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In a positive outlook for 2024, #universities across #Canada are introducing more #PlantBased or #vegan food options. Many of the universities have stated this is due to ongoing demand from students for more variety - and a larger push for more sustainable practices.
A number of universities are taking the lead, notably:
-#WesternUniversity. The university set a goal of having a 40 per cent plant-based menu at all dining halls by the new year, but it hit the target — and at some points even surpassed it — this year. A fully vegan outlet will open in 2024, and the school wants to reach a 50 per cent target in 2025.
-#TheUniversityOfBritishColumbia. 55 per cent of the food in dining halls is plant-based, and the Vancouver school hopes to reach a goal of 80 per cent by 2025.
-#ConcordiaUniversity in Montreal plans to reduce its purchase of meat, dairy and eggs by 30 per cent.
-#DalhousieUniversity in Halifax aims to offer a menu with at least 50 per cent plant-based food options by 2030.
-#UniversityOfToronto. Plant-based options represented less than half of the universities food services offerings two years ago, but now account for 61 per cent.Vegan Australia is advocating for Australian universities* to gain inspiration from these progressive examples, and embrace a fully vegan food system for the benefit of the planet, humanity, and for the animals.
https://www-cbc-ca.cdn.ampproject.org/c/s/www.cbc.ca/amp/1.7055714
*Such as: #UniversityOfMelbourne, #RMIT, #VictoriaUniversity, #LaTrobe, #Deakin, #MonashUniversity, #ACU, #UQ, #UniversityOfSydney, #ANU, #UniversityOfAdelaide, #TheUniversityOfWesternAustralia, #UniversityOfTechnologySydney, #CurtinUniversity #QUT, #UniversityOfWollongong, #SwinburneUniversity, #MacquarieUniversity, #GriffithUniversity
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#今日の抜書き は奈倉有里さんの「文化の脱走兵」から。ちょっと擦ってしまった。そういえばCastellのインクは割と擦りがちだったと思い出すなど。ちょっと青と黄色で寒めの色合わせ。今日は寒いですね。
#coffee #fountainpen #コーヒー #万年筆 #photographyExcerpts from Bunka no dassouhei by Yuri Nagura
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Shout-out to https://www.DoullBooks.com in #Dartmouth #NovaScotia - a great #bookstore with #secondhand, rare, & #antiquarian #books
Their regular bread-&-butter stock is on the main floor, & their rare books are extremely well described on their website
If you don't drive, you can board the # 10 bus in #Halifax (Scotia Square, Dalhousie, etc) & it will take you right to the door, no transfer needed
I esp appreciate in these #Covid times they are still #masking! & ask their customers to, too 👍
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Today I added finally some readable team stats. Before it was just tiny different-sized bars without a title and without a text value.
Now it should be clearer, what you will get ^^Still need to think about the selection for two teams.
#screenshotsaturday #indiegamedev #dashcupkickers #gamedev #indiegame
#development #indiegamedeveloper #madywithunity #ui #teamselection
#soccer #worldcup -
Mardi Spaghetti: Camila Nebbia trio + Eduardo Cossio + Yakamovich/Nesbitt
Casa Del Popolo, Tuesday, October 7 at 07:30 PM EDT
Festival FLUX
Mardi Spaghetti, Small Scale Music, Québec musiques parallèles, Arts aux Marges, Innovations en concert et le Réseau canadien pour les musiques nouvelles présentent:La jeune musicienne d’origine argentine est une saxophoniste incontournable de notre temps. Entre Berlin et New York, elle fréquente les plus grands improvisateurs et se démarque par une virtuosité vertigineuse, une énergie brute et une invention mélodique intarissable. Un concert rencontre avec deux improvisateurs exceptionnels : le bassiste Pablo Jiménez et le multi-instrumentiste Antoine Létourneau-Berger. Deux performances improvisées en solo et en duo précéderont la performance du trio
Camila Nebbia (Buenos Aires/Berlin/New York): saxophone ténor
Pablo Jiménez: contrebasse
Antoine Létourneau-Berger (Rimouski): percussions, claviers, électroniques
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Eduardo Cossio (Perth/Boorloo): cithares préparées et électronique
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Jen Yakamovich (Vancouver): batterie
Roxanne Nesbitt: instruments en céramique7 Octobre
Casa del Popolo
19h30: Portes / Doors
20h00: Concert / Show
10$ en avance / in advance
15$-20$ suggéré à la porte / at the door (NOTAFLOF)La présence de Camila Nebbia est possible grâce au soutien du Geothe Institute.
Bios:
Camila Nebbia, originaire de Buenos Aires et installée à Berlin, est saxophoniste, compositrice, improvisatrice, artiste visuelle et commissaire d'exposition. Décrite par le magazine Jazz PT comme « une saxophoniste essentielle de notre époque ». L'artiste pluridisciplinaire fonde sa pratique sur la création et la destruction de la mémoire archivistique, explorant les concepts d'identité, de migration et de mémoire à travers son travail. Son dernier album solo - « una ofrenda a la ausencia » (une offrande à l'absence) sur Relative Pitch Records - a été décrit par le NYC Jazz Record comme un « album intrinsèquement humain et personnel, qui surprend les auditeurs par son approche passionnée du jazz ».https://www.camilanebbia.com/
https://www.instagram.com/lamujerparecidaami
https://camilanebbia.bandcamp.comPablo Jiménez est contrebassiste et compositeur né à Bogota et établi à Montréal. Utilisant l'improvisation comme moteur créatif profond, son travail cherche à établir un langage musical rigoureux basé sur le mouvement. Il collabore souvent avec des ensembles et des musiciens de la scène des musiques actuelles et contemporaines au Québec et au Canada, dont l'Ensemble SuperMusique, Malcolm Goldstein, Lori Freedman et Scott Thomson. Il s'est produit et a participé à des festivals tels que le Festival International de Musique Actuelle de Victoriaville, Suoni per il Popolo, et les Darmstädter Ferienkurse, où il a étudié avec Anthony Braxton et interprété sa musique.
https://tourdebras.bandcamp.com/album/objeto
Antoine Létourneau-Berger est un compositeur multi-instrumentiste originaire du Bas-Saint-Laurent. Percussionniste classique de formation, il poursuit ses études en composition de musique de film et développe un intérêt marqué pour la production sonore. Il porte selon l'occasion les chapeaux de réalisateur d'album, compositeur, concepteur et mixeur sonore autant que celui de musicien professionnel et improvisateur. Antoine est un touche à tout qui est aussi à l'aise avec les musiques expérimentales d'avant-garde que la chanson folk, le rock, le jazz ou encore les musiques électroniques. Il fait notamment partie des formations Talfast, Equse, Bascaille, Manta et GGRIL, en plus d'avoir produit 6 albums solo sous le nom de L'Oeil et le Monocle. De retour à Rimouski depuis 2014, il compose régulièrement pour le théâtre, le cinéma, la télévision, le cirque et la radio.
https://loeiletlemonocle.bandcamp.com/
-Eduardo Cossio (né en 1982) est un musicien et artiste visuel péruvien-australien basé à Boorloo (Perth, Australie occidentale). Sa musique s'inspire de la composition électroacoustique et expérimentale, et il se produit généralement avec des cithares, des harmonicas et des instruments électroniques. Eduardo s'est produit dans toute l'Australie, en Europe et à Taïwan. Il a collaboré étroitement avec Annette Krebs, Axel Dörner, Sabine Vogel, Alice Hui Shen Chang et Jim Denley. Il est également un organisateur prolifique, animateur de radio et écrivain. Son travail en art visuel a fait l'objet de trois expositions individuelles.
https://www.eduardocossio.com/
https://www.instagram.com/eduardo__cossio/
https://tonelist.bandcamp.com/album/citadels
-Jen Yakamovich est une batteuse et improvisatrice basée à Vancouver qui travaille dans plusieurs disciplines en tant qu'interprète, compositrice, chercheuse et éducatrice. Elle considère sa relation avec la batterie, un système de sons et de parties interdépendantes, comme une exploration des relations entre son propre système interne et des réseaux socio-écologiques plus larges. Son approche de l'improvisation et de la composition spontanée trouve ses racines dans le Creative Music Workshop de Halifax, en Nouvelle-Écosse, où Yakamovich a grandi. De 2024 à 2025, Yakamovich a étudié avec la percussionniste, compositrice et preneuse de son Susie Ibarra (New York/Berlin).
Au cours de l'année écoulée, Yakamovich a travaillé avec le programme DAAD Artists-in-Berlin / bauhaus Campus Stadt Nature, Now Society's 8east, Vancouver Coastal Jazz, Active Passive Performance Society, The Only Animal et grunt gallery. Elle a récemment contribué à des projets avec le percussionniste Adrian Avendaño (Vancouver), les artistes Roxanne Nesbitt et Ben Brown (Montréal), le guitariste Sam Wilson (Halifax), l'artiste psychédélique persan Niloo (Victoria), le groupe d'art rock Heaven For Real (Montréal), le producteur Miguel Maravilla (Vancouver), les improvisateurs Mustafa Rafiq (Edmonton) et Jairus Sharif (Calgary) pour Active Passive, et le groupe folk balkanique Fetele Din Balkani (Vancouver). Elle se produit régulièrement avec l'artiste pop expérimental Wallgrin (Vancouver) et a récemment formé le duo d'improvisation Notice Flower avec la pianiste Bahar Khazei. Elle mène également un projet folk expérimental en solo intitulé Troll Dolly.
Yakamovich souffre d'une dégénérescence visuelle progressive appelée rétinite pigmentaire. Elle est titulaire d'une maîtrise en études environnementales de l'université Dalhousie.
https://jenyakamovich.format.com/
https://trolldolly.bandcamp.com/album/heavens-mini-mart-3
-Roxanne Nesbitt est designer, compositrice et artiste sonore. Après des études en contrebasse classique et en architecture, Roxanne travaille entre les domaines de la musique et du design. Ses recherches explorent la conception d'instruments, le point de rencontre entre la composition et l'improvisation, la céramique sculpturale et les installations sonores participatives. Roxanne collabore avec des concepteur.ice.s d'instruments, des musicien.ne.s, des compositeur.ice.s et des chorégraphes pour créer ses œuvres.
Sa musique a été jouée à travers l'Europe et l'Amérique du Nord, notamment lors de performances au Gaudeamus Muziekweek à Utrecht, au November Music à Den Bosch, au Bauchhund à Berlin, au Western Front à Vancouver et au Center for New Music à San Francisco. Son processus de création célèbre l’intimité, la curiosité et l’exploration.
https://www.instagram.com/roxannenesbitt/
https://roxannenesbitt.com/
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(ENG)Camila Nebbia from Buenos Aires, based in Berlin, is a saxophone player, composer, improviser, visual artist and curator. Described by Jazz PT magazine as “an essential saxophonist of our time”. The multidisciplinary artist layers her practice through the creation and destruction of archival memory, exploring the concepts of identity, migration, and memory. Her work includes improvised and composed music, film creation, and audiovisual performances, forming a constellation of interconnected practices. Her most recent solo album –'una ofrenda a la ausencia' (an offering to absence) with Relative Pitch Records– was described by the NYC Jazz Record as an 'innately human and personal album, surprising listeners with a passionate approach to jazz'.
https://www.camilanebbia.com/
https://www.instagram.com/lamujerparecidaami
https://camilanebbia.bandcamp.comPablo Jiménez is a double bassist and composer born in Bogota and based in Montreal. Using improvisation as a profound creative force, his work seeks to establish a rigorous musical language based on movement. He often collaborates with ensembles and musicians from the contemporary music scene in Quebec and Canada, including Ensemble SuperMusique, Malcolm Goldstein, Lori Freedman, and Scott Thomson. He has performed and participated in festivals such as the Festival International de Musique Actuelle de Victoriaville, Suoni per il Popolo, and the Darmstädter Ferienkurse, where he studied with Anthony Braxton and performed his music.
https://tourdebras.bandcamp.com/album/objetoAntoine Létourneau-Berger is a multi-instrumentalist composer from the Bas-Saint-Laurent region. Trained as a classical percussionist, he continued his studies in film music composition and developed a keen interest in sound production. Depending on the occasion, he wears the hats of album producer, composer, sound designer, and mixer, as well as professional musician and improviser. Antoine is a jack of all trades who is equally comfortable with avant-garde experimental music, folk, rock, jazz, and electronic music. He is a member of the bands Talfast, Equse, Bascaille, Manta, and GGRIL, and has produced six solo albums under the name L'Oeil et le Monocle. Back in Rimouski since 2014, he regularly composes for theater, film, television, circus, and radio.
https://loeiletlemonocle.bandcamp.com/
-Eduardo Cossio (b.1982) is a Peruvian-Australian musician and visual artist based in
Boorloo (Perth, Western Australia). His music draws from electro-acoustic and
experimental composition, usually performing with zithers, harmonica and electronics.
Eduardo has performed widely across Australia, Europe, and Taiwan. He has collaborated
closely with Annette Krebs, Axel Dörner, Sabine Vogel, Alice Hui Shen Chang, and Jim
Denley. He is also prolific organiser, radio broadcaster, and writer. His visual art has been
the subject of three solo exhibitions.
https://www.eduardocossio.com/
https://www.instagram.com/eduardo__cossio/
https://tonelist.bandcamp.com/album/citadels
-Jen Yakamovich is a Vancouver-based drummer and improviser who works across disciplines as a performer, composer, researcher, and educator. She sees her relationship with the drum set—a system of interrelating sounds and parts— as an inquiry into relationships with both her own internal system and wider socioecological webs. Her approach to improvisation and spontaneous composition is rooted in the Creative Music Workshop in Halifax, NS, where Yakamovich grew up. From 2024-2025 Yakamovich studied with drummer, composer & field recordist Susie Ibarra (New York/Berlin).
Over the past year Yakamovich has worked with the DAAD Artists-in-Berlin / bauhaus Campus Stadt Nature program, Now Society’s 8east, Vancouver Coastal Jazz, Active Passive Performance Society, The Only Animal, and grunt gallery. She has recently contributed to projects with percussionist Adrian Avendaño (Vancouver), artists Roxanne Nesbitt & Ben Brown (Montréal), guitarist Sam Wilson (Halifax), Persian psych artist Niloo (Victoria), art rock group Heaven For Real (Montréal), producer Miguel Maravilla (Vancouver), improvisers Mustafa Rafiq (Edmonton) & Jairus Sharif (Calgary) for Active Passive, and Balkan folk group Fetele Din Balkani (Vancouver). She regularly performs with experimental pop artist Wallgrin (Vancouver), and recently formed the improvisation duo Notice Flower with pianist Bahar Khazei. She has a solo experimental folk project called Troll Dolly.
Yakamovich has a progressive vision impairment called retinitis pigmentosa. She holds a Master’s degree in Environmental Studies from Dalhousie University.
https://jenyakamovich.format.com/
https://trolldolly.bandcamp.com/album/heavens-mini-mart-3
-Roxanne Nesbitt is a designer, composer, and sound artist. Following formal studies in classical double bass and architecture, Roxanne works between the fields of music and design. Her research explores radical instrument design, the meeting place of composition and improvisation, sculptural ceramics and participatory sound installation. Roxanne collaborates with instrument designers, musicians, composers, and choreographers to create work.
Her music has been played across Europe and North America including performances at Gaudeamus Muziekweek in Utrecht, November Music in Den Bosch, Bauchhund in Berlin, Western Front in Vancouver, and the Center for New Music in San Francisco. She celebrates process making work that is intimate, inquisitive, and exploratory.
https://www.instagram.com/roxannenesbitt/
https://roxannenesbitt.com/ -
An Elephant called Murdoch: the thread about the travails of Edinburgh’s first Zoo
This thread was originally written and published in February 2024.
It’s almost exactly a year since I tweeted about the intriguing map labels on the 1849 Ordnance Survey Town Plan of Edinburgh, and I’ve been meaning to write up more about them ever since. And so here we are, this is a thread about the (first) Edinburgh Zoological Gardens, the city’s (and Scotland’s) first zoo, which existed from 1840 to 1861. It’s a story about which almost nothing has been written (except in scraps of Victorian newspaper)… Until now that is! So read on and find out more about this pioneering but ultimately unsuccessful venture.
Intriguing labels on the 1849 OS Town Plan of Edinburgh. Reproduced with the permission of the National Library of ScotlandJames IV of Scotland had built a menagerie at Holyrood in 1512 where lions, tigers are lynx reputed to have been kept. James V had an ape and James VI a camel. But it was not until the London Zoo began in 1828 that desire for a public collection in the city began to grow. The two driving figures behind a Zoo for the city were Dr Patrick Neill of Canonmills, a naturalist and botanist with a huge personal botanic garden, and Mr John Douglas, a wire-worker at 61 Princes Street and “experienced collector of foreign and British birds and quadripeds“. Travelling menageries were nothing new, they were big entertainment business in Victorian Britain – we see one here on the Mound around 1840 (we can date it from what’s on at the Panorama, a display of Jerusalem to be followed by the Battle of Waterloo in coming weeks), which is Wombwell’s Menagerie. The elephants were always a big draw and we can see one here, serving as a mobile advertising board.
Princes Street from the Mound, Edinburgh. Charles Halkerston, 1843. Museums & Galleries Edinburgh via ArtUKBut the city saw itself as having a status above that of a mere travelling circus and so something more highbrow than a menagerie was desired. Something like London had at Regents Park, with lofty, scientific ideals. So rather than form a private company to pursue the scheme, a committee of learned and interested men in the city was formed under “the control and superintendence of gentlemen in whom the public could safely confide“. The committee appointed the Duke of Buccleuch as its president and the Marquis of Lothian and Earl of Roseberry as his deputies; three of the wealthiest and most influential noblemen in the county if not the country. With this backing, John Douglas got to work.
A View in the (London) Zoological Gardens about the year 1838. Tate Gallery, S.270-199In September 1838, he began soliciting donations of animals to form the core of the new zoological collection. James Boswell bt. sent a red deer; Mr Scales of Swanston Cottage sent a buffalo; Dr Gardner in Lothian Street gave a green monkey; others supplied a Grivet and a Ring-tailed Lemur. Six Spanish partridges were sent from Ipswich by a Mr Cobbold (more on him later); J. S. Lyon esq. of Kirkmichael provided a Golden Eagle; the Misses Gibson-Craig a Macaw; a “tortoise from the plains of Troy” came from J. B. Knight esq. of Brabdon Street and Captain Turner of the Leith Smack sent a “curious variety” of gannet (perhaps this was the closely related booby, as the 3 species of gannet all look fairly similar).
The Edinburgh Zoological Garden green monkey, a plate from “The Naturalist’s Library ” by Sir William Jardine Bt.Douglas appears to have accommodated this varied and growing collection at his premises at 61 Princes Street. On October 13th 1838 he issued a prospectus for the Edinburgh Zoological Gardens, placing himself as manager of it, and began soliciting financial donors and subscribers to the scheme. The Scotsman said of the scheme that “the higher classes would hail it as a fertile and most interesting source of amusement and recreation… Every citizen who has the good of the city at heart ought cordially to help forward the establishment of so beneficial an institution.“
Advert for prospectus issued by Douglas. Caledonian Mercury, October 1838For the rest of the year, more animals continued to arrive. In December, a pair of Egyptian geese from R. J. Pringle esq. of Clifton, a raccoon from Dr Munro of the famous Leith steamship Sirius, a “Prehensile-tail” (i.e. Spider) monkey from Mr Murray at the Observer Office; Russian rabbits, a deer…
The Edinburgh Zoological Garden spider monkey. A plate from “The Naturalist’s Library ” by Sir William Jardine Bt.But money was also needed; in January 1839, the Duke of Buccleuch as President of the Committee made it publicly known he had contributed 50 Guineas, in an effort to try and solicit further donations. To keep interest in the scheme up, and pay for its upkeep, the collection of some 200 animals was put on display by the Panorama on the Mound. At a general meeting held on May 6th at the Royal Hotel, chaired by the Lord Provost, it was noted that £924 1s had been donated so far, £83 3/3d taken on the gate at the Mound and running costs were £1 a day. There was as yet no site agreed and Dr Neill of Canonmills was one of the many ordinary directors elected.
30th March 1839, Scotsman, advert for the MenagerieThe Committee had a problem however over where to locate the collection and agreed to petition the Council to extend its stay on the Mound while they tried to find a permanent home; all the temporary structures on its western edge were due to be cleared in an agreement with the “Board of Trustees for Encouraging Manufactures and Arts“, proprietors of the Royal Institution (now the Royal Scottish Academy building of the National Galleries of Scotland). But the Board of Trustees was having none of it; they were having the Mound back and the Panorama and the animals had to go. You see, there’s nothing new under the sun in Edinburgh and the age-old argument between use of the city centre for highbrow vs. lowbrow culture and temporary vs. permanent city centre structures was going on even 185 years ago.
“Royal Institution, or School of Arts, Edinburgh”, engraving of Thomas Hosmer Shepherd illustration of 1829 © Edinburgh City LibrariesMessrs. Cleghorn, the proprietors of East Princes Street gardens (whose planting had been carried out by Dr Neill of Canonmills) tried to entice the Zoo to settle there, but there was no rights to erect any structures there apart from a Church, monument or public building. Cleghorn was chancing his arm; he was in trouble. His erection of a dwelling house and greenhouses in the gardens, on which he had a lease, was contrary to the Act of Parliament but had been overlooked. But he had now begun erecting a warehouse and the proprietors of Princes Street, from whom he leased the ground, finally took action. He was facing financial ruin. It was as well the Zoo ignored his overtures as just a few years later the railway cutting through the Gardens would have obliged it to move anyway.
On January 18th 1840, the Scotsman announced that the Zoo had found a permanent home; it had taken out the lease on the grounds of Broughton Park, home of the late Sir James Donaldson (he of Donaldson Hospital). Its location, between Edinburgh and Leith, was perfect. It was located between what is now East Claremont Street, Bellevue Road and West Annandale Street.
Broughton Park on Kirkwood’s Town Plan of 1817. Reproduced with the permission of the National Library of ScotlandIn February 1840 the Edinburgh Journal of Natural History published an inventory of the principal animals in the collection then:
“The Edinburgh journal of natural history, and of the physical sciences” February 1840Work now proceeded quickly at Broughton Park. By March, the Caledonian Mercury described it was substantially complete. It described a park, entered by a gateway with refreshment rooms, a bear pit 18ft deep and 26ft across, with a pole in the middle where the bears were enticed to climb for food and the amusement of the crowds.
Detail of the Regent’s Park print, showing the bear pit and pole with a top-hatted man offering it food from a stickThere was a large aviary in the centre, a house for “rare and more delicate class of birds”, one for the carnivores and one for bears. These are the labels we can see these on that 1849 town plan. There were also stalls and paddocks for animals like deer, a pond for waterfowl and various other cages around the walls.
OS 1849 Town plan of the Edinburgh Zoological Gardens. Reproduced with the permission of the National Library of ScotlandMore animals arrived – Bengal tigers, a polar bear, a spotted hyena – as did more money from the Duke of Buccleuch. In April a prized exhibit arrived; the skeleton of a Blue Whale which had been found floating in the Forth and brought ashore by North Berwick fishermen back in October 1831. It had been dissected in situ by Dr. Knox (he of Burke & Hare infamy) who had presented its cleaned skeleton to the city.
The Edinburgh blue whale, engraving in “The Natural History of the Ordinary Cetacea Or Whales” by Robert Hamilton, 1837By June 1840, things were almost ready and so Mr Douglas headed to London to spend the last of his funds on acquiring more animals; a lioness; a dromedary; a llama (the only one in the country); two Norwegian wolves; a brown bear; three peccaries from South America, a jaguar from Surinam; two spotted deer from the banks of the Ganges; a civet, a raccoon etc. These were sent back to Edinburgh on the steamship Royal Adelaide. With this final expense, the project had now run out of money and was finished only on loans and the goodwill of its directors. But it had made it! On July 7th 1840 there was a “Grand Opening Parade” with the band of the 78th (Ross-shire Buffs) Highlanders providing the music.
Newspaper Advert from July 1840 announcing the opening of the Gardens.The 78th brought their mascot, a young elephant they had acquired on campaign in Ceylon on account of their regimental badge featuring an elephant. This was Murdoch and he had been living in Edinburgh Castle with the soldiers. It had rained all morning and the previous day, but the sun came out at 1PM for opening and “the [Zoo] entrance was literally besieged with an eager and fashionable assemblage“. Just arrived for the occasion was a Nile crocodile, a pair of swans from the Provost of Linlithgow and a king vulture (a type of condor). The day (and the Zoo) was a smash-hit success, with 6,000 people attending the opening. The below image is the only one I know of that shows it; looking across the waterfowl pond towards the animal houses and aviary. We see Murdoch the elephant and Broughton Park house in the left distance.
The only known illustration of the Edinburgh Zoological Garden, an engraving reproduced in “The Story of Edinburgh Zoo” by T. H. GillespieThroughout the summer, there were weekly promenade concerts with the bands of the 78th, or the 2nd Dragoon Guards or the 29th (Worcestershire) Regiment providing the accompaniment. This mixture of popular entertainment and zoology was a common feature of Zoos at that time, despite their ambitions to be more than just menageries. The last prom of the season was 3rd October. At a delayed AGM on March 25th 1841, the outgoings to date were recorded as £3,358 and the total income was £3,309, meaning a slight running loss. But as this had included the entire startup costs, the Directors were encouraged. To Mr Douglas, to whom “not only this city but the whole of Scotland were so deeply indebted” a £400 award was made to cover his costs to date. He was voted an £80 salary, plus 4% of gross gate takings plus one “free day” a year to organise an event and keep the whole profits.
“Popular Gardens – Tom, Jerry and Logic laughing at the bustle and alarm occasioned amongst the Visitors by the escape of a Kangaroo. “, print satirising London Zoo by Robert Cruickshank, 1830. V&A S.1677-2014In May the next year, the Directors announced the first prom of the season and the rates for next years subscriptions. These ranged from £21 to give the subscriber and seven family members perpetual admission to a donation of £10 10/- and subscription of £1 1/- to give them and six members access so long as they subscribed down to a £1 1/- subscription for the year for them and two family members. John Douglas chose to hold his annual “free day” benefit on July 3rd and arranged for a spectacular fireworks concert, however the weather was terrible and it was rained off; he had to refund disgruntled customers and it’s not clear whether he was allowed to hold another. I suspect he wasn’t, on 6th December 1841, he was sacked by the Directors, accused of mismanagement. He had tried to get them to let him take the Zoo over in its entirety and so perhaps this had triggered the fall out. The secretary, Mr Cobbold, was made honourary manager in his place. Douglas didn’t go quietly – he would turn up at the next AGM with his supporters to try and get it minuted in the annual report that he was not let go for mismanagement. He took out newspaper adverts to this effect and put on “evening entertainments” to explain how much personal effort and money he had put into the project and put his case to the public. When a rival Zoo was started in Glasgow two years later, who should they hire as General Manager but John Douglas!
In April 1842 we get an example of the difficulty early zoos had in caring for their charges, particularly big predators. One of the tigers got an ingrown claw which got infected and she was going lame. They tried, and failed, to cut the claw, so ended up devising an iron hook to pull it out from a very safe distance, using the enraged animal’s own strength to wrench it free. Dr Knox, who had provided the whale skeleton, recalled he had treated one of the lions that had an abscess in its paw by having a very long, sharp prod made and lancing it through the bars at the opportune moment. The AGM that year noted a surplus for the year of £152, but requested more public support. At this time the 78th Highlanders, late of the Castle garrison, were leaving from service in Ireland for India and they offered their mascot to the Zoo. He was readily accepted and arrived by train from Glasgow on March 24th, the directors of the railway waiving the transport costs. And so it was that Murdoch the elephant came to call the Zoo home. He would occasionally be used to carry advertising posters and leaflets into town to drum up business.
Murdoch the elephant, from a Will’s cigarette card.New acquisitions that year included a sun bear sent from Dr. Montgomery of Singapore; a pair of Egyptian geese from Lord Lurgan; three Indian monkeys from D. J. Grant esq. of Eastfield; six puffins by Miss Dalyell of Binns; a tortoise from Mr Ball of Falkirk and another from Mr Goodsir. The directors purchased a 6-banded Armadillo. But not all was well; at a public dinner of thanks for the honorary manager, Mr Cobbold, it was noted in the speeches that £1,000 of debts were outstanding and that the directors would have to cover these.
German engraving of a 6-banded armadilloThe AGM the following year, 1843, was reported in great detail in the papers. £21 8/6d had been subscribed for an elephant house; £12 10/6d had been made selling manure; £267 13/1d went on wages and £80 8/5d was spent on hiring the bands. The annual surplus was now a healthy £618 17/2½d. In September, the Leopard had three cubs (it was noted she had two cubs 2 years previously) but in October the Illustrated London News reported that a pair of Napu musk deer from Java had died during the passage of the tea clipper Monarch from Hong Kong to Leith. New Years Day events were always big business for the Zoo, when it offered half price admission. In 1844, 15,000 people passed through the gates that day. At the 1844 AGM a £100 operating surplus was declared and the collection now extended to 500 animals and as many birds. But subscriptions were falling off, it was found people were sharing season tickets and by now a total of £1,600 in loans had been taken out to cover various running costs. This growing debt would be an unshakeable millstone around the neck of the institution. But the year ended on a high with Lord Aberdeen letting the Lord Provost of Edinburgh, Adam Black, know that Queen Victoria had agreed to extend royal patronage; thus the institution became the Royal Edinburgh Zoological Garden.
In March 1845, at a sale of animals from the circus of American showman Isaac A. Van Amburgh in Manchester, Mr Cobbold purchased a male lion cub for £10 10/- for the Zoo. It would be named Wallace.
Isaac van Amburgh (1808–1865) by T. C. Wilson 1838 in National Portrait Gallery, London.In 1847 one of the oddest exhibits arrived; several swarms of Egyptian locusts had blown over from the Sahara and were found in Perthsire. One was captured, kept alive, and put on exhibit at the Zoo. The German travel writer Johann Georg Kohl visited the Zoo in 1849. He wrote it had the “largest, strongest and finest American bison” anywhere in Great Britain, and that it was kept with a “courageous but comparatively powerless” goat that butted it fearlessly and relentlessly. In 1852 the Russian brown bear gave birth to three cubs. In 1854 the directors complained of “the indifference of their fellow-citizens and the small number of shillings and sixpences that find their way into the park“.
But donations still came in; the Marquis of Dalhousie, who had been Governor-General in India, sent it two more Bengal tigers. One wonders if these repeated donations of big cats were just to cover those that had died in the Zoo’s primitive and restrictive veterinary conditions. In August 1855 a second elephant arrived, a gift from the 25th Light Dragoons, whose regimental colours had the animal at their centre. Sadly in January the following year, Murdoch died after a very short illness. But once again, all was not well at the Zoo. In July that year an advert in the Scottish Press paper had noted new management; this I think was a man called Mr Carroll, a showman and fireworks organiser. Increasingly the Zoo was used as a leisure and concert ground to try and find a way, any way, to make it profitable. The newspapers are now stuffed with adverts for fireworks concerts at the Gardens. The animals do not ever seem to be mentioned. These changes culminated in December 1857 with the opening of a very large wooden concert hall in the grounds, the “Victoria Hall“, where all kinds of entertainment, exhibitions and variety were put on.
Advert for the Victoria Hall, 28th December 1857The Victoria Hall was a financial disaster; its construction costs of £2,200 were more than 10 years of the Gardens profits; profits already required to service the existing debt. In December 1858 the park was sold to John Jennison Junior of the Belle Vue Gardens in Manchester. But Jennison couldn’t make the place pay either. In October 1861, the Town Council found out that he had put the whale skeleton – their whale skeleton – up for sale and resolved to recover it. It was sent to the Museum in Chambers Street, where it hung until 2011, a childhood favourite of myself and countless others.
Official guidebook for the Manchester Belle Vue GardensEven though military music concerts were still running at the Zoo on October 12th 1861, just a week later it was announced all the movable property had been auctioned off. The £2,200, four year old Victoria Hall fetched only £500 and was broken down on site. On November 1st, the Governors of Donaldson’s Hospital (who still owned the superiority to Broughton Park) let it be known that the lease would not be renewed when it came to expire that year and advertised the ground for feuing (breaking up into plots for development). Bits of the collection were found new homes. The eagles went to Canaan Lodge in Morningside, where John Gregory, an advocate, had a large aviary in his garden. I believe the toe bones of the late Murdoch the elephant can still be found in one of the museums in Edinburgh Castle.
1849 OS Town Plan showing Canaan Lodge, and the aviary and eagle cage in the garden. Reproduced with the permission of the National Library of ScotlandBut most of the animals wound end their days in the travelling menagerie of Mr Edmond, who had inherited Wombwell’s Menagerie that had toured Edinburgh back in the 1840s. Edmond bought them in Edinburgh in June 1862 when his tour left the city, taking them with him. Ultimately the Zoo could not be made to pay either its way or its debts. As it got ever more commercialised it descended into a “meager menagerie“, with the animals a backdrop to ever more desperate and cynical attempts to make money. The relentless fireworks concerts must have been awful for the inmates. It wouldn’t be until 1913 that the City would get a proper Zoo, one run on a scientific basis.
The gates to Edinburgh Zoo in 1914, Francis Caird Inglis photograph. © Edinburgh City LibrariesNote to readers: unfortunately in April 2026, a third-party plug-in more than exceeded its authority and broke many of the image links on this site. No images were lost but I will have to restore them page-by-page, which may take some time. In the meantime please bear with me while I go about rectifying this issue.
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#Lochend #Logan #Restalrig #StMargaret -
By 2025, Alberta Justice Minister Mickey Amery continues a dubious conservative trend: joining an infamous group of conservative Justice Ministers who cannot seem to stay out of controversy. From Jonathan Denis, Doug Schweitzer, Kaycee Madu, and Tyler Shandro, Amery’s contribution to this legacy is no less serious.
But, as Netizens review this situation, I suggest the important point is that Justice Minister Amery was already aware of his own potential for conflict long before the Wrongful Dismissal claim of Mentzelopoulos. Throughout it all, Amery knows he still has the same Brother-in-Law. And I’m sure there will be questions about whether the UCP cabinet, and Premier Smith were aware of this detail. Yet, when we set that all aside, what we still have is an attempt to slow or control the flow of information to the public. And, if that’s the case, can Albertans expect a fulsome investigations by Auditor General Wylie or former Honourable Justice Raymond Wyant?
From “Ousted Alberta MLA says premier knew about AHS problems”, by Michael Franklin, a few additional details emerge from the Wrongful Dismissal claim of Mentzelopoulos. Particularly:
>He also indicated concerns with Justice Minister Mickey Amery’s relationship with MHCare CEO Sam Mraiche and the business owner’s connection to former Edmonton police chief Dale McFee, who is now a deputy minister of the executive council.
From “Alberta Justice Minister has personal relationship with man whose businesses are tied to AHS investigation”, by Carrie Tait, Albertans learn that
>Mr. Amery told The Globe and Mail that he and Mr. Mraiche have been friends for “a very long time.” He confirmed they are related and, when pressed for details, said he and Mr. Mraiche are “loosely related” through marriage.
The article goes on
>Andrew Flavelle Martin, an assistant professor at Dalhousie University’s Schulich School of Law, said Mr. Amery should take steps to formally distance himself from the government’s handling of Ms. Mentzelopoulos’s lawsuit.
>
>“The question I‘d be concerned about is: How involved is he in directing the litigation around the wrongful dismissal given that his friend is involved in one of the contracts?” said Prof. Martin, whose research focuses on legal ethics for government lawyers and Attorneys General. “The optics are not good.”
Again, Danielle Smith and the UCP have not addressed the allegations of corruption that emerged from the Corrupt Care scandal. We’ve heard from Amery himself that he believes he’s onside the Conflicts and Interest Act. We’ve also heard UCP House Leader Joseph Schow saying “‘Putting your name on a ballot and getting elected to this wonderful chamber does not preclude you from having friends and relatives,’ he said.”
We’re not talking about having friends - and Amery knows the difference between the written words of legislation, AND their rationale. As the Minister of Justice, Amery should be aware of not just the need to comply with the law, but the appearance of compliance. Albertans have to grapple with the idea that former Infrastructure Minister Peter Guthrie understood the assignment when he took his job, and the Justice Minister did not.
#CompassionateCareAct #InvoluntaryTreatment #ForcedTreatment #CorruptCare #HealthCare #Corruption #Alberta #AlbertaSeparation
#EthicalFading
#comment
- #AbLeg #AbPoli #CdnPoli 122
https://www.ctvnews.ca/calgary/article/ousted-alberta-mla-says-premier-knew-about-ahs-problems/
https://www.theglobeandmail.com/canada/alberta/article-alberta-justice-minister-has-personal-relationship-with-man-whose/
https://archive.ph/Y4wJr -
Mardi Spaghetti: Camila Nebbia trio + Eduardo Cossio + Yakamovich/Nesbitt
Casa Del Popolo, Tuesday, October 7 at 07:30 PM EDT
Festival FLUX
Mardi Spaghetti, Small Scale Music, Québec musiques parallèles, Arts aux Marges, Innovations en concert et le Réseau canadien pour les musiques nouvelles présentent:La jeune musicienne d’origine argentine est une saxophoniste incontournable de notre temps. Entre Berlin et New York, elle fréquente les plus grands improvisateurs et se démarque par une virtuosité vertigineuse, une énergie brute et une invention mélodique intarissable. Un concert rencontre avec deux improvisateurs exceptionnels : le bassiste Pablo Jiménez et le multi-instrumentiste Antoine Létourneau-Berger. Deux performances improvisées en solo et en duo précéderont la performance du trio
Camila Nebbia (Buenos Aires/Berlin/New York): saxophone ténor
Pablo Jiménez: contrebasse
Antoine Létourneau-Berger (Rimouski): percussions, claviers, électroniques
+
Eduardo Cossio (Perth/Boorloo): cithares préparées et électronique
+
Jen Yakamovich (Vancouver): batterie
Roxanne Nesbitt: instruments en céramique7 Octobre
Casa del Popolo
19h30: Portes / Doors
20h00: Concert / Show
10$ en avance / in advance
15$-20$ suggéré à la porte / at the door (NOTAFLOF)La présence de Camila Nebbia est possible grâce au soutien du Geothe Institute.
Bios:
Camila Nebbia, originaire de Buenos Aires et installée à Berlin, est saxophoniste, compositrice, improvisatrice, artiste visuelle et commissaire d'exposition. Décrite par le magazine Jazz PT comme « une saxophoniste essentielle de notre époque ». L'artiste pluridisciplinaire fonde sa pratique sur la création et la destruction de la mémoire archivistique, explorant les concepts d'identité, de migration et de mémoire à travers son travail. Son dernier album solo - « una ofrenda a la ausencia » (une offrande à l'absence) sur Relative Pitch Records - a été décrit par le NYC Jazz Record comme un « album intrinsèquement humain et personnel, qui surprend les auditeurs par son approche passionnée du jazz ».https://www.camilanebbia.com/
https://www.instagram.com/lamujerparecidaami
https://camilanebbia.bandcamp.comPablo Jiménez est contrebassiste et compositeur né à Bogota et établi à Montréal. Utilisant l'improvisation comme moteur créatif profond, son travail cherche à établir un langage musical rigoureux basé sur le mouvement. Il collabore souvent avec des ensembles et des musiciens de la scène des musiques actuelles et contemporaines au Québec et au Canada, dont l'Ensemble SuperMusique, Malcolm Goldstein, Lori Freedman et Scott Thomson. Il s'est produit et a participé à des festivals tels que le Festival International de Musique Actuelle de Victoriaville, Suoni per il Popolo, et les Darmstädter Ferienkurse, où il a étudié avec Anthony Braxton et interprété sa musique.
https://tourdebras.bandcamp.com/album/objeto
Antoine Létourneau-Berger est un compositeur multi-instrumentiste originaire du Bas-Saint-Laurent. Percussionniste classique de formation, il poursuit ses études en composition de musique de film et développe un intérêt marqué pour la production sonore. Il porte selon l'occasion les chapeaux de réalisateur d'album, compositeur, concepteur et mixeur sonore autant que celui de musicien professionnel et improvisateur. Antoine est un touche à tout qui est aussi à l'aise avec les musiques expérimentales d'avant-garde que la chanson folk, le rock, le jazz ou encore les musiques électroniques. Il fait notamment partie des formations Talfast, Equse, Bascaille, Manta et GGRIL, en plus d'avoir produit 6 albums solo sous le nom de L'Oeil et le Monocle. De retour à Rimouski depuis 2014, il compose régulièrement pour le théâtre, le cinéma, la télévision, le cirque et la radio.
https://loeiletlemonocle.bandcamp.com/
-Eduardo Cossio (né en 1982) est un musicien et artiste visuel péruvien-australien basé à Boorloo (Perth, Australie occidentale). Sa musique s'inspire de la composition électroacoustique et expérimentale, et il se produit généralement avec des cithares, des harmonicas et des instruments électroniques. Eduardo s'est produit dans toute l'Australie, en Europe et à Taïwan. Il a collaboré étroitement avec Annette Krebs, Axel Dörner, Sabine Vogel, Alice Hui Shen Chang et Jim Denley. Il est également un organisateur prolifique, animateur de radio et écrivain. Son travail en art visuel a fait l'objet de trois expositions individuelles.
https://www.eduardocossio.com/
https://www.instagram.com/eduardo__cossio/
https://tonelist.bandcamp.com/album/citadels
-Jen Yakamovich est une batteuse et improvisatrice basée à Vancouver qui travaille dans plusieurs disciplines en tant qu'interprète, compositrice, chercheuse et éducatrice. Elle considère sa relation avec la batterie, un système de sons et de parties interdépendantes, comme une exploration des relations entre son propre système interne et des réseaux socio-écologiques plus larges. Son approche de l'improvisation et de la composition spontanée trouve ses racines dans le Creative Music Workshop de Halifax, en Nouvelle-Écosse, où Yakamovich a grandi. De 2024 à 2025, Yakamovich a étudié avec la percussionniste, compositrice et preneuse de son Susie Ibarra (New York/Berlin).
Au cours de l'année écoulée, Yakamovich a travaillé avec le programme DAAD Artists-in-Berlin / bauhaus Campus Stadt Nature, Now Society's 8east, Vancouver Coastal Jazz, Active Passive Performance Society, The Only Animal et grunt gallery. Elle a récemment contribué à des projets avec le percussionniste Adrian Avendaño (Vancouver), les artistes Roxanne Nesbitt et Ben Brown (Montréal), le guitariste Sam Wilson (Halifax), l'artiste psychédélique persan Niloo (Victoria), le groupe d'art rock Heaven For Real (Montréal), le producteur Miguel Maravilla (Vancouver), les improvisateurs Mustafa Rafiq (Edmonton) et Jairus Sharif (Calgary) pour Active Passive, et le groupe folk balkanique Fetele Din Balkani (Vancouver). Elle se produit régulièrement avec l'artiste pop expérimental Wallgrin (Vancouver) et a récemment formé le duo d'improvisation Notice Flower avec la pianiste Bahar Khazei. Elle mène également un projet folk expérimental en solo intitulé Troll Dolly.
Yakamovich souffre d'une dégénérescence visuelle progressive appelée rétinite pigmentaire. Elle est titulaire d'une maîtrise en études environnementales de l'université Dalhousie.
https://jenyakamovich.format.com/
https://trolldolly.bandcamp.com/album/heavens-mini-mart-3
-Roxanne Nesbitt est designer, compositrice et artiste sonore. Après des études en contrebasse classique et en architecture, Roxanne travaille entre les domaines de la musique et du design. Ses recherches explorent la conception d'instruments, le point de rencontre entre la composition et l'improvisation, la céramique sculpturale et les installations sonores participatives. Roxanne collabore avec des concepteur.ice.s d'instruments, des musicien.ne.s, des compositeur.ice.s et des chorégraphes pour créer ses œuvres.
Sa musique a été jouée à travers l'Europe et l'Amérique du Nord, notamment lors de performances au Gaudeamus Muziekweek à Utrecht, au November Music à Den Bosch, au Bauchhund à Berlin, au Western Front à Vancouver et au Center for New Music à San Francisco. Son processus de création célèbre l’intimité, la curiosité et l’exploration.
https://www.instagram.com/roxannenesbitt/
https://roxannenesbitt.com/
-
(ENG)Camila Nebbia from Buenos Aires, based in Berlin, is a saxophone player, composer, improviser, visual artist and curator. Described by Jazz PT magazine as “an essential saxophonist of our time”. The multidisciplinary artist layers her practice through the creation and destruction of archival memory, exploring the concepts of identity, migration, and memory. Her work includes improvised and composed music, film creation, and audiovisual performances, forming a constellation of interconnected practices. Her most recent solo album –'una ofrenda a la ausencia' (an offering to absence) with Relative Pitch Records– was described by the NYC Jazz Record as an 'innately human and personal album, surprising listeners with a passionate approach to jazz'.
https://www.camilanebbia.com/
https://www.instagram.com/lamujerparecidaami
https://camilanebbia.bandcamp.comPablo Jiménez is a double bassist and composer born in Bogota and based in Montreal. Using improvisation as a profound creative force, his work seeks to establish a rigorous musical language based on movement. He often collaborates with ensembles and musicians from the contemporary music scene in Quebec and Canada, including Ensemble SuperMusique, Malcolm Goldstein, Lori Freedman, and Scott Thomson. He has performed and participated in festivals such as the Festival International de Musique Actuelle de Victoriaville, Suoni per il Popolo, and the Darmstädter Ferienkurse, where he studied with Anthony Braxton and performed his music.
https://tourdebras.bandcamp.com/album/objetoAntoine Létourneau-Berger is a multi-instrumentalist composer from the Bas-Saint-Laurent region. Trained as a classical percussionist, he continued his studies in film music composition and developed a keen interest in sound production. Depending on the occasion, he wears the hats of album producer, composer, sound designer, and mixer, as well as professional musician and improviser. Antoine is a jack of all trades who is equally comfortable with avant-garde experimental music, folk, rock, jazz, and electronic music. He is a member of the bands Talfast, Equse, Bascaille, Manta, and GGRIL, and has produced six solo albums under the name L'Oeil et le Monocle. Back in Rimouski since 2014, he regularly composes for theater, film, television, circus, and radio.
https://loeiletlemonocle.bandcamp.com/
-Eduardo Cossio (b.1982) is a Peruvian-Australian musician and visual artist based in
Boorloo (Perth, Western Australia). His music draws from electro-acoustic and
experimental composition, usually performing with zithers, harmonica and electronics.
Eduardo has performed widely across Australia, Europe, and Taiwan. He has collaborated
closely with Annette Krebs, Axel Dörner, Sabine Vogel, Alice Hui Shen Chang, and Jim
Denley. He is also prolific organiser, radio broadcaster, and writer. His visual art has been
the subject of three solo exhibitions.
https://www.eduardocossio.com/
https://www.instagram.com/eduardo__cossio/
https://tonelist.bandcamp.com/album/citadels
-Jen Yakamovich is a Vancouver-based drummer and improviser who works across disciplines as a performer, composer, researcher, and educator. She sees her relationship with the drum set—a system of interrelating sounds and parts— as an inquiry into relationships with both her own internal system and wider socioecological webs. Her approach to improvisation and spontaneous composition is rooted in the Creative Music Workshop in Halifax, NS, where Yakamovich grew up. From 2024-2025 Yakamovich studied with drummer, composer & field recordist Susie Ibarra (New York/Berlin).
Over the past year Yakamovich has worked with the DAAD Artists-in-Berlin / bauhaus Campus Stadt Nature program, Now Society’s 8east, Vancouver Coastal Jazz, Active Passive Performance Society, The Only Animal, and grunt gallery. She has recently contributed to projects with percussionist Adrian Avendaño (Vancouver), artists Roxanne Nesbitt & Ben Brown (Montréal), guitarist Sam Wilson (Halifax), Persian psych artist Niloo (Victoria), art rock group Heaven For Real (Montréal), producer Miguel Maravilla (Vancouver), improvisers Mustafa Rafiq (Edmonton) & Jairus Sharif (Calgary) for Active Passive, and Balkan folk group Fetele Din Balkani (Vancouver). She regularly performs with experimental pop artist Wallgrin (Vancouver), and recently formed the improvisation duo Notice Flower with pianist Bahar Khazei. She has a solo experimental folk project called Troll Dolly.
Yakamovich has a progressive vision impairment called retinitis pigmentosa. She holds a Master’s degree in Environmental Studies from Dalhousie University.
https://jenyakamovich.format.com/
https://trolldolly.bandcamp.com/album/heavens-mini-mart-3
-Roxanne Nesbitt is a designer, composer, and sound artist. Following formal studies in classical double bass and architecture, Roxanne works between the fields of music and design. Her research explores radical instrument design, the meeting place of composition and improvisation, sculptural ceramics and participatory sound installation. Roxanne collaborates with instrument designers, musicians, composers, and choreographers to create work.
Her music has been played across Europe and North America including performances at Gaudeamus Muziekweek in Utrecht, November Music in Den Bosch, Bauchhund in Berlin, Western Front in Vancouver, and the Center for New Music in San Francisco. She celebrates process making work that is intimate, inquisitive, and exploratory.
https://www.instagram.com/roxannenesbitt/
https://roxannenesbitt.com/ -
Mardi Spaghetti: Camila Nebbia trio + Eduardo Cossio + Yakamovich/Nesbitt
Casa Del Popolo, Tuesday, October 7 at 07:30 PM EDT
Festival FLUX
Mardi Spaghetti, Small Scale Music, Québec musiques parallèles, Arts aux Marges, Innovations en concert et le Réseau canadien pour les musiques nouvelles présentent:La jeune musicienne d’origine argentine est une saxophoniste incontournable de notre temps. Entre Berlin et New York, elle fréquente les plus grands improvisateurs et se démarque par une virtuosité vertigineuse, une énergie brute et une invention mélodique intarissable. Un concert rencontre avec deux improvisateurs exceptionnels : le bassiste Pablo Jiménez et le multi-instrumentiste Antoine Létourneau-Berger. Deux performances improvisées en solo et en duo précéderont la performance du trio
Camila Nebbia (Buenos Aires/Berlin/New York): saxophone ténor
Pablo Jiménez: contrebasse
Antoine Létourneau-Berger (Rimouski): percussions, claviers, électroniques
+
Eduardo Cossio (Perth/Boorloo): cithares préparées et électronique
+
Jen Yakamovich (Vancouver): batterie
Roxanne Nesbitt: instruments en céramique7 Octobre
Casa del Popolo
19h30: Portes / Doors
20h00: Concert / Show
10$ en avance / in advance
15$-20$ suggéré à la porte / at the door (NOTAFLOF)La présence de Camila Nebbia est possible grâce au soutien du Geothe Institute.
Bios:
Camila Nebbia, originaire de Buenos Aires et installée à Berlin, est saxophoniste, compositrice, improvisatrice, artiste visuelle et commissaire d'exposition. Décrite par le magazine Jazz PT comme « une saxophoniste essentielle de notre époque ». L'artiste pluridisciplinaire fonde sa pratique sur la création et la destruction de la mémoire archivistique, explorant les concepts d'identité, de migration et de mémoire à travers son travail. Son dernier album solo - « una ofrenda a la ausencia » (une offrande à l'absence) sur Relative Pitch Records - a été décrit par le NYC Jazz Record comme un « album intrinsèquement humain et personnel, qui surprend les auditeurs par son approche passionnée du jazz ».https://www.camilanebbia.com/
https://www.instagram.com/lamujerparecidaami
https://camilanebbia.bandcamp.comPablo Jiménez est contrebassiste et compositeur né à Bogota et établi à Montréal. Utilisant l'improvisation comme moteur créatif profond, son travail cherche à établir un langage musical rigoureux basé sur le mouvement. Il collabore souvent avec des ensembles et des musiciens de la scène des musiques actuelles et contemporaines au Québec et au Canada, dont l'Ensemble SuperMusique, Malcolm Goldstein, Lori Freedman et Scott Thomson. Il s'est produit et a participé à des festivals tels que le Festival International de Musique Actuelle de Victoriaville, Suoni per il Popolo, et les Darmstädter Ferienkurse, où il a étudié avec Anthony Braxton et interprété sa musique.
https://tourdebras.bandcamp.com/album/objeto
Antoine Létourneau-Berger est un compositeur multi-instrumentiste originaire du Bas-Saint-Laurent. Percussionniste classique de formation, il poursuit ses études en composition de musique de film et développe un intérêt marqué pour la production sonore. Il porte selon l'occasion les chapeaux de réalisateur d'album, compositeur, concepteur et mixeur sonore autant que celui de musicien professionnel et improvisateur. Antoine est un touche à tout qui est aussi à l'aise avec les musiques expérimentales d'avant-garde que la chanson folk, le rock, le jazz ou encore les musiques électroniques. Il fait notamment partie des formations Talfast, Equse, Bascaille, Manta et GGRIL, en plus d'avoir produit 6 albums solo sous le nom de L'Oeil et le Monocle. De retour à Rimouski depuis 2014, il compose régulièrement pour le théâtre, le cinéma, la télévision, le cirque et la radio.
https://loeiletlemonocle.bandcamp.com/
-Eduardo Cossio (né en 1982) est un musicien et artiste visuel péruvien-australien basé à Boorloo (Perth, Australie occidentale). Sa musique s'inspire de la composition électroacoustique et expérimentale, et il se produit généralement avec des cithares, des harmonicas et des instruments électroniques. Eduardo s'est produit dans toute l'Australie, en Europe et à Taïwan. Il a collaboré étroitement avec Annette Krebs, Axel Dörner, Sabine Vogel, Alice Hui Shen Chang et Jim Denley. Il est également un organisateur prolifique, animateur de radio et écrivain. Son travail en art visuel a fait l'objet de trois expositions individuelles.
https://www.eduardocossio.com/
https://www.instagram.com/eduardo__cossio/
https://tonelist.bandcamp.com/album/citadels
-Jen Yakamovich est une batteuse et improvisatrice basée à Vancouver qui travaille dans plusieurs disciplines en tant qu'interprète, compositrice, chercheuse et éducatrice. Elle considère sa relation avec la batterie, un système de sons et de parties interdépendantes, comme une exploration des relations entre son propre système interne et des réseaux socio-écologiques plus larges. Son approche de l'improvisation et de la composition spontanée trouve ses racines dans le Creative Music Workshop de Halifax, en Nouvelle-Écosse, où Yakamovich a grandi. De 2024 à 2025, Yakamovich a étudié avec la percussionniste, compositrice et preneuse de son Susie Ibarra (New York/Berlin).
Au cours de l'année écoulée, Yakamovich a travaillé avec le programme DAAD Artists-in-Berlin / bauhaus Campus Stadt Nature, Now Society's 8east, Vancouver Coastal Jazz, Active Passive Performance Society, The Only Animal et grunt gallery. Elle a récemment contribué à des projets avec le percussionniste Adrian Avendaño (Vancouver), les artistes Roxanne Nesbitt et Ben Brown (Montréal), le guitariste Sam Wilson (Halifax), l'artiste psychédélique persan Niloo (Victoria), le groupe d'art rock Heaven For Real (Montréal), le producteur Miguel Maravilla (Vancouver), les improvisateurs Mustafa Rafiq (Edmonton) et Jairus Sharif (Calgary) pour Active Passive, et le groupe folk balkanique Fetele Din Balkani (Vancouver). Elle se produit régulièrement avec l'artiste pop expérimental Wallgrin (Vancouver) et a récemment formé le duo d'improvisation Notice Flower avec la pianiste Bahar Khazei. Elle mène également un projet folk expérimental en solo intitulé Troll Dolly.
Yakamovich souffre d'une dégénérescence visuelle progressive appelée rétinite pigmentaire. Elle est titulaire d'une maîtrise en études environnementales de l'université Dalhousie.
https://jenyakamovich.format.com/
https://trolldolly.bandcamp.com/album/heavens-mini-mart-3
-Roxanne Nesbitt est designer, compositrice et artiste sonore. Après des études en contrebasse classique et en architecture, Roxanne travaille entre les domaines de la musique et du design. Ses recherches explorent la conception d'instruments, le point de rencontre entre la composition et l'improvisation, la céramique sculpturale et les installations sonores participatives. Roxanne collabore avec des concepteur.ice.s d'instruments, des musicien.ne.s, des compositeur.ice.s et des chorégraphes pour créer ses œuvres.
Sa musique a été jouée à travers l'Europe et l'Amérique du Nord, notamment lors de performances au Gaudeamus Muziekweek à Utrecht, au November Music à Den Bosch, au Bauchhund à Berlin, au Western Front à Vancouver et au Center for New Music à San Francisco. Son processus de création célèbre l’intimité, la curiosité et l’exploration.
https://www.instagram.com/roxannenesbitt/
https://roxannenesbitt.com/
-
(ENG)Camila Nebbia from Buenos Aires, based in Berlin, is a saxophone player, composer, improviser, visual artist and curator. Described by Jazz PT magazine as “an essential saxophonist of our time”. The multidisciplinary artist layers her practice through the creation and destruction of archival memory, exploring the concepts of identity, migration, and memory. Her work includes improvised and composed music, film creation, and audiovisual performances, forming a constellation of interconnected practices. Her most recent solo album –'una ofrenda a la ausencia' (an offering to absence) with Relative Pitch Records– was described by the NYC Jazz Record as an 'innately human and personal album, surprising listeners with a passionate approach to jazz'.
https://www.camilanebbia.com/
https://www.instagram.com/lamujerparecidaami
https://camilanebbia.bandcamp.comPablo Jiménez is a double bassist and composer born in Bogota and based in Montreal. Using improvisation as a profound creative force, his work seeks to establish a rigorous musical language based on movement. He often collaborates with ensembles and musicians from the contemporary music scene in Quebec and Canada, including Ensemble SuperMusique, Malcolm Goldstein, Lori Freedman, and Scott Thomson. He has performed and participated in festivals such as the Festival International de Musique Actuelle de Victoriaville, Suoni per il Popolo, and the Darmstädter Ferienkurse, where he studied with Anthony Braxton and performed his music.
https://tourdebras.bandcamp.com/album/objetoAntoine Létourneau-Berger is a multi-instrumentalist composer from the Bas-Saint-Laurent region. Trained as a classical percussionist, he continued his studies in film music composition and developed a keen interest in sound production. Depending on the occasion, he wears the hats of album producer, composer, sound designer, and mixer, as well as professional musician and improviser. Antoine is a jack of all trades who is equally comfortable with avant-garde experimental music, folk, rock, jazz, and electronic music. He is a member of the bands Talfast, Equse, Bascaille, Manta, and GGRIL, and has produced six solo albums under the name L'Oeil et le Monocle. Back in Rimouski since 2014, he regularly composes for theater, film, television, circus, and radio.
https://loeiletlemonocle.bandcamp.com/
-Eduardo Cossio (b.1982) is a Peruvian-Australian musician and visual artist based in
Boorloo (Perth, Western Australia). His music draws from electro-acoustic and
experimental composition, usually performing with zithers, harmonica and electronics.
Eduardo has performed widely across Australia, Europe, and Taiwan. He has collaborated
closely with Annette Krebs, Axel Dörner, Sabine Vogel, Alice Hui Shen Chang, and Jim
Denley. He is also prolific organiser, radio broadcaster, and writer. His visual art has been
the subject of three solo exhibitions.
https://www.eduardocossio.com/
https://www.instagram.com/eduardo__cossio/
https://tonelist.bandcamp.com/album/citadels
-Jen Yakamovich is a Vancouver-based drummer and improviser who works across disciplines as a performer, composer, researcher, and educator. She sees her relationship with the drum set—a system of interrelating sounds and parts— as an inquiry into relationships with both her own internal system and wider socioecological webs. Her approach to improvisation and spontaneous composition is rooted in the Creative Music Workshop in Halifax, NS, where Yakamovich grew up. From 2024-2025 Yakamovich studied with drummer, composer & field recordist Susie Ibarra (New York/Berlin).
Over the past year Yakamovich has worked with the DAAD Artists-in-Berlin / bauhaus Campus Stadt Nature program, Now Society’s 8east, Vancouver Coastal Jazz, Active Passive Performance Society, The Only Animal, and grunt gallery. She has recently contributed to projects with percussionist Adrian Avendaño (Vancouver), artists Roxanne Nesbitt & Ben Brown (Montréal), guitarist Sam Wilson (Halifax), Persian psych artist Niloo (Victoria), art rock group Heaven For Real (Montréal), producer Miguel Maravilla (Vancouver), improvisers Mustafa Rafiq (Edmonton) & Jairus Sharif (Calgary) for Active Passive, and Balkan folk group Fetele Din Balkani (Vancouver). She regularly performs with experimental pop artist Wallgrin (Vancouver), and recently formed the improvisation duo Notice Flower with pianist Bahar Khazei. She has a solo experimental folk project called Troll Dolly.
Yakamovich has a progressive vision impairment called retinitis pigmentosa. She holds a Master’s degree in Environmental Studies from Dalhousie University.
https://jenyakamovich.format.com/
https://trolldolly.bandcamp.com/album/heavens-mini-mart-3
-Roxanne Nesbitt is a designer, composer, and sound artist. Following formal studies in classical double bass and architecture, Roxanne works between the fields of music and design. Her research explores radical instrument design, the meeting place of composition and improvisation, sculptural ceramics and participatory sound installation. Roxanne collaborates with instrument designers, musicians, composers, and choreographers to create work.
Her music has been played across Europe and North America including performances at Gaudeamus Muziekweek in Utrecht, November Music in Den Bosch, Bauchhund in Berlin, Western Front in Vancouver, and the Center for New Music in San Francisco. She celebrates process making work that is intimate, inquisitive, and exploratory.
https://www.instagram.com/roxannenesbitt/
https://roxannenesbitt.com/ -
[…] If we are thirsty, we will squeeze the rock, and if we are hungry, we will eat the earth. We will not leave. Here we have a past, present, and future.
Zionist historians, such as Benny Morris, dismiss personal accounts of survivors and eyewitnesses, except for those who were #Holocaust survivors. In fact, Israel’s ethos is built on these accounts, albeit retrospectively. These accounts have been exploited to justify the genocide of the Palestinian people.
The #Tantura massacre, an event of the Nakba that Israelis are still unable to acknowledge, has been a subject of controversy in recent years. Documentaries exposing the horror of the massacre continue to be produced today. Here’s a story of a second-generation #Nakba survivor from her speech at the ceremony commemorating the ongoing Nakba on May 14th, Antin Square, Tel Aviv University (which stands on the lands of Sheikh Munis).
—————-
Ayoub, Muhsen, Dasouki, and Kanaanah. These are the names of my families, from different places in historical Palestine. In a parallel world, where the Nakba had not occurred, I would have grown up in Ajzam, my father's family's village, and I would spend every weekend at my grandfather's house, facing the coast in Tantura. I was supposed to be a daughter of the Carmel, and even though I am now a daughter of the Carmel and the coastal plain, it is much more complicated... I remember the age when I began to see the difference between my grandfathers. One would go to Ajzam, today Kerem Maharal. The other would walk down to the beach of Tantura every morning, and I would accompany both of them on their walks.
I don't know how to tell you this story. The most appropriate thing is to tell it to you as it is. My grandfather, Youssef, is a survivor of the Tantura massacre. He was six years old at the time of the massacre, when he saw his loved ones killed, and was forced to bury some of his family with his own hands. His entire family is buried under the ruins of the village. Today, this area has a parking lot for visitors to the beach, which has been given the name "Dor Beach."
My grandfather was not one of those who talked about and shared the story of their displacement. He was one of those who lived the tragedy in silence and pain. Until a certain age, I was unable to understand his insistence on visiting the beach every day. Until one day he said that he had one wish in life – to die on the beach of Tantura. My grandfather did not continue with his wish, and did not say that he wanted to be buried on the beach of Tantura, because he knew that a thick layer of asphalt separated him from his wish.
My grandfather on the other side, Hassan, was a farmer who loved his land. He taught us to love the land like him and to enjoy picking za'atar, hubeza, and everything that the good land gives us. He used to describe Ajzam as a paradise, where pure springs flow. Although he was displaced and lived in several places since that cursed day, in Ein Hod or in my current residence of Furaydis, the name Ajzam always remained on his lips. He would glorify it to such an extent that if one of his grandchildren showed intelligence or talent, my grandfather would say to him with great pride: "You are truly a Jazmawi."
Despite the different stories, both of my grandfathers felt the pain of losing land and saw their loved ones die before their eyes. Israel not only stole the land and the lives of those who lived on it, it also stole their dreams and wishes, it stole their lives. I want to go back and complete the story of my grandfather Youssef – the Tanturi. The story of my grandfather's life ended two years ago, but it accompanies me to this day. His wish that I told you about came true. On a day like any other, two years ago, my grandfather went for a walk on the beach of Tantura – and fate decided to fulfill his last wish. My grandfather died of a heart attack on the beach of Tantura, after he finished walking, breathed the air of Tantura, and was satisfied with the beauty of its landscapes.
My grandfather Youssef's story is indeed a sad story, but I, as his granddaughter, would not wish him any other fate. He was born in Tantura and returned to it. How can I wish something else for someone who was always singing about Tantura: "You filled my heart with your love. Wrap yourself in my eyelashes and sleep in peace. And like your land, I have not loved and to my blood it is equal." Both of my grandfathers continued to Furaydis, which was a safe haven for them. But my story does not end there.
Israel, in its criminal ways, has tried and is still trying to erase everything Palestinian. The war of extermination against our people in Gaza is still ongoing. Since its beginning, many stories have been added to the stories of the Nakba – more than 70,000 stories. From this platform, I want to promise my grandfather and our heroic people clinging to their homeland in Gaza that we will preserve your stories and tell them to preserve the memory. They will be the answer to any attempt to separate us from our people and from their right to return and liberation.
And because we are a proud, stubborn, and living people, I found in the stories of our family displacement the story of Palestine. My grandfather Youssef fulfilled his wish and died on the beach of Tantura as he wished. I found the spring of Ajzam and drank from its waters, and I met my neighbor from #Ajzam on the path of struggle. But the road is still long. The Palestinian students, and all our people who remained in their homeland, promise that we will continue on this path until the end – until liberation, return, and the Palestinian state. We are here to stay, and if you do not agree – drink the sea water. We will preserve the shade of the fig and olive tree and sow thoughts, like yeast in dough, with coolness and a burning heart. If we are thirsty, we will squeeze the rock, and if we are hungry, we will eat the earth. We will not leave. Here we have a past, present, and future.
Translated from Hebrew https://zoha.org.il/137557/
Tantura (2022) trailer
https://www.youtube.com/watch?v=HNtrUjUNkJw -
[…] If we are thirsty, we will squeeze the rock, and if we are hungry, we will eat the earth. We will not leave. Here we have a past, present, and future.
Zionist historians, such as Benny Morris, dismiss personal accounts of survivors and eyewitnesses, except for those who were #Holocaust survivors. In fact, Israel’s ethos is built on these accounts, albeit retrospectively. These accounts have been exploited to justify the genocide of the Palestinian people.
The #Tantura massacre, an event of the Nakba that Israelis are still unable to acknowledge, has been a subject of controversy in recent years. Documentaries exposing the horror of the massacre continue to be produced today. Here’s a story of a second-generation #Nakba survivor from her speech at the ceremony commemorating the ongoing Nakba on May 14th, Antin Square, Tel Aviv University (which stands on the lands of Sheikh Munis).
—————-
Ayoub, Muhsen, Dasouki, and Kanaanah. These are the names of my families, from different places in historical Palestine. In a parallel world, where the Nakba had not occurred, I would have grown up in Ajzam, my father's family's village, and I would spend every weekend at my grandfather's house, facing the coast in Tantura. I was supposed to be a daughter of the Carmel, and even though I am now a daughter of the Carmel and the coastal plain, it is much more complicated... I remember the age when I began to see the difference between my grandfathers. One would go to Ajzam, today Kerem Maharal. The other would walk down to the beach of Tantura every morning, and I would accompany both of them on their walks.
I don't know how to tell you this story. The most appropriate thing is to tell it to you as it is. My grandfather, Youssef, is a survivor of the Tantura massacre. He was six years old at the time of the massacre, when he saw his loved ones killed, and was forced to bury some of his family with his own hands. His entire family is buried under the ruins of the village. Today, this area has a parking lot for visitors to the beach, which has been given the name "Dor Beach."
My grandfather was not one of those who talked about and shared the story of their displacement. He was one of those who lived the tragedy in silence and pain. Until a certain age, I was unable to understand his insistence on visiting the beach every day. Until one day he said that he had one wish in life – to die on the beach of Tantura. My grandfather did not continue with his wish, and did not say that he wanted to be buried on the beach of Tantura, because he knew that a thick layer of asphalt separated him from his wish.
My grandfather on the other side, Hassan, was a farmer who loved his land. He taught us to love the land like him and to enjoy picking za'atar, hubeza, and everything that the good land gives us. He used to describe Ajzam as a paradise, where pure springs flow. Although he was displaced and lived in several places since that cursed day, in Ein Hod or in my current residence of Furaydis, the name Ajzam always remained on his lips. He would glorify it to such an extent that if one of his grandchildren showed intelligence or talent, my grandfather would say to him with great pride: "You are truly a Jazmawi."
Despite the different stories, both of my grandfathers felt the pain of losing land and saw their loved ones die before their eyes. Israel not only stole the land and the lives of those who lived on it, it also stole their dreams and wishes, it stole their lives. I want to go back and complete the story of my grandfather Youssef – the Tanturi. The story of my grandfather's life ended two years ago, but it accompanies me to this day. His wish that I told you about came true. On a day like any other, two years ago, my grandfather went for a walk on the beach of Tantura – and fate decided to fulfill his last wish. My grandfather died of a heart attack on the beach of Tantura, after he finished walking, breathed the air of Tantura, and was satisfied with the beauty of its landscapes.
My grandfather Youssef's story is indeed a sad story, but I, as his granddaughter, would not wish him any other fate. He was born in Tantura and returned to it. How can I wish something else for someone who was always singing about Tantura: "You filled my heart with your love. Wrap yourself in my eyelashes and sleep in peace. And like your land, I have not loved and to my blood it is equal." Both of my grandfathers continued to Furaydis, which was a safe haven for them. But my story does not end there.
Israel, in its criminal ways, has tried and is still trying to erase everything Palestinian. The war of extermination against our people in Gaza is still ongoing. Since its beginning, many stories have been added to the stories of the Nakba – more than 70,000 stories. From this platform, I want to promise my grandfather and our heroic people clinging to their homeland in Gaza that we will preserve your stories and tell them to preserve the memory. They will be the answer to any attempt to separate us from our people and from their right to return and liberation.
And because we are a proud, stubborn, and living people, I found in the stories of our family displacement the story of Palestine. My grandfather Youssef fulfilled his wish and died on the beach of Tantura as he wished. I found the spring of Ajzam and drank from its waters, and I met my neighbor from #Ajzam on the path of struggle. But the road is still long. The Palestinian students, and all our people who remained in their homeland, promise that we will continue on this path until the end – until liberation, return, and the Palestinian state. We are here to stay, and if you do not agree – drink the sea water. We will preserve the shade of the fig and olive tree and sow thoughts, like yeast in dough, with coolness and a burning heart. If we are thirsty, we will squeeze the rock, and if we are hungry, we will eat the earth. We will not leave. Here we have a past, present, and future.
Translated from Hebrew https://zoha.org.il/137557/
Tantura (2022) trailer
https://www.youtube.com/watch?v=HNtrUjUNkJw -
[…] If we are thirsty, we will squeeze the rock, and if we are hungry, we will eat the earth. We will not leave. Here we have a past, present, and future.
Zionist historians, such as Benny Morris, dismiss personal accounts of survivors and eyewitnesses, except for those who were #Holocaust survivors. In fact, Israel’s ethos is built on these accounts, albeit retrospectively. These accounts have been exploited to justify the genocide of the Palestinian people.
The #Tantura massacre, an event of the Nakba that Israelis are still unable to acknowledge, has been a subject of controversy in recent years. Documentaries exposing the horror of the massacre continue to be produced today. Here’s a story of a second-generation #Nakba survivor from her speech at the ceremony commemorating the ongoing Nakba on May 14th, Antin Square, Tel Aviv University (which stands on the lands of Sheikh Munis).
—————-
Ayoub, Muhsen, Dasouki, and Kanaanah. These are the names of my families, from different places in historical Palestine. In a parallel world, where the Nakba had not occurred, I would have grown up in Ajzam, my father's family's village, and I would spend every weekend at my grandfather's house, facing the coast in Tantura. I was supposed to be a daughter of the Carmel, and even though I am now a daughter of the Carmel and the coastal plain, it is much more complicated... I remember the age when I began to see the difference between my grandfathers. One would go to Ajzam, today Kerem Maharal. The other would walk down to the beach of Tantura every morning, and I would accompany both of them on their walks.
I don't know how to tell you this story. The most appropriate thing is to tell it to you as it is. My grandfather, Youssef, is a survivor of the Tantura massacre. He was six years old at the time of the massacre, when he saw his loved ones killed, and was forced to bury some of his family with his own hands. His entire family is buried under the ruins of the village. Today, this area has a parking lot for visitors to the beach, which has been given the name "Dor Beach."
My grandfather was not one of those who talked about and shared the story of their displacement. He was one of those who lived the tragedy in silence and pain. Until a certain age, I was unable to understand his insistence on visiting the beach every day. Until one day he said that he had one wish in life – to die on the beach of Tantura. My grandfather did not continue with his wish, and did not say that he wanted to be buried on the beach of Tantura, because he knew that a thick layer of asphalt separated him from his wish.
My grandfather on the other side, Hassan, was a farmer who loved his land. He taught us to love the land like him and to enjoy picking za'atar, hubeza, and everything that the good land gives us. He used to describe Ajzam as a paradise, where pure springs flow. Although he was displaced and lived in several places since that cursed day, in Ein Hod or in my current residence of Furaydis, the name Ajzam always remained on his lips. He would glorify it to such an extent that if one of his grandchildren showed intelligence or talent, my grandfather would say to him with great pride: "You are truly a Jazmawi."
Despite the different stories, both of my grandfathers felt the pain of losing land and saw their loved ones die before their eyes. Israel not only stole the land and the lives of those who lived on it, it also stole their dreams and wishes, it stole their lives. I want to go back and complete the story of my grandfather Youssef – the Tanturi. The story of my grandfather's life ended two years ago, but it accompanies me to this day. His wish that I told you about came true. On a day like any other, two years ago, my grandfather went for a walk on the beach of Tantura – and fate decided to fulfill his last wish. My grandfather died of a heart attack on the beach of Tantura, after he finished walking, breathed the air of Tantura, and was satisfied with the beauty of its landscapes.
My grandfather Youssef's story is indeed a sad story, but I, as his granddaughter, would not wish him any other fate. He was born in Tantura and returned to it. How can I wish something else for someone who was always singing about Tantura: "You filled my heart with your love. Wrap yourself in my eyelashes and sleep in peace. And like your land, I have not loved and to my blood it is equal." Both of my grandfathers continued to Furaydis, which was a safe haven for them. But my story does not end there.
Israel, in its criminal ways, has tried and is still trying to erase everything Palestinian. The war of extermination against our people in Gaza is still ongoing. Since its beginning, many stories have been added to the stories of the Nakba – more than 70,000 stories. From this platform, I want to promise my grandfather and our heroic people clinging to their homeland in Gaza that we will preserve your stories and tell them to preserve the memory. They will be the answer to any attempt to separate us from our people and from their right to return and liberation.
And because we are a proud, stubborn, and living people, I found in the stories of our family displacement the story of Palestine. My grandfather Youssef fulfilled his wish and died on the beach of Tantura as he wished. I found the spring of Ajzam and drank from its waters, and I met my neighbor from #Ajzam on the path of struggle. But the road is still long. The Palestinian students, and all our people who remained in their homeland, promise that we will continue on this path until the end – until liberation, return, and the Palestinian state. We are here to stay, and if you do not agree – drink the sea water. We will preserve the shade of the fig and olive tree and sow thoughts, like yeast in dough, with coolness and a burning heart. If we are thirsty, we will squeeze the rock, and if we are hungry, we will eat the earth. We will not leave. Here we have a past, present, and future.
Translated from Hebrew https://zoha.org.il/137557/
Tantura (2022) trailer
https://www.youtube.com/watch?v=HNtrUjUNkJw -
[…] If we are thirsty, we will squeeze the rock, and if we are hungry, we will eat the earth. We will not leave. Here we have a past, present, and future.
Zionist historians, such as Benny Morris, dismiss personal accounts of survivors and eyewitnesses, except for those who were #Holocaust survivors. In fact, Israel’s ethos is built on these accounts, albeit retrospectively. These accounts have been exploited to justify the genocide of the Palestinian people.
The #Tantura massacre, an event of the Nakba that Israelis are still unable to acknowledge, has been a subject of controversy in recent years. Documentaries exposing the horror of the massacre continue to be produced today. Here’s a story of a second-generation #Nakba survivor from her speech at the ceremony commemorating the ongoing Nakba on May 14th, Antin Square, Tel Aviv University (which stands on the lands of Sheikh Munis).
—————-
Ayoub, Muhsen, Dasouki, and Kanaanah. These are the names of my families, from different places in historical Palestine. In a parallel world, where the Nakba had not occurred, I would have grown up in Ajzam, my father's family's village, and I would spend every weekend at my grandfather's house, facing the coast in Tantura. I was supposed to be a daughter of the Carmel, and even though I am now a daughter of the Carmel and the coastal plain, it is much more complicated... I remember the age when I began to see the difference between my grandfathers. One would go to Ajzam, today Kerem Maharal. The other would walk down to the beach of Tantura every morning, and I would accompany both of them on their walks.
I don't know how to tell you this story. The most appropriate thing is to tell it to you as it is. My grandfather, Youssef, is a survivor of the Tantura massacre. He was six years old at the time of the massacre, when he saw his loved ones killed, and was forced to bury some of his family with his own hands. His entire family is buried under the ruins of the village. Today, this area has a parking lot for visitors to the beach, which has been given the name "Dor Beach."
My grandfather was not one of those who talked about and shared the story of their displacement. He was one of those who lived the tragedy in silence and pain. Until a certain age, I was unable to understand his insistence on visiting the beach every day. Until one day he said that he had one wish in life – to die on the beach of Tantura. My grandfather did not continue with his wish, and did not say that he wanted to be buried on the beach of Tantura, because he knew that a thick layer of asphalt separated him from his wish.
My grandfather on the other side, Hassan, was a farmer who loved his land. He taught us to love the land like him and to enjoy picking za'atar, hubeza, and everything that the good land gives us. He used to describe Ajzam as a paradise, where pure springs flow. Although he was displaced and lived in several places since that cursed day, in Ein Hod or in my current residence of Furaydis, the name Ajzam always remained on his lips. He would glorify it to such an extent that if one of his grandchildren showed intelligence or talent, my grandfather would say to him with great pride: "You are truly a Jazmawi."
Despite the different stories, both of my grandfathers felt the pain of losing land and saw their loved ones die before their eyes. Israel not only stole the land and the lives of those who lived on it, it also stole their dreams and wishes, it stole their lives. I want to go back and complete the story of my grandfather Youssef – the Tanturi. The story of my grandfather's life ended two years ago, but it accompanies me to this day. His wish that I told you about came true. On a day like any other, two years ago, my grandfather went for a walk on the beach of Tantura – and fate decided to fulfill his last wish. My grandfather died of a heart attack on the beach of Tantura, after he finished walking, breathed the air of Tantura, and was satisfied with the beauty of its landscapes.
My grandfather Youssef's story is indeed a sad story, but I, as his granddaughter, would not wish him any other fate. He was born in Tantura and returned to it. How can I wish something else for someone who was always singing about Tantura: "You filled my heart with your love. Wrap yourself in my eyelashes and sleep in peace. And like your land, I have not loved and to my blood it is equal." Both of my grandfathers continued to Furaydis, which was a safe haven for them. But my story does not end there.
Israel, in its criminal ways, has tried and is still trying to erase everything Palestinian. The war of extermination against our people in Gaza is still ongoing. Since its beginning, many stories have been added to the stories of the Nakba – more than 70,000 stories. From this platform, I want to promise my grandfather and our heroic people clinging to their homeland in Gaza that we will preserve your stories and tell them to preserve the memory. They will be the answer to any attempt to separate us from our people and from their right to return and liberation.
And because we are a proud, stubborn, and living people, I found in the stories of our family displacement the story of Palestine. My grandfather Youssef fulfilled his wish and died on the beach of Tantura as he wished. I found the spring of Ajzam and drank from its waters, and I met my neighbor from #Ajzam on the path of struggle. But the road is still long. The Palestinian students, and all our people who remained in their homeland, promise that we will continue on this path until the end – until liberation, return, and the Palestinian state. We are here to stay, and if you do not agree – drink the sea water. We will preserve the shade of the fig and olive tree and sow thoughts, like yeast in dough, with coolness and a burning heart. If we are thirsty, we will squeeze the rock, and if we are hungry, we will eat the earth. We will not leave. Here we have a past, present, and future.
Translated from Hebrew https://zoha.org.il/137557/
Tantura (2022) trailer
https://www.youtube.com/watch?v=HNtrUjUNkJw -
[…] If we are thirsty, we will squeeze the rock, and if we are hungry, we will eat the earth. We will not leave. Here we have a past, present, and future.
Zionist historians, such as Benny Morris, dismiss personal accounts of survivors and eyewitnesses, except for those who were #Holocaust survivors. In fact, Israel’s ethos is built on these accounts, albeit retrospectively. These accounts have been exploited to justify the genocide of the Palestinian people.
The #Tantura massacre, an event of the Nakba that Israelis are still unable to acknowledge, has been a subject of controversy in recent years. Documentaries exposing the horror of the massacre continue to be produced today. Here’s a story of a second-generation #Nakba survivor from her speech at the ceremony commemorating the ongoing Nakba on May 14th, Antin Square, Tel Aviv University (which stands on the lands of Sheikh Munis).
—————-
Ayoub, Muhsen, Dasouki, and Kanaanah. These are the names of my families, from different places in historical Palestine. In a parallel world, where the Nakba had not occurred, I would have grown up in Ajzam, my father's family's village, and I would spend every weekend at my grandfather's house, facing the coast in Tantura. I was supposed to be a daughter of the Carmel, and even though I am now a daughter of the Carmel and the coastal plain, it is much more complicated... I remember the age when I began to see the difference between my grandfathers. One would go to Ajzam, today Kerem Maharal. The other would walk down to the beach of Tantura every morning, and I would accompany both of them on their walks.
I don't know how to tell you this story. The most appropriate thing is to tell it to you as it is. My grandfather, Youssef, is a survivor of the Tantura massacre. He was six years old at the time of the massacre, when he saw his loved ones killed, and was forced to bury some of his family with his own hands. His entire family is buried under the ruins of the village. Today, this area has a parking lot for visitors to the beach, which has been given the name "Dor Beach."
My grandfather was not one of those who talked about and shared the story of their displacement. He was one of those who lived the tragedy in silence and pain. Until a certain age, I was unable to understand his insistence on visiting the beach every day. Until one day he said that he had one wish in life – to die on the beach of Tantura. My grandfather did not continue with his wish, and did not say that he wanted to be buried on the beach of Tantura, because he knew that a thick layer of asphalt separated him from his wish.
My grandfather on the other side, Hassan, was a farmer who loved his land. He taught us to love the land like him and to enjoy picking za'atar, hubeza, and everything that the good land gives us. He used to describe Ajzam as a paradise, where pure springs flow. Although he was displaced and lived in several places since that cursed day, in Ein Hod or in my current residence of Furaydis, the name Ajzam always remained on his lips. He would glorify it to such an extent that if one of his grandchildren showed intelligence or talent, my grandfather would say to him with great pride: "You are truly a Jazmawi."
Despite the different stories, both of my grandfathers felt the pain of losing land and saw their loved ones die before their eyes. Israel not only stole the land and the lives of those who lived on it, it also stole their dreams and wishes, it stole their lives. I want to go back and complete the story of my grandfather Youssef – the Tanturi. The story of my grandfather's life ended two years ago, but it accompanies me to this day. His wish that I told you about came true. On a day like any other, two years ago, my grandfather went for a walk on the beach of Tantura – and fate decided to fulfill his last wish. My grandfather died of a heart attack on the beach of Tantura, after he finished walking, breathed the air of Tantura, and was satisfied with the beauty of its landscapes.
My grandfather Youssef's story is indeed a sad story, but I, as his granddaughter, would not wish him any other fate. He was born in Tantura and returned to it. How can I wish something else for someone who was always singing about Tantura: "You filled my heart with your love. Wrap yourself in my eyelashes and sleep in peace. And like your land, I have not loved and to my blood it is equal." Both of my grandfathers continued to Furaydis, which was a safe haven for them. But my story does not end there.
Israel, in its criminal ways, has tried and is still trying to erase everything Palestinian. The war of extermination against our people in Gaza is still ongoing. Since its beginning, many stories have been added to the stories of the Nakba – more than 70,000 stories. From this platform, I want to promise my grandfather and our heroic people clinging to their homeland in Gaza that we will preserve your stories and tell them to preserve the memory. They will be the answer to any attempt to separate us from our people and from their right to return and liberation.
And because we are a proud, stubborn, and living people, I found in the stories of our family displacement the story of Palestine. My grandfather Youssef fulfilled his wish and died on the beach of Tantura as he wished. I found the spring of Ajzam and drank from its waters, and I met my neighbor from #Ajzam on the path of struggle. But the road is still long. The Palestinian students, and all our people who remained in their homeland, promise that we will continue on this path until the end – until liberation, return, and the Palestinian state. We are here to stay, and if you do not agree – drink the sea water. We will preserve the shade of the fig and olive tree and sow thoughts, like yeast in dough, with coolness and a burning heart. If we are thirsty, we will squeeze the rock, and if we are hungry, we will eat the earth. We will not leave. Here we have a past, present, and future.
Translated from Hebrew https://zoha.org.il/137557/
Tantura (2022) trailer
https://www.youtube.com/watch?v=HNtrUjUNkJw -
Working lists: Canada’s tallest standpipe, spherical, and “Tin Man” style water towers
Three separate working lists are provided below for standpipe, spherical, and “Tin Man” style water towers across our beautiful neighbor to the north, Canada. The lists will be updated periodically as additional information is found. Peace!
St. Mary’s, Ontario Standpipe – Source: flickr.comSTANDPIPE
The year of completion for these standpipe water towers ranges from 1896 to 2007. The most common decades for standpipe construction (from this list) are:
- 1970s = 13
- 1980s = 7
- 1960s = 5
___
- Dorset Street Standpipe (1977): Port Hope, ON = 154 feet/47 m – to be replaced in 2027
2-4. Sombra Township Standpipe (1975): Port Lambton, ON and Aylmer Standpipe (1986): Hamilton (Aylmer), ON; and Caraquet Standpipe (1970): Caraquet, NB = 150 feet/45.7 m
5. Waterford Standpipe (1980): Waterford, ON = 142 feet/43.3 m
6. Delhi Standpipe (1978): Delhi, ON = 140 feet/42.7 m
7. North Bay Standpipe (1985): North Bay, ON = 131 feet/40 m
8. Timmons Standpipe (ca 1972): Timmons, ON = 130 feet/39.6 m
9. Ayr Standpipe (1978): Ayr, ON = 129 feet/39.3 m
10. Pointe-Claire Standpipe (1954): Pointe-Claire, QC = 125.5 feet/39.5 m
11. Waterdown Standpipe (1977): Hamilton (Waterdown), ON = 124.5 feet/38 m
12. Bouctouche Standpipe (1982): Bouctouche, NB = 120 feet/36.6 m
13. Region of Waterloo Standpipe (1982): Cambridge, ON = 113 feet/34.4 m
14. St. George Standpipe (1950): St. George, NB = 110 feet/33.5 m
15. Rockland Standpipe (1908): Victoria, BC = 109 feet/33.2 m
16. Grand Falls Standpipe (1998): Grand Falls, NL = 106 feet/32.3 m
17-19. Richmond Hill Standpipe (1980): Richmond Hill, ON; Kerrobet Standpipe (1914): Kerrobet, SK; and Mono Mills Standpipe (1978): Mono Mills, ON = 105 feet/32 m
20. Johnson Tower Standpipe (1963): White Rock, BC = 103 feet
21-23. Alexandria Standpipe #1 (1896): Alexandria, ON; Fenelon Falls Standpipe (1976): Fenelon Falls, ON; and Miramichi Standpipe (1977): Miramichi, NB = 100 feet/ 30.5 m
24. Woodville Standpipe (1972): Woodville, ON = 92 feet/28 m
25-26. Humboldt Standpipe (1915): Humboldt, SK and “Top of Wellington” Standpipe (1946): Clifford, ON = 95 feet/29 m
27-29. Hespeler Standpipe (1972): Cambridge, ON; Dutton Standpipe (1960s): Dutton, ON; and Moncton Standpipe (1980): Moncton, NB = 90 feet/27.5 m
30. Walkerton Standpipe #1: Walkerton, ON = 86 feet/26.2 m
31. Petrolia Standpipe (1896): Pertolia, ON = 85 feet/25.8 m
32. Waterloo Standpipe (1987): Waterloo, ON = 83 feet/25.3 m
33-35. Lacombe Home Water Tower (ca 1920): Calgary, AB; Firestone Standpipe: Calgary, AB; and Kamsack Standpipe (1915): Kamsack, SK = 80 feet/24.4 m
36. Rockwood Standpipe (2007): Rockwood, ON = 72 feet/22 m
37. Buchans Standpipe (2004): Buchans, NL = 71 feet/21.6 m
38. Bolton Standpipe (1937/1973): Bolton, ON = 69 feet/21 m
39. Walkerton Standpipe #2: Walkerton, ON = 66 feet/20.2 m
40-41. Orillia Standpipe (1967): Orillia, ON and Wabush Standpipe (1965): Wabush, NL = 65 feet/19.9 m
42. Elmvale Standpipe (1995): Elmvale, ON = 52 feet/15.9 m
43. Golf Course Standpipe (1976): Didsbury, AB = 51 feet/15.6 m
44. Kensington Standpipe: Kensington, PE = 50 feet/15.2 m
45. Labrador City Standpipe (1965): Labrador City, NL = 48 feet/14.6 m
Source: tourismsaskatchewan.comMore Information needed:
- Alliance, AB
- Andrew, AB
- Bashaw, AB
- Black Diamond, AB
- Bowden, AB
- Chipman, AB (1905)
- Clyde, AB
- Glenwood, AB
- Grand Prairie, AB x 2
- Grimshaw, AB
- High River, AB
- Irricana, AB
- Legal, AB
- Loughheed, AB
- Mundare, AB
- Rocky Mountain House, AB
- Viking, AB
- Waskatenau, AB
- Westlock, AB
- Rossland, BC
- Parksville, BC
- Victoria Standpipe #2
- Climax Standpipe, SK
- Weyburn Standpipe: Woburn, SK
- Signal Hill Arts Centre Standpipe, SK
- Norquay, SK
- Davidson, SK
- Coca-Cola Standpipe: Portage La Prairie, MB
- Maple Bay, BC
- Amhertsville, ON
- St. Mary’s ON (1899)
- Tara, ON
- Midland, ON
- Mt. Forest, ON
- Loyalist Odessa Standpipe (1978): Odessa, ON
- Kincardine, ON
- Warren, ON
- Kingston, ON x 2
- Paisley, ON
- Palmerston #2, ON
- Port Elgin, ON
- Porquois Junction, ON
- Port Perry, ON
- Powassan, ON
- Wingham, ON
- Sudbury/Walden, ON
- Renfrew Standpipe, ON
- Thamesville Standpipe, ON
- Tiverton Standpipe, ON
- Vankleek Hill, ON
- Vemer Standpipe, ON
- Alexandria, ON #2
- Vineland, ON
- Alvinston, ON
- Arkona, ON
- Azilda, ON
- Loyalist Township: Amherstview, ON
- Bancroft, ON
- Birch Island, ON
- Bradford, ON
- Brechin, ON
- Caledonia, ON
- Campbellford, ON
- Cayuga, ON
- Casselman, ON
- Cedar Springs, ON
- New Standpipe: Clifford, ON
- Colborne, ON
- Cookstown, ON
- Chatsworth, ON
- Delaware, ON
- Deseronto, ON
- Dunnville, ON
- Durham, ON
- Espanola, ON
- Finch, ON
- Forest, ON
- Halton Hills Standpipe, ON
- Glencoe, ON
- Guelph, ON x 2 (one in 2015)
- Hagersville, ON
- Hastings, ON
- Havelock, ON
- Hearst Standpipe (1977): Hearst, ON
- Lakefield, ON
- Lancaster, ON
- Lansdowne, ON
- Hockey World Standpipe: London, ON
- Madoc, ON
- Markdale, ON
- Mamora, ON
- Melbourne, ON
- Mitchell, ON
- Norwood, ON
- Orangeville, ON
- Orono, ON
- Ridgeway, ON
- Southampton, ON
- St. Catharines, ON
- Sturgeon Falls, ON
- Stoney Point, ON
- Sunderland, ON
- Walden, ON
- Warren, ON
- Watford, ON
- West Lorne, ON
- Wiarton, ON
- Wyoming, ON
- Borden-Carlton, PE
- Cornwall, PE (1995)
- Stratford, PE
- Bird Cove, NL
- Come by Chance Standpipe, NL
- Conception Bay, NL x 2
- Daniels Harbour Standpipe, NL (1992)
- Grand Bank, NL
- Ramea, NL
- Twillingate, NL
- Antogonish, NS
- Enfield, NS (1970s)
- Falmouth, NS
- Lantz, NS
- Lunenburg, NS
- Fredericton, NB x 2
- Aroostook, NB
- Perth-Andover, NB
- Riverview, NB
- Rothesay, NB
- Saint John Standpipe, NB (2003)
- St. Stephen Standpipe, NB (1988)
- Chicoutimi, QC
- Dalhousie, QC
- Lévis, QC
- Mercier, QC
- Matagami, QC (2004)
- Pierrefonds-Roxboro, QC
- Rock Forest, QC
- Shawville, QC
- Ste-Angèle-de-Laval, QC
- Ste-Anne-de-Bellevue, QC
- Sainte-Foy, QC
- Sainte-Thècle, QC (1951)
- Sainte-Julie, QC
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Source: myselkirk.ca Source: winnipegfreepress.comSPHERICAL
Nearly all of the water towers on this list were built in the 1960s and 1970s.
___
- Mississauga/Peel Region Water Tower (1971): Mississauga, ON = 187 feet/57 m
2-3. Thornbury Environment Water Tower: Thornbury, ON and Steinbach Water Tower (1972): Steinbach, MB = 154 feet/46.9 m
4-5. Guelph Water Tower (early 1970s): Guelph, ON and Stratford Water Tower (1964): Stratford, ON = 150 feet/45.7 m
6. Selkirk Watersphere Tower (1961): Selkirk, MB = 135 feet
7. Elmira Water Tower (1964): Elmira, ON = 126 feet/38.4 m
8. Dundas Water Tower (1969): Hamilton (Dundas), ON = 121 feet/37 m
9. Horton Watersphere Tower (1969): Centralia, ON ~ 114 feet/34.8 m
10. Cambridge Water Tower (1974): Cambridge, ON = 112 feet/34.1 m
11-13. Forest Drive Water Tower (1971): Vaughan, ON; and Woodbridge Water Tower (1971): Woodbridge, ON; and Region of Waterloo Water Tower (1978): Cambridge, ON = 108 feet/33 m
14. SSM Water Tower (1969): Sault Ste. Marie, ON = 103 feet
15. Kamsack Spheroid (1978): Kamsack, SK = 88 feet/26.8 m
16. Airdrie Water Tower (1959): Airdrie, AB = 71.5 feet/21.8 m
More information needed:
- Oxbow Water Tower, SK
- Redwater, AB
- Standoff, AB
- Kelvington, SK
- Lang, SK
- Langenburg, SK
- Sturgis, SK
- Rouleau, SK
- Rose Valley, SK
- Ponteix, SK
- Coutts, AB – “Smiley”
- Killarney Water Tower, MB
- Beausejour, MB
- Ridgetown, ON
- Brantford, ON – status?
- Arthur, ON
- Peterborough, ON
- South Huron Water Tower: Exeter, ON
- Wasaga Beach, ON
- Georgian Mall Water Tower: Barrie ON
- Exeter, ON
- Gananoque 1000 Islands, ON
- Ingersoll, ON
- Hiram Walker Water Tower: Lakeshore, ON
- Ridgetown, ON
- St. Thomas, ON
- Wheatley, ON
- Hawkes Bay, NL
- Hubbards, NS
- Port Hawesbury, NS
- Drummondville, QC
- Rock Forest, QC
- Ste-Catherine, QC
- St-Jean-sur-Richelieu, QC
- Foam Lake, SK
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Source: pipestoneflyer.caTIN MAN
- St. Boniface Water Tower: Winnipeg, MB (1936) = 171 feet/52.1 m
2-3. Wetaskiwin Water Tower (1907): Wetaskiwin, AB and Gleichen Water Tower (1911): Gleichen, AB = 150 feet/45.7 m
4. Winnipeg Beach Water Tower (1928),: Winnipeg Beach, MB (1928) = 131 feet
5. Union Stock Yards Water Tower (1913): Winnipeg, MB = 80 feet/24.4 m
More information needed:
- Claresholm,, AB (1910)
- Bonnyville, AB
- Innisfall, AB
- Lethbridge, AB
- Kitscoty, AB
- Riverhead, AB
- Carmangay, AB
- Kindersley, SK
- Grand Beach, MB
- Morden, MB
- Manitou, MB
- Carman, MB
- Boissevain, MB x 2
- Brandon, MB
- Selkirk, MB
- Stoney Mountain, MB
- Tilsonburg, ON
- Tottenham, ON
- Arthur, ON (1932)
- Delhi, ON
- GSW Water Tower: Fergus, ON
- Gravenhurst, ON
- Hastings, ON
- Markdale, ON
- Mississauga, ON
- Simcoe, ON (1929)
- Sturgeon Falls, ON
- Hillsborough, NB (1931)
- Bedford, QC
- Jonquière, QC
- Montreal, QC x 3
- Schenley Water Tower: Salaberry-de-Valleyfield, QC
- Ste-Anne-de-Bellevue, QC
- St-Félicien,QC
- Sullivan, QC
- Fiske, SK
- Gravelbourg, SK
- Yorkton, SK (1930)
- Waterton, AB
- Saanich, BC
_____
SOURCES:
- https://www.waymarking.com/waymarks/WMZB0C_Lacombe_Home_Water_Tower_Calgary_AB
- https://www.waymarking.com/waymarks/WMCJ3B_Firestone_Tower_Calgary_Alberta_Canada
- http://www.eureka4you.com/watertowers/index.htm
- https://airdrielife.com/citylife/heritage-the-airdrie-water-tower/
- https://hubpages.com/travel/Visiting-the-Lethbridge-Water-Tower-Lethbridge-Alberta-fine-cuisine-and-excellen-views-of-the-Rockies-also
- https://hubpages.com/travel/Visiting-Claresholm-Alberta-Skyline-and-Historical-Landmarks
- https://www.flickr.com/photos/cmhpictures/19065037599
- https://www.waymarking.com/waymarks/WM16P33_Gleichen_Water_Tower_Gleichen_AB
- https://www.flickr.com/photos/21953562@N07/20120412462
- https://www.tourismsaskatchewan.com/listings/227/humboldt-historic-water-tower-tour
- http://www.eureka4you.com/wtower-sk-k/Kamsack1.htm
- https://live.staticflickr.com/324/19507436323_2fbf93baf4.jpg
- http://www.mhs.mb.ca/docs/sites/selkirkwatertower.shtml
- http://www.mhs.mb.ca/docs/sites/steinbachwatertower.shtml
- https://www.ctvnews.ca/winnipeg/article/how-water-towers-have-transformed-into-manitoba-skyline-icons/
- http://wikimapia.org/26342602/Winnipeg-Beach-Water-Tower
- https://bwtas.blogspot.com/2011/09/tower-hunting-in-british-columbia.html
- http://www.eureka4you.com/wtower-bc-w/WhiteRock.htm
- https://www.flickr.com/photos/68678468@N06/7152529331/
- http://eureka4you.com/wtower-on-w/Woodbridge.htm
- http://www.eureka4you.com/wtower-on-c/Cambridge4.htm
- http://www.eureka4you.com/wtower-on-m/Midland1.htm
- http://www.eureka4you.com/wtower-on-t/Thornbury.htm
- https://www.watercanada.net/work-to-start-at-odessa-ontario-water-tower/
- http://www.eureka4you.com/wtower-on-w/Waterdown.htm
- http://www.eureka4you.com/wtower-on-p/PortHope.htm
- http://www.eureka4you.com/wtower-on-p/PortLambton.htm
- http://www.eureka4you.com/wtower-on-t/Timmins.htm
- http://www.eureka4you.com/wtower-on-a/Alexandria1.htm
- http://www.eureka4you.com/wtower-on-a/Aylmer.htm
- http://www.eureka4you.com/wtower-on-a/Ayr.htm
- http://www.eureka4you.com/wtower-on-b/Bolton1.htm
- http://www.eureka4you.com/wtower-on-c/Cambridge1.htm
- http://www.eureka4you.com/wtower-on-c/Centralia1.htm
- http://www.eureka4you.com/wtower-on-c/Clifford1.htm
- http://www.eureka4you.com/wtower-on-d/Delhi1.htm
- http://www.eureka4you.com/wtower-on-d/Dundas.htm
- http://www.eureka4you.com/wtower-on-d/Dutton.htm
- http://www.eureka4you.com/wtower-on-e/Elmira1.htm
- http://www.eureka4you.com/wtower-on-e/Elmvale.htm
- http://www.eureka4you.com/wtower-on-f/FenelonFalls.htm
- http://www.eureka4you.com/wtower-on-g/Guelph1.htm
- http://www.eureka4you.com/wtower-on-h/Hearst.htm
- http://www.eureka4you.com/wtower-on-l/Lucknow.htm
- http://www.eureka4you.com/wtower-on-m/Mississauga1.htm
- http://www.eureka4you.com/wtower-on-m/MonoMills.htm
- http://www.eureka4you.com/wtower-on-n/NorthBay.htm
- http://www.eureka4you.com/wtower-on-o/Orillia1.htm
- http://www.eureka4you.com/wtower-on-r/RichmondHill.htm
- http://www.eureka4you.com/wtower-on-r/Rockwood.htm
- http://www.eureka4you.com/wtower-on-s/Stratford1.htm
- http://www.eureka4you.com/wtower-on-w/Walkerton.htm
- http://www.eureka4you.com/wtower-on-w/Waterford.htm
- http://www.eureka4you.com/wtower-on-w/Waterloo.htm
- http://www.eureka4you.com/wtower-on-w/Woodbridge.htm
- http://www.eureka4you.com/wtower-on-w/Woodville.htm
- http://www.eureka4you.com/wtower-pe-k/Kensington.htm
- http://www.eureka4you.com/wtower-nl-b/Buchans.htm
- http://www.eureka4you.com/wtower-nl-g/GrandFalls.htm
- http://www.eureka4you.com/wtower-nl-l/LabradorCity.htm
- http://www.eureka4you.com/wtower-nl-w/Wabush.htm
- http://www.eureka4you.com/wtower-nb-b/Bouctouche.htm
- http://www.eureka4you.com/wtower-nb-c/Caraquet.htm
- http://www.eureka4you.com/wtower-nb-m/Moncton.htm
- http://www.eureka4you.com/wtower-nb-m/Miramichi.htm
- http://www.eureka4you.com/wtower-nb-s/StGeorge.htm
- http://www.eureka4you.com/wtower-qc-p/PointeClaire.htm
- http://www.eureka4you.com/wtower-mb-w/Winnipeg1.htm
- http://www.eureka4you.com/wtower-sk-h/Humboldt.htm
- http://www.eureka4you.com/wtower-sk-k/Kamsack1.htm
- http://www.eureka4you.com/wtower-ab-d/Didsbury.htm
- http://www.eureka4you.com/wtower-ab-w/Wetaskiwin1.htm
- http://www.eureka4you.com/wtower-bc-v/Victoria.htm
- https://www.myporthope.ca/standpipe-replacement
- https://visitpetrolia.ca/listing/petrolia-standpipe-water-tower/
- https://westenddumplings.blogspot.com/2020/05/a-history-of-selkirks-water-tower.html
- https://www.flickr.com/photos/cmhpictures/19958502035/
#1 #2 #Canada #cities #geography #history #planning #spherical #standpipes #stats #TinMan #tourism #towers #towns #travel #utilities #water #waterTowers
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By 2025, Alberta Justice Minister Mickey Amery continues a dubious conservative trend: joining an infamous group of conservative Justice Ministers who cannot seem to stay out of controversy. From Jonathan Denis, Doug Schweitzer, Kaycee Madu, and Tyler Shandro, Amery’s contribution to this legacy is no less serious.
But, as Netizens review this situation, I suggest the important point is that Justice Minister Amery was already aware of his own potential for conflict long before the Wrongful Dismissal claim of Mentzelopoulos. Throughout it all, Amery knows he still has the same Brother-in-Law. And I’m sure there will be questions about whether the UCP cabinet, and Premier Smith were aware of this detail. Yet, when we set that all aside, what we still have is an attempt to slow or control the flow of information to the public. And, if that’s the case, can Albertans expect a fulsome investigations by Auditor General Wylie or former Honourable Justice Raymond Wyant?
From “Ousted Alberta MLA says premier knew about AHS problems”, by Michael Franklin, a few additional details emerge from the Wrongful Dismissal claim of Mentzelopoulos. Particularly:
>He also indicated concerns with Justice Minister Mickey Amery’s relationship with MHCare CEO Sam Mraiche and the business owner’s connection to former Edmonton police chief Dale McFee, who is now a deputy minister of the executive council.
From “Alberta Justice Minister has personal relationship with man whose businesses are tied to AHS investigation”, by Carrie Tait, Albertans learn that
>Mr. Amery told The Globe and Mail that he and Mr. Mraiche have been friends for “a very long time.” He confirmed they are related and, when pressed for details, said he and Mr. Mraiche are “loosely related” through marriage.
The article goes on
>Andrew Flavelle Martin, an assistant professor at Dalhousie University’s Schulich School of Law, said Mr. Amery should take steps to formally distance himself from the government’s handling of Ms. Mentzelopoulos’s lawsuit.
>
>“The question I‘d be concerned about is: How involved is he in directing the litigation around the wrongful dismissal given that his friend is involved in one of the contracts?” said Prof. Martin, whose research focuses on legal ethics for government lawyers and Attorneys General. “The optics are not good.”
Again, Danielle Smith and the UCP have not addressed the allegations of corruption that emerged from the Corrupt Care scandal. We’ve heard from Amery himself that he believes he’s onside the Conflicts and Interest Act. We’ve also heard UCP House Leader Joseph Schow saying “‘Putting your name on a ballot and getting elected to this wonderful chamber does not preclude you from having friends and relatives,’ he said.”
We’re not talking about having friends - and Amery knows the difference between the written words of legislation, AND their rationale. As the Minister of Justice, Amery should be aware of not just the need to comply with the law, but the appearance of compliance. Albertans have to grapple with the idea that former Infrastructure Minister Peter Guthrie understood the assignment when he took his job, and the Justice Minister did not.
#CompassionateCareAct #InvoluntaryTreatment #ForcedTreatment #CorruptCare #HealthCare #Corruption #Alberta #AlbertaSeparation
#EthicalFading
#comment
- #AbLeg #AbPoli #CdnPoli 122
https://www.ctvnews.ca/calgary/article/ousted-alberta-mla-says-premier-knew-about-ahs-problems/
https://www.theglobeandmail.com/canada/alberta/article-alberta-justice-minister-has-personal-relationship-with-man-whose/
https://archive.ph/Y4wJr -
By 2025, Alberta Justice Minister Mickey Amery continues a dubious conservative trend: joining an infamous group of conservative Justice Ministers who cannot seem to stay out of controversy. From Jonathan Denis, Doug Schweitzer, Kaycee Madu, and Tyler Shandro, Amery’s contribution to this legacy is no less serious.
But, as Netizens review this situation, I suggest the important point is that Justice Minister Amery was already aware of his own potential for conflict long before the Wrongful Dismissal claim of Mentzelopoulos. Throughout it all, Amery knows he still has the same Brother-in-Law. And I’m sure there will be questions about whether the UCP cabinet, and Premier Smith were aware of this detail. Yet, when we set that all aside, what we still have is an attempt to slow or control the flow of information to the public. And, if that’s the case, can Albertans expect a fulsome investigations by Auditor General Wylie or former Honourable Justice Raymond Wyant?
From “Ousted Alberta MLA says premier knew about AHS problems”, by Michael Franklin, a few additional details emerge from the Wrongful Dismissal claim of Mentzelopoulos. Particularly:
>He also indicated concerns with Justice Minister Mickey Amery’s relationship with MHCare CEO Sam Mraiche and the business owner’s connection to former Edmonton police chief Dale McFee, who is now a deputy minister of the executive council.
From “Alberta Justice Minister has personal relationship with man whose businesses are tied to AHS investigation”, by Carrie Tait, Albertans learn that
>Mr. Amery told The Globe and Mail that he and Mr. Mraiche have been friends for “a very long time.” He confirmed they are related and, when pressed for details, said he and Mr. Mraiche are “loosely related” through marriage.
The article goes on
>Andrew Flavelle Martin, an assistant professor at Dalhousie University’s Schulich School of Law, said Mr. Amery should take steps to formally distance himself from the government’s handling of Ms. Mentzelopoulos’s lawsuit.
>
>“The question I‘d be concerned about is: How involved is he in directing the litigation around the wrongful dismissal given that his friend is involved in one of the contracts?” said Prof. Martin, whose research focuses on legal ethics for government lawyers and Attorneys General. “The optics are not good.”
Again, Danielle Smith and the UCP have not addressed the allegations of corruption that emerged from the Corrupt Care scandal. We’ve heard from Amery himself that he believes he’s onside the Conflicts and Interest Act. We’ve also heard UCP House Leader Joseph Schow saying “‘Putting your name on a ballot and getting elected to this wonderful chamber does not preclude you from having friends and relatives,’ he said.”
We’re not talking about having friends - and Amery knows the difference between the written words of legislation, AND their rationale. As the Minister of Justice, Amery should be aware of not just the need to comply with the law, but the appearance of compliance. Albertans have to grapple with the idea that former Infrastructure Minister Peter Guthrie understood the assignment when he took his job, and the Justice Minister did not.
#CompassionateCareAct #InvoluntaryTreatment #ForcedTreatment #CorruptCare #HealthCare #Corruption #Alberta #AlbertaSeparation
#EthicalFading
#comment
- #AbLeg #AbPoli #CdnPoli 122
https://www.ctvnews.ca/calgary/article/ousted-alberta-mla-says-premier-knew-about-ahs-problems/
https://www.theglobeandmail.com/canada/alberta/article-alberta-justice-minister-has-personal-relationship-with-man-whose/
https://archive.ph/Y4wJr -
By 2025, Alberta Justice Minister Mickey Amery continues a dubious conservative trend: joining an infamous group of conservative Justice Ministers who cannot seem to stay out of controversy. From Jonathan Denis, Doug Schweitzer, Kaycee Madu, and Tyler Shandro, Amery’s contribution to this legacy is no less serious.
But, as Netizens review this situation, I suggest the important point is that Justice Minister Amery was already aware of his own potential for conflict long before the Wrongful Dismissal claim of Mentzelopoulos. Throughout it all, Amery knows he still has the same Brother-in-Law. And I’m sure there will be questions about whether the UCP cabinet, and Premier Smith were aware of this detail. Yet, when we set that all aside, what we still have is an attempt to slow or control the flow of information to the public. And, if that’s the case, can Albertans expect a fulsome investigations by Auditor General Wylie or former Honourable Justice Raymond Wyant?
From “Ousted Alberta MLA says premier knew about AHS problems”, by Michael Franklin, a few additional details emerge from the Wrongful Dismissal claim of Mentzelopoulos. Particularly:
>He also indicated concerns with Justice Minister Mickey Amery’s relationship with MHCare CEO Sam Mraiche and the business owner’s connection to former Edmonton police chief Dale McFee, who is now a deputy minister of the executive council.
From “Alberta Justice Minister has personal relationship with man whose businesses are tied to AHS investigation”, by Carrie Tait, Albertans learn that
>Mr. Amery told The Globe and Mail that he and Mr. Mraiche have been friends for “a very long time.” He confirmed they are related and, when pressed for details, said he and Mr. Mraiche are “loosely related” through marriage.
The article goes on
>Andrew Flavelle Martin, an assistant professor at Dalhousie University’s Schulich School of Law, said Mr. Amery should take steps to formally distance himself from the government’s handling of Ms. Mentzelopoulos’s lawsuit.
>
>“The question I‘d be concerned about is: How involved is he in directing the litigation around the wrongful dismissal given that his friend is involved in one of the contracts?” said Prof. Martin, whose research focuses on legal ethics for government lawyers and Attorneys General. “The optics are not good.”
Again, Danielle Smith and the UCP have not addressed the allegations of corruption that emerged from the Corrupt Care scandal. We’ve heard from Amery himself that he believes he’s onside the Conflicts and Interest Act. We’ve also heard UCP House Leader Joseph Schow saying “‘Putting your name on a ballot and getting elected to this wonderful chamber does not preclude you from having friends and relatives,’ he said.”
We’re not talking about having friends - and Amery knows the difference between the written words of legislation, AND their rationale. As the Minister of Justice, Amery should be aware of not just the need to comply with the law, but the appearance of compliance. Albertans have to grapple with the idea that former Infrastructure Minister Peter Guthrie understood the assignment when he took his job, and the Justice Minister did not.
#CompassionateCareAct #InvoluntaryTreatment #ForcedTreatment #CorruptCare #HealthCare #Corruption #Alberta #AlbertaSeparation
#EthicalFading
#comment
- #AbLeg #AbPoli #CdnPoli 122
https://www.ctvnews.ca/calgary/article/ousted-alberta-mla-says-premier-knew-about-ahs-problems/
https://www.theglobeandmail.com/canada/alberta/article-alberta-justice-minister-has-personal-relationship-with-man-whose/
https://archive.ph/Y4wJr -
By 2025, Alberta Justice Minister Mickey Amery continues a dubious conservative trend: joining an infamous group of conservative Justice Ministers who cannot seem to stay out of controversy. From Jonathan Denis, Doug Schweitzer, Kaycee Madu, and Tyler Shandro, Amery’s contribution to this legacy is no less serious.
But, as Netizens review this situation, I suggest the important point is that Justice Minister Amery was already aware of his own potential for conflict long before the Wrongful Dismissal claim of Mentzelopoulos. Throughout it all, Amery knows he still has the same Brother-in-Law. And I’m sure there will be questions about whether the UCP cabinet, and Premier Smith were aware of this detail. Yet, when we set that all aside, what we still have is an attempt to slow or control the flow of information to the public. And, if that’s the case, can Albertans expect a fulsome investigations by Auditor General Wylie or former Honourable Justice Raymond Wyant?
From “Ousted Alberta MLA says premier knew about AHS problems”, by Michael Franklin, a few additional details emerge from the Wrongful Dismissal claim of Mentzelopoulos. Particularly:
>He also indicated concerns with Justice Minister Mickey Amery’s relationship with MHCare CEO Sam Mraiche and the business owner’s connection to former Edmonton police chief Dale McFee, who is now a deputy minister of the executive council.
From “Alberta Justice Minister has personal relationship with man whose businesses are tied to AHS investigation”, by Carrie Tait, Albertans learn that
>Mr. Amery told The Globe and Mail that he and Mr. Mraiche have been friends for “a very long time.” He confirmed they are related and, when pressed for details, said he and Mr. Mraiche are “loosely related” through marriage.
The article goes on
>Andrew Flavelle Martin, an assistant professor at Dalhousie University’s Schulich School of Law, said Mr. Amery should take steps to formally distance himself from the government’s handling of Ms. Mentzelopoulos’s lawsuit.
>
>“The question I‘d be concerned about is: How involved is he in directing the litigation around the wrongful dismissal given that his friend is involved in one of the contracts?” said Prof. Martin, whose research focuses on legal ethics for government lawyers and Attorneys General. “The optics are not good.”
Again, Danielle Smith and the UCP have not addressed the allegations of corruption that emerged from the Corrupt Care scandal. We’ve heard from Amery himself that he believes he’s onside the Conflicts and Interest Act. We’ve also heard UCP House Leader Joseph Schow saying “‘Putting your name on a ballot and getting elected to this wonderful chamber does not preclude you from having friends and relatives,’ he said.”
We’re not talking about having friends - and Amery knows the difference between the written words of legislation, AND their rationale. As the Minister of Justice, Amery should be aware of not just the need to comply with the law, but the appearance of compliance. Albertans have to grapple with the idea that former Infrastructure Minister Peter Guthrie understood the assignment when he took his job, and the Justice Minister did not.
#CompassionateCareAct #InvoluntaryTreatment #ForcedTreatment #CorruptCare #HealthCare #Corruption #Alberta #AlbertaSeparation
#EthicalFading
#comment
- #AbLeg #AbPoli #CdnPoli 122
https://www.ctvnews.ca/calgary/article/ousted-alberta-mla-says-premier-knew-about-ahs-problems/
https://www.theglobeandmail.com/canada/alberta/article-alberta-justice-minister-has-personal-relationship-with-man-whose/
https://archive.ph/Y4wJr -
Big Picture Science for May. 25, Skeptic Check: Cryptids
REPEAT
Bigfoot could get official status if proposed legislation passes making it the state cryptid of California. If nothing else, the effort shows that fascination with cryptids has an outsized footprint on our culture. We look at why mythical creatures continue to capture imaginations - as well as passions - of die-hard believers, despite no evidence for their existence. An author uncovers the origin of a beloved hoax in the American West and its unexpected ties to a real animal and historical medical breakthrough. But are we looking for creature delights in all the wrong places? A tally of Earth’s species reveals that far more remain unidentified than are currently known. Newly discovered critters such as the Yeti crab and an organism dubbed the Flying Spaghetti Monster are so strange, it challenges us to separate fauna fact from folktale.Guests:
* Chris Rogers – Assemblymember, California’s 2nd Assembly District
* Benjamin Radford – Deputy Editor of Skeptical Inquirer Science Magazine, author, and co-host of Squaring the Strange podcast
* Michael Branch – Writer, humorist, and author of On the Trail of the Jackalope: How a Legend Captured the World’s Imagination and Helped Us Cure Cancer
* Boris Worm – Marine ecologist, Professor of Biology at Dalhousie University in Halifax, Nova ScotiaOriginally aired April 14, 2025
Download podcast at - https://bigpicturescience.org/episodes/skeptic-check-cryptids
You can listen to this and other episodes at http://bigpicturescience.org/
Get early access to ad-free versions of every episode by joining us on Patreon. Thanks for your support!
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My finished entry for the "wuxia animals" Character Design Challenge... or at least finished enough to post. I haven't decided if I'll go back in and add a real background.🤔
You can see the entire process on my Ko-Fi:
https://ko-fi.com/Post/Wuxia-Chicken-process-I2I7W22ZV
(You can even support my work there, although you don't have to in order to see it!)#characterDesign #art #mastoArt #characterDesignChallenge #wuxia #chicken
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My finished entry for the "wuxia animals" Character Design Challenge... or at least finished enough to post. I haven't decided if I'll go back in and add a real background.🤔
You can see the entire process on my Ko-Fi:
https://ko-fi.com/Post/Wuxia-Chicken-process-I2I7W22ZV
(You can even support my work there, although you don't have to in order to see it!)#characterDesign #art #mastoArt #characterDesignChallenge #wuxia #chicken
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My finished entry for the "wuxia animals" Character Design Challenge... or at least finished enough to post. I haven't decided if I'll go back in and add a real background.🤔
You can see the entire process on my Ko-Fi:
https://ko-fi.com/Post/Wuxia-Chicken-process-I2I7W22ZV
(You can even support my work there, although you don't have to in order to see it!)#characterDesign #art #mastoArt #characterDesignChallenge #wuxia #chicken
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My finished entry for the "wuxia animals" Character Design Challenge... or at least finished enough to post. I haven't decided if I'll go back in and add a real background.🤔
You can see the entire process on my Ko-Fi:
https://ko-fi.com/Post/Wuxia-Chicken-process-I2I7W22ZV
(You can even support my work there, although you don't have to in order to see it!)#characterDesign #art #mastoArt #characterDesignChallenge #wuxia #chicken
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I've been progressing on my "wuxia chicken" illustration (delayed by a week as I was at the Game Developers Conference last week.) Here's a sketch but if you'd like to see the entire process & more art, check out my new Ko-Fi blog at https://ko-fi.com/post/Wuxia-Chicken-process-I2I7W22ZV
(You don't have to tip or subscribe to read it, 'though I would love your support! 😊)#characterDesign #characterDesignChallenge #chicken #wuxia #art #mastoArt
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I've been progressing on my "wuxia chicken" illustration (delayed by a week as I was at the Game Developers Conference last week.) Here's a sketch but if you'd like to see the entire process & more art, check out my new Ko-Fi blog at https://ko-fi.com/post/Wuxia-Chicken-process-I2I7W22ZV
(You don't have to tip or subscribe to read it, 'though I would love your support! 😊)#characterDesign #characterDesignChallenge #chicken #wuxia #art #mastoArt
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I've been progressing on my "wuxia chicken" illustration (delayed by a week as I was at the Game Developers Conference last week.) Here's a sketch but if you'd like to see the entire process & more art, check out my new Ko-Fi blog at https://ko-fi.com/post/Wuxia-Chicken-process-I2I7W22ZV
(You don't have to tip or subscribe to read it, 'though I would love your support! 😊)#characterDesign #characterDesignChallenge #chicken #wuxia #art #mastoArt
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I've been progressing on my "wuxia chicken" illustration (delayed by a week as I was at the Game Developers Conference last week.) Here's a sketch but if you'd like to see the entire process & more art, check out my new Ko-Fi blog at https://ko-fi.com/post/Wuxia-Chicken-process-I2I7W22ZV
(You don't have to tip or subscribe to read it, 'though I would love your support! 😊)#characterDesign #characterDesignChallenge #chicken #wuxia #art #mastoArt
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I've been doodling Krampuses (Krampi?) for this month's Character Design Challenge (on FB.) These are but two of the many pages of sketches, including a page of young cute Krampuses skateboarding! 😄
#art #kidLitArt #Krampus #mastoArt #characterDesign #characterDesignChallenge
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I've been doodling Krampuses (Krampi?) for this month's Character Design Challenge (on FB.) These are but two of the many pages of sketches, including a page of young cute Krampuses skateboarding! 😄
#art #kidLitArt #Krampus #mastoArt #characterDesign #characterDesignChallenge