#10 — Inside Out (review by: Joe Jodoin)
This Pixar masterpiece is not just the best kid’s film of the past few years, but it managed to draw a large adult audience as well.
What’s shocking about this film is that it has a really clever and high-concept story that is still engaging for children. Arguably, making great films that are equally loved by children and adults is one of the hardest things for a filmmaker to achieve. Michael Giacchino’s score is also beautiful and unique, and works perfectly to make every important moment of the film more powerful and memorable.
More than anything, Inside Out deserves recognition because it represents the height of what modern filmmaking can achieve: it’s funny, emotional, powerful, re-watchable, and original, with great animation and a deep message.
#9 — Straight Outta Compton (review by: Hess Sahlollbey)
A biopic recounting the career of the N.W.A. on the rap music charts of the early 90s, Straight Outta Compton was the sleeper hit of the summer. Directed by F. Gary Gray with Dr. Dre and Ice Cube as producers, the film recounts the rise and fall of five friends from the eponymous neighborhood in California that popularized gangster rap. The artists in the film base their music on their emotions towards the injustices and discriminations that black Americans suffered in the 80s. Yet the film still functions as an effective commentary on not just black history and American history, but on contemporary race relations, issues and social change that is still relevant today. The film stars O’Shea Jackson, Jr. as his father Ice Cube, Corey Hawkins as Dr. Dre, Jason Mitchell as the late Eazy-E, and Paul Giamatti as their manipulative manager. The film can best be summed with that famous line from their debut album: “You are now about to witness the strength of street knowledge.”
#8 — Star Wars: The Force Awakens (review by: Trisha Gregorio)
Considering the significance of its release late in 2015, it feels wrong not to include Star Wars: The Force Awakens. Taking over George Lucas’ brainchild in this seventh installment, J.J. Abrams recaptures the action and charm that has long defined the Star Wars film franchise, and makes it into something exclusively his.
The Force Awakens achieves a careful balance between old and new, whether that be in its storyline or the interweaving of both familiar and fresh new faces. Most notable, however, is its accessibility to a generation that grew up on everything space and sci-fi, as well as a generation that has only passively heard of it, heralding an era of much promise for the future of the Star Wars series.
#7 — Sicario (review by: Joe Jodoin)
Sicario is an incredibly tense morality tale about a young up-and-coming FBI agent thrust into a world of hitmen, assassins, drugs, and lies, where she is forced to confront serious ethical questions about the lengths one should go to protect their nation’s security.
Not only is the plot of this movie incredibly interesting, but the cast including Emily Blunt, Benicio del Toro, and Josh Brolin makes up one of the best ensembles of the year.
What Sicario excels at most, however, is building up incredible tension that keeps the viewers on the edge of their seats, clenching their fists for minutes on end, with each scene progressively becoming tenser than the next. This is action-packed and thought-provoking filmmaking at its finest.
#6 — The Hateful Eight (review by: Joe Jodoin)
Those who are familiar with Quentin Tarantino are also familiar with the writer/director’s signature style: brilliantly crafted characters, hilariously memorable dialogue, non-linear narrative and a sprinkling of over-the-top violence that’s not for the faint of heart. The Hateful Eight delivers all of this and more, in a nearly three-hour long thriller that keeps viewers on the edge of their seat. The interesting aspects of this movie’s plot are that it takes place mainly in one setting, and that no character can really be described as “the good guy.”
Although this could have easily been a play, Tarantino brings such a wonderfully cinematic style, making the movie feel like a classic western from the 60s era. The film never gets boring either, as the violence and verbal sparring between all the despicable characters means there is never a dull moment.
#5 — Mad Max: Fury Road (review by: Vannessa Barnier)
This is perhaps the most talked about film of the year and I somewhat agree with the hype. I would recommend this movie to people who enjoy going to monster-truck events and punching. It’s incredible how nothing actually happens in the span of two hours. Mad Max, the namesake of the film, goes from prisoner to liberator, and drives a large rig back and forth across a great span of wasteland. He doesn’t do this alone, of course. One of Mad Max’s major assets is the strong female lead of Furiosa, played by Charlize Theron. I commend them on the cast, but they left out any people of colour – even if one of Immortan Joe’s wives were a woman of colour, that would have been nice. If you want to watch people drive around barren land for two hours while yelling, watch Mad Max.
#4 — Spotlight (review by: Tomi Milos)
Spotlight was the most self-righteously idealistic movie of the year, and such unapologetic belief in its own morals made it one of the most enjoyable watches of the year.
The film centers around the Boston Globe’s “Spotlight” team of journalists who unearthed a systemic pattern of child sex abuse by Catholic priests in the Boston Archdiocese.
Marty Baron’s (Liev Schrieber) first instructions to Spotlight as the newly-inducted editor of the newspaper is to speed up its research on locally-sourced stories.
Baron’s encouragement goads the quartet headed by Robby (Michael Keaton) into a fierce investigation. The ensuing probe into one of the Church’s closely guarded-secrets is thrilling despite the obvious ending and leaves one with the sort of heavy-handed inspiration that probably incited you to crack open a book after watching Dead Poets Society.
Props if you can recognize an unlikely McMaster landmark in a scene that was shot in Hamilton in 2014.
#3 — The Revenant (review by: Joe Jodoin)
Not many filmmakers have as much passion for the art of filmmaking as Alejandro G. Inarritu, and The Revenant is a clear example of film as a work of art. Every single shot looks like a painting thanks to award-winning cinematographer Emmanuel Lubezki, and every scene is choreographed perfectly to juxtapose the beauty and grit of nature. Inarritu was able to make the film simultaneously beautiful and brutal for the entire two and a half hour run time, and has truly created a visual masterpiece. The film is incredibly made in every other way too, and the acting of Leonardo DiCaprio and Tom Hardy especially elevate this film even higher. While not an easy film to watch due to its graphic and realistic violence, even those who don’t enjoy the film will admit to being blown away by the spectacle. This film is truly the definition of epic entertainment, and seeing it in theatres is highly recommended.
#2 — Carol (review by: Bahar Orang)
Carol — Carol — icy blue eyes, red-hot-livid-lips, porcelain skin, predatorial in that oversized mink coat and then small and timid as precocious prey with that terrified exhale of ‘I-love-you’. She is motherly, goddess-like, fierce and afraid, graceful and stumbling, large and lean, deep voice and heavy gaze, in awe, in despair, in heaven and in hell. And Carol’s sweet, solemn lover: Therese Belevit — ‘flung-out-of-space’ — is equally rife with complexity, contradiction, silence and stammer. She is child-like and vulnerable, but strong and complete and falling, unfaltering, forth into that woman, that person, that courageous, calm, clear-eyed, uncloaked, uncraven Carol. And between them: car windows, glass panes, December fog, large mirrors, a camera lens. But through it all their gazes remain on each other, vital and potent and precious and powerful.
The film centers desire: to respect your desires, to listen and tend to your desires is dignified, unshameful, crucial and brave. The film centres women: sometimes, men are dispensable, blundering, tepid and cruel. And finally, the film is a gorgeous relief from that history of fictional gay couples who suffer many a calamity in their pursuit of each other. For two women can indeed fall in love and stay together, dodge tragedy, and imagine a way of being where neither marriage nor age nor dread nor social disdain can define the limits or the levity of love.
Carol will leave you breathless and breathing, fulfilled and voracious; it is cold winter and hot touch; it is stunning, essential cinematographic poetry.
Directed by the masterful Paulo Sorrentino, Youth tells a deeply-affecting story about self-reflection and the yearning for more out of life as it steadily ebbs away.
#1 — Youth (review by: Michelle Yeung)
The film circles around Fred Bellinger (Michael Caine) and Mick Boyle (Harvey Keitel), two best friends who find themselves among the visitors of a lavish spa nestled in the Swiss Alps. Fred, a renowned and now retired composer, has vacationed here for over 20 years. Mick, on the other hand, steadfastedly works away with a group of young screenwriters to contrive his “final testament.” While Fred is alarmingly apathetic, Mick – not yet ready to let go of his past – continues to blaze towards a perilous dream. The other guests at the resort also seem to be cocooned in their own worlds. Everybody is doing their own thing, but nobody is really doing anything.
The exquisite marriage between the talents of Italian cinematographer Luca Bigazzi and contemporary composer David Lang catapults Youth to another stratosphere of cinematic brilliance. Bigazzi’s lensing is evocative, poignant and a marvel to behold. His compositions are impossibly striking; each shot could be framed and exhibited at a world-class art gallery.
In Youth, the sense of idleness and alienation is eerily compelling. Caine appears in one of the most tender and moving performances of his career, embodying a weathered and guarded man with reservoirs of harbored sentiment he was never able to express.
In the way he crafts his films, Sorrentino is similar to Fred in that he is also a composer himself. There is an eloquent, musical quality to his directing that, when combined with outstanding actors, makes watching his works both an immersive pleasure and a transcendent experience. Youth is cinema at its apex. It is poignant, ravishing and will engulf you like a dream.
Photo Credit: Diane Arbus
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On Jan. 14, the McMaster Students Union held its annual State of the Union in the student centre.
The State of the Union is held every year for the Board of Directors to update and inform both the full-time, undergraduate students that make up the MSU as well as the general population at McMaster.
"Our mission statement is to draw into a true society, all undergrad students here at McMaster; so basically our job is to enhance the student experience at Mac," outlined MSU President Ehima Osazuwa in his opening comments.
In a way, the State of the Union is an avenue for the Board of Directors to highlight some of the key successes of the MSU over the past year. A few of the highlights noted by the BoD include an emergency bursary fund at $500 for any student, up to $12,000 in total, as well as several expansions to the management of the clubs system, including the addition of a second Clubs Assistant Administrator and the movement to an online booking format for rooms in Clubspace.
VP (Administration) Giuliana Guarna highlighted some of the important updates to MSU services during the past year as well, including the creation of new MSU service Maccess and the closure of MacGreen following the 2015-16 academic year.
Despite this, while the BoD have been successful in a number of initiatives, it's worth noting that some projects, including the Light-Rail Transit system announced for Hamilton, have been in progress for years.
The MSU Course Wiki is another project that has been in the works for several years and has experienced some delays in taking off, but VP (Education) Spencer Nestico-Semianiw noted that it is expected to launch over the next couple of months.
The MSU also remains financially healthy, generating over $13 million in revenue in 2014-15. From its day-to-day operations, the MSU continues to operate on a slight surplus of $60,000, and D'Angela emphasized the efficiency at which student dollars were being utilized.
"From our operations, we collect about $2.6 million in fees, but spend around $9.6 million in supporting student life through advocacy, programming, services, etcetera," explained D'Angela.
D'Angela also noted that a second Budget Town Hall would be held by the MSU during February. The Budget Town Hall is one of several platform points that D'Angela promised to introduce during his term as VP (Finance), and the upcoming Town Hall will be focused on gathering student feedback on the focus of future MSU budgets.
You can download a copy of the 2016 State of the Union here or view the Prezi below.
In-article Photo Credit: 93.3 CFMU
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As much as I have been obsessed with the artistic potential in video games, there have been very few experiences that felt like they could be recommended to a more general audience in the same way that a great film, novel or album could be. Even the classic contenders for the “Best Games of All Time” are steep time investments that make them a hard sell to a less committed audience.
The most prominent titles this year focused on providing hours and hours of content, or using their multi-million dollar budgets to perpetuate the clumsy additions of “cinematic storytelling.” Yet a small Kickstarter-backed game made by director and composer Toby Fox stands out as not only the clear winner for best game of 2015, it may very well have a shot for one of the greatest, and most important games of the modern era. Regardless of whether or not you have dabbled in the medium before, you have to experience the fantastical and complex world of Undertale.
On the surface, Undertale is a relatively straightforward, five-hour, turn-based role playing game, developed using Game Maker: Studio, a free engine. You assume the control of a nameless child, who has fallen into an underground world of monsters, and must encounter its strange residents, solve puzzles, and explore a variety of different environments in their journey home.
Yet, unlike the traditional role-playing game, Undertale allows the player to complete the entire game without killing a single enemy. Almost every character interaction and plot point is changed heavily depending on whether or not the player has chosen to kill or show mercy: to play as a pacifist, or to kill every single character in the game.
The world within Undertale is whimsical, humorous, and as charming as it is deeply moving. It is reminiscent of some of my own favourite works of fantasy, that blend a humorous cast of characters with just the right amount of dark undertones subtly found throughout the plot. Every monster you encounter, though potentially violent at first, are never purely malicious, and it can be just as addicting to flirt with slime monsters, pet a Great Dog knight, or “unhug” a monster and respect their boundaries. The potential interactions during random encounters and boss battles make the pacifist route much more rewarding than traditional turn-based combat.
Undertale really punishes players in emotional form just as it does in terms of difficulty when one chooses the genocide route, and Fox does so by forcing players to consider the weight of their actions on this fictional world. There is no sense of heroism or justification in the genocide path, the game itself acknowledges that the player is really only doing it because they can. Monsters who would otherwise be the best of friends will desperately try to defend their loved ones against you, and their deaths are gruesome as they are desperate.
While the strong cast of characters, writing, and tight battle-system would make a great title in its own right, Undertale’s commentary on some of the inherent traits of the video game medium is what pushes it to masterpiece status. Undertale acknowledges the absolute power the player has over the game itself, and in the face of that, begs and pleads that he/she shows mercy to its charming characters and world. Yet, while Fox actively encourages the player to follow the path of the pacifist, the world and characters that he created actively acknowledge that the player will eventually choose a genocide run out of some morbid curiosity, some “completionist” impulse or at the very least, watch the violent playthrough on YouTube.
Yes, one of the characters will call out those who choose to watch a genocide run on YouTube. That same character will acknowledge your attempts to reset and undo some of your accidental killings, and many more recognize that certain situations feel “nostalgic” after you decided to reset and play the game again. A genocide run followed by a pacifist playthrough will permanently prevent the player from getting the true, happy ending that typically follows the Pacifist run. The characters themselves will even can even beg the player not to reset the game following its completion, as it would undo the happy ending in their world. There are no true resets, and no true reloads.
A small Kickstarter-backed game made by director and composer Toby Fox stands out as not only the clear winner for best game of 2015, it may very well have a shot for one of the greatest, and most important games of the modern era.
Breaking the fourth wall is not just a novel gimmick in Undertale. It is a critical part of the in-game story, and it is more importantly an open acknowledgement of the absolute power players have over video games themselves. This is a critical part of Undertale’s spirit, and what is arguably the most important aspect of its presentation. The ability to save, load, reset, manipulate files and even share these experiences online is an intrinsic part of the medium, and the game uses these components as a more powerful form of storytelling than any of this year’s cinematic attempts. Undertale is one of a kind, in that the relationship between the player and the game is allowed to go beyond the experiences directly within the game, and its exploration of the relationship that the player can have with the game itself is a radical new world for game developers to explore in future titles.
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Tomi Milos/ANDY Editor
56 Nights - Future
Future absolutely destroyed 2015 and it all started with 56 Nights. Following the likes of Monster and Beast Mode, 56 Nights goes about asserting Future’s exponential growth as an artist since his very public breakup with Ciara with a slew of hyper-personal tracks many do a disservice by dubbing “turn-up bangers”. Despite how heavy they go in the club, songs like “Never Gon Lose” and “March Madness” do everything but glorify narcotics. Anyone who listens closely to the lyrics will be able to perceive how Future is driven to drugs as a coping mechanism and only resorts to self-celebratory verses to mask his deep pain.
In Colour - Jamie xx
Everything about Jamie xx’s modus operandi reeks of deliberateness. His debut solo record is titled In Colour, and befittingly sports a rainbow-hued cover that also hints at what lies inside. Just like his music with his band The xx, Jamie’s efforts on In Colour are rich in emotional depth and range. The eleven-track record has a stunning array of highs and lows, as well as what is probably the song of the summer in “I Know There’s Gonna Be (Good Times)”. While that particular Young Thug collaboration is the most obvious ear-worm, the rest of the songs all reward multiple listens in which their genius subtlety comes to light.
Return To The Moon - EL VY
The National didn’t release an album this year with its members either focusing on their families, or investing energy into solo projects, but all of them have released stellar material regardless. Matt Berninger’s collaboration with Brent Knopf is arguably the most immediately gratifying of the bunch. Return To The Moon finds Berninger at his most self-aware, making fun of both himself and all the dad-rock jabs that his work gets from critics. The title track is a pitch-perfect example of the occasionally formulaic catharsis that Berninger’s band aims for, while the rest of the record decidedly distances itself from any comparisons.
The Names - Baio
Chris Baio has released solo material for some time now, but Vampire Weekend’s extended break has allowed the bassist-turned-producer to put out an extremely polished record in The Names. The quiet, intellectual that Baio comes across as in interviews marries his exuberant on-stage personality on the record. Sometimes uncomfortable, but always danceable, The Names is a heartwarming foray into electronic music by a talented musician who reveals himself to be an academic in his devotion to learning a new craft, but not in blending his knowledge into a cohesive product.
I Don’t Like Shit, I Don't Go Outside - Earl Sweatshirt
While Odd Future has ceased to be interesting, Earl has remained a brilliant outsider unhindered by the tunnel vision of his old peers. I Don’t Like Shit, I Don’t Go Outside sees Earl remind us how miserable he is, but in much more inventive fashion than usual. While listening to someone’s personal struggle can get grating, what makes Earl’s continued forays down that path rewarding is that he has matured much more than his former friends. Whereas Doris had a lot of misplaced anger on it, I Don’t Like Shit, I Don't Go Outside has a much grander scope and is ultimately about recovering from the bleak episodes that he recounts.
Vannessa Barnier/ANDY Reporter
RULES - Alex G
Before getting signed to Domino last year, Alex G dropped this lil album on Bandcamp. G has since put out other albums this past year, but it was something about the comfortable, lo-fi, bedroom-cooing featured on RULES that made it trump 2015’s Beach Music. It was only in 2015 that this album, along with TRICK, was mastered in a studio and made commercially available. Domino’s reissue put RULES on the map for me, and contributed to it becoming my most-played album of last year.
Homespun - Jordaan Mason
From the first seconds of Jordaan Mason’s Homespun, you can predict how intimate the album will sound in its entirety. You can hear Mason walk in and sit down on the first track as they join you in the experience that is this album. Homespun is a vulnerable piece that was made as a gift to Mason’s husband, who convinced Mason to share this album publically. This album is Mason’s attempt at an ambient-sounding album with warmth and sounds they weren’t hearing in the ambient genre. The result is a comforting record.
Carrie & Lowell - Sufjan Stevens
As a mainstream artist, the heartfelt nature of Sufjan Steven’s Carrie & Lowell was rather unexpected. This album affected a lot of listeners since high-profile musicians — for the most part — don’t use their music as an opportunity to tell hyper-personal stories about themselves. Listeners of this album often admit to crying to the songs, noting that this is a confessional album that really hit them. This is a sad album, but I’ve heard sadder albums. For what it’s worth, I overplayed Carrie & Lowell in 2015, and will continue to do so in 2016.
A New Place 2 Drown - Archy Marshall
This year, Archy Marshall moved away from his moniker, King Krule, and released an album under his own name, in partnership with his brother, Jack. A New Place 2 Drown was accompanied by a book, as well as a short film to fully explore the themes of brotherhood and art in the release. With murmuring and static, Marshall released an album that showed more sides of him than he had cared to display in his previous albums. His deep, beautiful voice vibrates out his poetic lyrics and went well with the lethargic tempo of the album.
Asunder, Sweet and Other Distress - GY!BE
Asunder, Sweet and Other Distress came out on the last day of March, when I was ending a relationship that I had hardly let begin. Luckily for me, GY!BE released this track after a long hiatus and just in time to save me from sinking into personal despair. This album is every bit reminiscent of GY!BE’s past work without being derivative. This LP is home to the usual drone-y ambience with some added gusto that makes the listening experience all the more rich. I’d recommend listening to this when you catch yourself staring out of a window.
By: Celine Ferreira
After one of the longest election campaigns in Canada's history, the Liberal Party's victory is not the only surprising change to come out of this election.
Professor Karen Bird, whose research involves comparative politics, gender and politics, and indigenous and minority groups, spoke on a panel organized by the Department of Political Science on Oct. 21 concerning the 2015 Canadian Federal Election.
"The share of women among the newly elected Parliament is little better than before. Women now hold 26 percent of the seats, compared to 25 percent. The glass, for women, is still only half full," she said. “The evidence overall suggests we’ve been stuck at about 25 percent for a long time and it doesn’t seem to fix itself on its own.”
The addition of new ridings and the insurgence of new candidates suggested that more women would be elected. However, the one percent increase does not truly reflect this hypothesis. Prof. Bird said that is due to the lack of seats won by the New Democratic Party which had the largest proportion of women in their caucus.
The NDP has implemented various practices that have increased their number of female MPs, including reaching out to women and offering the support they need to run. A great effort is put into recruitment and a mandate has been established requiring justification for why a female candidate was not found if that’s the case. Bird later stated that such efforts should be adopted by all parties if there is going to be a translation to a more gender balanced parliament.
Due to the higher proportion of women with a post-secondary education, women are increasingly doing well economically, therefore resources such as those provided by the NDP are not of prime interest. Bird went on to say that something must be done at an institutional level to address the lack of women represented in parliament.
Female representation is also topical at McMaster. Last year’s “MSU Wants You” campaign urged more female candidates to seek high-ranking positions within the MSU, and while this initiative is a step towards better female representation at McMaster, it also signifies the work that remains to be done. The federal election can be examined to see how our student government can become more representative of the undergraduate student body at McMaster.
Out of the top nine research universities in Canada, McMaster has the second lowest representation of women in its council especially in executive positions. When asked about her opinion regarding this, Bird said that this is not due to the fact that the women are less qualified for the position or that voters are voting against women; it is a result of structural hindrances.
“I think that if there was some information about what the office involves – what the work is on a day-to-day level, what kinds of tasks are involved – a lot of women would say, ‘I have exactly those skills,’” she said.
Bird further stated that explicitly publicizing what the job involves would attract more women as they would recognize that student government is something they would like to be involved in and that they do have many skills and accomplishments that would make them strong candidates for that position.
Bird hopes that in future elections, whether on the federal scale or at the university level, women will recognize that they possess the skills, experiences and ideas needed to hold key positions that shape public policy.
With elections taking place during reading week, we are using this week’s issue to share as much as we can with you about candidates and knowing your options.
For myself, and many other students, this will be my first time voting in a federal election. I have voted in provincial and municipal elections before, but this will be my first time approaching the beast that is our national electoral system.
As someone who is ready to see our current overlord shimmied out of his current throne, I am making sure that before I go to the polling stations this year, I am informed, aware, and prepared to vote strategically. There has been a large amount of discussion this year about our ability as voters to create the change we want by voting in or out certain parties, and using majority voting tactics in swing ridings to ensure one progressive party receives the majority of votes, instead of having them evenly split across the spectrum and going to the wayside with not enough support.
Our current first-past-the-post system allows for a party to win with a minimum of 34 percent of the votes when split between three parties. This means the two remaining parties could receive up to 33 percent of the vote each, but that one percent would make the difference.
My priority as a citizen, and as a student, is to elect one of the progressive parties that can create meaningful changes for students, education and job prospects, among many other issues.
In the 2008 federal election, a website called strategicvoting.ca identified 68 districts where the combined progressive vote was greater than that of the Conservatives. Meaning there were overall more votes for left wing parties, but the votes were split in a way that made them each negligible.
If the method of strategic voting was followed at that time, we would currently have a minority progressive government.
If you live in a swing riding, look online to see which progressive party has the highest chance of being elected, and if you support the difference this could make, use your vote to count towards that, instead of falling into an almost even split between parties.
As McMaster students alone, we account for thousands of potential voters. It is important that we use this position wisely in order to incite change where we see it fit. In this month’s issue, both our News and Opinion sections look at ways students can benefit from each party’s platform. And while the point of this whole article is to emphasize the importance of strategic voting, it is even more important to know who you’re voting for, and how they can make a difference to you — that’s the real strategy behind voting.
With the second half of the 2014-15 academic year now underway, students’ thoughts are inevitably turning to the future and potential new roles and responsibilities to inherit.
It’s a season of transition, and it’s where MSU President Teddy Saull is planning to lay the groundwork of his biggest projects, even with his successor soon to be elected in the presidential elections this month.
“Now’s the time when people are starting to think about what they’re going to do next year, and I get excited about people getting excited about leadership [roles],” Saull said.
But with four months still left in his tenure, Saull’s legacy will certainly be influenced by what he has in place for the coming months.
The Peer Tutoring Network is one such example, for which Saull is expecting a soft launch by May 2015, followed by a bigger launch for the beginning of next year.
Although similar programs already exist in a number of capacities throughout the university, Saull emphasized the affordability of the plan, as well as the type of engagement it will be able to create for students. The idea for the program is to adopt a more social capacity with student use, in a system that acts in a similar vein to RateMyProfessors.com.
“One of the really neat things I like is that the tutors on the site will have a profile, a tutor profile, kind of like a LinkedIn. So if you’re going to get a tutor, you can learn about your tutor: [for] other people who have taken this tutor, how have they rated them?”
As a part of his role as President, Saull will also reveal the finalists for participatory budgeting through the Student Life Enhancement Fund, which will be voted on during the same period as the MSU presidential elections this year. Based on the information provided at the Jan. 11 SRA meeting, roughly $680,000 will be available for a couple ideas to be implemented, by the students, for the students.
At the SRA meeting Saull also noted his intention to thoroughly discuss the year-end celebration over the next two SRA meetings before proposing an allocation of funding.
“I’m kind of really excited... I actually think it’s a good thing that it got shot down the first time. What we’ve come back with is more for every student,” said Saull.
With the experience of Frost Week now under his belt, Saull expressed his excitement to continue that similar planning for the end of the year.
“The biggest thing I liked about Frost Week is that it was a collaborative effort... It wasn’t perfect, but it was good, it was a strong start... Frost Week this year, we planted a seed, it’ll be better next year, and I want to plant another seed for the year-end, because I think it’s an important thing to have as a university,” he said.
“If you create something that brings people together, they want to do it. So it’s with that same energy that I’m excited to approach the year-end [celebration].”