission to make learning more interactive and accessible for everyone, especially in an academic setting.

2. What specific problems did you hope to Address and who were your target audience?

"FlashIQ tackles the challenge of retaining vast amounts of information efficiently," explains Farooq. "It helps students make their learning less overwhelming by breaking it down into parts." The app caters to students, professionals, and lifelong learners who need to memorize and recall information quickly. By incorporating spaced repetition, interactive flashcards, and multiple-choice tests, FlashIQ enhances memory retention and makes learning more engaging.

3. Can you describe the development and launch Process?

"The development of FlashIQ was a meticulous process that began with identifying key features and designing a user-friendly interface," Farooq details. "We utilized agile software development, with a focus on Swift for iOS development. This ensured that the app was robust and intuitive, with seamless interaction across all Apple devices." The launch involved beta testing to gather initial feedback, followed by a phased rollout to manage server loads and address any emerging issues.

4. Did you have any challenges During the Development stage?

Navigating the complexities of UI and UX optimization posed significant challenges during FlashIQ's development. "With educational apps like FlashIQ, it's crucial to prioritize intuitive design," Farooq remarks. "Balancing user engagement with educational value was also very tricky, as was ensuring seamless performance across different iOS devices."

5. What makes Flash IQ Different from other Apps?

"What sets FlashIQ apart from other educational apps is its comprehensive approach to learning," Farooq highlights. "We've combined spaced repetition, interactive elements, and multiple-choice tests to create a holistic learning experience." FlashIQ stands out through its personalized learning experience, offering a wider range of customizable flashcards, an easy-to-use UI, and the ability to add sketches and diagrams to flashcards for free.

6. What type of Feedback and Suggestions have you taken into consideration?

"The feedback has been overwhelmingly positive, especially regarding the app's user interface and the effectiveness of the learning algorithm," Farooq shares. "We've incorporated suggestions such as more diverse flashcard topics and the ability to share flashcards with peers, enhancing the collaborative learning experience."

7. What Marketing Strategies have you used?

"We've used a mix of content marketing, social media engagement, and partnerships with educational institutions," Farooq explains. "The most successful strategy has been leveraging user testimonials and word-of-mouth referrals, as they authentically showcase the app's impact. While marketing efforts have been limited pre-revenue, we're focused on building a strong user base."

8. Is there a Monetization Plan in the future?

"Currently, FlashIQ operates on a freemium model," Farooq reveals. "Basic features are free, while advanced features, like AI card generation and text-to-speech, will require a subscription. We're exploring partnerships with schools and content collaborations as additional revenue streams."

9. Are there any Future Updates or Features coming soon?

"We're planning to integrate AI-driven personal tutors and expand our content to cover more subjects," Farooq discloses. "Also in the pipeline is a feature that allows users to create and share their own flashcard sets with the community. Additionally, we're working on allowing students to register with a university course so that professors could share study sets and notes, similar to TopHat. The future of AI in education is bright, with the potential to cater to each individual student and their learning style."

10. Do you have any Advice for Aspiring Entrepreneurs or App Developers?

"My advice would be to thoroughly research your target market and continuously engage with your users for feedback," Farooq advises. "If you want to start building something, whether it be an app or a business, the hardest part is starting. Start with what you know and what you have. Stay flexible and ready to pivot if needed, and don't underestimate the importance of a solid marketing strategy. Most importantly, be passionate about your idea and resilient in the face of challenges."

In conclusion, FlashIQ represents a paradigm shift in the way we approach learning. By leveraging technology to enhance memory retention and engagement, Hashim Farooq, a senior of Brandon University, has created a tool that empowers students and lifelong learners alike. As the educational landscape continues to evolve, FlashIQ has amazing potential to shape the future of learning one flashcard at a time.

A Look Back in Music History Miles Davis: The Birth of the “Cool” by Hannah Hiebert

A Look Back in Music History

Miles Davis: The Birth of the “Cool”

by Hannah Hiebert

Welcome to the “Music History” column! In this column we are going to briefly discuss one of the most distinguished and influential jazz musicians of the twentieth century. Allow me to introduce you to Miles Davis!

A trumpeter, band leader, and composer all in one, Davis was at the forefront of nearly every major development in jazz from World War 2 all the way up to the 1990s. He was partially responsible for the creation of modal jazz, which in turn allowed for “jazz fusion” to arise from his work alongside other musicians during the late 1960s and into the early 1970s. It was Davis’s send recordings, along with live performances of his many influential bands, that lead to the acceptance of jazz as music with long-lasting artistic value.

Between 1950 and 1955, Davis primarily recorded music as a leader for Prestige Records and Blue Note records within a wide range of small-group settings. Around this time, Davis was heavily influenced by pianist Ahmad Jamal, whose style greatly contrasted with the often “busy” sound of what was then referred to as BeBop. Davis would then go on to frequently play in the jazz clubs of New York.

After overcoming addiction, Davis created a series of important recordings for Prestige Records in 1954 that could later be collected on albums including: “Bags Groove, Miles Davis and the Modern Jazz Giants”, and also, “Walkin”. It was around this time that Davis began to use the Hermon mute to darken the timbre of his trumpet. It was this very trumpet tone that would be associated with Davis throughout the duration of his career. By 1955, Davis successfully formed his first incarnation of the renowned, “Miles Davis Quintet”. The first recordings of the group were made for Columbia Records and would later be released on “‘Round About Midnight”. Even in the present day, the Miles Davis Quintet is often recognized as one of the greatest musical groups in the history of jazz.

Much later in his life, Davis would continue touring with a band of constantly changing personnel and critical stock at a higher level than it ever had been before. His last recordings were the hip-hop influenced studio albums “Doo-Bop” and “Miles and Quincy Live at Montreux”, a collaboration done with Quincy Jones himself for the 1991 Montreux Jazz Festival. It was here that Davis would perform repertoire from this classic 1960s recordings for the first time in decades.

Miles Davis’s music is still held in high regard by jazz musicians in the present day. His music would go on to be learned and performed by high school jazz bands, small jazz ensembles, and would forever be remembered as, “The Birth of the ‘Cool’”.

Source for Research Provided by: “NewWorldEncyclopedia.org”

Pain in Black by Zen

Yet again, a soul taken away Why ?

Because of the colour of his skin?

Because of the chances he was never given ? A young man lost his life

For being an immigrant?

For struggling with his mental?

For being young?

A young man's fate, in injustice, lies. No questions asked, 3 shots to dead

“We serve to protect” they solemnly claim

But you took a man too soon from the bosom of the arms he fled for for a better life “We are one”

Lies unfold , as a black man’s life goes cold.

Verses on Embracing Life's Lessons Mahé Rabesa

Renaissance

Lying on the ground I watch the stars 

If they fall I'll be there to swallow them

You'll taste their sweetness when you kiss me one last time 

Before the sea rips everything away, the waves wash away what's left of us 

Don't worry the wind of the golden storm will blow away all your failures 

The ones you don't dare say out loud

The ones you hide in the pit of your stomach 

They'll follow you until daybreak

And you take them by the hand and expose them to the light

You will understand that they are the reason you are who you are today

We don't attach ourselves to victory, ideas or freedom

We make them bloom like annuals so they come back every year 

We learn to fall low, to crawl, to tie ourselves down to get up again 

For it's with sadness that today nothing is more important than watching the pixels go by

Endlessly, ceaselessly, hungrily you eat to soothe yourself

With information, notifications and beautiful illusions 

Feeding your anxiety and depression

So, very disappointed with what I've taken from us 

No exchange or refund 

Unchanged by change 

Continue to grow without changing our clothes 

So, perhaps reinvented in our size

Well-fitted, made-to-measure, clinging to our skin 

So that we never cease to reborn

In more beautiful forms that only night can hide 

And turn your curves into fleeting shadows 

You run or you walk straight

No detours, no delays

You've been given no choice

Stop not knowing what you're doing

Like a point of no return 

And good-byes again 

Through faded flowers and salty tears 

In the garden of forgotten souls

Enchanté, I never found myself there

You always end up back to the first square

Mother Earth

Even from the top of the world, you could not see 

And as we keep moving away

But can’t go anywhere because of those chains 

You should have looked at me 

And it is too late now

The rain started to fall

She is running way faster than you

She is carrying all the complains

All the screams that echo in the air

It is not like we can’t see each other

The wind didn’t warn you

He's a liar anyway

Keep the shouting

The rose never stays long on the grass

It is not because I’m tall

It is because no one listens carefully

You never heard

The river breath out its last breath

You never listened to the colours all around

You just listened to the snow hurt and rocks 

                                                                Revolution 

We are old now

We can have this conversation

Or walk away without ever being understood

I do not want to hide anymore

Please, let me raise the flag

And, if I had told you that they were always there? 

If I had said to you that I was never angry?

That the volcano deep inside me was already extinct 

The water would be clearer

Did I ever say that I wanted to be         with you?

                                                      alone

Album Review: Peter Gabriel – “i/o” By Wesley Rathwell

“i/o” is Peter Gabriel’s first album in 12 years, and his first album of all original material in 21. Gabriel must have known expectations would be high for his comeback, as he’s spent the whole year promoting the album’s release, putting out a new song the night of each full moon. So dedicated was he to ensuring the album’s quality, that when faced with two separate masters of the album, he simply decided to release both at the same time (for the purposes of this review, we will be focusing on the “Dark-Side Mix”, done by Tchad Blake). All of Peter Gabriel’s efforts seem to have paid off in this case, with “i/o” being a solid comeback record that both highlights and develops Peter Gabriel’s strengths as a musician.

The opening track, “Panopticom”, draws us into the album’s world with punchy drums and a dark, funky industrials sounds. Gabriel claims to have written the song about “an infinitely expandable accessible data globe.”, although his optimistic view of such a thing in interviews comes off as being at odds with the track’s paranoid lyrics (“And we reach across the globe/Got all the information flowing/You face the motherload/Tentacles around you”). The following track, “The Court”, develops the industrial influences even further, but is ultimately let down by weak vocals. There are parts in the song where Gabriel’s voice was so overprocessed that it started to sound like I was listening to Imagine Dragons.

The album begins to slow down with “Playing for Time”, a lush though slightly bland piano ballad about feeling trapped by the passage of time. The title track, “i/o”, is a more anthemic piano-driven song with a booming, sing-along chorus that elevates the potentially dull lyrics about living in harmony with nature (“So we think we really live apart/Because we got two legs, a brain and a heart/We all belong to everything/To the octopus' suckers and the buzzard’s wing”). 

Named for an ancient Buddhist parable, “Four Kinds of Horses” is one of the best songs on the album, a dark examination of religious violence that effectively blends both the industrial influences of the first two tracks with the melodic influences of the second two. The presence of a string section works far better here than it did on “Playing for Time”, as it wonderfully combines with Gabriel’s vocals to create a sense of climactic urgency. 

“Road to Joy” features a return to the worldbeat sound of Peter Gabriel’s earlier works and is by far the most danceable song on the album. The song is propelled forward by a deep, bass-driven groove that, funnily enough, reminded me in some places of the macarena. “So Much” is a rather basic piano number written about the fear of aging (“The body stiffens, tires and aches/In its wrinkled, blotchy skin/With each decade, more camouflage/For the wild-eyed child within”). While the song is fantastically produced, I could not help but get the feeling that it was missing something, although I can’t say for sure what.

“Olive Tree” is the most reminiscent song of Peter Gabriel’s previous hits, although featuring a fuller, lusher production. This especially shines through during the song’s chorus, wherein bright, sunny trumpets cut through the instrumentation like an audial embodiment of happiness. Ominously enough, Peter Gabriel has claimed that the song is part of “part of a separate brain-related project” that he’s working on, refusing to give any further details.

Another highlight of the album is “Love Can Heal”, an atmospheric, synth-driven ballad that sounds like you’re being enveloped in a warm embrace, and features some of Gabriel’s best vocal work on the album. This is followed up by “This is Home”, a charming, off-kilter ode to domesticity that allegedly developed from a brainstorming session that Gabriel had with Skrillex. 

“And Still” was written as a tribute to Gabriel’s late mother, and, at just under 8 minutes in length, is the longest song on the album. Fortunately, while perhaps a little overlong, “And Still” is one of the best songs on the album from a lyrical perspective (“And in every corner, memories form/You warmed us like the sun/And every morning you'd be there/Now you're gone”), and a touching tribute to a dead loved one.  Unfortunately, the album’s last track, “Live and Let Live”, is one of the weaker ones on the album, with lyrics and melodies that seem like they were written for a charity supergroup single (When we forgive we can move on/Release all the shackles one by one/We belong to the burden until it's gonе). At the very least, the song shines through well enough on the production front for it not to be a complete failure.

“i/o” is, for better or worse, exactly what I would expect a Peter Gabriel album released in 2023 to sound like. While nothing too groundbreaking, it does show Gabriel continuing to experiment and incorporate new influences into his sound. As such, this manages to be one of those rare comeback records that I can see both satisfying old fans of his work as well as possibly attracting new ones. 

J. Cole’s “Middle Child” Achieves Monumental Success by Olorunfemi Gbenga

In the ever-evolving landscape of the music industry, achieving platinum status is a significant milestone that only a select few artists can claim. However, J. Cole’s “Middle Child” has surpassed even these lofty expectations, reaching an extraordinary 9 times platinum. This article will delve into the journey of “Middle Child,” exploring the factors that contributed to its

success and the impact it has had on J. Cole’s career. Released on January 23, 2019, “Middle Child” emerged as the lead single for J. Cole’s Dreamville compilation album, “Revenge of the Dreamers III.” Produced by T-Minus, the song quickly gained traction for its catchy beat, insightful lyrics, and J. Cole’s distinctive delivery. The track addresses J. Cole’s position in the

rap industry, encapsulating the essence of being the “middle child” between the old and new generations of hip-hop. “Middle Child” didn’t take long to make its mark on the charts. Debuting

at number 26 on the Billboard Hot 100, the single showcased J. Cole’s ability to create commercially successful music without sacrificing his lyrical prowess. Its staying power was

evident as it continued to climb, eventually peaking at number 4 on the chart. The critical

reception mirrored the song’s commercial success. Critics praised J. Cole’s introspective lyrics, citing his adept storytelling and social commentary. The track resonated with audiences, earning

J. Cole newfound respect as a rapper who could balance mainstream appeal with artistic

integrity.

“Middle Child” not only benefited from J. Cole’s individual star power but also from the

collaborative efforts of Dreamville, the record label founded by J. Cole himself. The song was a

key component of the “Revenge of the Dreamers III” compilation album, a project that

showcased the talent within the Dreamville roster and featured collaborations with a diverse

array of artists. The album’s success served to elevate “Middle Child” further, as fans of other

featured artists discovered the single through the compilation. This collaborative approach not

only propelled J. Cole’s career but also solidified Dreamville as a powerhouse in the hip-hop industry. One of the reasons behind “Middle Child”’s widespread appeal is its thematic depth. J.

Cole, known for his introspective and socially conscious lyrics, uses the song to comment on his

position as a bridge between the older and newer generations of hip-hop. The struggles of being

caught in the middle, seeking validation from both sides, resonated with listeners facing similar

challenges in their own lives. The relatability of “Middle Child” contributed to its longevity on the charts and its enduring popularity. Fans found solace in the fact that even a successful artist

like J. Cole faces internal and external conflicts, adding a layer of authenticity to the track that

transcended traditional hip-hop narratives.

Accompanying the track was a visually striking music video that further enhanced its

impact. Directed by Mez, the video complemented the song’s themes, featuring symbolic

imagery and cinematic storytelling. The visual representation of J. Cole’s journey added another

dimension to the overall experience, making “Middle Child” a memorable and complete artistic

package. In the digital age, streaming numbers are a significant indicator of a song’s popularity.

“Middle Child” dominated streaming platforms, amassing millions of plays across platforms like

Spotify, Apple Music, and YouTube. The accessibility of the song on these platforms contributed

to its widespread reach, ensuring that fans worldwide could easily engage with and share the track. Beyond its commercial success, “Middle Child” had a notable cultural impact. The song

became an anthem for those who felt overlooked or misunderstood, transcending its status as a

piece of entertainment to become a cultural touchstone. Memes, references, and social media

discussions further propelled the song into the public consciousness, solidifying its place in the

cultural zeitgeist. “Middle Child” marked a crucial point in J. Cole’s artistic evolution. While he

had already established himself as a respected rapper, the success of this single displayed his

ability to navigate the changing landscape of hip-hop without compromising his authenticity.

“Middle Child”’s universal themes and relatable content demonstrated J. Cole’s growth as an artist who could connect with diverse audiences. The journey to 9 times platinum is a testament to the song’s popularity, and a reflection of the industry’s acknowledgment of its impact. The Recording Industry Association of America (RIAA) awards platinum certifications based on a combination of sales and streaming numbers, making “Middle Child”’s 9x platinum status a rare achievement that underscores its enduring appeal.

J. Cole’s “Middle Child” stands as a testament to the power of authentic storytelling and

the ability to bridge generational gaps within the hip-hop landscape. Its journey from the lead

single on a compilation album to 9 times platinum is a remarkable feat that reflects not only the

song’s inherent quality but also J. Cole’s strategic approach to music-making and his impact on

broader culture. As “Middle Child” continues to resonate with audiences, it serves as a blueprint

for artists navigating the complexities of the modern music industry while staying true to their

artistic vision.