Search Results for: DNA

The Spectacular Explosion of Cannabis’ Ambitious Startup MedMen

AP Photo/Richard Drew

The collapse of MedMen is a tale for the microdosing, CBD-soda-drinking tech era. The company itself couldn’t always figure out if it was a tech company or a cannabis company. It just knew it was racing to capitalize off the lucrative opportunity presented by cannabis’ legalization. In an incredible, deep, absorbing investigation for ProPublica, Ben Schreckinger and cannabis policy reporter Mona Zhang narrate the rise and fall of this ambitious startup, which they call the “Apple of Pot.” MedMen modeled their stores after the Apple Store. They published a glossy culture magazine called Ember that ran articles like “Is CBD the New Tylenol?” In an attempt to reach the masses and normalize cannabis consumption, they ran expensive ad campaigns where they’d cross out the word ‘stoner’ and replace that loaded term with words like “Grandmother.” “One image,” the story says, “featured a uniformed police officer.” As the story put it, “MedMen stands as a cautionary tale of American Wild West capitalism.“ It all started simply enough.

At first, as he recounts the story in interviews, Bierman thought his new client had misspoken. The elderly woman with wild hair kept saying she brought in $300,000 in revenue monthly, when she meant to say annually. There was no way, he thought, that her run-down little pot dispensary on Sunset Boulevard could be raking in $3.5 million a year.

It was 2009, long before the advent of legal recreational weed, and Bierman was not aware of California’s mom-and-pop medical pot industry—if you could even call it an industry. At the time, he and his young business partner, Modlin, were running a branding firm, mashing up the names MODlin and bierMAN and calling it ModMan. ModMan helped small, wellness-related companies like the old lady’s dispensary upgrade their image.

When Bierman finally gathered that the old woman had her numbers right, he realized that he was in the wrong business. ModMan became MedMen, and Bierman’s trade became medical marijuana.

Read the story

Japan’s Lonely Cherry Blossoms

The Yomiuri Shimbun via AP Images

In spring, when the cherry blossoms start to open on Japan’s island chain, tourists begin arriving and locals start planning their visits. Sakura season is an important cultural tradition. People plan spring vacations around it. Entire websites are devoted to tracking the blooms across Japan’s five islands, and predicting exactly when the first blooms will begin. “Sakura means everything in Japan,” writes John Gapper in The Financial Times. It’s big business. In 20018, cherry blossoms generated $5.8 billion dollars in related revenue. Gapper writes about how the usual crowds didn’t show up this year. President Abe encouraged people to stay at home, and people didn’t want to risk infection. Popular sakura sites like Tokyo’s Ueno Park and Kinuta Park were colored with anxiety as much as a pink hue, and crowds were thin. Naturally, businesses that rely on the annual traffic suffered from crowds’ absence.

But nature sprung a surprise this year, with the coronavirus pandemic curbing the picnics and frustrating people who had looked forward throughout winter to the usual party. Nature also changed the season: after an unusually mild January, the famously co-ordinated somei-yoshinos started to bloom in Tokyo in mid-March, two weeks ahead of schedule. This allowed some celebrations before the coronavirus clampdown, but climate change is a worry.

As he points out, sakura’s symobolism was also fitting for a time of death and change:

Coronavirus intruded this year, but the shadow it cast is not entirely alien to the season. Sakura does not just mean love and renewal, but also evanescence and the fleeting nature of existence. “The Japanese are implanted with sakura as a symbol not only of the season but of ourselves,” says Mariko Bando, author and chancellor of Showa Women’s University in Tokyo. “The blossom is beautiful but it goes away. Our lives are not eternal.”

Read the story

What Didn’t Kill Her

Photo illustration by Longreads

Bernice L. McFadden | Longreads | June 2020 | 8 minutes (2,024 words)

My brother never calls just to say hello.

On that warm, blue-skied, beautiful May day, I was sitting in the backyard of my cousins’ home, the sun warming my bare legs.

“Hello?”

He didn’t sound frantic, but his words were halting. It was clear that he was upset.

“Mommy fell and hit her head,” he said. “The ambulance is on the way.”

My chest tightened.

“Let me speak to her.”

You sounded a little out of breath and a tad bit embarrassed that he was causing such a fuss. You couldn’t explain exactly how you’d ended up on the floor. You did remember that you were standing at the bottom of the stairs watching my brother and his friend carry a love seat to the second floor apartment and then, the next thing you knew, my brother and his friend were standing over you calling your name as they shook you back to consciousness.
Read more…

Your Wilderness Is Not Permanent

Photo courtesy of the author / UGA Press

Sejal Shah | UGA Press | excerpted from This Is One Way to Dance | June 2020 | 14 minutes (3,746 words)

 

“I think we’d like to make love now.” The words repeated: a murmur, a shimmer, a cat walking across covers. The woman saying these words had red hair and very pale skin. She wore sparkly eyeliner, purple. She lay next to a man beneath a brown sleeping bag. It seemed like a reasonable request. My eyes flickered open. I looked at their bare shoulders and collarbones. (Why were they saying this to me?) The night, absent of stars, wound itself around us. I lay curled near their blanket-covered legs. I closed my eyes and fell back to sleep.

I opened my eyes. The night lifted, a navy-blue scrim rising. The white man had dreads. The white woman told me that she had been a sixth-grade teacher. “I was a teacher, too,” I said. The man grinned. He reminded me of a former student who often argued with me and liked to talk. A lot. My student was tall but hunched over, always wore an olive-colored jacket, and something about him seemed oddly animal-like, but not in an unpleasant way. I paused. Then: “What am I doing in your car?”

Read more…

This Week in Books: Bullets and Gas

A protester reads a book with the title "Why i'm no longer talking to white people about race" during a spontaneous Black Lives Matter march at Trafalgar Square to protest the death of George Floyd in Minneapolis and in support of the demonstrations in North America on May 31, 2020 in London, England. (Photo by Hollie Adams/Getty Images)

Dear Reader,

The books newsletter seems a little irrelevant at the moment; it’s Monday night, and I’m pretty sure the president just pulled a reichstag. Ah, but ok, books, yes, that’s my job. So, first of all, I think you should read Ibram X. Kendi’s Stamped From the Beginning and his follow-up How to Be an Antiracist. The former is a harrowing intellectual history of antiracism in America, and the latter is a how-to manual for antiracist living today.

Over at Jacobin, Robert Greene II wrote about how this moment feels like an echo of the Red Summer of 1919, which was a series of pogroms against blacks perpetrated by whites, and which also followed on the heels of a global pandemic. His article reminded me that we ran an interview with Eve Ewing last year about her book 1919, a collection of poetry written in response to the Red Summer attacks. “These kinds of violent histories are all around us,” Ewing said in the interview. “We have to take the time to stop and seek them out if we’re ever going to have any hope at social reconciliation.”

Another book that’s come to mind these last fews days is Anna Feigenbaum’s Tear Gas, which we excerpted a couple years ago. The book tells the story of the “full-scale multimedia marketing campaign to promote ‘war gases for peace time use’” that a few retired military grifters cooked up to pitch local governments on gassing their own citizens. And man did those local governments sure love the idea!

1. “What’s Happening?” by Elvia Wilk, Bookforum

Elvia Wilk surveys post-apocalyptic novels like Doris Lessings’ The Memoirs of a Survivor, Octavia Butler’s Parable of the Sower, and Russell Hoban’s Riddley Walker in an attempt to imagine the post-covid world. “What will ‘after’ the pandemic look like? In some ways it is the wrong question to ask, because… giving it an after implies that there was a true before. Yet as writers of dystopian novels know, there was no before, there was only a time when ‘it’ wasn’t quite so unavoidably visible.”

2. “Brit Bennett’s New Novel Explores the Power and Performance of Race” by Parul Sehgal, The New York Times

While reviewing Brit Bennett’s The Vanishing Half, Parul Seghal dwells on the “uniquely American” genre that is the “passing” story; she writes that Bennett subverts the narrative’s expectations. “Brit Bennett brings to the form a new set of provocative questions: What if passing goes unpunished? What if the character is never truly found out? What if she doesn’t die or repent? What then?”

3. “Wartime for Wodehouse” by Rivka Galchen, The New Yorker

I never realized that P.G. Wodehouse, author of the Jeeves novels, was persona non grata in the UK after the Second World War. Apparently he made a deal with the Nazis to do a little propaganda work for them in exchange for release from the camps. Rivka Galchen dives into the controversy, trying to get to the bottom of whether Wodehouse was just so irrepressibly upbeat that he couldn’t understand why his work for German broadcasters would be seen as propaganda.

4. “You Shall Also Love the Stranger” by Max Granger, Guernica

Max Granger effusively reviews John Washington’s The Dispossessed: A Story of Asylum at the US-Mexican Border and Beyond, a book that Granger says “reads like a novel… It is a beautiful and grievous tangle of history, reportage, philosophy, and testimony…” Focusing on the story of one migrant family, Washington also spins his tale outward and inward, touching on the history, philosophy, and future of migration.


Sign up to have this week’s book reviews, excerpts, and author interviews delivered directly to your inbox.

Sign up


5. “Les Goddesses” by Moyra Davey, The Paris Review

A sly and delicate essay from photographer Moyra Davey that skips between the lives and letters of various literary luminaries, never quite settling before it hops again. “Sitting on the floor in sunlight and reading through eight small notebooks going back to 1998, looking for a phrase about Goethe… I never found the reference; it was something I had stumbled across on the internet, but it led me to The Flight to Italy, Goethe’s diary (recommended by Kafka, in his diary), in which G. abruptly takes leave of a turgid existence in Weimar and travels incognito to Italy for the first time in his life.”

6. “On the Many Mysteries of the European Eel” by Patrik Svensson, Lit Hub

An excerpt from Patrik Svensson’s charming Books of Eels. “This is how the birth of the eel comes about: it takes place in a region of the northwest Atlantic Ocean called the Sargasso Sea, a place that is in every respect suitable for the creation of eels. The Sargasso Sea is actually less a clearly defined body of water than a sea within a sea. Where it starts and where it ends is difficult to determine, since it eludes the usual measures of the world… The Sargasso Sea is like a dream: you can rarely pinpoint the moment you enter or exit; all you know is that you’ve been there.”

7. “A Brief History of the Codpiece, the Personal Protection for Renaissance Equipment” by Dan Piepenbring, The New Yorker

Dan Piepenbring reviews Michael Glover’s Thrust: A Spasmodic Pictorial History of the Codpiece in Art, which is, yes, a pictorial history of the codpiece. “Historians… not[ed] that it was ‘so voluminous it could serve as a pocket.’ And indeed it did, offering convenient storage for one’s hankie or a stray orange, in addition to ‘ballads, bottles, napkins, pistols, hair, and even a looking glass,’ as the scholar Will Fisher has written. With great size comes great decorative responsibility, and men of means rose to the occasion. They brocaded, damasked, bejewelled, embroidered, tasseled, tinseled, and otherwise ornamented their codpieces until they became like walking Christmas trees.”

Stay safe out there,

Dana Snitzky
Books Editor
@danasnitzky
Sign up here

Public Education’s White Flight Problem

Compassionate Eye Foundation / Robert Daly / OJO Images

Livia Gershon| Longreads | June 2020 | 6 minutes (1,576 words)

Last year, the 65th anniversary of Brown v. Board of Education came and went, and America’s public schools are the most segregated they’ve been in decades. According to a report by the Civil Rights Project at the University of California, Los Angeles, from 1988 to 2016 the share of “intensely segregated” schools in which 90 to 100 percent students are non-white more than tripled. Forty percent of black students and 42 percent of Latinx students now attend these super-segregated schools, which are often in high-poverty areas. The average white student, meanwhile, attends a school that is 69 percent white. Read more…

The NHL’s Lacrosse Takeover

Bill Armstrong, who played a single NHL game in the '90s, is often overlooked as the originator of the "lacrosse-style" goal. Photo courtesy of the author.

Sam Riches | Longreads | June 2020 | 21 minutes (5,399 words)

During the third period of a late October game between the Carolina Hurricanes and the Calgary Flames, Andrei Svechnikov, a right-winger for the Hurricanes, corrals the puck deep in Calgary’s offensive zone.

Sensing the presence of the 19-year-old Russian, Flames goaltender David Rittich seals his body against the post. It’s textbook positioning, a preventive measure in case Svechnikov — the second overall pick in the 2018 NHL draft — attempts a centering pass or a sneaky shot from a bad angle. Unfortunately for Rittich, who has seen, studied, and saved a lot of shots in his life, there is no playbook for what’s about to happen. Read more…

The Top 5 Longreads of the Week

Getty Images

This week, we’re sharing stories from Justine van der Leun, Rebecca Traister, Larry Kramer, Gabriella Paiella, and Rosanne Cash.

Sign up to receive this list free every Friday in your inbox.

1. The Evidence Against Her

Justine van der Leun | GEN | May 27, 2020 | 44 minutes (11,071 words)

He raped and tortured her for years. He had a gun; he “showed her diagrams of the human brain… the place that would allow her to live but without speech or memory. ‘Wouldn’t that be convenient, he said.'” She shot him, to save herself and her kids. And according to the prosecutor, jury, and judge, she’s a premeditated murderer who deserves her 20-year prison sentence.

2. The Resilience of Marga Griesbach

Rebecca Traister | The Cut | May 26, 2020 | 35 minutes (8,816 words)

“I think every life is like a novel.” Marga Griesbach was born in Germany in 1927. Her life is like multiple novels — horror, romance, magical realism, travelogue. Whatever you’re doing right now, you should stop it and read this story.

3. 1,112 and Counting

Larry Kramer | New York Native | March 14, 1983 | 24 minutes (6,164 words)

Larry Kramer’s historic essay, originally published in March 1983, was a clarion call for urgent action on HIV/AIDS.

4. The Remaking of Steve Buscemi

Gabriella Paiella | GQ | May 26, 2020 | 14 minutes (3,600 words)

“In a rare interview, Hollywood’s most beloved misfit opens up about anxiety, loss, and the hard work of getting through it all.”

5. I Will Miss What I Wanted to Lose

Rosanne Cash | The Atlantic | May 27, 2020 | 6 minutes (1,684 words)

“I didn’t fully appreciate what life on the road gave me until suddenly it was gone.”

Snapshot of Canada: An Accidental Reading List

ürgen Schwenkenbecher/picture-alliance/dpa/AP Images

Cleaning our basement recently, I found a box of old Canadian magazines. The covers were crisp, the bindings intact. Published between 2011 and 2013, I’d gathered these issues of The Walrus and Maisonneuve as research for an abandoned book project. Curious about what was inside, I sat down with them and a pot of very British black tea — the kind The Empress Hotel serves with tiny sandwiches in Victoria, British Columbia.

People call The Walrus the Canadian New Yorker. Maisonneuve was named Magazine of the Year in 2005, 2012, and 2016. Between their striking glossy covers I found the stylish, substantial writing these magazines are still known for, and stories both evergreen and of their time: stories about food, sex, drugs, immigration, politics, Indigenous rights, art, and the environment.

Thumbing through old magazines can be fun. Dated advertisements reveal bizarre worldviews and outdated thinking, like the doctors who famously preferred Camel cigarettes, and a mid-century ad I found featuring two poodles smoking the Old Gold brand. Those were the days. Back issues also capture a country’s struggles, its psyche, mythology, and national narratives, and these Canadian issues returned me to a particular time in my own life.

Years ago, I pitched an idea for a book called Canphilia to a literary agent. Philia is a suffix denoting love or an affection for something, and I loved Canada. The title was too scientific for a first-person narrative travelogue in search of the Canadian national identity, but I was younger then, and that was the best I could come up with.

Covering 3,854,085 square miles, Canada is the second-largest country in the world. Canada and the United States share the world’s longest international border, yet few Americans can name half of the 10 provinces let alone name beloved Canadian icons or defining cultural characteristics. “To outsiders,” my proposal said, “Canada seems like the perfect country: scenic, peaceful, friendly, progressive. Its national parks are the envy of the developed world. The country has one of the highest standards of living on earth, a functioning public health system, and it’s the only G8 country with balanced books. Canada legalized same-sex marriage in 2005, outlawed the death penalty, and operates North America’s only federally authorized drug injection site. Naturally, when people talk about it, most utter some variation of, Ah, I love Canada. But beyond vague notions of Britishness, hockey, and maple syrup production, what do we really know about it?” One thing I knew was that living next to one of the most loud-mouthed, aggressive, arrogant countries in history could make any neighboring country appear quiet, peaceful, and humble. Or maybe their voice was drowned out by all of our patriotic, idiotic, saber-rattling nonsense.

The vast majority of Canada’s 38 million inhabitants lived in larger urban centers within 125 miles of the US border, so I planned to drive, hike, and ferry across the entire country, from west to east, sticking to the border, to investigate. “More importantly,” my proposal said, “do we even know what makes a Canadian a Canadian? What they stand for? How they think and act? And what do they think of us, anyway?”

I was ambitious and slightly bananas, and I wanted to do for Canada what Peter Hessler’s Oracle Bones did for China, and Ian Frazier’s The Great Plains did for the American Midwest: write a vivid, nuanced, humorous portrait of a people and their homeland, that would appeal to a general readership and enlighten myself as much as my fellow Americans. In addition to Canada’s national character, I would interrogate my own interest, search for the reasons so many of us disgruntled Americans fall under the country’s spell. Obviously Canada wasn’t perfect, with its clear-cut logging and historically egregious treatment of Indigenous people. I wanted to examine Canada’s contradictions, and debunk popular stereotypes. I wasn’t interested so much in defining “constitutional monarchy” or “parliamentary democracy” for American readers, or helping them reconcile Canada’s independence with its connection to the Queen. I was interested in profiling the personality of the Canadian people and their culture while trying to figure out why I longed to live somewhere I knew so little about.

The agent loved the idea, but we never shopped it to publishers. I couldn’t afford to take enough of the trip to write any sample chapters, and supposedly, Americans don’t care enough about Canada to read books about it. I filed “the Canada book” away in the back of my mind as I developed other niche book ideas that never sold, because that’s the kind of writer I am. As I moved around, my Canada books and back issues came with me.

After reading these issues, I thought it’d be fun to assemble some of their stories, which reveal new sides of Canada to outsiders like me (and maybe you). This is not meant as a definitive Canada reading list. It’s a sample of what I pulled from one stack of issues from 2011 — 2013. That makes this collection more of a tiny time capsule, an incomplete portrait of a particular place in time. Actual Canadians can gather more wide-ranging, complete lists that capture the totality of Canada, its breadth and depth. These older stories also provide an interesting baseline to compare Canada now with Canada then. After reading them, I wondered: Has Canadian secondary education improved? Is Kraft mac ’n cheese still Canada’s national dish? What happened to that hyped comedy troupe Picnicface? Here they are in chronological order, with their subheads included as description. None of these stories feature hockey or The Tragically Hip, but one is about Labatt beer. Part of Canada’s identity involves outsiders’ reliance on cliché. Enjoy, eh?

* * *

Going Viral” (Maisonneuve, Kaitlin Fontana, Summer 2011)

“This fall, the sketch comedy group and online-video machine Picnicface will simultaneously launch a feature-length movie, a TV show, and a book. Can eight nerds from Halifax resuscitate Canada’s ailing comedy scene?”

In Halifax, far from the showbiz machine, Picnicface has been free to both develop a unique voice in front of a warm audience, and to cultivate a show without fear of high-profile failure. McKinney likes that the group is from Halifax—it reminds him of his early days in Calgary, before he moved to Toronto. “If they’d been born in LA, they’d have all been poached before they could create this voice that develops between like-minded people, this ecosystem that happens in smaller places,” he says. Halifax, for Picnicface, is an incubator. Little goes further: “We’ve done some garbage here, but I’m really happy we did, because it helped mold us.”

Canada’s Most Unwanted” (The Walrus, Jasmine Budak, December 2011)

“Domestic adoption is rarely the first choice for prospective parents. But with rising infertility rates and the availability of foreign infants declining, some 30,000 children in government care have a better shot at finding a family.”

Canadians have long adopted from abroad, but largely for humanitarian reasons, in spurts and small numbers: orphans of the Irish famine, World War II, and the Korean and Vietnam Wars; and, later, in the mid-’70s, from orphanages in Cambodia, Bangladesh, India, and Latin America, through Ottawa’s newly established national Adoption Desk. But over the next two decades, as adoption became normalized and the supply of domestic infants began to wane, inter-country adoption became less about finding parents for destitute babies and more about finding babies for hopeful parents. It was no longer motivated by goodwill, but rather became a transaction in the business of fulfilling the developed world’s growing demand for infants.

Visions of the Future” (Maisonneuve, Chandler Levack, Summer 2012)

“A twenty-four-year-old singer named Grimes is the world’s hottest independent pop star, and her fame has cast Montreal into the spotlight yet again.”

Grimes’ success and the exposure she’s brought her Arbutus label-mates—Sean Nicholas Savage, TOPS and TONSTARTSSBANDHT, among others—have made Montreal a high-profile indie-rock hotspot once again, reminiscent of the time, several years ago, when Arcade Fire attracted the world’s attention to the city. Although Montreal has plenty of other worthy independent labels, like Secret City and Alien8, the rise of Grimes has made Arbutus a litmus test for the promise of the city’s young musicians. Today’s tastemakers are fickle, and too much hype can cause a community to cannibalize itself—especially one as small and tight-knit as Montreal’s music scene. As Morrissey once said, “We hate it when our friends become successful.”

Calgary Reconsidered” (The Walrus, Chris Turner, June 2012)

“Six truths about the city that’s no longer, simply, Cowtown.”

Even if you love the city deep down, you sometimes feel as if you’re merely putting up with it, waiting for it to grow all the way up and become what it pretends to be. Calgary is an overnight millionaire fresh from the sale of a gas exploration company, complaining about the greed of all those farmers who jacked up the lease rates. Calgary is the home riding of the prime minister abutting the home riding of the premier, and still insisting that it doesn’t get a fair shake in Ottawa or Edmonton. Calgary is the highest per capita income in Canada in a province with no sales tax, indignant that its property taxes are going up. Its conservatism sometimes scans as a youngster’s I-got-mine insolence. Its emerging power and prominence come across from some angles as pure teenage bluster.

The Hunter Artist” (The Walrus, Sarah Milroy, July/August 2012)

“In Cape Dorset, Nunavut, a new generation is redefining Inuit art, preserving northern traditions as it adapts to southern ways of life. One of these artists is Tim Pitsiulak.”

Whites imagine Inuit, and Inuit imagine whites; Inuit art is where their fantasies meet, but the interface is changing. Kinngait continues to release its annual portfolio of about forty prints, as it has for more than fifty years. Despite stars like Kenojuak, prices for the prints have remained fairly consistent and modest, in the $500 to $2,500 range. But one-of-a-kind drawings are gaining a following and, as with the prints, the prices are regulated by Dorset Fine Arts, the co-op’s Toronto distributor, which sends the art to dealers across Canada and around the world, who then charge what the market will bear. Pitsiulak’s largest and best drawings can now sell for as much as $12,500, making him one of the most successful artists in the North. His aunt Kenojuak’s best works sell for around $16,000. Shuvinai Ashoona’s prices are close behind Pitsiulak’s and rising fast. This phenomenon of individual artists’ commanding widely differing levels of remuneration could someday lead to a break with the old co-op way of doing things, in which the revenue from higher-priced artists supports the costs of maintaining the studio and distribution, helping to fund the production of those artists who are less likely to sell. Inuit artists in Cape Dorset may hesitate to abandon a system that has afforded them predictable prices for pieces on completion (as well as studio space and material costs), irrespective of the vagaries of the southern art market.

Manufacturing Taste” (The Walrus, Sasha Chapman, September 2012)

“The (un)natural history of Kraft Dinner — a dish that has shaped not only what we eat, but also who we are.”

The point is, it’s nearly impossible to live in Canada without forming an opinion about one of the world’s first and most successful convenience foods. In 1997, sixty years after the first box promised “dinner in seven minutes — no baking required,” we celebrated by making Kraft Dinner the top-selling grocery item in the country.

This makes KD, not poutine, our de facto national dish. We eat 3.2 boxes each in an average year, about 55 percent more than Americans do. We are also the only people to refer to Kraft Dinner as a generic for instant mac and cheese. The Barenaked Ladies sang wistfully about eating the stuff: “If I had a million dollars / we wouldn’t have to eat Kraft Dinner / But we would eat Kraft Dinner / Of course we would, we’d just eat more.” In response, fans threw boxes of KD at the band members as they performed. This was an act of veneration.

John Cage’s Canada” (Maisonneuve, Crystal Chan, Fall 2012)

“The twentieth century’s most important avant-garde composer may have been American, Crystal Chan writes, but he found his greatest inspiration north of the border.”

On a Thursday night in August 1961, Cage took the podium at Montreal’s Théâtre de la Comédie-Canadienne and moved his arms in a circle, imitating the hands of a clock. In response, eighteen musicians began to play. The piece, called Atlas Eclipticalis, was Cage’s first Canadian premiere, and he had written it by matching notes to star positions in an astronomical atlas. At the time, the whole world had its eyes on the stars; earlier that spring, a Soviet cosmonaut had beaten the Americans to space. Composing music with the help of astronomy was still an eccentric method, though, and one that marked an important shift in Cage’s career. After Atlas Eclipticalis, Cage moved away from writing music with notes, rests and other conventional symbols. Instead, he went on to create graphic scores—essentially, drawn music—and write textual instructions. He started to see himself as a creator of experiences through sound, rather than a composer of music.

The Place Where Art Sleeps” (Maisonneuve, Chris Hampton, Fall 2012)

“The vast majority of the art gallery of Ontario’s priceless collection isn’t on display — it’s tucked away in high-security, top-secret vaults.”

Of the AGO’s eighty-five-thousand-piece permanent collection, only about 3,900 works are on display right now. At any given time, 95 percent of the collection is in storage. Paintings, sculptures and installations account for roughly eleven thousand pieces in the vaults, while photography and works on paper make up the other seventy thousand. This isn’t unique to the AGO. Art institutions are a bit like icebergs; the public sees less than a tenth of their holdings. But that may finally be changing. While security and conservation remain top priorities, galleries are beginning to experiment with new ways for the public to engage with their broader collections. Visitors increasingly want to see everything—including what’s behind the scenes.

Doppel Gang: Why Canada Needs Quebec” (The Walrus, Mark Kingwell, January/February 2013)

“Why Canada needs Quebec.”

Yes, there it is. Quebec is Canada’s familiar-strange double, a return of the repressed, so like the rest of the country and yet so minutely, eerily different. Are they plotting something large and secretive, some kind of surprise secession? Probably not. No, they probably just want things to go on like this more or less forever, teetering between passive entitlement and passionate outrage, sketching a glorious future free of any reality principle.

Unmasked” (Maisonneuve, Andrea Bennet, March, 2013)

“Before the 2010 G20 Summit in Toronto, police infiltrated activist communities as part of a massive, costly campaign that resulted in high-profile arrests and prosecutors. Who were these undercovers, and how did they avoid scrutiny?”

Guelph was also home, in the lead-up to the G20 summit, to a branch of one of the largest undercover police operations in Canadian history. The $676 million security bill for the G20 summit and its G8 counterpart—which was held on June 25 and 26 in Huntsville, Ontario—included funding for an eighteen-month-long infiltration of activist communities, from January 2009 through June 2010. The Joint Intelligence Group, a well-staffed network of OPP and RCMP officers based in Barrie, Ontario, carried out this investigation. According to the JIG Operational Plan, the effort included twelve “trained covered  investigators,” as well as commanders, managers, and technical and office support. Over the course of those eighteen months, JIG made $8 million worth of capital purchases and had a $297 million operational budget. It set up commander offices, a project room, workstations—and, during the G20 summit itself, an operational “War Room.”

Fight of the Bumblebee” (The Walrus, Sasha Chapman, March 2013)

“Honeybee colonies are collapsing around the world, putting food production in danger. We may need Canada’s indigenous pollinators to save the day.”

South of Detroit and Windsor, sandwiched between Lake Erie and Lake St. Clair, the flat lines of Essex County farmland carve the southern tip of Ontario into tidy rectangular parcels of fertile, well-drained soil. When you approach Leamington from Highway 401, it is difficult to imagine this area as the nearly impenetrable forest it once was, or that the fires lit by would-be farmers to clear the land once burned so brightly they could be seen 500 kilometres west in Chicago. Today the aerial view looks more like a semi-industrial park, because the area is dominated by gunmetal grey–framed greenhouses. With some 355 hectares under greenhouse vegetable production, more than anywhere else in North America, the region’s output is larger than the entire industry in the US, and growing much faster than other types of agriculture.

First Do No Harm” (Maisonneuve, Ann Silversides, April 2013)

“Are doctors and drug companies to blame for the opioid-abuse crisis? After two shocking deaths in small-town Ontario, Ann Silversides reports from one of the largest coroner’s inquests in Canadian history.“

Under the Influence” (The Walrus, Matthew J. Bellamy, June 2013)

“Beer is to Canada as wine is to France. How Labatt and its allies brewed up a nation of beer drinkers.”

Before the Black Christmas of 1936, Mackenzie approached J. Walter Thompson Co., a major global advertising agency. Mark Napier of the Toronto office had an uncanny feel for the cultural logic of the age, and wanted to portray brewers like Labatt as instrumental, not detrimental, to the nation’s development. In a series of advertisements published in the national monthly Canadian Homes and Gardens, he highlighted Labatt’s long, influential past. “It really all began 70 years ago,” read the text of one ad in 1937, under the tag line “Then As Now.” In others, he linked the company’s evolution to watershed moments in our history, such as Confederation and the Boer War, when “soldiers knew good ale.” As Canadians searched for uniquely Canadian ideas, events, experiences, and commodities—the makings of a national identity—Napier served up Labatt’s product as an age-old piece of Canadiana.

The Marineland Dreamland” (The Walrus, Craig Davidson, July/August 2013

“Deconstructing memories of a scandal-ridden theme park.”

I worked at Marineland for eight summers. Brendan Kelly, six years. Phil Demers, twelve. It paid our rent and put beer in our fridges. Best summers of my life. To a man, we spoke those words.

It makes you wonder. What if, rather than fabrication, “The Tale of the Frozen Sea Lion” was an act of erasure? My unconscious mind embarking on a sly mission of disburdenment, of purposeful forgetting? If I forget enough, if my own story fills with holes, I can tell myself it’s a lie. And that’s easier, overall. Easier than holding on to the knowledge for twenty-plus years, doing nothing meaningful about it. Easier than remembering how I laughed as my supervisor kicked a dead sea lion.

So Much More Than Enough

Hulu

Soraya Roberts | Longreads | May 2020 | 10 minutes (2,564 words)

Lynn Shelton was the kind of artist no one asked for, but the only one you really wanted. The kind of person who was so good — so empathetic, so altruistic, so honorable — her work couldn’t help but be good in all the same ways. But in the face of what film became — a monstrous inequitable monopoly — she played too kind, too female, too independent, too old. When Shelton died suddenly on May 15 at only 54, from a blood disorder no one knew she had, artists more famous than her surfaced one after the other to remember her flawless reputation and critic after critic emerged to fawn over her career. It was so familiar, all those people so quick to praise in private but almost never in public, until, you know, it kind of doesn’t matter anymore. The reality was that Shelton had made eight films, directed countless television series, and still had to audition for jobs even when she knew the people giving them. The reality was that she had to work in TV to pay for the work she really wanted to do. The reality was that people in the industry knew her name, but no one outside of it did. “The main reason women make inroads in independent film is that no one has to say, ‘I pick you,’” she told The Los Angeles Times in 2014. “I’m not pounding on anybody’s door. I’m just making my own way.” 

As existence increasingly became exhibitionism, Shelton made being a private success — being a good person making good work — more valuable than being a public one. Which is why I loved her more than any other artist around. Because it wasn’t just about loving her films, it was about loving her as a filmmaker, as a woman. Because, somehow, over two decades, she was always pure independence — fervent, uncompromising, relentless and humble, humble, humble — despite the constant pressure to be otherwise. Because, to me, she was the only kind of artist to be.
Read more…