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Back in action after it caught fire in December 2013.
www.leicestermercury.co.uk/Disruption-St-Margaret-s-bus-s...
Gail Maurice, dir.; and Melanie Bray, act.; "Rosie" © Linda Dawn Hammond/ IndyFoto 2022. Photographed in Graffiti Alley, Toronto, Canada.
Portrait of Gail Maurice, by Artist Kent Monkman, "Shining Stars" series in "Being Legendary" exhibit, at the ROM (Royal Ontario Museum) © IndyFoto 2022
“Rosie”
Review and Interview
By Linda Dawn Hammond
“Rosie” is the first feature film of Metis director and writer, Gail Maurice, who is also known as an actor in the TV series, “Trickster”. She self identifies as a member of the LGBTQ+ community and is one of a small number of less than 2000 people who can still speak Michif, a now endangered language which was spoken by the Metis people of Canada in the 19th and 20th centuries. It is a primarily a combination of French nouns and Cree verbs, and originated in the 1800s from contact between Francophone traders and Cree and Ojibwe First Nations people. The descendants of these French and First Nations unions became known as Metis.
“Rosie” appears on the surface to be a simple, joyous film about an engaging trio of social misfits who, with the help of an orphan child, find emotional support and resolution in a chosen family of their own creation. Its underlying messages are far more complex and will speak to those aware of the terrible legacy of Canada’s Residential Schools and the “Sixties Scoop,” which adversely affected the lives of thousands of indigenous people and their descendants.
It is set in 1980s Montreal, which in “Rosie” is a world categorized by poverty and insecurity for those who don’t conform to society’s standards and norms. The character of “Fred”, (Mélanie Bray) is lovingly portrayed as a somewhat irresponsible Francophone artist who lives a precarious existence on the constant edge of poverty, eviction and unemployment. Her best friends are Flo (Constant Bernard) and Mo (Alex Trahan), who are flamboyant and decidedly non-gender conforming. Their alternative lifestyles are suddenly disrupted by the initially unwelcome arrival of a homeless six year old girl, Rosie (Keris Hope Hill). Through her enthusiastic, sweet presence, she teaches the adults about responsibility but also to live their dreams. At the time of shooting Keris had never acted before, but she is charming and effective in the part. The Kanien'kehá:ka girl from the Six Nations of the Grand River plays the role of an indigenous child left orphaned after the death of her mother. (It is perplexing that she was not included in Tiff’s roster of 2022 Rising Stars, but she was mentioned in CBC’s recent list of young, talented stars.)
In the film, “Rosie”, social services search for a blood relative to take custody of Rosie, an orphaned English speaking girl in Montreal. All they can uncover is a “sister” of the deceased mother, a Francophone woman who had been once been placed in the same adoptive home. They have no records of the whereabouts of any genetic relatives due to the willful incompetence of officials during the “Sixties Scoop”, when tens of thousands of children, primarily indigenous, were forcibly removed from their families and placed in predominantly white foster homes. These stolen children were not encouraged to remain in contact with their families or know of their heritage. In many cases they were intentionally sent far away to achieve this separation.
It is a story close to the heart of the director on many levels. Maurice experienced a similar painful disruption in her own family. Whereas she as the eldest child was fortunate to be taken in and raised by her Metis grandmother, who taught her Michif and the ways of their people, a younger brother and sister were removed in the “Sixties Scoop” and disappeared. It is only recently that the whereabouts of Gail’s brother was discovered.
In Quebec, language is always part of the conversation, but in Montreal in particular, bilingualism has been an important factor in breaching any linguistic or cultural divides. The little orphaned girl in the story is indigenous and anglophone, and although she finds herself in a world which is French speaking and white, there are no divides as people choose to learn from each other, and even introduce a third language, Cree.
Interview
I sat down with Rosie’s director, Gail Maurice, and her partner, actor Mélanie Bray, to discuss the film.
GM (Gail Maurice):
I was asked about the 80s, how there was so much violence against gay culture, queer culture. So they asked my perspective, because Rosie is not really (violent), I mean, there's a couple moments in the film that showed or insinuated it. But it's not about that, even though a couple of broadcasters told me they wanted me to add that element, the violence towards the gay people, towards Flo and Mo, and I tried to do that, and it just went to a dark place. And I thought to myself, that's not the story I want to tell. That's not my experience in the ‘80s, of being gay. What my experience was, basically, was what “Rosie” is, and it was a time of where I was finding out about being gay and gay culture, and it was also new and wild and beautiful. And, just extravagant, you know. And so, that's why I wrote a story from Rosie's perspective, because she is able to see the world with that wide eyed wonder. And that's exactly how I was when I came out, and that's the story I wanted to tell. I wanted to tell a story of chosen family, of love, belonging, being it wasn't a story about, gay culture, per se. What I’d like to say is, it's an indigenous story with an indigenous perspective, told through the eyes of a little indigenous girl who happens to be part of this scene, and during a period of time (the 80s) that is really important to me, that was, coming out. So that's the story I wanted to tell. I came out I was 18. My first year university. It was a magical time, in Saskatoon, in a little bar called Numbers.
LDH (Linda Dawn Hammond)
Can you talk about how the “60s scoop” affected you personally?
GM:
I was able to find my brother. Part of the effect of the “60s scoop” is loss of culture and identity. So when I found him, I did a little short (film) called, “Little Indians. “ We're not close. I've seen him maybe three times, and in a very different environment. He grew up in the white home, with a white family and on a farm. He said he played baseball with the little Indians. You know, so he took himself out and didn't see himself as an Indian. I know he knows he's Metis. It's hard. It's a loss, and I have a sister out there somewhere…
LDH:
You were able to live with your grandma, and there you learned a language that's so rare. Michif.
GM:
Michif. And yeah, I wrote a trilingual film, because I wanted to be able to talk about my language as well. Not a lot of people know about that language, which is a mixture of Cree and French. I was teasing Melanie, I said, “My French is the original French. Because, you know, it's part of the Couriers de Bois and the French fur traders. So my French is actually from that era. So we still have all that French in my language, whereas Melanie’s, it's now modern, right?
LDH:
French people in France say that yours (Melanie’s) is actually the original French. Quebec French is considered to be what the language was like before it transformed over in France and became modern.
You mentioned “Rosie” is a trilingual film.
Is it Michif you’re teaching them, the (indigenous) language in the class scene. Is that where it came in?
GM:
Yeah, so my language is pretty (much) French. So sometimes there's three. Our numbers are crazy, and household things are French- dirt and colds are French. So the numbers were all created. I wanted to tell a story about chosen family, to monitor those children that were taken away- it's part of the 60s Scoop, and the effects of that. Some of them will never know who they are, or where their family's from, or who their blood relatives are. I wanted to tell a story, to honour them, because they're doing the best that they can in the world. And just to say, that they're strong, and they're survivors, and I admire and honour them. So that's why I wanted to tell “Rosie” as well, but also, it's a story about beauty in trash. So metaphoric faith, there's a lot of people that think that others are less than them, for example, Jigger (the character of a homeless Cree man, played by actor Brandon Oakes), who's my favourite character, but he's the one that's most grounded to me. He's the one that has his culture, and his language, and he's the one that tells Rosie, and shares the culture with Rosie. So he is, actually, the strongest character.
That's the whole tragedy of it, always. There's people in Europe that don't even realize where they're from. There's a film out there which (Dr.) Tasha Hubbard did. She's Cree from the prairies. She did a documentary on family, the family that found each other. For years and years apart, and they were all over the world. (“Birth of a Family”, 2017, NFB)
LDH:
What acting role did you play in “Bones of Crows” ?
GM:
It's about residential school, and it takes place over 100 years, following a woman and matriarch. I played the Matriarch’s daughter.
There's so many people in Canada that don't know about my culture or the atrocities that happened. Two years ago, social workers went into a hospital and took a baby right out of a woman's arms… it was based on lies, but the power the government has, the power that the social workers and doctors have, is unbelievable… I can't imagine them doing that to a person that's non Indigenous. It's unfathomable that doctors and the government could get away with that, but they do get away with it with indigenous people. “Rosie” is a story with a lot of heavy topics, but in the next moment, you can be laughing, because the way I grew up, if we just soaked in all the hurt and all the pain and all the atrocities, how life is so difficult, if we did that, it would be bleak, and there would be no tomorrow, but the way I grew up, we actually can laugh even though the hardship of life, even though our world is breaking and falling apart. We can still laugh because laughter is, like they say, medicine, and it is medicine because it allows you to be able to lift up your head and carry on. And when you laugh, you're telling the world, you know, I can carry on, I can do this, and I'm going to do it. I'm going to triumph and that's why there's like moments where, you know, characters are crying, and then the next moment they're laughing. Yeah.
End
The World Premiere of the Canadian Indie film, “Rosie”, was featured in the Discovery program at TIFF (Toronto International Film Festival) on September 9, 2022. It was also selected as the closing film at Toronto’s ImagineNATIVE Film and Media Arts festival in October, 2022.
The ROM (Royal Ontario Museum) in Toronto is presently hosting, until March 19, 2022, an important exhibition entitled, “Being Legendary.”It features original paintings by the brilliant Cree artist, Kent Monkman, aka “Miss Chief”, who curated the exhibit. It includes cultural artifacts from the ROM’s collections, but from an indigenous perspective. The exhibit illustrates indigenous knowledge and challenges the past, colonial interpretation of history. As one enters the final room, there is a room of 11 portraits entitled, “Shining Stars”, illustrating indigenous women and men, who in their present state of being are beacons of the future. Among them, a portrait of Gail Maurice, where she is honoured by Monkman as a, “Filmmaker. Writer. Actor. Michif and nehiyawewin first languages speaker! “
A fitting tribute, which coincides with the years 2022 until 2032 being designated the UN’s * “International Decade of Indigenous Languages“
*The United Nations General Assembly (Resolution A/RES/74/135) proclaimed the period between 2022 and 2032 as the International Decade of Indigenous Languages (IDIL 2022-2032), to draw global attention on the critical situation of many indigenous languages and to mobilize stakeholders and resources for their preservation, revitalization and promotion.
The International Decade aims at ensuring indigenous peoples’ right to preserve, revitalize and promote their languages, and mainstreaming linguistic diversity and multilingualism aspects into the sustainable development efforts. It offers a unique opportunity to collaborate in the areas of policy development and stimulate a global dialogue in a true spirit of multi-stakeholder engagement, and to take necessary for the usage, preservation, revitalization and promotion of indigenous languages around the world.
www.un.org/development/desa/indigenouspeoples/indigenous-...
Unplanned fast drawing of a grinning male creature and cannibal offspring. (EDIT: a longer and more exact explanation of this tender scene can be found in a text below)
Nour Al Hassan, Chief Executive Officer, Tarjama, United Arab Emirates during the Session: " Embracing Disruption" at the World Economic Forum on the MENA Region, Jordan 2017. Copyright by World Economic Forum / Benedikt von Loebell
Bit of a belly crawl to get this shot of a Grayling on the path at Acres Down. Otherwise they'd fly up on approach. You can see how impressive its camouflage is, and also how intricate and rather pretty. Their camouflage is so good that they were very hard to spot until they flew up from the path on being disturbed.
Before this year I'd not seen a Grayling in the UK.
#57752
11 7 11
Normally my two blogs don't overlap. A Raven Image - the passions of my heart (photography & beauty) and Tom's Mog - the passions of my mind (geopolitics & conspiracy) usually inhabit separate realities, but today they cross-over...
...creating some general quantum interference or Disruptive Patterns
hopefully thought provoking ones of beauty :-)
Check out my latest posts on Tom's Mog - Nanotech is Now! - Hidden Technologies and Imagine! - A World of Drone Wars, Weather Weapons and Nano-Tech Spies
Update: Well must have touched a nerve with that post... lost my job today out-of-the-blue. so will be heading off the grid for a while just in case those disruptive patterns I kicked off plan on getting any worse... stay tuned for follow up posts on my blog :-(
* Pentax K20D + Pentax 18-55mm Lens - Single Shot SOOC
Two people were arrested for drugs offences as part of a day of action in Oldham.
The two men - aged 25 and 27 - were arrested on suspicion of importing class B drugs during Operation Vortex on 14 February 2022.
Both have been released under investigation while the drugs and other evidence is analysed.
Officers from the Oldham East Neighbourhood Team, which covers the Waterhead, St James, Saddleworth and Lees areas, carried out 11 weapons sweeps, gave knife-crime talks at Knowsley, Littlemoor and St Theresa's primary schools and patrolled burglary hotspots.
There was also a joint operation with GMP's Transport Unit to disrupt crime and weapon offences at Derker Metrolink stop, while 50 speeding tickets will be issued after traffic enforcement at Ripponden Road, Huddersfield Road, Austerlands, and Huddersfield Road, Delph.
Inspector Alan Sanders said: "This was just the first of regular proactive police activity in the East Oldham area where my team will conduct activities that will disrupt criminals, and reassure and engage with the public."
Sergeant Joseph Dunne, of the Waterhead and St James team, added: "I hope today's action reassures the people of Oldham that if they provide us with information we will act on it and people will be arrested and brought to justice.
"The importation and supply of drugs is a blight on the community and has links to organised crime and volume crimes such as burglary and theft of motor vehicles as well as child criminal exploitation and county lines.
"This is something as a neighbourhood team, with the help of the public I want to make a difficult as possible for the criminals involved."
Sergeant Paul Heap, from the Saddleworth and Lees team, said: "This has come from direct concerns raised by members of the public and I hope it will reassure people we are listening to and acting on their concerns."
Anyone with information or concerns should call police or report online or by using the Live Chat function at www.gmp.police.uk. If you can't report online, call 101 or Crimestoppers anonymously on 0800 555 111.
The concept of "Disruptive Innovation" is relatively new. It was introduced by Clayton Christensen (professor at Harvard Business School www. Claytonchristensen.com) in 1997 in the book "The innovators dilemma" and refers to how a product or service can Its origins is born as something residual or as a simple application without many followers or users become short time in the product or service market leaderhttp://www.luisan.net/blog/marketing Authorship photos
A good example of the effects of a disruptive pattern, replicated on this model of the Bismarck, which give an impression of the vessel being shorter than it really is, or further away.
Either way, it was designed to play havoc with an observer, who might be trying to compute an attack with torpedo's or large calibre guns.
Larger ships often had false bows and sterns painted in a different shade from the rest of the hull to create the impression of the ship being at greater range from the observer.
Got an Apocalypse game coming up - our team wants to use the Disruptor Beacon strategic asset, so I threw one together. Considering I literally pulled a pile of stuff out of my bits box and stuck it together until it looked vaguely beacon-like, I'm pretty pleased with how this turned out.
The Marine is holding a (kit-bashed) 'Wave Cannon', that I envisage sending vibrations into the ground to put off tunnelling Trygons - we'll be fighting Tyranids on Saturday. The gun has bits from Ork, Necron, Chaos, Defiler and Venerable Dreadnought kits - I can't identify every part of it any more...
OBSCENE EXTREME 2014 ASIA ( 3 DAYS - DAY 1 )
at Asakusa KURAWOOD
BUTCHER ABC
ORGASM GRIND DISRUPTION
BRAIN CORROSION (Taiwan)
CONTRAST ATTITUDE
JIG-AI (Czech Republic)
CRIPPLE BASTARDS (Italy)
Sharmeen Obaid-Chinoy, Documentary Film-maker, SOC Films, Pakistan, speaking at the session: Disrupting the Status Quo of Gender Roles at the Annual Meeting 2017 of the World Economic Forum in Davos, January 17, 2017
Copyright by World Economic Forum / Ciaran McCrickard
We rarely play the lottery or get scratch tickets because we rarely win. A wasted 10 min. and a wasted $3...I bet
UPDATE: $20.00 WINNER LOL.
This week we sold off our old iPhones, MiniDV Camcorder and Kindle. We are also going to hawk our 12MP still camera. Why would we get rid of all this stuff? Our new phones (iPhone 4s) have proven to be a disruptive technology. We no longer need special devices for each task. We can finally take decent photos, videos and read books on our phones. It's a big deal to us as we have been desperately trying to cut down on the amount of material crap we bring into our home.
Disruptive Pattern Material (DPM) is the commonly used name of a camouflage pattern used by the British Armed Forces as well as many other armies worldwide, particularly in former British colonies.
The main variants of DPM are a four-color woodland pattern, and desert patterns in two, three or four colors. The Woodland Pattern DPM was used with the mediumweight No.8 Temperate Combat Dress (c.1966/1968) and lightweight No.9 Tropical Combat Dress (c.1976). The later Desert Pattern DPM (c.late 1980s) was designated the No.5 Desert Combat Dress.
DPM has also been produced in black/white/grey Urban DPM, in various blue tones and even in purples (this last for the Swazi Royal Guard).
DPM has been phased out in British military service, superseded by Multi-Terrain Pattern.
History:
The British Army first used a form of DPM for the famous Denison smock issued to the Parachute Regiment and British Commandos from the early 1940s. The first examples of this design were said to be hand-painted. The Denison smock design went through minor changes, and continued in use with the Royal Marines and the Parachute Regiment until the 1970s.
Development:
1960 Pattern-
From 1960, the British Army was issued with the so-called 1960 Pattern field-uniform range to replace earlier plain green uniforms. The 1960 Pattern field-uniform consisted of a Combat Smock, Combat Trousers, a Combat Hood attached to the smock by two epaulette buttons and a third button concealed under the collar, and, for exceptionally cold conditions, a Parka.
First limited use-
A new British DPM was developed in the early 1960s, using the four basic western European temperate colors of black, dark brown, mid-green and a dark sand to make a very effective camouflage that has survived in its basic design, with no more than slight changes to the colors and pattern, until current times.
This design was probably used first on a very small scale for a hooded Smock, Windproof, 1963 Pattern, issued only to special forces.
In 1966 the Army introduced, though not universally, a camouflage field uniform. Known informally as the 1966 Pattern, it was in fact identical in design to the 1960 Pattern kit, though now made in DPM fabric. It is labelled, like the earlier plain olive green version, Smock, Combat, 1960 Pattern and Trousers, Combat, 1960 Pattern.
The 1966 DPM range did not completely replace the plain olive green 1960 Pattern Smock and Trousers, which continued to be worn widely until the 1968 DPM kit was issued. Both the Royal Marines and the Parachute Regiment continued to wear the Trousers, Combat, 1960 Pattern with the Denison smock, and examples of these trousers were made even after 1968. These units eventually stopped issuing the Denison smock (in mid to late 1970s) and adopted smocks in the general-issue DPM while still for a time wearing the plain olive 1960 Pattern Trousers.
The 1968 Pattern range—first general use-
Before the 1966 Pattern equipment had reached all units a slightly revised design of Smock, Combat and Trousers, Combat were introduced as the 1968 Pattern range. The 1966 Pattern DPM fabric design was changed very little for the 1968 issue, and it seems that the 1968 Pattern garments were made for some time in the two very similar DPM fabrics. A Hood, Combat, DPM, made of DPM cotton fabric and with a plain olive green lining, was also included in the range, fastened as required to the back of the Smock with the two epaulette buttons and a third under the collar.
In doing this the British Army was the first to adopt a camouflage uniform universally.
For the Royal Marines, which had a responsibility for NATO's northern flank, a Smock, Windproof, Arctic and Trousers, Windproof, Arctic were introduced circa 1972. These were made in a lightweight, but wind-proof, DPM fabric and could be worn over quilted jacket and trousers in extreme cold conditions. The design of both smock and trousers differ radically from both the standard and para designs. The smock is long and loose-fitting, and incorporates a voluminous wired-rim hood, while the trousers have zips in the lower leg to allow them to be put on over boots.
In the mid 1970s a new Smock Parachutist DPM (Para smock) was introduced for the Parachute Regiment and other airborne units. Though made in the 1968 Pattern cotton fabric, its design was closer to that of its predecessor, the Denison smock.
At the same time a Smock, Sniper, was introduced, based heavily on the Smock Parachutist DPM and sharing many of its details. It was distinguished by its padded elbows and shoulders, relocated lower pockets, multiple loops for securing natural camouflage material and hooks for the rifle sling.
During the late 1970s, batches of the 1968 Pattern camouflage were used by the USAF Police Tactical Neutralisation Teams at RAF Upper Heyford as a temporary stand-in for the ERDL/M81 Woodland fatigues.
Later developments-
The pattern was changed slightly with subsequent issues. On early 1960 Pattern (manufactured from 1966) and 1968 Pattern DPM uniforms the sand colored base would appear to lighten in tone at night, becoming dangerously conspicuous. This was addressed in the late 1970s, when the sand and brown colors were slightly darkened. The 1985 Pattern has fewer, less precise dots and the brown is much darker; 1990 and later has a band of new shapes and is smaller; 1994 has an orangey colour instead of a tan. Tropical poly-cotton DPM uniforms varied even more; early versions were very brightly colored notably with a russet brown and emerald green which faded to rather unexpected pastel tones of blueish green and pink-brown with washing. Late 1970s and early 1980s Tropicals have a more yellowish sand base and are greatly sought-after by those wishing to appear stylish, while the final production style in the early 1990s used colors closer to temperate uniforms.
DPM items in the Combat Soldier 95 clothing system have similar colors to the 1966 uniform. However, instead of all four colors being printed onto a whitish base, the material is in fact woven in the sand shade and overprinted only with three colors. This leads to a loss in contrast between the colors after washing and wear, and the clothing tends to appear darker when wet than previous types did.
Although slight changes have been made to DPM and the colors, the pattern is easy to recognize. There are also jungle versions of DPM where the colors are brighter, and on one variation the tan is darker than the green.
From 1990 a system of Personal Load Carrying Equipment was introduced, initially produced in olive green. The olive type was quickly replaced in production by a disruptively patterned version, and now almost all British issue webbing and rucksacks are disruptively patterned in the Multi-Terrain Pattern (MTP).
Current issued DPM equipment is IRR (Infrared Reflective) coated. This coating has a specific reflective wavelength in order to blend in with natural colors in the infra-red light spectrum. This reduces the visibility of soldiers to night vision devices, which detect infra-red light, as trees and other green plants reflect deep red and infra-red light (the Wood Effect).
Replacement:
Multi-Terrain Pattern (MTP) is a six-color camouflage pattern intended to replace both the four color woodland DPM uniform and the desert pattern uniform used by the British Armed forces. MTP was procured and announced in late 2009, predicated around use in the Afghanistan theater of operations but applicable to other theaters. A range of patterns were tried and evaluated in Britain, Cyprus, Kenya and Afghanistan against DPM, desert patterns and existing commercially available patterns. In April 2010 MTP combat uniforms began being issued to forces deployed in Afghanistan. It is intended for DPM to be phased out completely for British Regular and Reserve forces by 2016, but the use of jungle pattern DPM could still be retained by special forces for jungle operations. (wiki)