#Alberta Charging Avenue

[aelectricsworld]

Alberta Electric Powers Up: EV Chargers & Stations Now Available Near You

Alberta Electric, the pioneering provider of sustainable energy solutions, has announced a significant expansion in its electric vehicle (EV) charging infrastructure across Alberta. With the growing demand for electric vehicles, Alberta Electric aims to facilitate easy access to charging points, promoting eco-friendly transportation options and reducing carbon emissions in the province.

The initiative comes as a response to the increasing adoption of electric vehicles among Albertans and the need for a reliable charging network to support this transition. "We are committed to building a sustainable future for Alberta, Expanding our EV charging infrastructure is a crucial step towards achieving our goal of promoting clean energy usage and reducing environmental impact."

As part of the expansion plan, Alberta Electric has strategically placed EV chargers and vehicle charging stations in key locations across the province, ensuring convenient access for both urban and rural residents. These charging points are equipped with state-of-the-art technology, offering fast and efficient charging capabilities to accommodate various EV models.

Whether you're commuting within the city or embarking on a road trip, finding a charging station near you has never been easier. Alberta Electric is user-friendly mobile app provides real-time information on the location and availability of charging points, making it convenient for EV drivers to plan their journeys with confidence.

In addition to enhancing accessibility, Alberta Electric is also committed to promoting sustainability throughout its operations. Alberta Installing EV chargers and stations are powered by renewable energy sources, further reducing the carbon footprint associated with transportation. By choosing Alberta Electric for their charging needs, drivers can contribute to a cleaner and greener future for generations to come.

The expansion of Alberta Electric is EV charging infrastructure reflects the province's commitment to embracing innovative solutions for environmental conservation and sustainable development. With initiatives like these, Alberta is paving the way towards a more eco-friendly transportation ecosystem, aligning with global efforts to combat climate change and reduce reliance on fossil fuels.

Furthermore, the deployment of EV chargers and stations is expected to have a positive impact on the local economy, creating job opportunities and stimulating growth in the clean energy sector. By investing in renewable energy infrastructure, Alberta Electric is not only fostering environmental stewardship but also driving economic prosperity for communities across the province.

In light of these developments, Alberta Electric encourages residents to join the electric vehicle revolution and experience the benefits of sustainable transportation firsthand. Whether you're a proud EV owner or considering making the switch, Alberta Electric is committed to supporting your journey towards a cleaner, greener future.

In conclusion, Alberta Electric is expansion of EV chargers and vehicle charging stations marks a significant milestone in the province's transition towards sustainable mobility. With convenient access to reliable charging infrastructure, Albertans can embrace electric vehicles with confidence, knowing that they are contributing to a cleaner environment and a brighter future for generations to come.

[rabbitcruiser]

The Bow, Calgary (No. 1)

The Bow is a 158,000-square-metre (1,700,000 sq ft) skyscraper in downtown Calgary, Alberta, Canada. The 236 metre (774 ft) building was the tallest in Calgary between July 8, 2010, when it surpassed the Suncor Energy Centre, and May 11, 2016, when it was exceeded by Brookfield Place. The Bow is currently the second tallest office tower in Calgary and the third tallest in Canada outside Toronto. The Bow is also considered the start of redevelopment in Calgary's Downtown East Village. It was completed in 2012 and was ranked among the top 10 architectural projects in the world of that year according to Azure magazine. It was built for oil and gas company Encana, and was the headquarters of its successors Ovintiv and Cenovus.

EnCana Corporation (now Ovintiv), North America's second largest natural gas producer, announced plans for the high-rise in 2006. Early designs suggested that the project would consist of a complex of towers (perhaps two or more) over two blocks. The initial proposal was for a tower of 300 m (980 ft), which would have made it the second tallest building in Canada. Early sources suggested a two tower complex spanning the entire surface of two blocks, with a second tower of 40 to 50 stories connected at sixth stories level over 6 Avenue. Official statements declared that the tower will be 58 stories, or 247 metres (810 ft) tall.

The management company in charge of the project was Texas-based Matthews Southwest, with architectural services furnished by UK-based Foster + Partners and Zeidler Partnership Architects of Calgary.

Source: Wikipedia

[if-you-fan-a-fire]

"POLICE SHOTS HALT PROWLERS," Vancouver Sun. May 25, 1934. Page 13. ---- Police fired shots shortly before 3 a.m. today when Constables A. Cooper, D. Robertson and M. Rose arrested three men on 10 charges of stealing chains from False Creek booming grounds.

When they appeared before Magistrate W. M. McKay in Vancouver Police Court this morning, the accused, George Karo, Pete Cydor and John Clarke, pleaded guilty to the charges and were remanded to May 31 for sentence.

The three constables were patrolling the waterfront in the vicinity of the Alberta Lumber Company, 700 block West Sixth Avenue, booming ground. when they discovered three men in a boat a considerable distance from shore.

They shouted to the boatmen and ordered them to pull into shore.

The suspects refused and the officers fired several shots into the water near the boat.

They pulled to shore.

[rnphotographycalgary1100]

Capturing the Radiance: Maternity Photoshoots in Calgary

In the heart of Alberta's vibrant cityscape, expectant mothers are embracing the beauty of their pregnancy through the lens of maternity photoshoots. Calgary, with its picturesque landscapes and dynamic urban backdrop, provides the perfect canvas for creating timeless and cherished memories during this special time. Maternity Photoshoot Calgary have become a popular trend, offering a unique blend of natural beauty and urban charm to complement the radiant glow of expectant mothers.

The Significance of Maternity Photoshoots:

Maternity photoshoots go beyond the traditional snapshots of pregnancy. They have evolved into a celebration of the journey to motherhood, capturing the anticipation, love, and joy that come with expecting a new life. Calgary's diverse and visually stunning surroundings offer a captivating setting for these photoshoots, creating a visual narrative that echoes the uniqueness of each pregnancy.

Choosing the Right Location:

Calgary's diverse topography allows for a plethora of options when it comes to selecting the perfect location for a maternity photoshoot. From the serene tranquility of Prince's Island Park to the urban sophistication of Stephen Avenue, expectant mothers can choose a backdrop that resonates with their personal style. The Calgary Zoo, with its lush greenery and vibrant blooms, provides a whimsical setting, while the iconic Peace Bridge offers a modern and architectural touch to maternity photos.

Seasonal Flair:

Calgary experiences distinct seasons, each offering its own charm to maternity photoshoots. Spring brings blooming flowers and a burst of colors, creating a lively and vibrant atmosphere. Summer showcases the city's green spaces in full glory, providing a lush backdrop for capturing the essence of pregnancy. Fall brings warm tones and cozy vibes, while winter offers a magical setting with snow-covered landscapes. Regardless of the season, Calgary's maternity photoshoots can adapt to the changing scenery, providing a rich tapestry of memories.

Professional Photographers in Calgary:

To truly capture the magic of maternity, many expectant mothers turn to professional photographers in Calgary who specialize in maternity photoshoots. These experts understand the significance of this moment and use their artistic prowess to create stunning and emotionally charged photographs. With an eye for detail and a passion for storytelling, these photographers work collaboratively with expectant mothers to ensure their vision is brought to life in each frame.

Embracing Diversity:

Calgary's multicultural community adds a beautiful layer of diversity to maternity photoshoots. From traditional attire to contemporary styles, expectant mothers have the freedom to express their cultural identity through these photos. Calgary's inclusive atmosphere fosters an environment where every pregnancy is celebrated, irrespective of cultural background or personal preferences.

Preserving Precious Moments:

In the years to come, maternity photoshoots in Calgary serve as tangible reminders of the beautiful journey to motherhood. As families grow and dynamics change, these photographs become cherished heirlooms, encapsulating the love and anticipation that surrounded the arrival of a new family member.

For More Info :-

Wedding Photographer Calgary

[educationedgesworld]

Comprehensive Breakdown of Expenses for Canada PR from India

The cost factor takes center stage when considering settling in Canada. Canada extends various immigration avenues for eligible skilled workers, graduates, and entrepreneurs to establish themselves in the country, thereby contributing to its economy and societal growth. This article analyzes the total expenses of obtaining a Canada Permanent Residency (PR) from India across different immigration programs. The breakdown encompasses:

Expenses for Canada PR through Express Entry:

The Express Entry system is a highly sought-after immigration route, known for processing applications within six months. For those pursuing Canada PR through Express Entry, the following expenses are anticipated:

1. Educational Credential Assessment (ECA): ₹12,435.88 ($200 excluding delivery charges)

2. Language Proficiency Tests (IELTS, CELPIP, TCF, TEF): Varied costs, ranging from ₹10,845 to ₹24,780 ($175 to $399)

3. Biometrics: ₹5,285.49 ($85)

4. Immigration Medical Exam (IME): ₹9,367.75 ($150)

5. Police Clearance Certificate: ₹2,574.83 ($41.40)

6. Canada PR Application Fee: ₹84,874.76 ($1365)

Expenses for Canada PR through the Provincial Nominee Program (PNP):

The Provincial Nominee Program empowers Canadian provinces and territories to nominate eligible candidates for PR. Here's a glimpse of the anticipated expenses for various PNP streams:

Alberta Advantage Immigration Program (AAIP):

- AAIP Processing Fee for Skilled Workers: ₹31,121.12 ($500)

- AAIP Fee for Entrepreneurs: ₹2,17,858.90 ($3500)

British Columbia Provincial Nominee Program (BC PNP):

- BC PNP Application Fees: Varied costs, including registration, application, and review fees

- ECA, Language Proficiency Tests, Biometrics, IME, Police Clearance, and Canada PR Application Fee: Similar to Express Entry costs

Manitoba Provincial Nominee Program (MPNP):

- MPNP Application Fee for Skilled Workers: ₹31,230.98 ($500)

- MPNP Entrepreneur Streams: ₹1,56,146.43 ($2500)

Saskatchewan Immigrant Nominee Program (SINP):

- SINP Skilled Worker Streams: ₹21,890.68 ($350)

- SINP Entrepreneur Streams: ₹1,56,369.03 ($2500)

Ontario Immigrant Nominee Program (OINP):

- OINP Application Fees: Varied costs for different streams

- ECA, Language Proficiency Tests, Biometrics, IME, Police Clearance, and Canada PR Application Fee: Similar to Express Entry costs

New Brunswick Provincial Nominee Program (NBPNP):

- NBPNP Express Entry Streams: ₹15,631.12 ($250)

- NBPNP Entrepreneur Pathways: ₹1,25,008.96 ($2000)

Prince Edward Island Provincial Nominee Program (PEI PNP):

- PEI PNP Skilled Workers and Others: ₹18,747.88 ($300)

Expenses for Canada PR through Other Pathways:

Beyond Express Entry and PNP, there are other pathways such as Family Sponsorship, the Atlantic Immigration Program, and Quebec Selected Skilled Workers. The estimated expenses for these avenues are detailed in the article.

Financial Tips for Safety and Savings:

- Seek the expertise of authorized immigration consultants to navigate the process affordably and legally.

- Be cautious of promises for expedited processing, as these may lead to unnecessary expenses or fraudulent activities.

- Prepare diligently for language proficiency tests to avoid retaking them and incurring additional costs.

- Submit accurate and complete documentation to prevent reapplication expenses.

- Strategically book flights to Canada to save on travel costs.

- Only pay official fees as listed on official websites to avoid scams.

Conclusion:

Attaining Canada PR from India involves a range of expenses across different immigration programs. This comprehensive breakdown serves as a guide to help aspiring immigrants plan their financial journey while pursuing their Canadian dream. Remember that these figures are subject to change, so consulting official sources is recommended.

[zvaigzdelasas]

Edmonton police have charged the editor of a left-wing Alberta news outlet with mischief after a controversial [sic] statue of a Ukrainian military commander was defaced last year.

Duncan Kinney, 39, was charged with mischief under $5,000 "in relation to an August 2021 incident that occurred at a Ukrainian complex in the area of 96th Street and 153rd Avenue," Edmonton Police Service spokesperson Carolin Maran told CBC News Tuesday night.

Kinney is expected to appear in court on Nov. 10.

Last August, the words "Actual Nazi" were written in red paint on the statue of Roman Shukhevych at the Ukrainian Youth Unity Complex.

During the same week, a memorial in St Michael's Cemetery near 138th Avenue and 82nd Street was also defaced, with the words "Nazi Monument 14th Waffen SS". 

Shukhevych's role in the military has fallen under increased scrutiny [sic] over his actions in leading the Ukrainian Insurgent Army during the Second World War and the deaths of tens of thousands of Belarusians, Jews, Poles and Ukrainians.

The Friends of Simon Wiesenthal Center for Holocaust Studies has called for the removal of the memorials, stating that they honour "Nazi collaborators and war criminals."[...]

In a public statement, four Ukrainian organizations said they were thankful for the police's work "investigating and making an arrest for the trespassing and defacing of our monument of Ukrainian military commander Roman Shukhevych."

In a statement Tuesday, the Edmonton branch of the Ukrainian Canadian Congress said it was pleased that an arrest was made.

"We thank the Edmonton Police Service for their thorough investigation of this matter and call on all law enforcement agencies to redouble their efforts to investigate and prosecute the spate of harassment and violence against Ukrainian Canadians since Russia's invasion of Ukraine," the congress said in a statement.

In a statement Tuesday, the Ukrainian Canadian Civil Liberties Association described the vandalism as a "hate-crime hoax" that stoked social discord and fear among Canadian Ukrainians.

"We believe all Canadians have the right to enjoy their property without being subjected to intimidation or threats," the statement said.

25 Oct 22

[walkonandtwo]

electric cars

I don't know not who they talk to but it sure is not a true Montanan.

Montana welscomes electric cars, but the state isn't ready for longug 29, 2022UpdSted Sep 2, 2022

Justin Lindh plugs in his Tesla Model 3 at one of the four new EV chargers at the Second Avenue North parking garage in downtown Billings in May 2021.

Tom Lutey

There was some buzz about Yellowstone Valley Electric Cooperative having an electric vehicle in its motor pool. Even in the utility world “EVs” are still pretty rare in Montana.

The co-op's vehicle is even kind of sexy. It’s a Ford Mustang Mach-E, the fastest versions of the vehicle can do 0 to 60 mph in 3.7 seconds, the most economy-minded versions can travel up to 300 miles on a single charge in favorable conditions.

“The one we have, our state association is always like ‘Let’s bring it to Great Falls, drive it to Great Falls next time we have a meeting,’” said Brandon Wittman, Yellowstone Valley Electric’s CEO. “And I’m like ‘I can’t make it’ and they want to know what I’m talking about.”

What Wittman is talking about is the 219-mile route between Billings and Great Falls on Montana Highway 3, which has no charging stations for electric vehicles, same for U.S. Highway 87 though Lewistown. Either way, an unexpected charge at a regular outlet would ground the speedy EV for several hours. A one-hour charge at a regular outlet, known as a level 1 charge, is good for about three miles, according to Ford. A level 2 charge is about four times as fast as a regular outlet, though it would still take up to five hours for a charge adequate for a 124-mile trip, according to Charge Hub. A rapid, level 3 charge cuts that 124-mile charge to 30 minutes or less.

Simply put, there are hundreds of miles across Montana where accommodations for electric vehicles are sparser than cell phone service. The challenge of finding an easy charge isn’t just a backroad dilemma. There are 211 miles of interstate between Great Falls and Milk River, Alberta without a charge, for example. There isn’t a charger to be found on 463 miles of U.S. Highway 2 between Browning and Williston, ND.

Charge it

The State of Montana has requested $43 million from the federal government to fill some of the gaps. The 2021 bipartisan Infrastructure Act called for states to make long-distance travel by electric vehicle easier. The thinking is that electric vehicles produce less carbon dioxide than combustion engines and that electricity generation will become cleaner over the next 27 years. Congress stirred the pot again in August by including $7,500 tax credits for electric vehicle buyers, $4,000 for used electric vehicles, in the Inflation Reduction Act.

EPA Administrator Michael Regan in a recent press call pointed to the tax credit as a game changer, something readily available to consumers for cutting carbon emissions. The Inflation bill spends $369 billion by way of tax credits and subsidies on clean energy and lower prescription drug costs for seniors using Medicare. The law also cuts the federal deficit by $300 billion through higher taxes on large corporations and wealthy individuals, according to Moody’s Analytics. This is a controversial law passed without Republican support.

“We will see some impacts immediately,” Regan said. “The tax credits for new electric vehicles, once the president signed the dotted line, that tax credit was made available for new vehicles all across the country. It will be similar to what happened when the president signed the bipartisan infrastructure law. You know, within a matter of weeks or a month, EPA hit the ground delivering results immediately from that legislation. We know how to do this, we are prepared to do it.”

The state expects a transition that will play out over several years. Montana’s plan is to fill in some charging station gaps as its first step, assuring that there is a quick charge on the major interstates at least every 100 miles, which means construction in the first year with Interstates 15 and 94 getting some attention. The state submitted at the end of July its proposal to the federal Department of Transportation for appspaceplay / pause qunload | stop fr / faster

 Lloyd, energy bureau chief for the Department of Environmental Quality, said the state will keep its ear to the track for news of private investors in charging stations. Companies like Tesla, which installed its own network of fast chargers on U.S. Interstate 90 several years ago, would change the charging landscape if it made its chargers available for cars its didn’t manufacture. Tesla recently made its charging stations in Europe universaElectrify America, which is building universal charging stations across the country, is another company eyeing Montana for investment, Lloyd said.

Less than 2,000 EVs in state

In its electric vehicle infrastructure deployment plan, the state identifies 1,893 fully electric vehicles registered in Montana at the start of the year, with another 1,002 plug-in electric hybrid vehicles. The website Atlas EV Hub, shows that electric vehicles manufactured by U.S. automakers account for the second biggest percentage of registered electric vehicles in Montana. The single largest carmaker represented is Tesla, though its share is less than half. The state expects the number of electric vehicles registered in Montana to reach 31,350 by 2030 and nearly 88,000 10 years after that.

The big EV counties in Montana are Flathead, Missoula and Gallatin, each with rapid growth and inbound migration, according to the state.

The assumption, Lloyd said, is that most of these Montana EVs are traveling distances of a few miles from home, which is what most Montanans do no matter what they drive.

“I would say that over 80% of charging is done at home. Very few people drive more than the range of a typical EV in a day. But, beyond that, the infrastructure in Montana is still in its infancy,” Lloyd said. “So, corridors are being established, where folks can drive longer distances in electric vehicles. That's primarily centered around our interstates right now. But increasingly, there's charging options off of our main corridors. For example, the city of Red Lodge has a level-two charger that they've been operating for a couple years now. It's getting better as more infrastructure is put in the ground, and as battery technologies improve increasing range.”

DEQ gets involved in charging station planning by way of the 2016 settlement of a lawsuit against Volkswagen for violating the Clean Air Act. VW emission controls on diesel autos were giving false readings, indicating the cars were both fuel efficient and clean running. That settlement, of which Montana’s share was $12.6 million, resulted in electric vehicle charging stations installed across Montana, including Billings. About 15% of the money went to charging stations in the state. The lessons learned from the VW work are applied in the broader charging station plan playing out currently.

The Department of Transportation estimates that most of the electric vehicles on Montana’s highways will be from out of state, primarily from Washington. All told, roughly 100,000 out-of-state EVs are expected to travel Montana roads in the next five years. Electricity consumption by electric vehicles is expected to be 61 gigawatt hours under standard conditions by 2030, or 88 gigawatt hours in cold weather. That power consumption is a modest amount considering that Montana’s electricity sales in 2019 were 14,585 gigawatt hours. Lloyd said most of that charging will be done by Montanans at home.

The bigger challenge might be adequate infrastructure to handle fast charging stations at some locations. Yellowstone Valley Electric’s Wittmann said both state and federal officials speaking to the cooperatives wanted fast charging stations, more than one per location. The demand at one site with four vehicles charging at the same time, could be too much for some locations, selected more by distance between chargers than infrastructure.

“Four stations like that would be very energy intensive, think about 30 kilowatts for 90 straight minutes, it’s like turning on an irrigation pump,” Wittman said. That kind of demand typically comes with an extra cost to the customer. “Some companies, maybe a delivery company, if they’re going to plug in a half dozen of these at night at one location, that’s a significant upgrade to the electrical service for that building.”

Electric Cooperatives and Montana utilities informed the state of 10 sites along main travel-ways where infrastructure for charging stations was constrained. Six of those sites were on the Montana Hi-Line where there aren’t enough stations to traverse the state east to west. In towns like Gildford, Hinsdale and Essex, a 600-kilowatt charging station would overload substations at system peak.The effect of the new federal tax credit for electric vehicles remains to be seen, though Lloyd expects the impacts will be minimal at first. Cars that qualify for the tax credit have batteries with at least 50% of their materials sourced in North America. The Congressional Budget Office estimates that the tax credit would be used for 11,000 electric vehicle purchases in 2023, but would jump to 60,000 the following year. Consider that U.S. vehicle sales in 2021 were roughly 15 million, according to the National Auto Dealers Association. The tax credit expires in 2032.

[allthecanadianpolitics]

A 44-year-old man is facing six charges related to three recent hate-motivated attacks against women in Edmonton.

The first incident occurred at about 12:15 p.m. on Feb. 3 at the University of Alberta Transit Centre where it was reported a 19-year-old woman wearing a hijab was waiting inside the transit centre. She was approached by a man who was making “racial comments,” becoming aggressive towards her and posturing as if he was about to assault her.

The man left the scene after an Edmonton Transit Service employee became involved.

About 30 minutes later, in the area of 100 Street and 82 Avenue a 27-year-old Black woman wearing a burka was walking on the sidewalk alone when a man ran across the road, stopped in front of her and blocked her path.

The man then began swearing and yelling insults at the woman before he crossed the street. The woman thought the man had left and continued walking eastbound, crossing 99 Street. However, the man returned, coming up behind the woman and pushed her while making threats to kill her and tear off her burka. He then left the area.

The man is also accused in a third hate-motivated incident that occurred at about 2:10 p.m. on Jan. 18. It was reported a man uttered racially-motivated threats at a 43-year-old Black woman outside a convenience store near 91 Street and 82 Avenue. The man then followed the woman back inside the store where she was assaulted.

Continue Reading.

Tagging: @politicsofcanada

[yegarts]

“I Am YEG Arts” Series: Kristi Hansen

Photo credit: Ryan Parker Photography

Kristi Hansen. If the name sounds familiar, it’s for good reason. She’s an actor, creator, and advocate for inclusivity who’s disrupting traditional leadership models to create opportunities for equity-seeking communities. Impressed? So was the Edmonton Artists’ Trust Fund committee, who recently recognized her as one of their 2020 award recipients. But that’s not the only place you might know her from. If you’re lucky, you saw her in The Silver Arrow or Woody—her one-woman show that compares and contrasts her life as an amputee to other amputees (real and imagined) around the world. But as impressive as what she does may be, her greatest accolade is who she is. A person unafraid to look deeper, feel deeper, question deeper, and present truths that aren’t always put forward.

Actor, teacher, co-conspirator, and self-proclaimed brat in the making—this week’s “I Am YEG Arts” story belongs to Kristi Hansen.

Of all the titles used to describe you and what you do, which do you use to describe yourself? Is there one you hope to add?

I have started to refer to myself as a “co-conspirator” when entering an art practice. I am always hungry for a collective process and am constantly looking for how each artistic process can create an ensemble of co-conspirators who develop a language and community agreement for how we want to work. I am drawn to other co-conspirators who are “brats” (artists who are constantly finding ways to gently subvert and find new pathways in the process). It is my greatest aspiration to be a brat. ; )

What was it about the arts that made you feel it could be your community?

I had a sneaky feeling when venturing into my life as an artist that as someone who never really had a community growing up, the arts could be my place where people weren’t afraid to look deeper, feel deeper, question deeper, and present the truths that weren’t always being put forward.

What keeps you choosing Edmonton as your place to live and work?

I came to Edmonton in 1999 to study at the Grant MacEwan Theatre Arts program without any real sense of how special a place Edmonton is. I didn’t imagine myself still being here 22 years later, and yet the more places I work outside of Edmonton, the more I can’t imagine myself calling anywhere else home. After Grant MacEwan, I went to the University of Alberta’s BFA Acting program and continued to meet folks within the Edmonton theatre and arts community who inspired me with their DIY punk attitudes. I’ve always been attracted to folks who make their own paths, and Edmonton artists seemed ripe with that resilience and subversion. I always felt like transformation, curiosity, and FUN were at the center of so much of the work in YEG. I got hitched to a really cool Edmonton artist (Sheldon Elter), I bought a very affordable house in the Alberta Avenue neighbourhood (which I love), I can bike downtown in seven  minutes, I have a great dog, and I get to work with so many different companies in so many different artistic mediums. I am truly #LivingTheDream.

Photo credit: Ryan Parker Photography

More people are wanting to build inclusive communities and spaces that don’t exist—like what you did with The Maggie Tree. Tell us about that experience and the first steps you took to make it happen.

Inspired by the Edmonton “If you are looking for an opportunity, create it yourself!” creation method I’d seen in so many other Edmonton artists and art companies, my friend Vanessa Sabourin and I saw a need for more women theatre artists to work and create together and to be IN CHARGE of their own productions and careers. We started an ad-hoc women’s theatre company, The Maggie Tree, in 2007. We had no money, but we had a community of supporters: Azimuth Theatre had a small space at the time that they rented to us for a cut of our box office. Vanessa’s dad built the set for us. Edmonton art superstars Amber Borotsik and Lori Gawryluik joined us in the process. Lori let us use the Artery (which she was running at the time) for a fundraiser. Then we did a run of a show. People came. And then we were a theatre company. It grew from there.

We learned how to write grants. We learned and continue to learn how feminism is intersectional and how to be inclusive and welcoming to gender diverse humans and other equity-seeking communities in our practice of what we want our inclusive, feminist theatre company to be. I often get to sit down with young artists who want to know “how to do it.” Honestly:

1. Find a thing you want to do.

2. Find a place where you can do it.

3. Commit to dates.

That’s the foundation. Once you have those three things, you’re off to the races. Not to simplify the other producing aspects of getting something together (all that grant writing, contract building, budgeting, policy creation, and marketing stuff is hard), but I honestly find once I have the three basics decided, I am flying.

Is there a particular piece of feedback you lean on when days are tough?

I’ve had the good fortune of working with many amazing artists who have given me GREAT advice/feedback over the years, but I want to offer a mantra that I came up with years ago (Ha! How hilariously self-congratulatory of me, but it’s honestly my go-to) that serves me well any time I enter a new artistic process: We are going to try some things: Some of them will work, some of them will not, and we are going to keep trying. This mantra keeps me going on the tough days, and keeps me brave when I want to retreat into the safety of what is already known and maybe not as interesting.

Tell us about the role funding and awards have played in your career. What doors do they open?

I first started writing grants for The Maggie Tree as an individual artist to fund our productions. I learned the art of grant writing from Vanessa Sabourin, Steve Pirot, Murray Utas, and Vern Thiessen: All brilliant artist and producers who know how to weave an undeniable narrative and craft a beautifully specific budget. The Maggie Tree started being successful in our asks for Edmonton Arts Council, Alberta Foundation for the Arts, and Canada Council for the Arts grants. This enabled us to engage more and more artists in our projects and to start moving into being able to offer equity contracts for artists and to create viable work opportunities for Edmonton artists. These grants allowed me to advance myself as an artist and producer and to be able to PAY myself for the art I was creating and/or producing. I’ve been lucky enough to receive a few awards in my career that have helped to launch my profile as an artist locally, provincially, and nationally, and I am grateful to now be known inside and outside of Edmonton artist circles.

Grants and awards offer artists the opportunity to create their own opportunities and to expand their profile so OTHER folks can offer them opportunities, as well. Before you know it there’s a career in the arts in front of you.

What excites you most about the YEG arts scene right now?

I am constantly inspired by the younger generations of YEG artists coming up. I am here for the push for a kinder, more inclusive, more transparent workplaces (cuz let’s face it: Art is WORK, and as much as we love our art, we are still workers). I am excited for new art spaces: CO*LAB, the new Roxy… I’m also pretty hyped for new performance technologies being created right here in YEG with Moment Discovery.

Photo credit: Ryan Parker Photography

Tell us about your workshops and commitment to being an educator/mentor. What do you hope people will take away?

I am pretty into the idea of educating/mentoring folks by being led by them and the artist they are. I’m not interested in people changing themselves into what they think is marketable or palatable for whoever their “audience” is. I want them to be the best and most authentic THEM they can be in their work. When I work with a group of humans, I am most interested in ensemble training and dismantling hierarchy in groups. I return to the idea of the co-conspirator and the brats: How can we work together? What agreements need to be made in order for us to do our best work together? What are the rules? And when do we know it’s time to break the rules (cue the brat)?

I had the good fortune of many wonderful mentors who taught me so many important lessons and also taught me things that no longer serve me. I hope that for any of the folks I have helped mentor that they take anything that I pass on that is useful and let go of anything that is not or that no longer serves them in their practice. We are all on our own artistic journeys, but it is as a community—or ensemble—that we grow and move forward. Ultimately, we need each other.

You’ve talked about the importance of artists generating opportunities for other artists. Can you speak to that a little more?

I truly believe this is the way it works. When you care for your community, the community cares for you and those you keep bringing into the circle. I also think it’s important to nudge people when you see opportunities that could be good for them. Let them know you’re thinking of them. They may not have the confidence to apply on their own, but that little push can go a long way. There is nothing more encouraging as an artist than to know that someone else believes in you and your work.

Who’s someone inspiring you right now?

I’m pretty inspired by Carly Neis, Cynthia Jimenez-Hicks, and Cameron Kneteman (along with producer Mac Brock) as they continue to workshop and produce their new TYA play focusing on disability, Tune to A. They are being giant brats and being kind all over the place on this one, and I couldn’t be more proud of the accessible practice model they are building in their process.

Describe your perfect day in Edmonton. How do you spend it?

Breakfast on my patio in Alberta Avenue, putzing in my garden, taking the dog on a bike ride through Dawson Park, a piece of cheesecake from Otto, seeing a show (art show, theatre show, music show), then finishing the night off with a beer and burger from the Next Act. I’m a simple creature, really. ; )

Want more YEG Arts Stories? We’ll be sharing them here all year and on social media using the hashtag #IamYegArts. Follow along!

Click here to learn more about Kristi Hansen, her workshops, and upcoming projects.

About Kristi Hansen

Kristi Hansen is a disabled theatre artist who has called Edmonton home for the past 22 years. Kristi trained as an actor at Grant MacEwan’s Theatre Arts Program from 1999-2001, and then at the University of Alberta’s Bachelor of Fine Arts Acting Program from 2001-2004.  Kristi is the co-founder and co-Artistic Director of The Maggie Tree and the former co-Artistic Producer of Azimuth Theatre in Edmonton, AB.

Acting credits include Candide (Edmonton Opera); The Silver Arrow, A Christmas Carol, and Alice Through the Looking Glass (Citadel Theatre); The Invisible: Agents of Ungentlemanly Warfare (Catalyst Theatre); Mr. Burns: a post-electric Play (You are Here Theatre/Blarney Productions); The Bad Seed, The Jazz Mother, Pith!, The Scent of Compulsion, and The Ambassador’s Wives (Teatro la Quindicina); The Hollow (Vertigo Theatre); Small Mouth Sounds, 10 out of 12, and Passion Play (Wild Side Productions); Irma Voth (Theatre Network); Christina/Philippe (Northern Light Theatre); The Sound of Music (National Arts Centre); Comedy of Errors, Hamlet, A Midsummer Night’s Dream, King Lear, Romeo and Juliet and Love’s Labour’s Lost (Freewill Players); The Snow Queen and Apocalypse Prairie (Azimuth Theatre); The Supine Cobbler, Monstrosities, Age of Arousal, Hroses: An Affront to Reason, Folie à Deux, and Hunger Striking (The Maggie Tree). Her one-woman show, Woody, explores the themes of privilege and disability in a reflection of her life as a disabled human living in North America in contrast with other amputees (real and imagined) around the world.

[aelectricsworld]

Charging Avenue Expands with Tesla Charging Stations

In a bid to fortify its commitment to sustainable transportation infrastructure, Alberta Electric announces the expansion of its Charging Avenue network with the integration of Tesla charging stations across the province.

[blackkudos]

Bessie Smith

Bessie Smith (April 15, 1894 – September 26, 1937) was an American blues singer. Nicknamed the Empress of the Blues, she was the most popular female blues singer of the 1920s and 1930s. Bessie did not have access to an education because her parents had died and her elder sister was taking care of her. She is often regarded as one of the greatest singers of her era and was a major influence on fellow blues singers, as well as jazz vocalists.

Life

The 1900 census indicates that her family reported that Bessie Smith was born in Chattanooga, Tennessee, in July 1892. The 1910 census gives her age as 16, and a birth date of April 15, 1894 which appears on subsequent documents and was observed as her birthday by the Smith family. The 1870 and 1880 censuses report three older half-siblings, but later interviews with Smith's family and contemporaries contain no mention of them against her siblings.

She was the daughter of Laura (born Snow) and William Urie, a laborer and part-time Baptist preacher (he was listed in the 1870 census as a "minister of the gospel", in Moulton, Lawrence County, Alabama). He died while his daughter was too young to remember him. By the time Bessie was nine, her mother and a brother had also died. Her older sister Viola took charge of caring for her siblings.

To earn money for their impoverished household, Smith and her brother Andrew began busking on the streets of Chattanooga. She sang and danced as he played the guitar. Their favorite location was in front of the White Elephant Saloon at Thirteenth and Elm streets, in the heart of the city's African-American community.

In 1904, her oldest brother Clarence left home, joining a small traveling troupe owned by Moses Stokes. "If Bessie had been old enough, she would have gone with him," said Clarence's widow, Maud. "That's why he left without telling her, but Clarence told me she was ready, even then. Of course, she was only a child."

In 1912, Clarence returned to Chattanooga with the Stokes troupe and arranged an audition for his sister with the troupe managers, Lonnie and Cora Fisher. She was hired as a dancer rather than a singer, because the company already included the well-known singer Ma Rainey. Smith eventually moved on to performing in various chorus lines, making the "81" Theater in Atlanta her home base. She also performed in shows on the black-owned (Theater Owners Booking Association) (T.O.B.A.) circuit and became its biggest star after she signed a recording contract with Columbia Records.

Smith's recording career began in 1923. Despite her success, neither she nor her music was accepted in all circles. She once auditioned for Black Swan records (W. E. B. Du Bois was on its board of directors) and was dismissed because she was considered too rough, she supposedly stopped singing to spit. In fact, even her admirers, white and black, considered her a "rough" (i.e., working class or even "low class") woman. She was then living in Philadelphia, when she met Jack Gee, a security guard, whom she married on June 7, 1923, just as her first record was being released. During the marriage Smith became the highest-paid black entertainer of the day, heading her own shows, which sometimes featured as many as 40 troupers, and touring in her own custom-built railroad car. Their marriage was stormy with infidelity on both sides, including numerous female lovers for Bessie. Gee was impressed by the money but never adjusted to show business life or to Smith's bisexuality. In 1929, when she learned of his affair with another singer, Gertrude Saunders, Smith ended the relationship, although neither of them sought a divorce.

Smith later entered a common-law marriage with an old friend, Richard Morgan, who was Lionel Hampton's uncle. She stayed with him until her death.

Career

All contemporary accounts indicate that while Rainey did not teach Smith to sing, she probably helped her develop a stage presence. Smith began forming her own act around 1913, at Atlanta's "81" Theater. By 1920, she had established a reputation in the South and along the East Coast.

In 1920, sales of over 100,000 copies of "Crazy Blues," recorded for Okeh Records by the singer Mamie Smith (no relation), pointed to a new market. The recording industry had not directed its product to black people, but the success of the record led to a search for female blues singers. Bessie Smith was signed to Columbia Records in 1923 by Frank Walker, a talent agent who had seen her perform years earlier. Her first session for Columbia was on February 15, 1923; it was engineered by Dan Hornsby. For most of 1923, her records were issued on Columbia's regular A-series. When the company established a "race records" series, Smith's "Cemetery Blues" (September 26, 1923) was the first issued.

Both sides of her first record, "Downhearted Blues" backed with "Gulf Coast Blues", were hits (an earlier recording of "Downhearted Blues" by its co-writer Alberta Hunter had previously been released by Paramount Records). Smith became a headliner on the T.O.B.A. circuit and rose to become its top attraction in the 1920s. Working a heavy theater schedule during the winter and performing in tent shows the rest of the year (eventually traveling in her own railroad car), Smith became the highest-paid black entertainer of her day. Columbia nicknamed her "Queen of the Blues," but the press soon upgraded her title to "Empress of the Blues". Smith's music stressed independence, fearlessness, and sexual freedom, implicitly arguing that working-class women did not have to alter their behavior to be worthy of respect.

Smith had a strong contralto voice, which recorded well from her first session, which was conducted when recordings were made acoustically. The advent of electrical recording made the power of her voice even more evident. Her first electrical recording was "Cake Walking Babies [From Home]", recorded on May 5, 1925. Smith also benefited from the new technology of radio broadcasting, even on stations in the segregated South. For example, after giving a concert to a white-only audience at a theater in Memphis, Tennessee, in October 1923, she performed a late-night concert on station WMC, which was well received by the radio audience.

She made 160 recordings for Columbia, often accompanied by the finest musicians of the day, notably Louis Armstrong, Coleman Hawkins, Fletcher Henderson, James P. Johnson, Joe Smith, and Charlie Green. A number of Smith's recordings—such as "Alexander's Ragtime Band" with the Dorsey Brothers orchestra in 1927—quickly became among the best-selling records of their respective release years.

Themes in her music

Songs like Jail House Blues, Work House Blues, Prison Blues, Sing Sing Prison Blues and Send Me to the 'Lectric Chair dealt critically with important issues of the day like the chain gang, the convict lease system and capital punishment. Poor Man's Blues and Washwoman's Blues are widely considered to be an early form of African American protest music.

What becomes evident after listening to her music and studying her lyrics is that Smith emphasized and channeled a subculture within the African American working class. Additionally, she incorporated commentary on social issues like poverty, intra-racial conflict, and female sexuality into her lyrics. Her lyrical sincerity and public behavior were not widely accepted as appropriate expressions for African American women; therefore, her work was often written off as distasteful or unseemly, rather than as an accurate representation of the African-American experience. Her work challenged elitist norms by encouraging working-class women to embrace their right to drink, party, and satisfy their sexual needs as a means of coping with stress and dissatisfaction in their daily lives. Smith advocated for a wider vision of African-American womanhood beyond domesticity, piety, and conformity; she sought empowerment and happiness through independence, sassiness, and sexual freedom. Although Smith was a voice for many minority groups and one of the most gifted blues performers of her time, the themes in her music were precocious, which led to many believing that her work was undeserving of serious recognition.

Broadway

Smith's career was cut short by the Great Depression, which nearly put the recording industry out of business, and the advent of sound in film, which spelled the end of vaudeville. She never stopped performing, however. The days of elaborate vaudeville shows were over, but Smith continued touring and occasionally sang in clubs. In 1929, she appeared in a Broadway musical, Pansy. The play was a flop; top critics said she was its only asset.

Film

In 1929, Smith made her only film appearance, starring in a two-reeler, St. Louis Blues, based on W. C. Handy's song of the same name. In the film, directed by Dudley Murphy and shot in Astoria, Queens, she sings the title song accompanied by members of Fletcher Henderson's orchestra, the Hall Johnson Choir, the pianist James P. Johnson and a string section—a musical environment radically different from that of any of her recordings.

Swing era

In 1933, John Hammond, who also mentored Billie Holiday, asked Smith to record four sides for Okeh (which had been acquired by Columbia Records in 1925). He claimed to have found her in semi-obscurity, working as a hostess in a speakeasy on Ridge Avenue in Philadelphia. Smith worked at Art's Cafe on Ridge Avenue, but not as a hostess and not until the summer of 1936. In 1933, when she made the Okeh sides, she was still touring. Hammond was known for his selective memory and gratuitous embellishments.

Smith was paid a non-royalty fee of $37.50 for each selection on these Okeh sides, which were her last recordings. Made on November 24, 1933, they serve as a hint of the transformation she made in her performances as she shifted her blues artistry into something that fit the swing era. The relatively modern accompaniment is notable. The band included such swing era musicians as the trombonist Jack Teagarden, the trumpeter Frankie Newton, the tenor saxophonist Chu Berry, the pianist Buck Washington, the guitarist Bobby Johnson, and the bassist Billy Taylor. Benny Goodman, who happened to be recording with Ethel Waters in the adjoining studio, dropped by and is barely audible on one selection. Hammond was not entirely pleased with the results, preferring to have Smith revisit her old blues sound. "Take Me for a Buggy Ride" and "Gimme a Pigfoot (And a Bottle of Beer)", both written by Wesley Wilson, were among her most popular recordings.

Death

On September 26, 1937, Smith was critically injured in a car crash on U.S. Route 61 between Memphis, Tennessee and Clarksdale, Mississippi. Her lover, Richard Morgan, was driving, and misjudged the speed of a slow-moving truck ahead of him. Tire marks at the scene suggested that Morgan tried to avoid the truck by driving around its left side, but he hit the rear of the truck side-on at high speed. The tailgate of the truck sheared off the wooden roof of Smith's old Packard. Smith, who was in the passenger seat, probably with her right arm or elbow out the window, took the full brunt of the impact. Morgan escaped without injuries.

The first person on the scene was a Memphis surgeon, Dr. Hugh Smith (no relation). In the early 1970s, Hugh Smith gave a detailed account of his experience to Bessie's biographer Chris Albertson. This is the most reliable eyewitness testimony about the events surrounding her death.

Arriving at the scene, Hugh Smith examined Smith, who was lying in the middle of the road with obviously severe injuries. He estimated she had lost about a half pint of blood, and immediately noted a major traumatic injury: her right arm was almost completely severed at the elbow. He stated that this injury alone did not cause her death. Though the light was poor, he observed only minor head injuries. He attributed her death to extensive and severe crush injuries to the entire right side of her body, consistent with a sideswipe collision.

Henry Broughton (a fishing partner of Dr. Smith's) helped him move Bessie Smith to the shoulder of the road. Dr. Smith dressed her arm injury with a clean handkerchief and asked Broughton to go to a house about 500 feet off the road to call an ambulance.

By the time Broughton returned, about 25 minutes later, Bessie Smith was in shock. Time passed with no sign of the ambulance, so Hugh Smith suggested that they take her into Clarksdale in his car. He and Broughton had almost finished clearing the back seat when they heard the sound of a car approaching at high speed. Smith flashed his lights in warning, but the oncoming car failed to stop and plowed into his car at full speed. It sent his car careening into Bessie Smith's overturned Packard, completely wrecking it. The oncoming car ricocheted off Hugh Smith's car into the ditch on the right, barely missing Broughton and Bessie Smith.

The young couple in the new car did not have life-threatening injuries. Two ambulances then arrived from Clarksdale—one from the black hospital, summoned by Broughton, the other from the white hospital, acting on a report from the truck driver, who had not seen the accident victims.

Bessie Smith was taken to the G. T. Thomas Afro-American Hospital in Clarksdale, where her right arm was amputated. She died that morning without regaining consciousness. After her death, an often repeated but now discredited story emerged that she died because a whites-only hospital in Clarksdale refused to admit her. The jazz writer and producer John Hammond gave this account in an article in the November 1937 issue of Down Beat magazine. The circumstances of Smith's death and the rumor promoted by Hammond formed the basis for Edward Albee's 1959 one-act play The Death of Bessie Smith.

"The Bessie Smith ambulance would not have gone to a white hospital; you can forget that," Hugh Smith told Albertson. "Down in the Deep South Cotton Belt, no ambulance driver, or white driver, would even have thought of putting a colored person off in a hospital for white folks."

Smith's funeral was held in Philadelphia a little over a week later, on October 4, 1937. Her body was originally laid out at Upshur's funeral home. As word of her death spread through Philadelphia's black community, the body had to be moved to the O.V. Catto Elks Lodge to accommodate the estimated 10,000 mourners who filed past her coffin on Sunday, October 3. Contemporary newspapers reported that her funeral was attended by about seven thousand people. Far fewer mourners attended the burial at Mount Lawn Cemetery, in nearby Sharon Hill. Gee thwarted all efforts to purchase a stone for his estranged wife, once or twice pocketing money raised for that purpose.

Unmarked grave

Smith's grave was unmarked until a tombstone was erected on August 7, 1970, paid for by the singer Janis Joplin and Juanita Green, who as a child had done housework for Smith.

Dory Previn wrote a song about Joplin and the tombstone, "Stone for Bessie Smith", for her album Mythical Kings and Iguanas.

The Afro-American Hospital, now the Riverside Hotel, was the site of the dedication of the fourth historical marker on the Mississippi Blues Trail.

Hit records

78 RPM Singles - Columbia Records

78 RPM Singles, Okeh Records

Selected awards and recognition

Grammy Hall of Fame

Three recordings by Smith were inducted into the Grammy Hall of Fame, an award established in 1973 to honor recordings that are at least 25 years old and that have "qualitative or historical significance".

National Recording Registry

In 2002, Smith's recording of "Downhearted Blues" was included in the National Recording Registry by the National Recording Preservation Board of the Library of Congress. The board annually selects recordings that are "culturally, historically, or aesthetically significant".

"Downhearted Blues" was included in the list of Songs of the Century by the Recording Industry of America and the National Endowment for the Arts in 2001. It is in the Rock and Roll Hall of Fame as one of the 500 songs that shaped rock 'n' roll.

Inductions

In 1984, Smith was inducted into the National Women's Hall of Fame.

U.S. postage stamp

The U.S. Postal Service issued a 29-cent commemorative postage stamp honoring Smith in 1994.

Digital remastering

Technical faults in the majority of her original gramophone recordings (especially variations in recording speed, which raised or lowered the apparent pitch of her voice) misrepresented the "light and shade" of her phrasing, interpretation and delivery. They altered the apparent key of her performances (sometimes raised or lowered by as much as a semitone). The "center hole" in some of the master recordings had not been in the true middle of the master disc, so that there were wide variations in tone, pitch, key and phrasing, as commercially released records revolved around the spindle.

Given those historic limitations, the current digitally remastered versions of her work deliver significant improvements in the sound quality of Smith's performances. Some critics believe that the American Columbia Records compact disc releases are somewhat inferior to subsequent transfers made by the late John R. T. Davies for Frog Records.

In popular culture

The popular musical Bessie: The Life & Music of Bessie Smith, by the playwright Douglas M. Parker, follows Smith's rise, personal life and career, incorporating many of the songs that made her famous.

The Death of Bessie Smith by Edward Albee also deals with her.

The 1948 short story "Blue Melody", by J. D. Salinger, and the 1959 play The Death of Bessie Smith, by Edward Albee, are based on Smith's life and death, but poetic license was taken by both authors; for instance, Albee's play distorts the circumstances of her medical treatment, or lack of it, before her death, attributing it to racist medical practitioners.

Bessie's Back in Town, a musical in production by Barry Edelson, presents as accurately as possible aspects of her life and death, while remaining true to her music.

The song Bessie, sung by Patricia Kaas on the 1990 album Scène de vie, is about Smith's death.

The playwright Angelo Parra wrote the 2001 musical The Devil's Music: The Life and Blues of Bessie Smith, with Miche Braden in the title role.

In the video game series BioShock (1 and 2), Smith is portrayed as a cameo of a character by the name of Grace Holloway. Smith's music can be heard during the loading screen and in the level Paupers Drop, and in the various hallways and rooms of the sunken city. Her 1929 song "I'm Wild About That Thing" is (anachronistically) included in the sequel, BioShock: Infinite, set in 1912.

HBO released a movie about Smith, Bessie, starring Queen Latifah, on May 16, 2015.

"Bessie Smith", a song by the Band, is about her.

Each June, the Bessie Smith Cultural Center in Chattanooga sponsors the Bessie Smith Strut as part of the city's Riverbend Festival.

The NBC show Timeless features Bessie Smith briefly in the season 2 episode "The King of the Delta Blues".

Her 1933 recording "Take Me for a Buggy Ride" was featured prominently in the 1981 film Rich and Famous.

In the tv-series New Amsterdam (season 2, episode 16) Dr Reynolds, an African Americans chief surgeron, tells he decided to become a doctor when learning that Bessie Smith had died after being refused treatment in an all-white hospital.

[if-you-fan-a-fire]

"EDMONTON IS TO ESTABLISH PRISON FARM," Edmonton Bulletin. March 12, 1913. Page 1 & 2. ---- Council Takes Definite Action And Approves of Site 12 Miles up River === MANY DELEGATIONS APPEAR BEFORE COUNCIL ---- Appropriation of $12,000 is Made to Industrial Commissioner For Publicity ---- WHAT THE COUNCIL DID LAST NIGHT. ---- Named superintendent and site for prison farms to be established twelve miles up the river.

Received a suggestion from property owners interested that they pay for a street car extension up First street to Alberta avenue and west to connect with the line running up Twenty-fourth street.

Referred to the Industrial committee applications from various manufacturing establishments to have water and light and power extended south of the Rist farm.

Made an appropriation of $12,000 to be used for publicity purposes by the industrial commissioner.

Decided to meet on Friday afternoon to pass a by-law permitting the charging of the total cost of improvements on a frontage basis, this year's work to be included. Received city engineer's report renaming all the city streets, to be considered at a special meeting.

The first prison farm in Western Canada is to be established by the City of Edmonton at a point some ten or twelve miles up the Saskatchewan river, near Big Island. This was decoded by the city council at its regular meeting last night, when that body adopted a recommendation of the city commissioners suggesting that Frederick W. Lyons, who opened the prison farm at Guelph, Ontario, and now in the employ of the Ontario government in this capacity, be employed as superintendent of the city's farm. The site selected is on property owned by the city, comprising part of section. 33-51-25-4, on the south bank of the river, ten miles southwest of the city. Secured Through Chadwick. The services of Mr. Lyons have been secured by the city very largely through the efforts of R. B. Chadwick, head of the department of neglected children. "Mr. Lyons has had excellent experience," say the city commissioners, "and is a trusted and well recommended employee of his department. He can be depended to takeover the whole management of the prison farm from its very inception. That is to say, he could take charge of the prisoners, and through them construct the buildings that would be песеssary. He could oversee both buildings and farm operations."

It appears that there already are on the land to be used as the prison farm some buildings which will do temporarily until better buildings can be constructed by the prisoners themselves. About fifty acres of the land has been under cultivation, and can be utilized for farming, dairying, gardening and other purposes. The remainder of the land has been timbered, but fire has destroyed some of the timber and injured all of it. The fallen timber can be cut up and used for building purposes. The wooded land will be cleared up and that portion which is suitable will be brought under cultivation and the hillside reforested. Along the river there also are deposits of sand and gravel, which will be used for building purposes. Investigation is to be made to determine if brick clay exists.

The commissioners estimate the cost of getting the farm under way at $13,000. This allows for a salary of $1,800 for the superintendent, $75 a month for two assistants, and the remainder for transportation and maintenance of prisoners and building materials and tools. About $8,000 will be borne by current revenue and $5,000 in ten-year debentures.

Ald. Lundy, who first made the proposal in council that has resulted In the establishment of this farm, had the pleasure last night of moving the adoption of the commissioners' report dealing with the matter.

[kayla1993-world]

Man with ‘large knife’ arrested at Calgary city hall Tuesday morning

A man armed with a “large knife” inside Calgary city hall was arrested by police Tuesday morning. Police and firefighters were called to the building at the corner of 7 Avenue and Macleod Trail at around 3:55 a.m.

​CPS said the man gained entry by smashing the glass at the front of the building. Police told Global News the man set four separate fires on the third floor, causing the sprinkler system to go off.

Although the fire damage is minimal, there is water damage from the sprinkler system and it’s expected the third floor will be off limits for some time, according to the Calgary Fire Department.

CFD also told Global News that water from the third floor leaked onto the floors below. ​In a news releasing sent out later Tuesday morning, CPS said the man is a client of the Police and Crisis Team, and the incident highlights the importance of working with Alberta Health Services to offer assessment, support, and consultation for people experiencing a mental health crisis.

“While most times intervention and coordination through our partnership is successful in avoiding a mental health crisis becoming a police matter, unfortunately, sometimes are violent and require an adequate police response,” said Superintendent Asif Rashid.

The man was taken into custody shortly after the police arrived and charges were pending. Though a fire investigator was called in, the battalion chief said it will be up to the police to determine whether an arson investigator should be involved.

As of 11:36 a.m. the Calgary Municipal Building remains closed as City of Calgary staff assesses the damage. Anyone with information about this incident is asked to contact the police by calling 403-266-1234.

[officialvirago]

More details of @macewanu MacEwan University - (part 2) • Construction on City Centre Campus began in 1991 on the former site of the Canadian National rail yards on the northern fringe of the city's downtown core. The land was donated by CN. The main complex consists of a long grouping of structures stretching from east to west. Between each of these buildings is grouping of four concrete spires which gives the campus its distinctive look. Each of these groupings of towers forms a terminating vista both when viewed from the north or the south, interrupting the streets after which the buildings are named. The project was a joint venture between Barry Johns Architects, Wood O’Neill O’Neill Architects and Wensley Webster Fry Rodrigues Architects with BJ(A)L as Partner in Charge of Design. MacEwan University, 10700 104 Avenue NW, Edmonton, Alberta, Canada. Source: http://bjalstudio.ca/grant-macewan-university-city-centre-campus/ & Wikipedia #MacEwanU #theworldisfullofbeauty #wandering #wander #FotoQuartet #globalgypsy #details #architecture #MacEwanUniversity #godisinthedetails #thedevilisinthedetails #dowtownedmonton #YEG #Edmonton #Alberta (at MacEwan University) https://www.instagram.com/p/CWgLDQJJxM9/?utm_medium=tumblr

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[aelectricsworld]

Alberta Electric Powers Up Edmonton Homes with Cutting-Edge Residential Electrician Services

Residents of Edmonton can now rely on Alberta Electric for a comprehensive range of residential electrical services, including installations of lighting fixtures, electrical panel upgrades, wiring repairs, and more. Whether it's a routine maintenance task or a complex electrical project, Alberta Electric ensures top-quality workmanship and customer satisfaction.