#event planning education in Canada

[tswacanada]

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[am-i-the-asshole-official]

AITA for wanting to go to the college I want?

I (16m) went to an event organized by my school, with my mom and my dad. We found a college in Canada that was affordable and offered a good education, plus some benefits that made my mom love it. So we all thought "Okay, we're gonna try getting you there once you graduate".

Fast forward to me on Discord, I have a friend (35m) living in UK, and i excitedly told her about my plans of going to study in Canada and possibly get a citizenship there. I expected her to be happy but... she really wasn't. She told me that it would be harder for me to visit her to the UK once i'm 18, so she felt sad. She told me that she thought i'd look for colleges in the UK to try and be closer to her area. And I did! But in that event, since i study in a very expensive private school, the colleges attending are expensive as well. We already struggle paying for the school fee, taking a loan to go to that waterloo college would leave my family in bankruptcy like... Forever.

That college in Canada was cheap enough, i seriously tried to look for something affordable in the UK but god damn.

I told her that, yes, Canada and UK are apart, it doesn't mean i can't visit her, i can do it once a year! But she wasn't convinced, so i told her that sadly this decision was mostly final because my parents and I liked this opportunity, it's most likely i'll go there.

We haven't talked since then and I feel so guilty, should i keep looking for a college in the UK? I like the one me and my parents saw, but i feel like I'm TA for ignoring my friend.

What are these acronyms?

[literary-illuminati]

2024 Book Review #41 – Japan 1941: Countdown to Infamy by Eri Hotta

Almost everything I know about World War 2, I learned against my will through a poorly spent adolescence and reading people argue about it online. Living in Canada, Japan’s role in it is even more obscure, with the wars in the Pacific and China getting a fraction of a fraction of the official commemoration and pop culture interest of events in Europe. So I went into this book with a knowledge of only the vague generalities of Japanese politics in the ‘30s and ‘40s – from that baseline, this was a tremendously interesting and educational book, if at times more than a bit dry.

The book is a very finely detailed narrative of the internal deliberations within the Japanese government and the diplomatic negotiations with the USA through late 1940 and 1941, which ultimately culminate in the decision to attack Pearl Harbour and invade European colonies across the Pacific. It charts the (deeply dysfunctional) decision-making systems of the Imperial Japanese government and how bureaucratic politics, factional intrigue and positioning, and an endemic unwillingness to be the one to back down and eat your words, made a war with the USA first possible, then plausible, then seemingly inevitable. Throughout this, the book wears its thesis on its sleeve – that the war in the Pacific only ever seemed inevitable, that until the very last hour there was widespread understanding that the war would be near-unwinnable across the imperial government and military, but a broken political culture, the career suicide of being the one to endorse accepting American demands,, and a simple lack of courage or will among the doves, prevented anything from ever coming of it.

So I did know that Imperial Japan’s government had, let’s say, fundamental structural issues when I opened the book, but I really wasn’t aware of just how confused and byzantine the upper echelons of it were. Like if Brazil was about the executive committee – the army and navy ministries had entirely separate planning infrastructures from the actual general staffs, and all of them were basically silo’d off from the actual economic and industrial planning bureaucracy (despite the fact that the head of the Cabinet Planning Board was a retired general). All of which is important, because the real decisions of war and peace were made in liaison meetings with the prime minister, foreign minister, and both ministry and general staff of each branch – meetings which were often as not just opportunities for grandstanding and fighting over the budget. The surprise is less that they talked themselves into an unwinnable war and more that they decided on anything at all.

The issue, as Hotta frames it, is that there really wasn’t a single place the buck stopped – officially speaking, the civilian government and both branches of the military served the pleasure of the Emperor – whose theoretically absolute authority was contained by both his temperament and both custom and a whole court bureaucracy dedicated to making sure the prestige of the throne didn’t get mired in and discredited by the muck of politics. The entire Meiji Constitution was built around the presence of a clique of ‘imperial advisers’ who could borrow the emperor’s authority without being so restrained – but as your Ito Hirobumis and Yamagata Aritomos died off, no one with the same energy, authority and vision ever seems to have replaced them.

So you had momentous policy decisions presented as suggestions to the emperor who could agree and thus turn them into inviolable commands, and understood by the emperor as settled policy who would provide an apolitical rubber-stamp on. Which, combined with institutional cultures that strongly encouraged being a good soldier and not undercutting or hurting the image of your faction, led to a lot of people quietly waiting for someone else to stand up and make a scene for them (or just staying silent and wishing them well when they actually did).

Now, this is all perhaps a bit too convenient for many of the people involved – doubtless anyone sitting down and writing their memoirs in 1946 would feel like exaggerating their qualms about the war as much as they could possibly get away with. I feel like Hotta probably takes those post-war memoirs and interviews too much at face value in terms of people’s unstated inner feeling – but on the other hand, the bureaucratic records and participants’ notes preserved from the pivotal meetings themselves do seem to show a great deal of hesitation and factional doubletalk. Most surprisingly to me was the fact that Tojo (who I had the very vague impression was the closest thing to a Japanese Hitler/Mussolini there was) was actually chosen to lead a peace cabinet and find some 11th hour way to avert the war. Which in retrospect was an obviously terrible decision, but it was one he at least initially tried to follow through on.

If the book has a singular villain, it’s actually no Tojo (who is portrayed as, roughly, replacement-rate bad) but Prince Konoe, the prime minister who actually presided over Japan’s invasion of China abroad and slide into a militarized police state at home, who led the empire to the very brink of war with the United States before getting cold feet and resigning at the last possible moment to avoid the responsibility of either starting the war or of infuriating the military and destroying his own credibility by backing down and acceding to America’s demands. He’s portrayed as, not causing, but exacerbating

every one of Japan’s structural political issues through a mixture of cowardice and excellent survival instincts – he carefully avoided fights he might lose, even when that meant letting his foreign minister continue to sabotage negotiations he supported while he arranged support to cleanly remove him (let alone really pushing back on the army). At the same time, the initiatives he did commit were all things inspired by his deep fascination with Nazi Germany – the dissolution of partisan political parties and creation of an (aspirationally, anyway) totalitarian Imperial Rule Assistance Association, the creation of a real militarized police state, the heavy-handed efforts to create a more pure and patriotic culture. He’s hardly to blame for all of that, of course, but given that he was a civilian politician initially elected to curb military influence, his governments sure as hell didn’t help anything (and it is I suppose just memorably ironic that he’s the guy on the spot for many of the most military-dictatorship-e aspects of Japanese government).

One of the most striking things about the book is actually not even part of the main narrative but just the background context of how badly off Japan was even before they attacked the United States. I knew the invasion of China hadn’t exactly been going great, but ‘widespread rationing in major cities, tearing up wrought iron fencing in the nicest districts of the capital to use in war industry’ goes so much further than I had any sense of. The second Sino-Japanese War was the quintessential imperial adventure and war of choice, and also just literally beyond the material abilities of the state of Japan to sustain in conjunction with normal civilian life. You see how the American embargo on scrap metal and petroleum was seen as nearly an act of war in its own right. You also wonder even more how anyone could possibly have convinced themselves that an army that was already struggling to keep its soldiers fed could possibly win an entirely new war with the greatest industrial power on earth. Explaining which is of course the whole point of the book (they didn’t, in large part, but convinced themselves the Americans wouldn’t have the stomach for it and agree to a favourable peace quickly, or that Germany would conquer the UK and USSR and impose mediation on Japan’s terms, or-).

When trying to understand the decision-making process, I’m honestly reminded of nothing so much as the obsession with ‘credibility’ you see among many American foreign policy hands in the modern day. The idea that once something had been committed to – the (largely only extant on paper) alliance with Nazi Germany, the creation of a collaborator government in China to ‘negotiate’ with, the occupation of southern Vietnam – then, even if you agreed it hadn’t worked out and had probably been a terrible decision to begin with, reversing course without some sort of face-saving agreement or concession on the other side would shatter any image of strength and invite everyone else the world over to grab at what you have. The same applies just as much to internal politics, where admitting that your branch couldn’t see a way to victory in the proposed war was seen as basically surrendering the viciously fought over budget, no matter the actual opinions of your experts – the book includes anecdotes about both fleet admirals and the senior field marshal China privately tearing their respective superiors in Tokyo a (polite) new one for the bellicosity they did not believe themselves capable of following through on, but of course none of these sentiments were ever shared with anyone who might use them against the army/navy.

The book is very much a narrative of the highest levels of government, idea of mass sentiment and popular opinion are only really incidentally addressed. Which does make it come as a shock every time it’s mentioned that a particular negotiation was carried out in secret because someone got spooked by an ultranationalist assassination attempt the day before. I entirely believe that no one wanted to say as much, but I can’t help but feel that people’s unwillingness to forthrightly oppose further war owed something to all the radical actors floating around in the junior ranks of the officer corps who more than willing to take ‘decisive, heroic action’ against anyone in government trying to stab the war effort in the back. Which is something that the ever-increasing number of war dead in China (with attendant patriotic unwillingness to let them die ‘for nothing) and the way everyone kept trying to rally the public to the war effort with ever-more militaristic public rhetoric assuredly only made worse.

That same rhetoric also played its part in destroying the possibility of negotiations with the United States. The story of those negotiations runs throughout the book, and is basically one misunderstanding and failure to communicate after another. It at times verges on comedy. Just complete failure to model the political situation and diplomatic logic of the other party, on both sides (combined with a great and increasing degree of wishful thinking that e.g. letting the military occupy southern French Indochina as a concession for their buy-in on further negotiations would be fine with the Americans. A belief held on exactly zero evidence whatsoever). The United States government was actually quite keen to avoid a war in the pacific if possible, as FDR did his best to get entangled in Europe and effectively start an undeclared naval war with Germany – but the negotiating stance hardened as Japan seemed more and more aggressive and unreliable, which coincided exactly with Japan’s government taking the possibility of war seriously enough to actually try to negotiate. It’s the same old story of offering concessions and understanding that might have been agreed to a few months beforehand, but were now totally unacceptable. In the end, everyone pinned their hopes on a face-to-face diplomatic summit with FDR in Juneau, where sweeping concessions could be agreed to and the government’s credibility staked on somewhere the hardliners could not physically interfere with. The Americans, meanwhile, wanted some solid framework for what the agreement would be before the summit occurred, and so it never did.

After the war, it was apparently the general sentiment that the whole nation was responsible for the war with the United States – which is to say that no individual person deserved any special or specific blame. Hotta’s stated aim with the book is to show how that’s bullshit, how war was entirely avoidable, and it was only do to these small cliques of specific, named individuals that it began. The hardliners like Osami Nagano, but just as much the cowards, careerists and factional partisans like Konoe, Tojo, and (keeper of the Privy Seal) Kido. Having read it I, at least, am convinced.

[outlanderanatomy]

2024 SiWC Panel with Diana Gabaldon

Greetings Outlander fans! My, I have missed you all… 🤗

This weekend I find myself in beautiful Surrey, British Columbia,  Canada, attending the Surrey International Writers’ Conference, more commonly known as SiWC!

I drove from Oregon to Canada lastThursday. It was a beautiful day but the  normally 5.5 hr drive turned into nearly 7 hours due to two collisions in Washington state.  Yes, it was an inconvenience for those on the freeway, but I was grateful to arrive safely and I hope those involved in the crashes are OK.

Thus far, I have attended several events featuring Diana – she is one busy lass! All were delightful and I will share them with you, but not in chronological order mostly due to the technical issues of posting via  iPad. 😉

Today’s event was titled “Compelling Expositions,” a panel featuring Diana Gabaldon, Michael Slade, Robyn Harding, and Darren Groth (not shown).  K. C. Dyer moderated (also not shown).

Diana looked stunning, layered with in a deep red shawl because the room was freezing! 🥶

Many fruitful topics were covered by the panel. Here are some highlights including Diana’s responses:

Question:  Which is your fav scene from your writings? Diana chose the scene from “Outlander” book wherein Jamie rescues Claire from Black Jack Randall’s clutches. They shelter at a tavern –  Jamie tells Claire he is not ready for bed and proceeds to whip her with his sword belt. This set up a major clash between the two characters because each POV was justified from their perspective. Claire was trying to find a way back to Frank but Jamie knew her actions put all of their lives  in danger. I must confess, this choice surprised me. I suppose because Diana has written so many splendid scenes. How would one even choose? 🤔

This is wee bit of the excerpt from the scene (pp. 249-250 “Outlander” Kindle version) that is Diana’s fav!

“Come to bed, Jamie. What are you waiting for?”

He came to stand by the bed, swinging the belt gently back and forth.

“Well, lass, I’m afraid we’ve a matter still to settle between us before we sleep tonight.” I felt a sudden stab of apprehension.

“What is it?” He didn’t answer at once. Deliberately not sitting down on the bed by me, he pulled up a stool and sat facing me instead.… 😯

Question: How do you deal with pacing? Diana responded that pacing depends on context. For example, if there is an emergency then the writer wants to keep sentences short and terse. Pacing allows the author to create tension between two elements. A question is raised and then answered to move the story forward. (Psst…. She didn’t mention that sometimes the answers to questions she raises don’t get resolved until two books and ten years later!) 😂

Question: How do you deal with slang or dialect? Diana feels dialogue is the most important way to define a character.  An author using another language (e.g. Gaelic) needs to educate themself in the language. She watched films with Scottish characters to hear their spoken English. At conferences, if she heard anyone speaking with a Scottish accent, she invited them for coffee and listened to them speak. Diana also recommended reading books written by someone who speaks the language. She read several Scottish authors to help her get a feel for syntax, cadence, etc. Frankly, her devotion to her craft is a splendid example to all aspiring authors. 🥰

Question: Do you plan out a chapter or scene ahead of time? Diana does not. We already know she doesn’t write in a straight line. She also does not tell her characters what to say or do. She waits patiently for them to speak to her.  This being my fourth SiWC, I can tell you hers is a unique approach. Most writers I encounter plan out scenes, many even work from  a classic outline. She also doesn’t know ahead of time how a book will end. I guess the one exception here is that she seems to know how the “Outlander” books will end. Sob! 😢

Question: Who is your favorite author. James Clavell, she answered without a moment’s hesitation.  Clavell authored the marvelous, “Shogun,” for those who might not know. Although it has been some time since I read it, it is well worth doing so. 👍🏻

These were highlights of the panel for me.

The full panel discussion can be accessed on the blog.

I hope you enjoyed the panel. Need I say, my fav author for “Compelling Exposition” is none other than Diana Gabaldon? 🤩 🥇 🏆

The deeply grateful,

Outlander Anatomist

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Photo and audio credits: Outlander Anatomy

[allthecanadianpolitics]

More than 1,000 counter-protesters descended on Queen’s Park to combat anti-LGBTQ2S+ inclusive education demonstrations, one of the many planned across the country on Wednesday.

Nationwide protests under the banner “1 Million March 4 Children” are pushing for the elimination of Sexual Orientation and Gender Identity (SOGI) curriculums in Canada.

CTV News is covering these events live as they unfold in Toronto. [...]

Continue Reading.

Tagging: @politicsofcanada, @vague-humanoid

[myalgias]

Excerpts from the article:

Because it’s clear that being “the last public space” isn’t a privilege. It’s a sign that something has gone terribly wrong.

At the time, countless articles asked if new technology meant “the death of the public library.” Instead, the institution completely transformed itself. Libraries carved out a new role providing online access to those who needed it. They abandoned the big central desk, stopped shushing patrons, and pushed employees out onto the floor to do programming. Today, you’ll find a semester’s load of classes, events, and seminars at your local library: on digital photography, estate planning, quilting, audio recording, taxes for seniors, gaming for teens, and countless “circle times” in which introverts who probably chose the profession because of their passion for Victorian literature are forced to perform “The Bear Went over the Mountain” to rooms full of rioting toddlers.

In the midst of this transformation, new demands began to emerge. Libraries have always been a welcoming space for the entire community. Alexander Calhoun, Calgary’s first librarian, used the space for adult education programs and welcomed “transients” and the unemployed into the building during the Depression. But the past forty years of urban life have seen those demands grow exponentially. In the late 1970s, “homelessness” as we know it today didn’t really exist; the issue only emerged as a serious social problem in the 1980s. Since then, as governments have abandoned building social housing and rents have skyrocketed, homelessness in Canada has transformed into a snowballing human rights issue. Meanwhile, the opioid crisis has devastated communities, killing more than 34,000 Canadians between 2016 and 2022, according to the Public Health Agency of Canada. And the country’s mental health care system, always an underfunded patchwork of services, is today completely unequipped to deal with demand. According to the Canadian Institute for Health Information, from 2020 to 2021, Canadians waited a median of twenty-two days for their first counselling session. As other communal support networks have suffered cutbacks and disintegrated, the library has found itself as one of the only places left with an open door.

When people tell the story of this transformation, from book repository to social services hub, it’s usually as an uncomplicated triumph. A recent “love letter” to libraries in the New York Times has a typical capsule history: “As local safety nets shriveled, the library roof magically expanded from umbrella to tarp to circus tent to airplane hangar. The modern library keeps its citizens warm, safe, healthy, entertained, educated, hydrated and, above all, connected.” That story, while heartwarming, obscures the reality of what has happened. No institution “magically” takes on the role of the entire welfare state, especially none as underfunded as the public library. If the library has managed to expand its protective umbrella, it has done so after a series of difficult decisions. And that expansion has come with costs.

[eretzyisrael]

by Jonah Fried

B’nai Brith Canada is astounded and appalled by the University of Toronto’s refusal to acknowledge its concerns on behalf of the Jewish community about a pair of problematic events scheduled to take place on campus next week.

“We were disappointed, to put it mildly, by the U of T’s response to a letter we sent last week,” said Richard Robertson, B’nai Brith Canada’s Director of Research and Advocacy. “In the wake of the antisemitism that proliferated at the encampment last summer, U of T committed to securing its campus and creating an environment that is safe for all students. The response we received from the university dismissed our valid concerns and did not even express a hint of compassion for Jewish students, who are concerned that the two events next week will further escalate tensions and incite hatred on campus.”

The first of the two planned events is a Nov. 7 appearance by Francesca Albanese, United Nations Special Rapporteur on the “Occupied Palestinian Territories.” Albanese has repeatedly legitimized the acts of terrorist organizations, including violence against Israeli civilians.

On Nov. 8, anti-Israel radicals intend to host a so-called “Anti-Zionist Ideas Conference.” The panel is set to include Nasser Abourahme, who has described Zionism as “colonialism” and, in doing so, rejects the Jewish people’s ancestral ties to the Land of Israel. Other participants include Daniel Boyarin, who advocates for a no-state solution to the conflict in Israel, effectively calling for the destruction of the world’s only Jewish State.

In response to B’nai Brith’s letter, which cited concerns for the security and well-being of the Jewish community, a spokesperson for U of T President Meric Gertler wrote that the school “does not take positions on contentious social, political or other issues apart from those directly pertaining to higher education and academic research.” The University did not offer any proactive assurances or commitments to mitigate the issues B’nai Brith raised on behalf of Jewish students, faculty and staff.

“Even if U of T feels it cannot stop the events from taking place, it could have done more to acknowledge the bona fide concerns of its Jewish community,” Robertson said. “It could have offered to increase security on campus or committed to monitoring the events for incidents of hate speech or misinformation. Instead, the administration seems disinterested in the impact the events will have on the Jewish members of its community.

“U of T appears to have wiped its hands of the matter, and that is extremely difficult to accept.”

[coochiequeens]

A male is being asked to speak about a recent spike in femicide and people are surprised that women are pissed?

By Reduxx Team October 17, 2024

A trans-identified male was invited to speak in Northern Ireland’s parliament on “gender-based violence” and “LGBT youth education” following the brutal murders of four women in the country in just six weeks.

Northern Ireland has recently been shaken by a spate of murders involving female victims who, in many cases, had appealed to the police for help prior to their deaths. The most recent, Mary Ward, was a 22-year-old mother who was found dead in her south Belfast home on October 1. Ward is the 24th woman killed in the small country since 2020 according to Belfast and Lisburn Women’s Aid, and the fourth woman killed since August.

But women’s rights advocates are expressing outrage after the matter was raised in Stormont by a trans activist who has previously called for males to be allowed to enter women’s shelters.

Alexa Moore, a male who identifies as a “woman,” was invited by the education committee this week to speak on an inquiry into relationships and sexuality education (RSE) in schools. Alongside Moore, Sophie Nelson from HERe NI, a Belfast-based community organization and registered charity for lesbian and bisexual women, also gave evidence.

But during the meeting, Nelson spoke about the recent killings, stating: “We have an epidemic here of gender-based violence and the prevention of this needs to start in school.”

Notably, Moore has previously made controversial social media posts describing women critical of gender ideology as “fascists” for seeking to uphold women’s single-sex spaces. The concerning tweets were circulated on X today by popular gender critical user @ripx4nutmeg, sparking debate and discussion from users.

“What an insult. How can anyone take a cross dressing mans input seriously when talking about male violence against women? Shame on whoever organised it,” one user replied.

Moore, who describes himself as a “women’s sector lobbyist,” works as a policy, campaigns and communications manager with The Rainbow Project – a non-profit organization that promotes LGBT ideology and activism in Northern Ireland.

He has regularly been featured as a guest for women’s events, including during International Women’s Day, when he was featured on a panel of “young women” to discuss “inspiring inclusion.” He was also allegedly involved in an International Women’s Day march where he led the crowd to chant “trans rights are women’s rights.”

The Association for Women’s Rights in Development, a self-described “feminist, women’s rights and gender justice movement,” also had Moore speak on the Women’s Policy Group’s 5-Pillar Feminist Economic Recovery Plan, which targeted how austerity and cuts to public spending, has been shown to “hit women the hardest.”

This is not the first time a trans-identified male has sparked backlash for being chosen to speak on women’s rights following an incident of femicide.

In December, the University of Toronto in Canada invited a trans-identified male to speak at a memorial ceremony dedicated to the women who lost their lives during the École Polytechnique massacre. Despite the event being dedicated to the National Day of Remembrance and Action on Violence against Women, the speech instead focused on “addressing transmisogyny.”

The year prior, Fae Johnstone, another trans-identified male, gave a keynote address at Durham College in North Oshawa, Ontario, during the 33rd anniversary of the massacre.

[religion-is-a-mental-illness]

By: Nicole Brockbank, Angelina King

Published: Sep 13, 2023

Harry Potter, The Hunger Games and Roll of Thunder, Hear My Cry.

Those are all examples of books Reina Takata says she can no longer find in her public high school library in Mississauga, Ont., which she visits on her lunch hour most days.

In May, Takata says the shelves at Erindale Secondary School were full of books, but she noticed that they had gradually started to disappear. When she returned to school this fall, things were more stark.

"This year, I came into my school library and there are rows and rows of empty shelves with absolutely no books," said Takata, who started Grade 10 last week. 

She estimates more than 50 per cent of her school's library books are gone. 

In the spring, Takata says students were told by staff that "if the shelves look emptier right now it's because we have to remove all books [published] prior to 2008." 

Takata is one of several Peel District School Board (PDSB) students, parents and community members CBC Toronto spoke to who are concerned about a seemingly inconsistent approach to a new equity-based book weeding process implemented by the board last spring in response to a provincial directive from the Minister of Education. 

They say the new process, intended to ensure library books are inclusive, appears to have led some schools to remove thousands of books solely because they were published in 2008 or earlier.

Parents and students are looking for answers as to why this happened, and what the board plans to do moving forward.

Prior to publication, neither Ontario Education Minister Stephen Lecce's office, nor the Education Ministry, would comment on PDSB's implementation of Lecce's directive when contacted by CBC Toronto.

But in a statement Wednesday, the education minister said he has written to the board to immediately end this practice. 

"Ontario is committed to ensuring that the addition of new books better reflects the rich diversity of our communities," said Lecce. 

"It is offensive, illogical and counterintuitive to remove books from years past that educate students on Canada's history, antisemitism or celebrated literary classics."

Weeding books by publication date raises concerns

The process of weeding books from a library isn't new.

Libraries across the country follow weeding plans to dispose of damaged, mouldy and outdated books and to ensure their collections remain a trusted source of current information.

But Takata, who is of Japanese descent, is concerned weeding by publication date doesn't follow that norm and will erase important history.

"I think that authors who wrote about Japanese internment camps are going to be erased and the entire events that went on historically for Japanese Canadians are going to be removed," she said.  

"That worries me a lot."

Libraries not Landfills, a group of parents, retired teachers and community members says it supports standard weeding, but shares Takata's concerns about both fiction and nonfiction books being removed based solely on their publication date.

The group is also concerned about how subjective criteria like inclusivity will be interpreted from school to school in the later stages of the equity-based weeding process.

Tom Ellard, a PDSB parent and the founder of Libraries not Landfills, said teachers reached out to them to help raise awareness about the weeding process.

"Who's the arbiter of what's the right material to go in the library, and who's the arbiter of what's wrong in our libraries? That's unclear," he said. "It's not clear to the teachers who've provided us this material, and it's not clear to me as a parent or as a taxpayer."

Ellard says he's talked to the parent council, his son's principal and his school board trustee. He's also contacted members of the provincial government, but says he hasn't received a substantial response about what happened in the spring and how the process is intended to work.

School board defends process

CBC Toronto requested an interview with the PDSB to discuss how the weeding process works and how the board plans to proceed in the wake of concerns from parents and students. A spokesperson said staff were not available to speak as they were "focusing on students and school families this week." 

The board did not address questions about empty shelves, the volume of books removed and reports about weeding books based on the date of publication.

Instead, the board issued statements explaining that the process of weeding books from school libraries was completed in June and has always been a part of teacher librarian responsibilities within PDSB and at school boards across the country.

"Books published prior to 2008 that are damaged, inaccurate, or do not have strong circulation data (are not being checked out by students) are removed," said the board in its statement. 

If damaged books have strong circulation the board says they can be replaced regardless of publication date, and older titles can stay in the collection if they are "accurate, serve the curriculum, align with board initiatives and are responsive to student interest and engagement."

"The Peel District School Board works to ensure that the books available in our school libraries are culturally responsive, relevant, inclusive, and reflective of the diversity of our school communities and the broader society," said the board.

Weeding a response to minister's directive

CBC Toronto reviewed a copy of the internal PDSB documents Ellard's group obtained, which includes frequently asked questions and answers provided to school staff by the board, and a more detailed manual for the process titled "Weeding and Audit of Resource in the Library Learning Commons collection."

The documents lay out an "equitable curation cycle" for weeding, which it says was created to support Directive 18 from the Minister of Education based on a 2020 Ministry review and report on widespread issues of systematic discrimination within the PDSB. 

Directive 18 instructs the board to complete a diversity audit of schools, which includes libraries.

"The Board shall evaluate books, media and all other resources currently in use for teaching and learning English, History and Social Sciences for the purpose of utilizing resources that are inclusive and culturally responsive, relevant and reflective of students, and the Board's broader school communities," reads the directive.

How weeding works

PDSB's "equitable curation cycle" is described generally in the board document as "a three-step process that holds Peel staff accountable for being critically conscious of how systems operate, so that we can dismantle inequities and foster practices that are culturally responsive and relevant."

First, teacher librarians were instructed to focus on reviewing books that were published 15 or more years ago — so in 2008 or earlier.

Then, librarians were to go through each of those books and consider the widely-used "MUSTIE'' acronym adapted from Canadian School Libraries. The letters stand for the criteria librarians are supposed to consider, and they include:

• Misleading – information may be factually inaccurate or obsolete. • Unpleasant – refers to the physical condition of the book, may require replacement. • Superseded – book been overtaken by a new edition or a more current resource. • Trivial – of no discernible literary or scientific merit; poorly written or presented. • Irrelevant – doesn't meet the needs and interests of the library's community. • Elsewhere – the book or the material in it may be better obtained from other sources.

The deadline to complete this step was the end of June, according to the document. 

[ Dianne Lawson, a member of Libraries not Landfills, says teachers told her The Diary of a Young Girl by Anne Frank and The Very Hungry Caterpillar by Eric Carle were removed from their school libraries as part of the PDSB weeding process. ]

Step two of curation is an anti-racist and inclusive audit, where quality is defined by "resources that promote anti-racism, cultural responsiveness and inclusivity." And step three is a representation audit of how books and other resources reflect student diversity.

When it comes to disposing of the books that are weeded, the board documents say the resources are "causing harm," either as a health hazard because of the condition of the book or because "they are not inclusive, culturally responsive, relevant or accurate."

For those reasons, the documents say the books cannot be donated, as "they are not suitable for any learners." 

A PDSB spokesperson said the board supports its schools "in the disposal of books in a responsible manner by following Peel Region's recycling guidelines." Peel Region allows for the recycling of book paper, as long as hard covers and any other plastics are removed first and put in the garbage. 

Books removed based on date, board heard

It was during the first stage of the new equitable curation cycle, that Takata, Libraries not Landfills, and at least one trustee, say some schools were removing books strictly based on publication date.

CBC Toronto recently reviewed a recording of a May 8 board committee meeting focused on the new equitable weeding process. In it, trustee Karla Bailey noted "there are so many empty shelves," when she walks into schools. 

"When you talk to the librarian in the library, the books are being weeded by the date, no other criteria," Bailey told the committee. 

"That is where many of us have a real issue. None of us have an issue with removing books that are musty, torn, or racist, outdated. But by weeding a book, removing a book from a shelf, based simply on this date is unacceptable. And yes, I witnessed it."

Bernadette Smith, superintendent of innovation and research for PDSB, is heard responding on the recording, saying it was "very disappointing" to hear that, because she said that's not the direction the board is giving in its training for the process.

Dianne Lawson, another member of Libraries not Landfills, told CBC Toronto weeding by publication date in some schools must have occurred in order to explain why a middle school teacher told her The Diary of a Young Girl by Anne Frank was removed from shelves. She also says a kindergarten teacher told her The Very Hungry Caterpillar had been removed as well.

"She has read it to her classes for years, they love it," Lawson said, referring to the Eric Carle picture book. 

"I can't find any sedition in it, or any reason why you would pull this book."

Process 'rolled out wrong,' trustee chair says

Trustee and chair of the board, David Green, told CBC Toronto the weeding process itself "rolled out wrong." 

That's why he says trustees briefly paused the process until the board could get a better understanding of what was actually going on. 

A motion was passed at a May 24 board meeting to ensure that, going forward, those weeding books during the anti-racist and inclusive audit in the second phase of the curation cycle would need to document the title and reason for removal before any books were disposed of.

"We have to make sure that we are meeting the needs of the students and not just rolling something out because we were told to do it," said Green. 

When it comes to removing all books published in 2008 or earlier, Green said the board of trustees has heard that, too. 

"We have asked the Director [of Education] again to make sure that if that is taking place, then that is stopped, and then the proper process is followed," he said.

Green also said they have plans to communicate with parents about the weeding process.

In the meantime, students like Takata are left with half-empty shelves and questions about why they weren't consulted about their own libraries. 

"No one asked for our opinions," she said. "I feel that taking away books without anyone's knowledge is considered censorship."

==

Even given it was "rolled out wrong," it's interesting that some librarians saw no issue with the actions they took.

Which doesn't bode well for the overtly ideological "second phase," in which classic and of-the-time literature is judged through the shallow, postmodern "microaggressions" of present-day activist librarians.

It's always been the people who most want to ban books like "To Kill A Mockingbird" who are the ones who most need to read them.

This is what a purge of history looks like.

[lboogie1906]

Black History Month is an annual observance originating in the US, where it is known as African-American History Month. It has received official recognition from governments in the US and Canada and has been observed unofficially in Ireland, the Netherlands, and the UK. It began as a way of remembering important people and events in the history of the African diaspora. It is celebrated in February in the US and Canada, while in Ireland, the Netherlands, and the UK it is observed in October.

The precursor to Black History Month was created in 1926 in the US when historian Carter G. Woodson and the Association for the Study of Negro Life and History announced the second week of February to be “Negro History Week”. This week was chosen because it coincided with the birthday of Abraham Lincoln on February 12 and of Frederick Douglass on February 14, both of which dates African American communities had celebrated together since the late 19th century. Negro History Week was the center of the equation. The thought process behind the week was never recorded, but scholars acknowledge two reasons for its birth: recognition and importance. Woodson felt deeply that at least one week would allow for the general movement to become something annually celebrated. After the ten-year-long haul to complete his “Journal of Negro History”, he realized the subject deserved to resonate with a greater audience.

From the event’s initial phase, primary emphasis was placed on encouraging the coordinated teaching of the history of African Americans in the nation’s public schools. The first Negro History Week was met with a lukewarm response, gaining the cooperation of the Departments of Education of the states of NC, DE, and WV as well as the city school administrations of Baltimore and DC. Despite this far from universal observance, the event was regarded by Woodson as “one of the most fortunate steps ever taken by the Association”, and plans for a repeat of the event on an annual basis continued apace. #africanhistory365 #africanexcellence

[hezuart]

Why did you switch from animation to reviews? Also, do you still plan on doing CGI like you mentioned multiple times?

oH BOY..... you may need to sit down for this one

So it all started back in 2012. I was around 14 years old and just saw Rise of the Guardians and Wreck it Ralph. The stories, the characters, the world-building, the animation... now I never really went to movie theaters as a kid, but as a teen I started going and I instantly fell in love.

I went to community college for a few years and made some amazing friends. Loved some of my teachers and we participated in fun events like the 24-hour challenge and Campus Movie Fest. I had gotten in the top picks for Campus Movie Fest at some point and was supposed to go to the Cannes Film Festival in France to showcase my short film, but then the pandemic hit and it got canceled indefinitely.

So get this, for community college, I got a certification in 3D Animation and Video Game development. It's basically an AA degree but without general ed. (Why do you need general ed to get a degree in something? Math and PE have nothing to do with Animation. College is ridiculous. People have to pay you more simply because you were forced to spend more money in college. Wild.) Out of the 20 classes I had taken to get this certification, only 3 of those courses were hands-on 3D animation. And only one of those courses was hands-on video game development and I dropped out of that class because it was PC only and I only had a Mac at the time. I applied to the class without realizing it was accommodating only to PCs. So even my certification is barely reaching the basics for the title of it, but I did take another online course or two for 3D animation which I have a different certification for.

Now even with my 3D animation, I was never taught the physics engine. I was never taught hair or cloth simulation, but I do have modeling, rigging, animating, and texturing experience. For gaming, I have very little experience. I've only modeled things and found my way around Unity, but otherwise, I suck at coding. I hate coding with a passion. Making a video game without coding isn't really possible.

Now, when the pandemic hit, a lot of things were shutting down. I had no idea where I wanted to go next. People kept asking me where I was going for my higher education, but I kept getting warned not to waste money on college if you're trying to become an artist, especially at University. It's a money pit, and competition is so high, you're not guaranteed a job, you're just gonna be in debt. Even colleges like Cal Arts, who charge over $1K per class, I've been told are a "Pay to get in" kind of place. Where the money is used to nab professionals from their work to teach students or talk about their company or programs, and through that, you get a bigger chance to get your foot in the door because you know someone. I've unfortunately been told that's the more realistic way to get into animation: networking. If you're a shy introvert who doesn't know any famous people, you need to be extremely talented and unique to stand out to get the chance of being noticed. I don't really want to suck up to people nor do I want to waste thousands of dollars and 5 more years on college that I may not even need (let alone be able to afford) especially if there are online classes that may be even more valuable.

Now after I got out of college and started applying a few places, I discovered a LOT of unfortunate information.

Most animation these days is done overseas. South Korea, India, Japan, and Canada are the big ones.

Invader Zim, Steven Universe, Miraculous Ladybug, The Simpsons, OK KO, Star vs the Forces of Evil, Kipo and the Age of the Wonder Beasts, Adventure Time, Twelve Forever, and the Powerpuff Girls Reboot were animated in South Korea. The Ghost and Molly Mcgee is animated in Canada.

(The first four seasons of the Simpsons were animated in America until it switched to South Korea and India.)

2D traditional animation is no longer viable. Puppetry is the industry standard because it's the cheapest. Luckily, Toon Boom Harmony has allowed us to push the boundaries of 2D puppetry. Puppetry these days, if done well, can look really great, like Tangled the Series, but if you don't have Toon Boom Harmony, you're probably not gonna be hired.

Not even all 3D is made in the USA. If it's Disney, Dreamworks, or Pixar, then it's usually USA. But streaming service movies, like Sea Beast, Kid Cosmic, The Willoughbys, and Klaus, while they claim to be a "Netflix Original" that "Netflix Animation" animated, that's a lie. Klaus was animated by Yowza! Animation in Canada. The Willoughbys: Bron Animation, Canada. Kid Cosmic: Mercury Filmworks, Canada. Sea Beast: Sony Pictures Image Works, Canada. (X)

Go Go Cory Carson is written and storyboarded in America, but the animation is shipped out to be done in France. Sonic Boom is also French Animated.

Even Sony Pictures? Open Season, Surf's Up, Spiderman: Into the Spiderverse, Cloudy with a Chance of Meatballs, SMurfs, Hotel Transylvania, Over the Moon, The Angry Birds Movie, Sea Beast? Sony Pictures Imageworks is based in Canada. They're doing all the animation for them. It's not animated in America, it's merely funded by them.

I should also clarify: I only want to participate in stylized animated media. I don't want to do CGI for hyper-realistic films, which eliminates most of the animation jobs out there these days. It's just not my thing. The insane amount of details and uncanny valley are just so unappealing, I can't do it.

The closest animation studios are still far away. Most companies are located in LA. I'm over 7+ hours away from there. LA also has a high poverty rate, terrible air quality, is overcrowded, and is just generally not a good place to live, especially if you're low middle class. You're not gonna survive there.

Pixar is located in Emeryville, a few minutes north of San Fransisco city. Emeryville is the most crime-ridden city in that area. They tell you not to walk home alone at night. You're more likely to get robbed there than anywhere else according to the population ratio there. There are a lot of gangs that hide up there, and there's a lot of poverty there, even outside of San Fransisco. It's basically a trash pit. Not an ideal place to live, and commuting through 3-hour SF city traffic is also not gonna work. (X)

I have also been informed some people who work at Pixar are petty that the interns use their facility. Pixar has a heated pool, soccer field, gymnasium, and a few other nice things on their property. I was informed there was a person or two who got mad that an intern was using their basketball court.... when the intern was on break. As though they weren't part of Pixar, as though they had no right to touch the property. Apparently, they also used to make the interns push around little tea carts to serve refreshments as a way to "talk to the fellow animators" to probably get them interacting, but hearing that the interns were basically chored with butler duty to bother the animators hard at work seems like such a forced thing. That makes me uncomfortable. Of course, the person who told me these stories has been working with Pixar for over a decade or two now, so things could be very different as the years went on. Pixar itself on the inside of the animator building is gorgeous. They all decorate their office spaces in crazy ways, it looks like a movie set. But they have a bar and "whiskey club". They're apparently allowed to drink at work and have often had parties that got a little out of hand. There's also an old chain smoker room where the founders used to play poker and spy on people outside of their room with hidden cameras; I've even been inside. I don't think they use it anymore, though I'm not totally sure. Some of this info was fascinating, but the drinking made me uncomfortable. I kinda want to work with sober people here.

The sex ratio in the animation industry is also interesting and unfavorable. 70% of the animation and art school ratio is women, but only 34% of the actual animation workforce is women. 34% female to 66% male. More women study animation than men, but more men get hired and hold positions than women. Animation, ironically, has always been a male-dominated workplace. This unfortunately contributes to the "you have to know someone" or "be rich" to get-in situation. Men know a lot more men and not as many women. So the 30 to 40-year-old guys hire the other guys they know rather than a young poor girl with a passion. This makes it even more difficult for me to get in. (X)

20th Century, Netflix Animation, Nickelodeon, Cartoon Network, Bento Box, Vanguard Animation, Universal Studios, Titmouse, 6 Point Harness, ShadowMachine- all LA / South California.

There are a few places I could apply to, but what they do, I just don't care for. Niantic(Pokemon Go), Lucasfilm(Effects), Whiteboard Animation(Marketing), Sharpeyeanimation (Marketing), EA games (Mass Effect, Battlefield, Dragon Age 2, all those hyper-realistic war, sports, or fantasy games.)

So whether it's outside of the USA or within the USA, I need to move. I don't have the money for that yet.

Just find a company that does remote work, right? It should be easy, especially in pandemic times! Wrong. Most animation companies don't permit remote work. It's probably a security issue. But I've done research on this. The only big animation company I've found (so far) that allows remote work (or is HIRING for remote work) is Mainframe Studios in Canada. They have a 3D animation job list, and I guess they focus on animating Barbie movies(???). (X) But that's about it. And even if you're a remote worker, there's a high likely hood you still need a Visa to be allowed to work for a company belonging to another country. So that's a whole other legal process to deal with.

Disney is becoming a huge corporate monopoly over American animation. They bought Blue Sky only to kill them off. (Disney also just recently laid off 7,000 people due to their stock price drop and failed movies they released the past year with deliberately bad marketing for political reasons. (X) Disney also bought Pixar and is pushing for sequels because weird or bad, sequels and terrible live actions make them a LOT of money. Did you know Disney's terrible Lion King CGI remake is amongst the top 10 highest-grossing movies ever made? It's criminal. (X)

Because Disney is such a big name in the USA, there's a huge association of animation = children's media, which is not true. Animation at the Oscars also has its own category, when it's not a genre, is a medium. Disney often wins at the Oscars too because no one sees the other animations. Granted, Disney has an insane marketing budget in comparison, but it's clear no one cares to seek out animation outside of heavy CGI live-action these days. No small-time studios, no limited releases, no anime. The fact that Disney also now OWNS the Oscars is SUS as hell. (The fact that Disney-owned ABC threatened the Oscars, forcing them to cut 8 categories or else there wouldn't be a show that year is wild. There isn't even an oscar for stuntmen. What the fuck, Hollywood?) (X)

Dreamworks nearly went bankrupt and sold itself to Comcast back in 2013. Comcast also owns Illumination. Dreamworks has been focusing on making bad tv show adaptions of their IPs. So yes people, Jack would sooner meet the Minions than meet Elsa. Disney is the biggest corporate monopoly, but it's definitely not the only one. The animation industry in America is snuffing out its competition by buying it out for itself. It's insane the kind of power they have.

Competition is HIGH. Because of this, the only ways to get in? If you're rich or you know someone. Pixar gets over 3,000 intern applications every summer. Less than 100 are seen by actual hiring managers. The most interns Pixar has ever taken in a single year were 12. The least they ever took in a single year was two. A 12 to 3,000 ratio is not favorable. That's a 3% chance to get into a big-shot animation company.

And again, because remote work isn't permissible to new hires, you need to live in the area to commute to the campuses. This is one of the reasons why LA is so crowded.

If you get into an animation company purely remote and maybe even for a different country? You are the luckiest person alive.

Programs are expensive. The animation industry is very strict on what programs they use. The industry standard for 2D puppetry is Toon Boom Harmony; the industry standard for 3D animation is Maya, and the industry standard for video game development isn't as clear but Unity is one of them.

Some of these programs are free, as long as you are a student. If you are attending college or a certain online program, you can use your school-issued email through them to apply to get the program for free for about a year. Otherwise, if you're using it to make your own animations solo?

Autodesk Maya: $225 a month or $1,785 a year (X)

and guess what? Maya removed its free render service. Arnold is now built in by default, however, if you want to BATCH render (Meaning render a full scene or several slides) it will slap it's ugly watermark over it.

Fun fact, this very rendered watermark can be seen accidentally in a single frame for the Kingdom Hearts Frozen cutscene

Well, you need to batch render if you're trying to animate so let's see what Arnold costs- $50 monthly to $380 annually.... are you kidding me?! The rendering PLUG-IN BUNDLED TO MAYA COSTS MORE TO USE THAN THE OWN PROGRAM?! (X)

Now, there are other rendering plug-ins you can probably use with Maya. But they all have their ups and downs and their own costs as well. (X) Pixar's Renderman is $595 per license. I can't seem to get info on Octane. V-ray solo is $39 monthly while premium is around $60 monthly.

Now there IS Blender, an alternative to Maya. It is free and I have it. That is ideal to work in for people like me. I tried it a while back, but I hated the interface windows. It was hard to work on it when you can't close them properly. It's possible they've fixed this in an update, but I haven't touched the program in over three years so I wouldn't know. It's different from Maya a little, so it has ups and downs in comparison too. But Blender is a savior to 3D artists everywhere.

Toon Boom Harmony isn't as bad but still high: Lowest price is $27 monthly / $220 annual and the highest is $124 monthly / $1,100 annual (X)

Unity has a basic version that is free, but Unity Plus is $399 yearly while Unity Pro is $2,040 (X)

So some programs are clearly more viable than others. But imagine you're trying to model, texture, rig, animate, simulate, and render a short film all by yourself in Maya. That's gonna take you over a year or two, and you'll have several thousand dollars out of your pocket by the time your free trial ends. And might I say, for an industry-standard program, Maya sucks. It's almost unusable without those plug-ins for not only rendering but also for the models to even be able to SELECT their BONE rigs.

Do you want to practice on your own when school is out of session? Fuck you! Fuck subscription services! Welcome to capitalist hell, baby!

Again, using Blender is more viable, but you're still going to be basically doing everything yourself. That's gonna take years. Do you have the patience for that? Do I?

Because of the pandemic, movies aren't even hitting theaters anymore. They're going straight to streaming services. Streaming services of which, gain sole rights to and can take media off their platforms at any time without warning. Thanks, Discovery+ ! Does everyone remember the HBO Max Animation & DC purge? It could happen to other streaming services too. Piracy will save the future of animation at this point. (X)

And again, Streaming services like Netflix will purchase films and claim they made them by slapping their logo over it; but no, they either bought the distribution rights or produced them through funding and maybe storyboarding. Often times from a Canadian film studio. (Link again X)

Even stop motion companies like LAIKA are losing money and may have to shut down or be bought out in the future, especially considering how much work and money they put into their films vs. how much money they actually make. (X)

All of this? Naturally made me fall into a depression. My god, the layers of hopelessness. My animation and modeling is pretty average too. I'm decent. I can maybe make a good shot. But I can't blow people away like James Baxter can. I mean, I shouldn't compare myself to people. If I worked really hard, maybe I could get into a good company. But again, I have to move! A part of me gave up. I don't really do 3D animation anymore, though part of me misses it.

I still 2D animate. I'm trying to make a short film and though my college friends who were working on it with me have given up, I have done my best to keep going. Even if it has been produced at a snail's pace for the past three years, I still intend to finish this animation. It's gonna be beautiful when it comes out, and it will be a wonderful portfolio piece regardless.

So with nothing else to do and no other kind of job experience really under my belt(plus my family is prone to covid so getting a job in the pandemic was just kind of out of the question) I decided to go to youtube. I heard some people can make a little money on there, but the truth is I had actually wanted to become a youtuber for a few years prior. I've always looked up to animators and reviewers on youtube, I've loved the stories they tell and their incredibly detailed analysis essays on movies, tv series, books, etc. I wanted to be one of them. I wasn't sure exactly what I'd do, so I just followed the Youtube Partnership program set up which took a few months, and then jumped in! I found I only had the time to upload once every month or two. I had a ton of audio issues and I'm not outputting at the proper 1920 x 1080 quality that I should be doing either. It's a huge learning process that I still haven't perfected, but I'm taking notes to try and get better.

Even though Youtube is fun, I only make $300 a month, and that isn't even consistent. With patreon, I make maybe another $80 or $100 on top of that, so overall $400 a month average. That's really nice and pretty cool! But it's not enough to survive.

Now I work part-time at a coffee shop. My mental health is a lot better and I love my coworkers. I make roughly $400 a week in comparison to the $400 a month. It's still not enough to live off of (the cheapest rent around is over $1,000 a month, not ) and it's still a temporary job in the long run. I intend to work here for maybe another two years to save up money.

But what do I do now?

Am I welcome in animation spaces anymore?

As a critic of popular media, it could be likely that they could fire me or deny my application because of my critique of their past films or tv series. They could see my youtube persona and assume I'm a raging untrustworthy nitpick instead of a passionate, kind person.

Vivziepop's Spindlehorse company? What Viv was doing was a dream. I was so inspired by her. She made her own company, made a super successful pilot, and was even creating more jobs for traditional, high-quality animation. However, for Hazbin Hotel, she required more funding, which is why she sold it off to A24, who now has corporate say in the show. A24 is known for letting creators be more lenient, but otherwise, Viv won't have full control over it anymore unless she managed to get them to sign something over to her; but with the rumors of her being kicked off season 1? I don't know anymore.

Her own company Spindlehorse; they rely on youtube revenue and/or merch sales to fund Helluva Boss. That's a tricky business practice, but it's kept them afloat so far.

However, Spindlehorse is hiring a lot of people as of late. This could be a bad sign; that people might be leaving the company due to potential mistreatment or unhappiness. With the way the show is going, I don't really want to be part of that company regardless, but maybe before season 2 of Helluva Boss, I would have considered applying. Had I made any critique videos prior, there's no way they'd accept me. "Aren't you that one YouTuber that said my writing is bad for season 2 episode 2?" And you expect me to hire you?" Like yeah, that application process would go down well. Not. By critiquing artists' work, some of them are very sensitive. I'd be kicked out for a lot of things, when really, we artists should be critiquing each other all the time, trying to improve. That's how the writer's room always is, ahaha... hours of fighting goes down in those meetings. It's intense, but fun.

But yeah, it's such a shame. Even small companies need to sell out to corporate to survive. Either that or be HEAVILY crowd-funded, which again, can be a slippery slope.

I see a ton of small projects on Twitter looking to hire people, or looking to become a big studio to release a pilot or game. I've joined a few of them, but most are unpaid because of COURSE they are, and then these projects?? Just don't go anywhere. Because it's unpaid. Because we can't afford to work on a project for free. IRL comes first. Some of these projects seem so great but they don't go anywhere, and it's hard to have faith in start-up studios anymore. (Game creators might have a chance, but tv series or films? Good luck, folks.)

At that point, should I just make my own company? I don't have the money or knowledge for such a thing! It's insanely expensive to start a business and get licensing. So much paperwork, so much everything! And the USA Government is so behind in understanding technology. If you want to create a remote business and/or copyright something, you're still required to put an advertisement in a local newspaper about it, even if your business isn't selling to locals. ��� The number of fees and ridiculous legal hoops you need to jump through... it's a ridiculous waste of time and money. But you need to do it. The question is, am I willing to do it? Am I willing to tackle such an insane thing by myself?

I want to keep my internet persona and IRL persona separate, but can I? I value having a private, quieter life away from the screen. I worry about getting doxxed one day because of the nature of the internet. I worry about people finding my IRL resumes or profiles for work I want to do outside of youtube for security's sake. My art style is unique and very recognizable. I don't have a lot of private art that is worthy of being in a portfolio. But for absolute safety, I'd need to password-protect my websites or portfolios so the public doesn't have free access to them; only companies I'm applying to. But at that point, does password-protecting my resume and portfolio make it less likely I'd be hired due to the inconvenience? Due to the private, hard-to-find nature of my work? Being a YouTuber with great story skills and art skills with a fanbase could be a big plus to getting hired somewhere, but it could also be a horrible disadvantage that would get me fired. It's a double-edged sword that I cannot work around and I don't know what to do.

I've considered the video game industry, but even that isn't ideal. A lot of the indie ones I adore aren't made in the USA. Gris and Monster Camp were made in Spain. Ori and the Blind Forest: Austria. Hollow Knight: Australia. Little Nightmares and Raft: Sweden. LIMBO & INSIDE: Denmark. Outlast, Don't Starve, Spirit Farer, Bendy and the Ink Machine: Canada.

SuperGiant Games did Hades, Transistor and Bastion and is located in SF, but they're not hiring. Janimation, a multi-media company located in Texas isn't hiring. Frederator in New York isn't hiring.

I don't want to work for a studio that does nothing but first-person shooters or sports games. If I want to get into the gaming industry, I probably need to crowdfund and make a company to make a game myself.

If I make my own game, which I've wanted to do for a long time now and still want to... I can't code. I guess I could try to hire someone that could? But a game to the extent I want... I'd need to start small. I'd need to practice. It's several years of work. Will it even be worth it? I don't think I can do it alone. I'd need crowdfunding and workers; which again, here comes the "make my own studio" issue...

Do I even want to animate anymore? I prefer traditional animation in comparison to puppetry. I prefer 2D animation to 3D animation simply because it is more accessible. But even then, I'm finding myself drawn more and more to writing, storyboarding, and character design. If I were a 3D animator, this is mostly what I'd be working with all day: Naked models in an empty room. I'd do none of the physics simulation or texturing or lighting.

Animating naked & bald people all day... I don't know... 3D Animation kind of lost its appeal. You only work on such a small portion of a film, you almost never have the bigger picture. You won't see the final result until the film is done. As an animator, you're almost kept in the dark. Maybe that's how they want it anyway, since leaks are a huge issue they keep quiet under strict NDA.

But yeah, anyway... I'm an artistic digital generalist. I can do almost anything. 3D animation, storyboarding, writing, photo editing, illustration, rendering, modeling and so much more. It's hard to choose what you really want to be in this industry. I feel like Barry Benson dfklgjdflkjg

I don't know what I'm gonna do anymore. There's gotta be a solution to this but I just can't figure it out. I don't want to give up my youtube channel so I can be an animator. I don't want to give up a safer, quiet countryside house to be able to survive financially. Am I even willing or able to move countries? Is my career more important than friends and family?

I think I'm thinking too much about everything. I should start small. Move less than an hour away first and move in with roommates to get a feel for independence instead of jumping into it immediately. Get a job at a small time company, maybe not for what I want at first, but it'll get me some experience and maybe I'll learn some things along the way to understand where I can go next. Take it slow and don't panic too much over trying to be a young big shot. Take things one day at a time? That's my current goal, I suppose.

So you know... to answer your question... why did I switch to youtube for a current career? Because of a classic existential & career crisis in my 20s. Will I ever go back to 3D animation? Maybe. Maybe one day.

[athena5898]

It's Going Down Article: Attacks on Palestine Solidarity Activists Aim to Silence Anti-War Movement (https://unityoffields.org/?p=1207):

On October 15th, the Samidoun Palestinian Prisoner Solidarity Network was labeled a “terrorist entity” by Canada and subjected to sanctions by the United States (https://truthout.org/articles/palestinian-prisoner-solidarity-activists-face-sanctions-and-deportation/). These designations follow a previous ban in Germany and the labeling of Samidoun as a “terrorist organization” by Israel. The U.S. claims (https://home.treasury.gov/news/press-releases/jy2646) Samidoun is a “sham fundraiser whose efforts have supported terrorism” by the Popular Front for the Liberation of Palestine (PFLP), a Marxist-Leninist Palestinian political party also labeled as a “Foreign Terrorist Organization” by the U.S. For its part, Samidoun states (https://samidoun.net/2024/10/we-keep-resisting-us-and-canada-sanction-samidoun/) it “does not have any material or organizational ties to entities listed on the terrorist lists of the United States, Canada or the European Union.”

Two days later, Republican Senator Marco Rubio sent (https://www.rubio.senate.gov/rubio-urges-domestic-terrorism-investigation-of-pro-hamas-group/) a letter to the U.S. Attorney General requesting he “immediately open a domestic terrorism investigation” into the popular pro-Palestine website and social media account, Unity of Fields, known for posting anonymous reports of direct actions. In a statement, the group said (https://unityoffields.org/?p=1090) it is “an anti-imperialist propaganda front…we don’t do actions, we only report on them and receive anonymous submissions.”

As the Civil Liberties Defense Center (CLDC) recently noted, Rubio also pushed the Attorney General to charge four activists in Florida who were arrested for writing pro-choice graffiti following the fall of Roe v Wade for “terrorism.” (https://cldc.org/weaponizing-the-legal-system-the-case-against-the-florida-4/) One activist was sentenced to a year in prison by the Middle District of Florida, the same court that recently awarded only 8 months to a man convicted of literally firebombing a Planned Parenthood clinic…

One may disagree with Samidoun and Unity of Fields on their specific political positions, but the entire movement against the ongoing war and genocide in Gaza should be concerned with the state’s move to target them. In no way can Samidoun be understood as a “sham charity” or “terrorist entity,” nor a media project like Unity of Fields as responsible for “domestic terrorism.” Even if one were to accept the legitimacy of power to deploy a subjective term such as “terrorism,” in reality, the extent of Samidoun’s work is posting statements, organizing public educational and political events, and pushing online action campaigns, while Unity of Fields maintains a counter-info website and social media accounts.

As a member of Samidoun stated in a recent interview (https://truthout.org/articles/palestinian-prisoner-solidarity-activists-face-sanctions-and-deportation/), “They are attacking us on the basis that we were fundraising for other political groups and political parties and they know very well that this is not true. If there was any serious allegation there, many of us would be in prison right now. So there is not any legal grounds or element for any of this. It’s just a bullshit campaign to attack Samidoun and the work that we are doing.”

…One may not like all that they say, but that is not the point. That they have come for Samidoun and seek to come for Unity of Fields, means that they can come for any pro-Palestine organization.

[mightyflamethrower]

Authored by Martin Hoyt via RealClearHealth,

It did not have to be this way. The COVID-19 pandemic cost American citizens their lives, their livelihoods, education, mental health, reputations and, ultimately, civil and religious freedoms. “The U.S. accounts for less than 5% of the world’s population, but more than 25% of total COVID-19 cases reported across the globe, and it currently ranks among the top 10 countries in COVID-19-related deaths per capita,” wrote the authors of  2023 commentary in the Journal of the American Medical Association. And for all that, we have government to thank.  

For years leading up to the pandemic, the nation had spent billions on preparation and planning for a biohazard attack or event. Whatever we learned was quickly discarded or undone by a lack of accountability, transparency, and humility. Decades of planning and untold man hours of research and training were rendered ineffective by a corrupt culture of greed, self-importance, scientific misconduct, and outright fraud. Because, while the government worked to prevent the worst, it was also helping to create chaos and contagion by funding and facilitating gain of function (GOF) research. 

GOF research refers to laboratory efforts to make viruses deadlier or to increase their transmissibility. The potential for disaster is obvious. Almost five years prior to the pandemic Dr. Marc Lipsitch and Dr. Alison Galvani noted that GOF pathogenic research posed “a risk of accidental and deliberate release that, if it led to extensive spread of the new agent, could cost many lives … Furthermore, the likelihood of risk is multiplied as the number of laboratories conducting such research increases around the globe.” 

But according to Dr. Anthony Fauci’s emails and other NIAID communications obtained via FOIA – those that weren’t deleted by the now-infamous “FOIA lady” – the Wuhan lab was working on Covid research with the U.S. as early as 2015. And the worst happened. Dr. Richard H. Ebright of Rutgers University told a Senate committee hearing on June 18, 2024, that “… lapses in U.S. oversight of gain-of-function research and enhanced potential pandemic pathogen research likely contributed to the origin of COVID-19 …” 

While Ebright said GOF has no medical utility, he emphasized that there are “major incentives to researchers worldwide, in China, and in the U.S. The researchers undertake this research because it is easy, they get the money, and they can get the papers [in science journals].” 

Not surprisingly, China was selected because it was quicker and cheaper to conduct research without U.S. government entanglements or oversight. Dr. Steven Quay also testified on June 18 and said the Wuhan Institute of Virology is a “level-2 lab,” as opposed to highly secure level-4 labs elsewhere. Moreover, Dr. Fauci et al were able to fund this research because the law was silent. Ebright again:  

… in this category of research, which is the most significant in terms of consequences and potentially existential risk there is almost no regulation with force of law. No regulation with force of law for biosafety or any pathogen other than the smallpox virus and no regulation with force of law for bio risk management for any pathogen.

But the U.S. and the world, may have temporarily escaped imminent catastrophe. Consider, according to Dr. Quay, what Wuhan obtained from Canada’s National Microbiology Lab in 2019: “two vials each of 15 strains of virus: seven varieties of Ebola virus, the Hendra virus, and two strains of Nipah virus, Malaysia and Bangladesh.” These virus samples, according to Dr. Steven Quay, are “the top three most deadly human pathogens on the planet.” The samples were obtained under murky circumstances (“described as a possible policy breach”) from a level-4 lab and surreptitiously flown on a commercial flight to Beijing where they were subsequently placed in a level-2 lab overseen by a country with a long history of a disregard for proper safety protocols.

Gain of function research probably created COVID-19, but our legislative and executive branches created the conditions for the disaster. Congress failed to pass laws governing specific GOF research, both Congress and the executive branch failed to effectively manage the federal health and science bureaucracy, and various agencies failed to monitor the behavior and performance of grantees and vendors engaged in GOF research. When catastrophe struck, self-interest and political survival of those responsible overrode the best interests of our citizenry. 

Who in the government benefited? How and to what extent did they benefit? Did any GOF research contribute to the U.S. global or response? Is GOF research being rerouted to our defense and security agencies to avoid scrutiny? NIAID continues to stall, obfuscate, and otherwise restrict transparency to its current and past activities. We know there was a concerted effort by senior leaders like Anthony Fauci to hide or delete emails but many other records still likely exist that remain uncovered.

This must change. Any research activity or sponsorship of scientific endeavors that are capable of mass extinction, such as GOF, must be subjected to a higher level of accountability and scrutiny by our elected leaders and the American public. Accountability, transparency, and public debate after an international crisis like Covid-19 can’t undo the global catastrophic harm that was done. It can, however, reduce the ability of our public health bureaucracy to contribute to the next disaster or looming crisis.

Borrowed from:

(https://stuff-that-irks-me.tumblr.com/)

[otter1962crystalball]

Experiencing Narcissism 101 - Part 3

June 24th, 2024

Here we are nearing the end of Pride Month. I’ve challenged myself to write everyday and I’ve found it very useful in examining my past and realizing that I am actually very resilient. Yesterday I wrote about events leading up to the point of coming back from a trip with John. Today, the story continues.

I put my plan into action and began taking steroids above and beyond what I needed for Testosterone Replacement Therapy. I was taking injections because my testosterone was low due to my HIV medications. I supplemented with street testosterone as did John. In the course of my doing so, I put on more than 25 pounds and ended up at 250 pounds at my maximum. I continued abusing them up until 2013 when I moved to Nova Scotia with John.

John convinced me that I should be reducing the amount of time that I worked. At that time, I was a full-time teacher, a group fitness leader at a community centre and also a mentor for a master’s program at a university. The only real solution he suggested was to move from British Columbia to Nova Scotia. The reason was due to other cities didn’t seem inviting for either of us. I did suggest Montreal, but John didn’t speak French and thought it wasn’t a good idea. That summer, we jumped on a plane and took a quick trip to Nova Scotia. We explored a place called Annapolis Valley, which is fertile area of the province. We even looked at homes, but didn’t find anything that we liked. We returned home and made our decision.

We decided we would move to Windsor, Nova Scotia in October 2013. We also got married as it seemed the right thing to do. I resigned from the school board and put the house up for sale. It sold while we were enroute. We climbed into my truck with two dogs and a cat, travelling across Canada to Nova Scotia. During the trip, we argued a lot. The shouting continued and I decided that it was just part of my new life and bit my tongue. John did berate me for being quiet, which in my mind was better than screaming back at him. We found an apartment - literally on the fly - as we went across Canada. The hardest part was finding a rental unit that accepted dogs.

We lucked out and stayed in a place in Windsor until early 2015 when we found a house on the South Shore - which later became known as Otter Cottage. During the time in Nova Scotia, John had problems finding a job. I was accepted as a substitute and started working. He didn’t and that left him open to do other things. In fact, I caught him cheating on me several times. So, we negotiated an open relationship where we would explore together to fulfill everyone’s needs.

During our time there in Windsor, I got a phone call from my doctor. She told me to go to the hospital immediately because my bloodwork indicated that I had had a heart attack. We went to emergency immediately and I discovered that I had an enlarged heart due to the large amount of steroids. I spent four days in the hospital while they did tests. John visited everyday, but complained constantly about having to drive into the city. With supervision, I weaned myself off the steroids and reduced my testosterone to the appropriate level and quit the street steroids. It was clear that I had almost killed myself. I began kicking myself for having been so stupid to abuse steroids that much to satisfy the wishes of another person.

Once into Otter Cottage, I got a job in the Halifax and ended up with a permanent position teaching French Immersion. John then decided to become a real estate agent. So, I paid for his education. During the time of moving to the South Shore, our relationship was really strained. John was constantly getting angry at just about everyone - of course, including me. He constantly seemed frustrated and I did everything I could including buying antiques for him and giving him a room to decorate. That didn’t help and we argued constantly. Several times, I told him that I had had enough. Suddenly, John would turn back to a charmer and everything was great - for a few short weeks or month.

John finished his real estate school and managed to sell at least three properties, using a car that I had bought for him. At the same time, I discovered that he was still cheating on me. In late 2016, John mentioned that his former employer in Montreal had suggested offering him a job. I had had enough of all the nonsense. When I heard that, I told John that I wanted him to take the job and be out of the house by next week. So, he packed the car with everything he could and then moved everything he thought belonged to him into the antique room he had decorated. He went to Montreal and suddenly I felt a real relief - until the divorce proceedings started.

In the six years we were together, John paid rent three months in the time we were in my house in Vancouver. He bought groceries maybe twice. In Nova Scotia, he paid for nothing. I didn’t see any of the profits from the sales of the properties he had sold. I got a lawyer and proceeded with the divorce. We had to live apart for at least a year before we could legally divorce. That year was a year from hell for me.

John, now in Montreal, would contact me and screamed at me for not moving the stuff he wanted to Montreal. I told him that the lawyer told me to do that until we had settled the divorce.  His request was half of everything. I provided all my receipts for everything, showing that John had paid little. He never paid for heating, mortgage payments, gym fees, and much more. During that time, John began a classic narcissistic pattern - he tried to show me how he was a victim. He sent me pictures of him in the hospital. He sent me pictures of his empty fridge. He called me constantly asking for money. I had to continue to say no. He turned several local friends against me saying I was withholding his belongings. I told those local friends that they didn’t know what was really going on. Needless to say, I didn’t continue those friendships.

The calls continued along with emails, texts until I had to block him. He even called my school during a lesson and interrupted. He called me at the gym as well, asking an attendant to find me. I put a stop to all of that. At the end of the year apart, I made him an offer and let him know that he would get nothing more. He begrudgingly accepted it and immediately demanded his things sent. I had packed them into a pod as I was sick of seeing the pile of things in the living room. In typical fashion, he demanded that I allow one of his friends to sit and watch the pod be repacked so that his belongings would be safe. Ironically, the movers told me that I had done an amazing job and that repacking wasn’t necessary! At this point, I didn’t care; he had to pay for the moving costs.

Even after the papers were signed and we were officially divorced he continued to harass me with phone calls and texts on anonymous lines. I was so tired of it that I went to the local RCMP and lodged a complaint and asked the calls, texts and emails stop. The Sûreté du Québec (the provincial police in Quebec) paid him a visit and told him that if he contacted me again, he would be arrested. That was the last time I ever heard from him. In that year and a half, he contacted me more than 668 times by various methods.

In 2018 I was officially free of John. Otter Cottage was in my name, the car payments for John’s car were now his responsibility and I began my new life as a divorced gay man. As a side note, that fall as I was cleaning the gardens, I found a pile of broken mugs, coasters and John’s medication all thrown into the bushes. It seemed that whenever he was angry, he would throw things off the verandah - just like when he used to go out and scream at the top of his lungs at the people he hated.

So what was it like to live with a narcissist? Looking at the 9 points of Special Me, I saw countless examples of all 9 points and more from him. He always though he was the most important person at all times. He felt entitled to everything without having to work for it. He was exploitative, arrogant, lacked empathy and always showed off so that others could admire him. He also was easily able to play the victim and everything that he did was turned back on my so that it was all my fault. Anyone who didn’t agree with him immediately became the enemy - me included.

I saw a counsellor and learned to deal with the aftermath of living six years with John. The counsellor suggested I buy a book called “Stop Walking on Eggshells: Taking Your Life Back When Someone You Care About Has Borderline Personality Disorder.” All what was discussed in the book, I found in John. The only thing the book didn’t help me with was getting along with him and thankfully I never wanted to do so. In the end, I believe he was also obsessive compulsive as well.

During my counselling time, I came to acknowledge my part in those six years. I had been codependent and allowed him to do all of those things. I also discovered that I had to learn to love myself, always take care of myself first before helping others and learning how a narcissist latches onto a caregiver such as myself. I forgave myself for almost killing myself on steroids to please John. I watched my health and have not abused them since.

At that point, I was really sure that I knew what the signs were and vowed to never get involved with a narcissist. Did I succeed? I’ll leave that to tomorrow’s blog… For Pride, I am celebrating my inner self and my self love. Now that I have worked on myself, someone like John would never be able to pry their way into my life. 

Carpe diem, everyone.

[taramjitsita]

Business Operations Plan for Eco Green Candles

Eco Green Candles is a sustainable candle business located in Greater Sudbury, Ontario, Canada. Our mission is to provide environmentally friendly candles made from natural ingredients and packaged using eco-conscious materials. This operations plan outlines the key strategies and processes we will implement to ensure the smooth functioning of our business.

Production Process

Ingredient Sourcing: We will source high-quality natural waxes such as soy or beeswax, along with essential oils for fragrance, from trusted suppliers with a commitment to sustainability.

Candle Making: Our candles will be handcrafted in small batches to maintain quality and consistency. We will utilize environmentally friendly production techniques and minimize waste throughout the manufacturing process.

Packaging: Eco Green Candles will be packaged using biodegradable and recyclable materials to reduce environmental impact. We will work with suppliers who share our commitment to sustainability.

Inventory Management

Stocking Levels: We will maintain optimal inventory levels to meet customer demand while minimizing excess stock. Regular inventory assessments will be conducted to ensure efficient stock turnover.

Quality Control: All incoming materials and finished products will undergo rigorous quality control checks to ensure adherence to our high standards of quality and sustainability.

Sales and Distribution

Sales Channels: Eco Green Candles will be sold through multiple channels, including:

Online store

Local retailers specializing in eco-friendly products

Farmers' markets and craft fairs

Distribution Strategy: We will establish partnerships with local courier services for efficient and eco-friendly delivery of online orders. For wholesale orders, we will work closely with retailers to ensure timely delivery and replenishment of stock.

Marketing and Promotion

Brand Identity: We will develop a strong brand identity centered around our commitment to sustainability and environmental stewardship.

Online Presence: Our website and social media channels will serve as platforms to showcase our products, share our story, and engage with customers.

Promotional Activities: We will participate in community events, collaborate with local influencers, and offer promotions to attract new customers and retain existing ones.

Customer Service

Communication: We will maintain open and transparent communication channels with our customers, responding promptly to inquiries and addressing any concerns or feedback.

Customer Education: Eco Green Candles will provide resources and information to educate customers about the benefits of using eco-friendly candles and the importance of sustainability.

Operational Efficiency

Workflow Optimization: We will continuously review and streamline our operational processes to maximize efficiency and minimize waste.

Technology Integration: We will leverage technology solutions such as inventory management software and automated systems to streamline operations and improve productivity.

Financial Management

Budgeting: We will develop a detailed budget outlining projected expenses and revenue streams, allowing us to effectively manage our financial resources.

Profitability Analysis: Regular financial analysis will be conducted to assess the profitability of our products and identify areas for improvement.

Regulatory Compliance

Product Safety: We will ensure compliance with all relevant regulations and standards for the manufacturing and sale of candles, including safety labeling and product testing.

Environmental Regulations: Eco Green Candles will adhere to local and national environmental regulations regarding waste disposal, emissions, and sustainability practices.

Conclusion

The successful operation of Eco Green Candles relies on the effective implementation of the strategies outlined in this plan. By prioritizing sustainability, quality, and customer satisfaction, we aim to establish Eco Green Candles as a trusted provider of environmentally friendly candles in Greater Sudbury and beyond.

Thank you for your support as we embark on this journey to promote environmental stewardship through our business endeavors.

[allthecanadianpolitics]

September 19, 2023 Today, the Elementary Teachers’ Federation of Ontario (ETFO) issued the following statement responding to 1 Million March 4 Children protests that are scheduled to take place across Canada this week:

“Any actions or events that seek to undermine the rights and dignity of the 2SLGBTQ+ community must be denounced. As such, ETFO strongly condemns this week’s planned protests, and calls on the government and school boards to do the same. 

There is no room for hate in our province or our hearts. Yet we are seeing a disturbing increase in public discourse centred on anti-2SLGTBQ+ hate. It is alarming that several politicians are contributing to this troubling trend. Recently, Premier Doug Ford accused school boards of indoctrination. Education Minister Stephen Lecce scolded boards for upholding students’ human rights related to gender identity, and members of parliament are on social media using dog-whistle terms like ‘woke’ to gain political clout. Instead of spewing rhetoric they know is harmful and dangerous and that pits parents against educators, they should be ensuring safe and inclusive spaces for every student in the province and for every constituent they serve. [...]

Continue Reading.

Tagging: @politicsofcanada