Ontario is taking the next step to strengthen the Human Rights System to provide faster, more accessible justice for those who have faced discrimination, and to ensure better protection of the human rights Ontarians cherish.
Andrew Pinto has been appointed to conduct a review of the implementation and effectiveness of changes resulting from amendments to the Human Rights Codethat came into effect on June 30, 2008.
Mr. Pinto of Pinto Wray James LLP is a prominent human rights and employment lawyer. He is an adjunct professor at the University of Toronto where he teaches administrative law with a focus on tribunals, agencies, boards and commissions. He is also past chair of the administrative law section of the Ontario Bar Association, and past chair of the equity advisory group of the Law Society of Upper Canada.
Public consultations will be held. This review is expected to be complete by spring 2012. For updates on the status, please visit: Human Rights Review
QUICK FACTS
In June 2008, the Ontario Human Rights system was reformed to include:
The Human Rights Tribunal of Ontario to offer direct, early access to additional adjudicators with the expertise to fairly resolve discrimination claims.
The new Human Rights Legal Support Centre’s team of lawyers and paralegals provides free assistance throughout Ontario to people who believe they may have faced discrimination.
The Ontario Human Rights Commission to address the underlying causes of discrimination with a strengthened capacity for public education, policy development, research and monitoring.
A commitment to conduct a review of the new system’s progress after an initial three-year period.
Under the new system, parties have direct access to expert adjudicators and more claims are settled before an application needs to be filed at the Tribunal.
More Jobs For Families In Ontario’s Clean Energy
Economy
McGuinty Government Making Ontario The Place To Be
For Clean Energy
Premier Dalton McGuinty visited the workers who are developing Siemens Canada’s new plant in Tillsonburg today, thanking them for their hard work in helping Ontario become a global leader in clean energy.
Siemens Canada Limited is creating 900 jobs — 300 direct and 600 indirect — in clean technology at this plant, which will build wind turbine blades. The Tillsonburg plant is one of four under Ontario’s revised, enhanced agreement with Samsung that will provide 16,000 clean energy jobs across Ontario.
Ontario is back on track and moving forward in the clean energy economy. Because of the changes we’ve made, together, Ontario has added 20,000 new, high-skills clean energy jobs since 2009.
Building a clean, modern and reliable electricity system is part of the government’s plan to attract clean energy investments and create good jobs in communities across Ontario.
QUOTES
“We’re moving forward together to become number one in North America when it comes to clean energy. Thanks to the hard work of Ontarians, that’s already happening. Ontario’s economy has turned the corner and we’re back on track. We can’t go backwards, now.”
— Premier Dalton McGuinty
“Siemens is building on its strong position in the Ontario wind power market. Our investment in the Tillsonburg blade facility will further enhance our ability to competitively serve our customers, locally, and potentially acrossNorth America.”
— Bill Smith, Senior Vice President, Siemens Canada Limited.
QUICK FACTS
Ontario’s clean energy economy has attracted more than $20 billion in new private-sector investment.
Since 2009, more than 30 businesses have announced they are setting up or expanding plants in Ontario to manufacture parts for the solar and wind industries.
Ontario’s clean energy plan is on track to create 50,000 jobs by the end of 2012.
McGuinty
Government Helps Horn Of Africa Humanitarian
Relief Effort
The Ontario government is providing $1 million to help people facing starvation in the hardest hit countries of the Horn of Africa.
Millions of lives are at stake in the region due to a cycle of severe droughts. The UN declared a famine in Somalia on July 20th — the first time famine has been declared there by the UN in nearly 20 years.
The money from Ontario will support the efforts of the Red Cross and Red Crescent Societies in the region.
QUOTE
“To have nothing to eat is a frightening and unimaginable idea for many of us and a sad reality for millions of people in the Horn of Africa. Ontarians come from all over the world and many people have friends and family in the midst of the crisis. Now is the time for us to work together to offer our support and I encourage all Ontarians to help in the relief effort.”
— Dalton McGuinty, Premier of Ontario
QUICK FACTS
The Horn Region of Africa includes the countries of Kenya, Ethiopia, Somalia, Djibouti,Uganda and Sudan.
UN Secretary-General Ban Ki-moon has called for urgent international efforts to assist in the region. He said the situation is rapidly deteriorating with an estimated 11.6 million people in need of humanitarian assistance.
To maintain momentum and ensure Ontario remains competitive in North America’s emerging clean energy economy, the province is taking a number of actions to make it easier for energy developers and manufacturers to do business in the province.
These changes are part of ongoing efforts to provide stability and create jobs in Ontario’s clean energy sector and protect the health and safety of Ontarians and the environment.
To date more than 20,000 clean energy jobs have been created in Ontario, and the province is on track to create 50,000 by 2012.
Changes to Feed in Tariff (FIT) Contract Terms
A new process is being introduced to help provide stability for developers to move clean energy projects forward. FIT contract holders with projects seeking project financing and a manufacturing partner now have the opportunity to request the Ontario Power Authority (OPA) to waive its termination rights if they meet certain conditions. This means:
Large developers must submit a Domestic Content Plan and have it approved by the OPA by December 31, 2011. As well they must submit evidence of an agreement to purchase equipment by December 31, 2011.
For medium sized projects, a Domestic Content Plan must be submitted by December 31, 2011.
Developers of clean energy programs that do not require Domestic Content plans — hydro, biogas, landfill gas and biomass — may also request that the OPA waive its termination rights.
This will give clean energy developers more stability in planning and more flexibility to obtain financing and place orders for equipment.
Developers still need to obtain regulatory approvals, provide a completed Financing Plan, and documentation related to completed grid impact assessments, as well as pay the required security, before they are able to move to the construction phase.
Improving the Renewable Energy Approval Process
The Renewable Energy Approval (REA) is a single approval that integrates environmental and health and safety matters.
The purpose of the REA is to avoid duplication, set clear, upfront provincial rules and encourage the development of more clean energy projects. The rules ensure all clean energy projects built in Ontario are subject to the same requirements to protect human health and the environment. The province has made a number of improvements to streamline the process even further.
The Ministry of the Environment has reduced the amount of time it takes for the initial screening review of application from 90 days to 40 days by:
Establishing a dedicated REA team focused only on the management and review of REA applications.
Holding over 250 pre-consultation meetings with proponents to ensure awareness of REA requirements. Key documents and resources related to the process are available on a dedicated business website for easy access.
These process improvements will be further enhanced by:
The release of a new Technical Guide to Renewable Energy Approvals to help renewable energy developers meet the requirements of the Renewable Energy Approvals regulation (O. Reg. 359/09).
This will provide clear guidance on how to prepare the required technical and scientific reports as well as conduct more effective consultations with municipalities, the public and Aboriginal communities.
Releasing an aboriginal consultation guide for proponents that has been developed by consulting with technical experts within key First Nations organizations and other ministries. The draft is now posted for broader consultation.
The Ministry of Natural Resources has also introduced a number of steps and new tools to save developers time:
Developing technical guidelines on protection of natural heritage and significant wildlife habitat that provide clear rules for the renewable energy industry.
Delivering intensive training sessions to more than 100 industry environmental consultants on implementing technical guidelines.
Releasing new tools, templates and resources to streamline processes for completing REA approval requirements, including rapid assessment tools for significant wildlife habitat and wetlands.
Focusing staff resources on reviewing and approving Feed-in Tariff projects, resulting approval of over 75 per cent of natural heritage assessments submitted to the ministry.
Establishing a regional team of specialists to focus on the new Bruce to Milton Feed-in-Tariff projects – developers will be contacted by the ministry within three weeks of receiving their FIT contracts to begin the regulatory review process.
In addition, the Ministry of Tourism and Culture considers the review of all REA heritage and archaeological assessment reports as a priority, with the highest focus on those projects with FIT contracts. That’s why the ministry will implement a 60-day service guarantee for written comments on final assessment reports. As well, this June the ministry posted an Information Bulletin on its website; it helps applicants navigate through meeting the cultural heritage requirements of the REA process by clarifying all requirements for proponents and provides a step-by-step outline of the process. This will help ensure applications are completed and improve the quality of self-assessments.
The ministry also:
Released Standards and Guidelines for Consultant Archaeologists (2011) and associated training for consultant archaeologists.
Is in the process of developing technical guidance for heritage consultants on conducting and preparing heritage assessments
Together these guidance materials will help lead to a more rapid review process.
Changes to Property Tax Treatment of Renewable Energy Facilities
Regulatory amendments are being proposed to Ontario Regulation 282/98 regarding the property tax treatment of renewable energy facilities.
The Assessment Act and Ontario Regulation 282/98 currently provide rules governing the property tax treatment of energy generation facilities; however, in some situations, these rules may not be sufficiently detailed to address issues relating to emerging types of energy installations.
The objective of the proposed regulatory amendments is to provide clarity and certainty to property owners, municipalities and the Municipal Property Assessment Corporation, and to ensure that property tax does not act as a disincentive to energy generation, particularly small-scale generation by persons who are not ordinarily in the business of generation.
Ontario Calls For New Long-Term Deal On Health Care
McGuinty
Government Committed to Helping Families
Ontario is calling on the federal government to work with the provinces to deliver a new long-term deal on health care.
That’s the message Premier Dalton McGuinty delivered today during a speech to the Ottawa Chamber of Commerce.
Ontario welcomes Ottawa’s recent commitment to 6 per cent increases in health transfers, but Ontario is also seeking a long-term commitment from the federal government — who pay only 23 per cent of Ontario’s health costs.
Further health care reforms are needed to meet the needs of Ontario’s rapidly aging population. A new long-term deal should focus on giving seniors more options in their homes and communities.
Ontario has made significant progress in health care. This is in part because the current health accord invested in strategic reforms such as wait times and access to care. In fact, Ontario is now a national leader in reducing wait times and 94 per cent of Ontarians have a family doctor.
QUOTES
“Ontario is moving forward with improvements to our health care system. We can do even more with a strong federal partner. The renewal of long-term funding for health care will be the most important issue facing our governments in the coming years.”
— DaltonMcGuinty, Premier of Ontario
QUICK FACTS
The current 10-year federal health agreement expires in 2014.
In the next 10 years, 1.6 million Ontarians will turn 65, the traditional retirement age — that’s twice as many people as between 1981 and 1991.
According to the Canadian Institute for Health Information, seniors account for 14 per cent of the population but 44 per cent of health care spending.
The Fraser Institute’s 20th annual waiting list survey found Ontario had the shortest wait times for surgical and other therapeutic treatments.
The 2011 Wait Times Alliance report showed that Ontario had the shortest total wait times in Canada.
As the world teeters on the brink of disaster, four people converge in a Toronto Airport cocktail lounge. As oil prices suddenly approach $300 a barrel, power cuts out, planes stop taking off and cell phone signals die—a self imposed apocalypse sets into motion. As you read, four people come to terms with the situation, and more importantly, each other. Karen, the 40 year old receptionist at a psychiatric clinic who has flown to Toronto to meet a man she met on the Internet; Rick, the recovering alcoholic bartender who eagerly awaits the arrival of an obviously transparent self-help guru; Luke, a pastor, recently turned felon, who has run off with $20 000 from his church renovation fund; and Rachel, a beautiful, young autistic woman with the intention to find a man to be the father of her child.
“Cocktails and laughter—and what will come after?” asks the haunting voice of Player One after the self-narrated character introductions and before the announcement of the skyrocketing gas prices that quickly envelop the world in complete chaos. The novel follows a simple format: each character narrates their version of the same events, over a five hour period, followed by Player One’s omniscient and sometimes mocking narration. The identity of Player One remains a mystery up until the end of the novel where resolution is provided and final comments are made.
Player One is the first fiction selection for the CBC Massey Lecture series. Presented in a series of five, one hour, real-time lectures, Coupland explores what people do, talk about and think about as the world sits on the brink of total disaster. For anyone who has read Coupland, this novel addresses many familiar themes and ideas. Mild drama and in-depth dialogue where topics from humanity to sexuality fill the text of this lecture turned novel.
This book, simple in structure, but at times complicated in meaning, provides the reader with a scary dystopian view of what will become of us when a daily staple in most of our lives becomes virtually unavailable. The dialogue can drag on at times and the characters can be a little predictable and melodramatic, but this novel is more about what it leaves you with when you put it down. What would happen if gas became unaffordable? How small would our world actually get? Douglas Coupland will infect your mind with these questions long after you put down the book and forget about the meddling and self-loathing characters.
As Player One haunts the pages of this book, the ideas and inferences you read will haunt your mind every time you indulge in a modern day convenience, such as filling a vehicle up with gas, making this book a worthy read. For the Silo, Sarah Purdy.
Ontario Deploys Mobile Medical Unit To Aid Forest Fire Evacuation
2,730 People Evacuated From Northwestern Ontario
The province is sending the Emergency Medical Assistance Team (EMAT) to support forest fire evacuees in Northwestern Ontario.
EMAT will be on hand to provide medical assessment to evacuees arriving in Thunder Bay, to address a range of immediate health needs, and to help relieve pressures for local health providers. The team will be operational by tomorrow, Friday, July 22.
All people that are in immediate danger have been evacuated. To date 2,730 people have been moved to safety. Daily evacuations are ongoing, as smoke and flying conditions allow, until the situation improves.
Ontario thanks the federal government and the armed forces for responding to our requests for assistance in evacuation efforts and for working with us. Provinces and territories have also sent help and resources to Ontario to protect people, homes and to support the evacuation and help contain and extinguish the fires.
Hot, dry weather has created the conditions for forest fires in Northern Ontario, with more than 100 currently burning. Emergency Management Ontario (EMO) is working with the Canadian Forces, First Nations communities, municipalities and relief organizations to coordinate efforts to fight the fires and help people who have been forced out of their homes.
QUOTES
“A great many provincial and federal resources are being deployed to help fellow Ontarians in their time of need. I am impressed by the cooperative, dedicated efforts of all those involved in the evacuations and who are keeping First Nations residents safe.”
— Jim Bradley, Minister of Community Safety and Correctional Services
“Our first priority is protecting people. Suppression action is being taken to protect Ontarians and our communities on a priority basis. This is an extremely difficult situation and is affecting the lives of many Ontarians. It is not an easy situation for anyone affected by the fires or for firefighters and other personnel working to coordinate the evacuations and extinguish fires.”
— Linda Jeffrey, Minister of Natural Resources
“Our thoughts are with the evacuees facing this challenging time. We are proud that the Emergency Medical Assistance Team will work with the community and local health care providers to support health care services to evacuees.”
— Deb Matthews, Minister of Health and Long-Term Care
QUICK FACTS
There are 2,000 firefighters and support staff currently involved in fire fighting efforts, including about 500 from out of province.
There are 16 water bombers and 85 other aircraft involved in the fire fighting operations.
The Canadian Red Cross (Ontario) has set up a registration and inquiry bureau for evacuees who wish to inquire about family and relatives. This number is 1 866 356-3645 ext 236.
Ministry of Natural Resources
Media calls only, Greg MacNeil, Minister’s
Office, 416-314-2208
Media Desk, Communications Services Branch, 416-314-2106
Ministry of Community Safety and Correctional Services
Joe Kim, Minister’s Office, 416-325-8282
Greg Flood, Communications Branch, 416-325-0432 ontario.ca/safety
During the Federal elections [circa 2011 Ed], it became clear that the Canadian public interest in an arts and cultural policy had declined since 2008, in fact the majority responded that this policy was unimportant to them in comparison to other policies. This leads me to question the degree of concerns Canadians do have with other policies. Perhaps the overall concerns are too great to allow a focus on more fun or abstract facets of their Canadian lifestyle such as arts and culture, or it may simply be that Canadians overall would rather engage with more mainstream topics.
It is interesting yet disconcerting to see that it is mainly the younger population, ages 18-30, that are the least interested in the arts and culture policy. If the younger generation doesn’t fuel the arts and keep them flourishing who will? In their (or our) defense though, little awareness about the policy and its impact is made known. Personally, I had never heard of an arts and cultural policy before reading the article critiquing the different Government parties’ role in the policy as discussed in The Arts Advocate publication.
The policy involves the government allotted a specific percentage of taxes that go towards varying sectors within the arts, for example advantages for artists or funding for different organizations. Each federal party has their different views on appropriate expenditure in the arts and culture sector, and specifically our Conservatives’ main commitment is to the children’s artistic activity tax credit, support to the Royal Conservatory of Music for a national examination program, and support to the Canadian Periodical Fund (Used to subsidize newspapers not including The Silo. Check the info box found on the bottom of page 2 in most papers to see if you are subsidizing their bottom line- CP).
With the Conservative party now being back in power, it is hard to say if the policy will see any positive growth. Although I understand and admire Harper’s plan to stabilize and improve the markets in the depths of a global recession, I feel it necessary to include arts and culture as a part of this. Canada has such a unique combination of cultures throughout its provinces and these are the people who create and work at the jobs Harper is trying to develop or advance.
So, should not this rich arts and culture naturally be showcased as it is echoed throughout the Canadian business world Harper is focused on? I believe Canadians on the whole would appreciate more recognition for their creative efforts that make our country special. Yes we need economic growth, but there needs to be a balance in the funding between businesses and the arts in order to make for a balanced country and to account for or showcase the people who inhabit it.
It is positive to note that the 2011 Ontario budget indicated spending at Tourism and Culture would grow $76 million.
The estimates confirm that $47 million of this is to continue support of the Community Cultural Fund (used to support local ‘big crowd’ draws such as last year’s Port Dover Marine Festival- http://www.ocaf.on.ca/en/project.aspx?ProjectUID=985 or 2005’s Norfolk County Fall Festival- http://www.ocaf.on.ca/en/project.aspx?ProjectUID=884 -CP), the small-scale (!) capital program administered by the Ontario Trillium Foundation to support diverse cultural organizations. As well, the Ontario Media Development Corporation will be permanently funded, showcasing the province’s commitment to the film sector of the policy and estimates show an increase of $8 million to $25.8 million. Although the Conservative platform for the policy is the most bleak of the Bloc Quebecois, Liberal, and NDP, perhaps a strengthened economy will help to account for areas our country’s arts and culture are struggling in.
In their platform it is stated that our “Government believes that a vibrant cultural, media, and sporting sector is crucial for our well-being and quality of life,” however many artists and cultural advocates still feel that the re-elected Conservatives will fall short in fulfilling the essential aspects of the policy and hearing the voices of those affected. For the Silo, Jennifer Waslowski.
It was 2011 when I wrote this piece and everywhere I turned I saw the influence of one videogame or another. Now they’re no longer just a niche sideline favored by the odd and socially awkward; they’re as ubiquitous as music and movies and, as an industry, bring in just as much or more money too. Is it really all that surprising, then, to see the unique influence of the medium turning up in some rather unexpected places?
Consider the Rocket Racing League. Heard of it? Founded in 2005, the RRL is a private air-racing league that, if it ever manages to get off the ground, will use custom-designed canard “rocket racers” in aerial races with a twist: instead of flying through physical obstacles as conventional air racers do, RRL pilots will navigate a virtual race course created by a computer.
“The Rocket Racer pilots see the Raceway-In-The-Sky with a custom Cockpit Based Augmented Reality System projected onto a 3D helmet display,” the Rocket Racing League website The Rocket Racing League explains. “For the thousands of fans in attendance, they will witness the racing action live and in real-time on large projection screens fed by the Ground Based Augmented Reality System. For the millions of fans watching on televisions and PCs at home, they will experience the thrill of the Rocket Racing via unique remote and rocket-mounted cameras that give at-home fans the sensation of riding right alongside famed Rocket Racing League pilots.”
The system will not only challenge the fliers but also provide a unique opportunity to engage with the live audience through jumbo video screens projecting the virtual course and even viewers at home by way of a planned video game that will let armchair pilots actually take part in the races, competing online in simultaneous real-time. But what if you’re after a more visceral, in-your-face experience? That’s doable too, and it doesn’t take a million-dollar rocket plane to make it happen.
Behold “Wipeout,” the ABC game show that puts contestants through the wringer of various bizarre and rather rough obstacle courses that more often than not result in a spectacular wipeout – hence the name – and a quick trip into a mud pit. Its roots can be traced back to the 1980s Japanese show “Takeshi’s Castle,” Vintage Video of Takeshi\’s Castle better known to American audiences (in edited form) as the Spike television extravaganza “Most Extreme Elimination Challenge.” But more to the point, these shows share a more basic commonality: a powerful video game sensibility in their design.
Check out a video clip or two at the “Wipeout” website – http://www.abc.go.com/shows/wipeout and tell me that those courses don’t look like some twisted Nintendo Super Mario Bros. creation sprung to life. All that’s missing is a oversized, angry gorilla who throws barrels. And while some people just love to compete, and the big cash prize for the winner is a mighty powerful incentive, the real attraction is far simpler: it’s an opportunity to put yourself into the middle of a full-size, real-life Super Mario level. Who could say no to that?
As gamers get older and technology gets better, we’re certain to see this kind of game-inspired entertainment become increasingly commonplace. In another facet Video Games Live has become the new musical craze. The performance is a musical compilation of some of the classic 8 bit game tunes from games such as Pong. Performed by the Video Games Live orchestra. In a way, we’ve come full circle; art imitates life and, as always, life imitates art.. It gives a whole new meaning to the term “virtual reality,” wouldn’t you say? For the Silo, Andy Chalk.
The Silo does a lot of travelling and we take notice of the highs and the lows that go along with working in parts of four counties. Some standouts are the comparative condition of the roads, the comparative prices of gasoline and diesel and one thing that surprised us: the rising cost of compressed air and the variations in the amount of time you get for the compressed air.
But why do we notice these things?
You see, we live in a wonderfully exotic environment. In just a few months time, air temperatures can vary between -20 degrees C to + 25 degrees C and this temperature jump combined with a (seemingly) growing number of potholes means checking your vehicles tire condition and pressure is a must. If you want to drive safely and economically and comfortably.
And that’s the rub
The vast majority of service stations are no longer Ma and Pa operations that cater to the automobile enthusiast. Sure they have candy and coffee and DVD’s and scratch lottery tickets. But what about putting the word ‘service’ back into service station? None of us on staff are old enough to remember a time when pulling your car into a gas station meant at a minimum a check under the hood. None of us are old enough to contemplate a time when your car was jacked up and inspected like a ship in dry dock. But all of us are aware of the rising cost of not only fuel but compressed air.
As we make our way around the different county lines and roads, our vehicles are taking a toll. On average, the roads are spotty and checking tire pressure has become a bit of an obsession. [If any of you are driving a vehicle with Nitrogen or another gas in your tires, please let us know if you’ve noticed a difference]
We are shocked by the rising costs of air pumps. The average cost of filling your tires is now 1$. The fill rates vary between pump manufacturers and it’s plausible that station owners may adjusting the length of time that 1$ will buy. We will report back our findings. In the meantime- visit Burcham’s Service on Main St. in Port Dover for FULL service gas [sorry no diesel] and FREE compressed air. Pay attention to the warning sign above the air pump- this is a high pressure nozzle but when used properly, does a great job of filling your tires at no cost. CP
Back in the mid 80’s, my high school buddies and I would travel every month or so from Simcoe to the Brantford Civic Center to get our fill of WWF wrestling. It was great because in those days they used to do the TV taping right there in Brantford for broadcast all over North America. It was usually a long night of about 3 hours of wrestling for 3 different TV shows. For $5 it was the best entertainment value around. Sometimes the matches would drag on.
Harley Race and Nikolai Volkoff were not exactly the most captivating performers, but we would endure them waiting for something to peak our interest. I’ll never forget the night a new wrestler was introduced to us. The ring announcer welcomed him as Randy ‘Macho Man’ Savage. Out he came in a garish, metallic robe which reflected the television lights in a million directions. He had a maniacal look on his face and he revealed the craziest wild eyes when he finally removed his dark ski-goggle type sunglasses. His matted hair was held back by a colourful headband and he sported an unruly beard.
Once in the ring, he took off the robe to reveal not the plodding weightlifter type body we were used to seeing, but the more sinewy muscularity of an athlete. We, the veteran and savvy fans, took this new guy and his ring entrance with a grain of salt. “Macho Man”? Really? “Who calls themselves the “Macho Man”?” we thought. At that time our only reference to a Macho Man was voiced by a pop group named the Village People, and that was just plain challenging for a group of adolescent high school boys. So we watched on with wary eyes. The bell rung, the match started, and then the Macho Man turned into a human whirlwind.
He raced around the ring delivering all his moves with expert efficiency, but at a hyper-speed we had never seen before. He threw his man out of the ring, darted up to the top turnbuckle and came down hard onto the opponent’s backside with a double axe handle. He then threw the poor sod back in, picked him up and body-slammed him to the centre of the ring and jumped back up onto the top turnbuckle as quick as a cat. What was he going to do now? He raised his arms and pointed his fingers up high towards the arena roof and paused for a moment while the crowd held its collective breath. Then….he leapt. Sky-high into the air he launched, coming down with devastating force into the chest of his opponent with what would become his signature move, the Flying Elbow. One, two, three, and it was all over in the blink of an eye. We were awestruck. A star was born. After that display of wrestling awesomeness, it goes without saying that we were now all charter members of the Macho Madness fan club.
Savage’s “Oooooyyeeaaah” catch phrase and white-hot interviews would solidify his character, and his lovely manager Elizabeth would provide the eye candy which surely helped propel him to the highest heights of wrestling stardom. Whenever his entrance music, “Pomp and Circumstance” hit, the excitement level dialled up to a fever pitch. He would become a multi-time WWF champion and face off against Hulk Hogan in the top money-drawing program of the day. His crowning achievement was likely his match against Ricky Steamboat at Wrestlemania 3 in what is widely regarded as one of the best wrestling matches of all time.
Randy Savage, real name Randy Poffo, died tragically in Florida last month after having a heart attack while driving his car and then colliding with a tree. He leaves us at the too young age of 58. I know my buddies and I are not the only ones out there missing him. I’m sure some of you have your own favourite Macho Man moments.
Maybe you should have a stroll down memory lane and check out some Macho Man on Youtube In my mind, he was thegreatest of all time. John McIntosh is a favourite writer for The Silo.
Frank Miller and Klaus Janson Batman: The Dark Knight #3 Batman and Robin Iconic Splash Page 10 Original Art (DC, 1986). Frank Miller’s The Dark Knight Returns defined the best of 1980s comics, and has since been universally acknowledged as one of the most important and influential stories ever published. Miller is arguably the greatest superhero writer/artist to work during this period, and Dark Knight is his undisputed masterpiece: the four-issue series rejuvenated Batman as DC’s most popular character and in the process helped revitalize the comics industry.
This splash page is to our minds the single most memorable image from the entire book and the greatest image from the decade ever to come to market — as well as one of the handful of most desirable pieces of original comic art from any era to come to market. A perfect stand-alone image of Batman and Robin (Carrie Kelley, the first female, full-time Robin) soaring high above Gotham City, an icon symbolizing the entire storyline — this one has everything going for it. As demonstrated by the fact that we’ve only offered two Dark Knightpanel pages previously — and the fact that no splash page, much less a such an undeniably classic image, has never been offered at auction — artwork from the famed series is much scarcer than anything else from the period. This gem has been locked away in a single collection since being purchased upon the series’ original publication and is the definition of “fresh to market.” And unlike many pages from the series, where differences between the original art and the published version are evident (as a result of Miller making changes on pasteovers), no changes were made to this artwork for publication, and the original contains no paste-ups or stats — it’s pure art, just the way it appeared in print.
Definitive is the only adequate description of this masterpiece, and as such, it was chosen to represent the entire time period in DC’s recent 75 Years of DC Comics: The Art of Modern Mythmaking book, serving as the chapter heading for “The Dark Age: 1984-1998,” and reproduced as a glorious color full-page image, leading off the chapter on page 556. In 2005, Time magazine ranked The Dark Knight Returns as one of the top ten graphic novels ever created. As Alan Moore wrote about the series: “Beyond the imagery, themes, and essential romance of Dark Knight, Miller has also managed to shape the Batman into a true legend by introducing that element without which all true legends are incomplete and yet which for some reason hardly seems to exist in the world depicted in the average comic book, and that element is time… time has come to the Batman and the capstone that makes legends what they are has finally been fitted. In his engrossing story of a great man’s final and greatest battle, Miller has managed to create something radiant which should hopefully illuminate things for the rest of the comic book field, casting a new light upon the problems which face all of us working within the industry and perhaps even guiding us towards some fresh solutions.”
In short, this is one of the most important pieces of original comic book art Heritage has ever had the pleasure to offer. This iconic masterpiece from “Hunt the Dark Knight” has an image area of 11.5″ x 17.75″, and aside from some very light paper aging in the image area and some passages of white-out, the art is in Excellent condition.
“I’ve always loved that drawing. Danced around my studio like a fool when I drew it. I hope it finds a good home.” –Frank Miller–
Miller, Frank: Frank Miller (American, b. 1957): is a multi-talented cartoonist, writer, and film director, most celebrated for his work on the Marvel characters Daredevil, Elektra, and Wolverine, as well as on his own characters for the Dark Horse titles Hard Boiled, 300, and Sin City. In the late eighties, Miler became the first and foremost of a new breed of “noir” comic book storytellers, thanks to the tremendous popularity of his work on the industry-changing Batman: The Dark Knight Returns series. He also directed the film version of Will Eisner’s The Spirit, and shared directing duties with Robert Rodriguez on Sin City, and produced the film 300..
Wine and cheese pairing is not just for the snobby connoisseur or the elite diner. Anyone can be a part of this wonderful dining experience and spend an evening savoring it yourself. Since all of us are different and more importantly, all of our taste buds are different, what master vintners and world class fromagiers may say is a correct pairing, may not work for the rest of us. By all means listen to what they might suggest, because they have a lot of experience with taste –but, remember they are just suggestions. It’s the differences that make life interesting.
Cheese and wine by their very nature are even different from vat to vat. You may be making the same product, but in the food world, there are many variables to production. Terroir plays a significant role in both wine and cheese. Grapes taken from sunny slopes of Italy have a different terroir than grapes taken from valleys in France. It’s the same with cheese. Milk coming from animals in Swiss Alpine regions possesses distinct flavors that differ from milk from animals on Canadian Prairies.
Understanding the basic concepts of flavors and how they pair, will give you a platform to make your own pairing decisions. Cheese influences the taste of wine more than vice versa. Wines with lots of flavour work with cheese that also have lots of flavour. Subtle wines work with delicate cheese; therefore hard cheese with red wines and soft cheese with white. Fruity wines pair nicely with tangy acidic cheese. A sour salty cheese makes a wine taste milder. Sometimes, pairing wines with cheese from the same area works well together. Spicy flavored cheese work well with sweet desert wines.
Sometimes a heavy sugar wine works with a blue cheese. But, in the long run, it’s all up to you to try it out, and find out what sits well with you. Your goal is to create a balance of flavors of wine and cheese together.
Here are a few pairings of wine and cheese that you might care to try out.
Florence Estate Winery from Langton has a delightful chardonnay -with its light oak and hints of fruit pairs well with the Swiss Alpine Gruyere from the Canton of Fribourg. The subtle textures of the cheese draw out the fruity hints of the wine.
Villa Nova Estate Winery has a Riesling that is clear and floral, and the terroir of their region adds a slight twist of richness that differs slightly German Rieslings. This makes pairing with the English Double Gloucester a true experience. The saltiness of the cheddar takes the edge from the sweetness of the wine.
I am looking forward to sampling the other Norfolk County wines from Burning Kiln, Burning Mills Villa Nova Estate and Wooden Bear-L , when I get the chance. Maybe this weekend I can give it a shot with some close friends and a board of cheese. For the Silo, Scott Jensen.
Machinarium is not a new videogame. But if, like many gamers, you overlooked it when it was released in late 2009, you owe it to yourself to go back and pay it some attention. Machinarium may look simple or perhaps even a touch primitive at first glance, but in reality the game is an inspirational fairy tale set in a wondrous, grimy world of living machines; a touching story of struggle, heroism and robot-love.
One of Machinarium’s most remarkable qualities is the way its tale is woven without a single word—there’s not one instance of speech or text in the entire game. Instead, everything is told visually. Dialog between characters unfolds as brief animations, while plot details are filled in through flashbacks.
Even the physical appearances of the game’s denizens, from the diminutive main character to his ruffian tormentors and the strutting, tin-pot police who, in theory at least, guard over the city, figure prominently in the storytelling process, as the pint-sized underdog struggles against bullies and thugs to be the hero his doe-eyed beloved has always believed him to be.
That may be a lot to read into a game that, bizarre setting aside, is a fairly straightforward point-and-click adventure. From a gameplay standpoint, Machinarium is solid if not particularly noteworthy. But the details of its world most definitely are. Each level and everything in it is entirely hand-drawn, providing a unique and whimsical visual style, while the soundtrack, both musical and ambient, is every bit as impressive—possibly more so. The combined effect is nothing short of extraordinary.
Gamers unfamiliar with the standards of “adventure logic,” in which odd, occasionally arbitrary sequences of actions are required to complete tasks and move things forward, may need a little time to get settled, but veterans of the genre will feel right at home. You will collect objects, you will combine objects, and you will use those objects on other objects to make things happen. But the game mechanics are actually quite simple, because everything is visual and its various regions are fairly tightly compartmentalized. Some of the problems you’ll face are real stumpers, however, and while one hint is available for each of the game’s screens, don’t expect it to do much more than give you a very gentle nudge in the right direction.
But that’s okay. Machinarium is a slow-burning experience that’s best savored rather than merely consumed. It crafts gripping beauty out of an ugly world in a way that elevates it from the merely good to the truly memorable. It’s not for everyone: twitchy Halo junkies probably won’t find too much to like in it. But for anyone in the mood for something a little more thoughtful, or who’d just like to see the videogame medium stretch its legs a little bit, Machinarium is a wonderful, magical game that simply should not be missed. For the Silo, Andy Chalk.
Generations of Haldimand and Norfolk citizens have found and collected stone artifacts from their lands. Artifacts were kept out of intrigue and interest and often displayed prominently within homes. Some were valued as family heirlooms, others placed in boxes and kept packed away on a shelf. This is where I enter the story. My name is Lorenz Bruechert and I am an archaeologist.
Not long ago a land owner told me that artifacts had been collected from his family property over many, many years. I was invited to make an examination because the owner knew they might be important to my regional archaeological study (www.haldimandarchresearchproject.com). There still was a little hesitation, primarily out of concern that I might confiscate the artifacts. But that is not what I do. My interest in private collections from prehistoric times is based in public outreach and education.
I was able to provide the owner with a time period of the artifacts, the type of rock used in their manufacture, and their origins. You see, I believe it is important to foster trust and to empower landowners with information, thereby ensuring their collections are valued, respected and hopefully made available for scientific study.
Private collections reflect the richness of our homelands and confirm the reality of past human occupation. Trying to make sense of who primitive occupants were and how they lived is helped immensely by studying the ages and quantities of found artifacts. Artifacts date from within historic periods to as far back as when glaciers still existed in Southern Ontario. In fact, many land owners are surprised to learn that their collections are much older than a few hundred years.
At least 80% of human history is represented by stone artifacts. The rock used is generally a sedimentary variety containing silica. The more silica a rock has, the easier it is to break apart. The geological name for the type of stone used in most tool manufacture is chert or flint. Chert formations date as far back as the age of the dinosaurs. They were scoured and scraped by the movement of glaciers and carried along until the glacier melted. What this means is that an artifact found in Haldimand or Norfolk may have originated thousands of kilometers away!
In Southern Ontario, stone tool artifacts have been recovered and dated within several different main time periods. Each period shows variations thought to reflect climate changes that made an impact on animal and plant species. As species changed or disappeared, new types of stone tools were manufactured to keep up with these transitions. Dating artifacts, therefore, helps to identify migrations of different people groups across our counties’ deep past.
Most landowners truly enjoy having their artifacts interpreted. Their private collections remain intact and local people become, in a sense, guardians of local history. If a family is not interested in acting as stewards, I always encourage them to donate their pieces to a local museum, to ensure that the artifacts remain in the community.
Lorenz Bruechert will return soon for another installment of local archaeology. You can contact Lorenz at hnarproject@gmail.com.
I’d about had it with Bell Canada. My internet, home phone and basic satellite TV charges had incrementally and infuriatingly risen each month until I was red-faced steaming every time the outrageous bill appeared in my mailbox. I needed to reduce that burden, but….I needed some sort of plan.
The first step, I thought, would be to get rid of the TV portion of my package. I didn’t think I could go cold turkey though, so I had to come up with a solution for replacing what I was going to lose. I continued to stew and pay the bills, but in the meantime I started exploring what I could get for free online. I also experimented with some old-school rabbit ears, but those things didn’t really cut it.
Then, out of nowhere, like manna falling from heaven, the sweetness known as Netflix became available in Canada. I pounced. Now for only $7.99 a month I have an all-you-can-eat buffet of TV series and movies right at my fingertips. It’s all available through my wireless internet, works in combination with my Nintendo Wii (you can also use an xbox360 or Playstation3) and is viewable on my television. All for the price of two video rentals.
Once my mind was suitably blown by Netflix, let me tell you how satisfying and liberating it was to call Bell and cancel my TV service. It went something like this: “Hey, Bell , just wanted to tell you that you can go screw yourself. Instead of dealing with your over-priced and over-rated service, I’ve got something that meets my viewing needs at next to no cost at all”. Ahhh. Now that was nice.
Bell has since been mailing thank you notes for my long time patronage, encouraging me to “give them a call” to learn about all the “savings they have in store for me.” I mean really, give me a break. Couldn’t the money they’re spending on that embossed greeting card, and postage, be better used? And why don’t they offer these “great deals” when you’re already a subscriber? Oh man, I’m starting to burn again…
Okay, with Netflix there are some serious sacrifices that you might not be willing to make. First of all: no live sports. For some this may be impossible to accept. However I’ve been a staunch Toronto Raptors fan since their inception, and I thought I’d miss them big time. But I found that I just stopped caring. Of course the Raptors extreme ineptitude certainly made things easier.
Overall, I found that if it’s out of sight it really is out of mind. Trust me, your mind will get filled up with something else. No American Idol? Maybe it’s time to challenge yourself. There’s always YouTube if you absolutely have to see that results show. What about reading a book as an alternative?
The movies on Netflix are not “right out of the theatre” but that doesn’t seem to bother me. There are so many genres to choose from, and so many films I’ve missed or forgotten about, that it’s all new to me anyway. If you still can’t bear the thought of losing your cable, consider using Netflix as a supplement.
Next on the agenda is to get rid of my home phone, another huge part of my bill with *****. When I called to cancel my TV they delighted in telling me I was under contract for telephone service until June, and would have to pay a $200 termination fee to cancel it. Like, whatever. Why am I even surprised? For the Silo, John McIntosh.
Movie expectations are a dangerous bag. We savor anticipation, but envisioning a positive experience before you’ve actually had the experience can warp perception and lead to anti-climax: the proverbial let down.
Hype is another form of expectation, one that is projected from external sources. And how many times have we heard the phrase: “It just doesn’t live up to the hype.” We get suckered by marketing and take solace in acerbic criticism. We love to hate the let down.
I went to my local video store a couple of weeks ago on a mission. It was time, I decided, to watch The Social Network, the much acclaimed film by director David Fincher (Seven, Fight Club) about the founding of Facebook.
Rarely do my trips to Super-A Video feel like such an event. First of all, Columbia Pictures has gone all out on a gorgeous, deluxe box for this film. I felt like I was in a record store again, holding in my hands, for the first time, a new album I had been waiting for. Some of you will remember what that was like…
On the cover, a host of superlatives from the likes of The New York Times, New Yorker, and Rolling Stone Magazine. “Stupendous!” “Exhilarating!” “Absolutely emblematic of its time and place!” The list of ecstatic declamations was exhilarating in itself. But it also made me nervous. Will it live up to the hype[rbole]?
So this was my Friday night. I dimmed the lights and sank into my couch, prepared for what was, in the educated opinion of many, a defining cinematic event. This is my substitute for romance, I guess. And in this case: no anticlimax.
The film starts at a blistering pace with a scene of two people sitting relatively still. The momentum is in the dialogue, in the intellectual animation of two brains on fire. I watched the movie again on Saturday, this time with a friend, and he was literally on the edge of his seat, concentrating to following the rapid-fire repartee which is the opening salvo of Fincher’s film. And then he said, “Wow. What a way to start a movie.” Certainly makes you pay attention.
Screenwriter Aaron Sorkin (A Few Good Men, TV’s The West Wing), who is known for his dense, tightly scripted approach to writing, has already won the Golden Globe for this piece of work and the Oscar seems likely. But don’t let my description of the opening scene scare you off. The Social Network is not an exhausting experience. It chronicles a moment of great creative outpouring in the lives of brilliant people who think very quickly, and it finds a way to carry you along, and in, to the tale of their accomplishments and relationships.
The DVD extras illuminate what can happen when a great director, writer and actors work collaboratively on a project like this, providing a rare glimpse into the artistic process of an incredible team. Fincher (Golden Globe, Best Director), comes off as an affable perfectionist, admired in spite of the fact that he will do 99 takes of a scene—ie: that electric opening. And the newly feted Jesse Eisenberg, with a host of Best Actor nominations for his role as principle Facebook architect Mark Zuckerberg, seems almost as smart as the genius he portrays.
The other star of this film is Trent Reznor and Atticus Ross’ original soundtrack. At times haunting, at times propulsive, these long-time musical partners (Nine Inch Nails) have created a techno film score that will make your home theatre sing. Never obtrusive, always complimentary, it adds tone and depth, feeling and movement to this film. And it is cool. This is important. Zuckerberg knew that, with Facebook, he was on to something cool. He also knew that there is no more precious commodity—aside from sex—when it comes to marketing to young adults.
The Social Network, too, is that rare constellation of co-factors: it is a document, and example, of pop-culture that is blisteringly smart, sophisticated, exciting, funny, sexy, and cool. It is also a work of art, and for all of these reasons it is, truly, an emblem and anthem of our time. For the Silo, Chris Dowber.
One of Will Ferrell's most original roles, from 2001's ZoolanderFebruary can be hard, but March might be even harder. March is like exam week in the University of Winter: you’ve already had a really long haul and now you just have to steel yourself and push through to the end. There is drudgery in any life I guess, but I believe in taking breaks, and a funny movie can be like a 90 minute tropical holiday.
Reclining recently, cozy on my couch, I found myself contemplating two actors who seem to have their fingers on the comic zeitgeist. So the next time you’re at your local video store, or cruising Netflix for a digital vacation, keep an eye open for their films and beat the blahs while you warm your cockles.
The first is Michael Cera (pr. like Sarah), a quirky kid from Brampton with incredible comic timing who makes intelligence cool and softspoken wit accessible to a new generation. He got his first acting gig in a Tim Horton’s commercial (Wikipedia disclaimer), but I became aware of him watching Arrested Development, one of those truly brilliant television series that comes along now and then, creates a cult following and wins every possible award, but never generates the popular groundswell necessary for longevity on network TV. An Arrested Development movie is slated for 2012 release however, in case you’re interested…
You may have also seen Cera in Jason Reitman’s Juno (yes, that is the son of comedy legend Ivan Reitman), which generated big buzz in 2007, winning the Oscar for best screenplay and receiving a total of four nominations.
Diablo Cody’s script begins with a barrage of hipster language that put me off at first, but the story quickly evolves into a touching and comic tale about a very interesting teenage girl coming to terms with an unplanned pregnancy and the people it brings into her life. And Cera is perfect as Bleeker, a smart, quiet kid who might be relegated to a painful highschool nerdom if he wasn’t so sure of who he was.
Michael Cera’s become a big star in the last five years (he’s just 22), headlining a host of oddball films tailor made for his unique persona, which makes me think of Bob Newhart as a hip, skinny teenager. Titles like Superbad and Scott Pilgrim vs. The World, a contemporary comic-book of a film in which the young hero must defeat his lady-love’s seven evil ex-boyfriends, have been very successful vehicles. But my absolute favourite is 2009’s Youth in Revolt.
With a remarkable screenplay based on C.D. Payne’s novel Youth in Revolt: The Journals of Nick Twisp, this film is up there in the intelligent-teen-movie stratosphere formerly inhabited solely by director John Hughes in the 1980’s (Pretty in Pink, Ferris Bueller’s Day Off). But Youth in Revolt is distinctly more literary, with an artful style and darker edge for the new millennium.
Cera plays a precocious young man who must create a dashing, sociopathic alter ego to accomplish things his normal, mild-mannered self could never do—kind of like Fightclub except, in this case, ego and id work in tandem, side by side, in full awareness of one another.
There are so many reasons to love this movie, but for me Cera’s performance is at the top of the list. One of the only criticisms I’ve heard of this young star is that his characters are so similar, film to film, like Woody Allen without all the mania. But in Youth in Revolt, we get to see Cera really act. His portrayal of Nicholas’s Twisp’s alter ego, Francios Dillinger, is one of the most enjoyable performances I’ve seen. Ever. The transformation is subtle but total, and utterly believable. And the white pants…but I won’t say too much.
Will Ferrell is the other guy working right now who really does it for me. To take a momentary detour, Bill Murray has a cameo role in 2009’s Zombieland that sets up the way I think about Ferrell. When Emma Stone’s character recognizes Murray as himself she cries, “This guy has a direct line to my funnybone!” Will Ferrell has become that actor for me.
I remember an appearance he made on ABC’s The View a few years back. He was just sitting there in a jacket, sporting that little fluffy perm of his, and one of the hosts asked him how he’d been doing. “Fine,” he said. “Just fine.” Then there was a beat, and everyone started to laugh. Someone even commented on it. “You don’t even have to do anything and I laugh.”
Now, why is that? What is that? Was it the way he pitched his voice, the terseness of his response, the barely perceptible glimmer in his eye, or the relative stillness with which he held his body? The answer, I think, is yes: it was all of those things. But there was something else as well, an almost palpable comic energy that he generates, an X-factor that is greater than the sum of all those parts. Sometimes I just look at him and I’m done.
Ferrell became famous on Saturday Night Live and has gone on to become one of the most recognizable actors, comic or otherwise, of our time. He has reached a rare echelon. His name is pretty much a household word.
His magnum opuses, if you will forgive the term, are probably Anchorman, Talledega Nights, and Semi-Pro—three films that could be considered a kind of trilogy, if you think about it. They all feature many of the same (A-list) actors, and in each one Ferrell plays a similar character: a charismatic doofus in love with himself but largely ignorant about anything of genuine substance. They are all funny films, sometimes gut-bustingly funny. But I recently saw him opposite Mark Walberg in The Other Guys, another star-studded comedy in which the two leads play cops with unbalanced personalities. And this one is a little different.
It’s another big-budget comedy; action-comedy really. And we get to see Ferrell lying on the ground at one point, screaming non-sequiturs at the top of his voice in a style that has become one of his trademarks, going right back to SNL and his appearance in the first Austin Powers movie.
But what’s really fun about The Other Guys is the way it showcases that incredible energy Will Ferrell brings to deadpan comedy. Nobody does it quite like he does.
Ferrell has tried his hand at more serious roles, opposite the likes Emma Thompson and Dustin Hoffman in Stranger Than Fiction, although I never quite believed him in this film, kind of like I never believed Bill Murray in The Razor’s Edge. And while Murray, in his maturity, went on to give us his wonderful interpretation of an aging actor in Sofia Coppola’s Lost in Translation, one of the best films of 2003, he did it by using his naturally funny energy; toning it down, sublimating it, until he finally broke through into something, someone, simply sweet, and truly human. It was a subtle piece of work. Whether or not Will Ferrell, the man who gave us Mugatu, can do something like this…doesn’t really matter. Certainly he was born to be funny, and there’s nothing wrong with that. AG
I have been following, with some amusement, the media firestorm unleashed since the Canadian Broadcast Standards Council decided in mid-January that the classic, 25 year old Dire Straits song Money for Nothing must be censored. According to the CBSC, times have changed and the word “faggot” is now inappropriate for Canadian airwaves. The CBC, National Post, and newspapers from Edmonton to Ottawa have all weighed in, including our own Simcoe Reformer, expressing outrage over the censorship of a critically acclaimed work of art and, well, political correctness just generally gone mad. While I agree that this is a censorship issue, you have to dig to find commentary about why it’s such an interesting one.
If you put the lyrics together with the music video, the song appears to be written from the perspective of two furniture and appliance movers watching the early days of MTV at work. They are making their case to one another, colourfully, that rock stars get their “money for nothing” (you’ll recognize the song title) and their “chicks for free—” the implication being that if these two very hardworking fellows are getting any “chicks,” it’s because they’ve paid for them. The lyrics at the centre of the debate are as follows:
“The little faggot with the earring and the makeup (ya buddy, that’s his own hair).
The little faggot’s got his own jet airplane. The little faggot is a millionaire.”
Now that really is a lot of “faggots” for family hour, to be sure. But in context, the song does not read as homophobic. On the contrary, it is a parody of some hard-talking, blue collar guys and their feelings about rock stars—written, remember, by rock stars (and yes, that is Sting on background vocals).
I was in high-school when this song came out and I can’t tell you how many jocks and future frat boys sang it to me on the bus, thinking they were making a cruel and clever joke. The irony wasn’t lost on me. They weren’t paying attention: not to the song, or to themselves, or to the disconnect between their affection for makeup and leotard wearing glam-metal bands like Poison and Cinderella—even Motley Crew—and calling me “gay” for dressing like I was in The Cure. But I guess that’s more hypocrisy than irony, and this is starting to become revenge.
Here’s another level of irony: censoring the word “faggot” actually neuters songwriter Mark Knopfler’s commentary on, if not homophobia, then at least a kind of prejudice based, seemingly, in resentment. Knopfler’s characters—and that is what they are—see the stars of MTV as representative of an easy life, as far away from their backbreaking drudgery as the moon. Looked at in this way, they are not quite the same as the blustery boys on my school bus. But they have something in common: for them, calling someone a “faggot” isn’t necessarily a comment on sexual orientation. It’s more a measurement of traditional masculinity.
But what about blatant racism? There’s another line in this song that’s not even part of the current censorship debate. “What’s that,” our refrigerator movers continue? “Hawaian noises? They’re bangin’ on those bongos like a chimpanzee.” OK, apparently there have been no angry calls to the Standards Council about that line. If there was any doubt before, Knopfler’s picture of these men is now crystal clear…if you’re paying attention.
The moral of this story? I’ll tell you my favourite: It is a dangerous thing to release a controversial work of popular art that requires careful reading. And one question remains: who taught the brainiacs at the CBSC to read? JS
CBSC is the Canadian Broadcast Standards Council, who act to ensure that an acceptable code of operation is met for media broadcast. This means that they control what you and I are “allowed” to hear and see. If you agree that censoring a classic rock song because it has been misinterpreted is wrong, please add a “like” to the link on our Facebook wall. It seems that Canadians have been blocked from viewing the unedited Dire Straits Money for Nothing video from Youtube as well, so here’s a little gem to enjoy instead. – Content Producer
In the videogame world there’s immersive gaming and then there’s immersive gaming. Take Blizzard’s World of Warcraft for example. Not only can you buy “virtual treasure and items” on eBay using real life money, there’s a new cataclysm expansion pack that allows your character to learn a new archaeology skill and visit “virtual dig sites” to gather your own artifacts. This sort of ingame depth and detail is why over 12,000,000 people spend a great deal of time “existing” in the virtual World of Warcraft.
Featured image- middlesavagery.files.wordpress.com
Picture yourself swimming in the shallows of Lake Erie over 400 million years ago. You might come up with all kinds of ideas of what primitive life was like. Some might imagine archaic sharks and bony, lobe-finned fish, but I bet very few would conjure up Phacops Rana.
Great Eyesight
This specialized trilobite can be found throughout Norfolk County in shale deposits and occasionally on our beaches, embedded in fossilized chunks of coral. One member of The Silo team discovered a beautiful specimen preserved this way, but it takes a keen eye to recognize them. That’s because the only way to find them is to identify the one feature of Phacops Rana that is its namesake: phacopid eyes. You see, this trilobite had two large eyes that were full of round, swiveling lenses, giving the creature an advantage when it came to escaping predators.
Flaking and percussion bulbs point towards human manufacture
This stone shows signs of ancient human manufacture. Percussive bulbs result from being hammered and chipped, and facial flaking along the sides are strong indicators. It was retrieved in April 2010 from the then drained shoreline of Silver Lake millpond in Port Dover, Ontario. In the vicinity of the stone were animal bones and glacial till.
Provide clear standards and guidelines for the preservation of provincial heritage properties.
Enhance protection of heritage conservation districts, marine heritage sites and archaeological resources.
Even when cultural artifacts are not immediately discovered, a cultural assessment must take place to establish any archaeological remains. The Cayuga Bridge construction project was delayed due to this requirement.
The Rocket is a story about a man, a husband, a machinist and a hockey player; a man juggling a day job, a marriage and a passion to play “the game.”
His journey is classical and it has all of the elements of a Greek comedy, with the effect, just like in the Aristotelian tradition, of purging our souls of fear and pity- it is a catharsis. The fact that this is the story of a hockey player trying to make it in the the big time is something many Canadians can relate to: the quest has become a modern day myth in itself with legions of hockey parents secretly living the dream vicariously through their children.
Imagine, then, the impact that Maurice Richard had on an entire generation of francophones. During his playing years, many French-Canadians suffered through an undisguised social prejudice; Richard perhaps more than most. But this was a man who never gave up for long. Despite the stigma of being French, and a labourer; despite being viewed as “too soft, too small for the game,” Maurice Richard rose above and became “The Rocket”. For the Silo, Jarrod Barker.
Playing on Netflix at the time of this writing. Watch for Shawn Avery the pesky New York Ranger left-winger in a casting coup.
C’est une histoire au sujet d’un homme, d’un mari, d’un machiniste et d’un joueur d’hockey. Un homme jonglant un travail de jour, un rapport et une passion de jouer « le jeu ». Son voyage est classique et il a tous les éléments d’une comédie grecque et a l’effet de, juste comme dans la tradition aristotélicienne, purgeant notre âme de la crainte et le plaint est une catharsis. Le fait que c’est une histoire d’un joueur d’hockey essayant de faire le de premier rang est quelque chose beaucoup de Canadiens et Norfolkers peut se rapporter à et cette recherche est devenu un mythe moderne de jour en soi avec des légions d’hockey parents secrètement la vie le rêve délégué par leurs propres enfants.
Imaginez alors l’impact que Maurice Richard a eu sur une génération entière de francophone. Pendant ses années de jeu, beaucoup de Canadiens français ont souffert par un préjudice et un Richard sociaux ouverts
peut-être davantage que les la plupart. Mais c’était un homme qui n’a jamais abandonné pour longtemps. Contre les confins d’être un canadien français, contre les confins d’être un travailleur, contre les confins de l’visionnement en tant que « trop doucement, trop petits pour le jeu.
Maurice Richard est devenu le Rocket.
Maintenez une surveillance pour un garde forestier embêtant Shawn Avery de New York de gauche dans un coup de bâti.
If you’re like me and grew up on a rich diet of 1980’s science fiction films, you should walk (no make that moonwalk) to your nearest video store and ask for MOON. This little gem is an existential journey into the mind of a lonely farmer-astronaut and hits close to home. Sure there’s the usual high contrast and gritty sci-fi production values, but there are also some poignant connections to our rural habitat. Picture a massive, rambling, white combine harvester gathering hay under a full, late fall moon, except that in this case the moon is the earth. A tiny, lonely man is hunched over the controls in an elevated and sealed cockpit. Now remove all semblance of colour, add a few craters and hills, and you get part of what makes this film so familiar and, dare I say, rural.
Growing up here as a boy I imagined that the once plentiful silos and drive-sheds in Norfolk (especially the aluminum ones) were rocket platforms and moon bases. Even the large, four wheeled crop sprayers had a space age look to them. And that is why I felt especially connected to Duncan Jones’ incredibly moving MOON. It pulled me in and felt familiar.
If I had to bet the farm I’d say the production designer looked at both farms and farm machinery while working out the aesthetics of this movie. But more than that, the story pulls at your heartstrings.
Sam (played by the remarkably versatile Sam Rockwell in a breakthrough role) is a lonely astronaut working on the moon, farming the soil for energy until he begins to suffer from extreme isolation- complete with lucid dreams and hallucinations. What follows next is one of the finest surprise plot twists in contemporary cinema.
Satisfying space fiction from son of iconic rocker David Bowie. For the Silo, Jarrod Barker.
I was raised in the dairy farming community of Jarvis in Haldimand County. Since dairy was on the decline my family and I decided I would go to university. I began the study of archeology, and The Haldimand Norfolk Archaeological Research Project (HNARP) is a scientific study intended for my doctoral dissertation.
I selected this region because as a youth I walked across many of the county concessions and came to have an understanding of the landscape. In addition, there is continuous encroachment on the farm lands in the form of housing subdivisions in growing communities, industrial development along the lakeshore, and external landowners waiting to develop the land. The long term goal of the HNARP is to improve current evidence of prehistoric climate change and to determine its impact on early people. A study has never before been undertaken in Ontario over such a large parcel of land, and it needs to be done now before the opportunity is lost forever.
When the Laurentide ice sheet began receding 20,000 years ago the lands left behind were devastated by glaciers that destroyed plant life and any chance for animal or human survival. The first hints of people in the region date back 11,000 years. Evidence of their existence is in the form of stone debris and tools left behind on the ground. In fact, Haldimand is the locus of our study because of the abundant chert formations in the region (chert is a type of flinty rock). These were a continuous draw for early people constantly in need of stone for tools and weapons. This same geology is the source of the quarry rock that provides jobs and careers in the community today.
Which brings us to one of the most rewarding outcomes of this kind of archeology: the people of Haldimand-Norfolk will begin to understand their relationship to the land as part of a 10,000 year history of human habitation. By systematically studying the major watersheds we can learn much of both archeological and environmental importance. Settlement patterns emerge. We begin to see how fluctuations in the climate of the Great Lakes region impacted plant and animal life, and the seasonal availability of certain foods. As we learn about the past we discover connections to the present, and can plan more effectively for the future. But the evidence we need can only exist under certain conditions, and development is not one of them. The HNARP must act now to learn what we can.
Our success depends on agricultural landowners acting as stewards, to preserve and protect archaeological sites so they can be properly interpreted and understood. People are often concerned about what an archeological study on their lands might mean. Let me alleviate some of those concerns. The HNARP regional study is conducted on private property. That means simply: your land remains your land. All information relating to this scientific study is strictly private and confidential. No information is made public or shared with any institution or public organization. Generally, landowners can continue their farming practices without any interruption from this study.
One of the most interesting aspects of our work is something we call “community archaeology.” Interested community members can volunteer to be trained in to work with HNARP members, and become part of the discovery themselves. For the Silo, Lorenz Bruechert.
Dr. Temple GrandinTemple Grandin, you may or may not know, is a person. I had not heard of her until recently, but I suspect her name is going to become much more recognized. Time Magazine recently named her one of their Time 100 for 2010, ie: one of the hundred most influential people in the WORLD. She has a website. I highly suggest you check it out.
Temple Grandin, the film, is the authorized movie biography of this remarkable woman. She was diagnosed with autism in 1950, when the disorder was still called infantile schizophrenia. Her mother was told that Temple’s options for any measure of achievement or satisfying relationship in life were nil. Institutionalization was offered as the only practical option. But her mother wouldn’t give up. Claire Danes utterly transforms herself to tell us the story of Temple’s emergence from a relatively isolated kind of consciousness into the person she is today: author, lecturer, PHD, world renowned animal expert and autism advocate.
One of the first things we learn about Grandin is that she thinks in pictures, which makes film an especially potent medium for telling her story. Director Mick Jackson uses images throughout the film to help us understand how Grandin sees and feels the world. This is in keeping with what some have called Grandin’s greatest contribution to science- she was the first autistic person able to articulate to a wide audience what it is like to be autistic. Jackson’s film will widen the influence of her legacy further still. As well as a great story, it is a moving work of art.
I’m not sure if the brilliance of Claire Danes’ performance can be overstated, but I will simply say this: I had no idea. This woman is an ACTRESS!! HBO films are not considered for Oscars, but I predict she will have her day. An Emmy for this one?
McGuinty Government Announces Appointment
