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Mcleod Lake Indian Band Community Baseline Amendment Report, and 3
September 27, 2013 Ms. Courtney Trevis, Panel co-Manager Site C Review Panel Secretariat Canadian Environmental Assessment Agency 22nd Floor, 160 Elgin Street Ottawa, ON K1A 0H3 Email: [email protected] Mr. Brian Murphy, Panel co-Manager Site C Review Panel Secretariat British Columbia Environmental Assessment Office 4th Floor, 836 Yates Street PO Box 9426 Stn Prov Govt Victoria, BC V8W 9V1 Email: [email protected] By email Dear Ms. Trevis and Mr. Murphy: RE: McLeod Indian Band Community Baseline Profile Report, Community Baseline Amendment Report and EIS Integration Summary Amendment Table Please find attached the following reports. 1. McLeod Indian Band Community Baseline Profile Report 2. McLeod Lake Indian Band Community Baseline Amendment Report, and 3. McLeod Lake Indian Band EIS Integration Summary Amendment Table On September 9, 2013, McLeod Lake Indian Band submitted the “McLeod Lake Indian Band Baseline Profile” (MLIB Community Baseline Profile) for consideration in the Site C Clean Energy Project (the Project) environmental assessment. BC Hydro received the report after it had submitted the Amended EIS to the British Columbia Environmental Assessment Office and the Canadian Environmental Assessment Agency on August 2, 2013. Because the report was received later than anticipated, a placeholder was included in EIS Volume 3 Appendix B Part 5 stating that, “the McLeod Lake Indian Band Community Baseline Report and EIS Integration Summary Table will be submitted at a later date in the environmental assessment -
The Burning of Kitsegukla, 1872 R.M.GALOIS
The Burning of Kitsegukla, 1872 R.M.GALOIS Early in June 1872, Constable Robert Brown of the British Columbia Provincial Police left his post at Port Essington to head up the Skeena River. He intended to travel by canoe to Hazelton, then overland to Babine Lake before returning to the mouth of the Skeena: in all a round trip of nearly 500 miles. As the only representative of provincial authority in this considerable territory, Brown was making his journey "to collect Revenue etc." from the few white residents and transient miners in the area.1 But Brown never completed his trip. At Kitsegukla, a Gitksan village over a hundred miles up the Skeena, his progress was halted by a group of angry natives. Their village had been destroyed by fire a few days earlier, and now they refused Brown passage up the river. This paper is concerned with Brown's encounter at Kitsegukla and its consequences. Reconstruction of these events on the basis of contemporary records is a fairly straightforward task. It offers an account seen, primarily, through the eyes of white participants. But such a unilateral description of a clash involving people of two very different cultures has clear limita tions. Native actions are diminished and, as a direct consequence, white actions decontextualized. A more balanced view calls for serious con sideration of the Gitksan perception of the "burning of Kitsegukla." This is no simple matter, raising both interpretative and empirical problems. Of the former, one rather obvious, but essential, point needs to be made at this juncture: Gitksan responses to the burning of Kitsegukla were based on the logic of their own cultural universe. -
Activity Report 2014-15
ACTIVITY REPORT 2014-15 10TH ANNIVERSARY PROJECT ELAN celebrated its 10th anniversary in 2014 and received project funding from the Government of Canada through the Department of Canadian Heritage for a number of special activities. The first was to feature trailblazers in building Quebec’s current dynamic English- language arts community from the sparsely populated, marginal scene of the 1970s and 80s. Three panel discussions were presented in collaboration with POP Montreal and Expozine: The Montreal Formula: Thinking outside the box for survival in Montreal arts (POP Montreal) with Albert Nerenberg (host; filmmaker and laughologist), Murray Lightburn (the Dears), Krista Muir (Lederhosen Lucil), and visual artist J.C. Little; Literary Legacies: A Montreal Story (POP Montreal) with host Katia Grubisic (writer and translator), Linda Leith, founder of Blue Metropolis Foundation, and Marianne Ackerman, founder of the bilingual theatre company Theatre 1774 and Rover Arts; and Montreal Blooming: From Backwater to Music Hotbed (Expozine) with Howard Bilerman (legendary Montreal producer, former drummer for Arcade Fire), Kevin Komoda (Rational Youth), Ryhna Thompson (Envision Management), and musician Molly Sweeney. For our 10th anniversary year, ELAN co-produced Schmoozers with partners from each of the major artistic disciplines: April in collaboration with the Quebec Writers' Federation; June in collaboration with the St-Ambroise Montreal International Fringe Festival; October in collaboration with the Montreal Film Group; and December at McGill's Schulich School of Music, with a focus on students. Eastern Bloc was selected as the venue for ELAN's 10th anniversary event because it is a well- equipped visual and media arts centre. A photo retrospective of ELAN's 10-year history was projected on one wall while the Wonderwall, created at three stations where guests were photographed as they arrived, was projected on another. -
Radio Drama Produced by Andrew Allan
234 ARCHIVARIA 29 as stem reminders of the author's insistence that art historians be familiar with sev- eral languages. Because of this, a bibliography of the epigraphs would have been very welcome. Eva Major-Marothy National Archives of Canada Living the Part: John Drainie and the Dilemma of Canadian Stardom. BRONWYN DRAINIE. Toronto: Macmillan of Canada, 1988. xii, 340 p. ISBN 0-7715-9918-8. All the Bright Company: Radio Drama Produced By Andrew Allan. HOWARD FINK and JOHN JACKSON, eds. Kingston: Quarry Press and CBC Enterprises, 1987. xvi, 336 p. ISBN 0-9 19627-47-1 (bound) ISBN 0-919627-49-8 (pbk). Image in the Mind: CBC Radio Drama 1944 to 1954. N. ALICE FRICK. Toronto: Canadian State and Arts Publications Ltd., 1987. x, 176 p. ISBN 0-9 19952-34-8 (pbk). Turn up the Contrast: CBC Television Drama Since 1952. MARY JANE MILLER. Vancouver: University of British Columbia Press and CBC Enterprises, 1987. ix, 429 p. ISBN 0-7748-0278-2. Given the number of publications about the organization and regulation of twentieth- century broadcast media in Canada, why have there been comparatively few studies which examine the actual content of the thousands of hours of programming which have been heard and seen in this country? Everyone acknowledges that broadcasting has a significant effect on our thinking, yet this very popularity seems sufficient cause to dismiss it from serious historical consideration. One would have difficulty naming any contemporary activity other than broad- casting in which substantial creativelimaginative effort results in so little archival documentation. Preoccupied with filling tomorrow's airtime, broadcasters can rarely afford the luxury of documenting their efforts. -
UMVERSITY of ALBERTA from the Early 1920S to 1965 Mary Ross Glenfield a Thesis Submitted to the Faculty of Graduate Smdies and R
UMVERSITY OF ALBERTA The Growth of Theatre 'In Edmonton: From the early 1920s to 1965 '@? Mary Ross Glenfield A thesis submitted to the Faculty of Graduate Smdies and Research in partial fulfilment of the requirements for the degree of Master of Arts Department of Dnma Edmonton, Alberta Spriag, 2001 National Libtary Bibriithèque nationale I*I ofCanada du Canada Acquisitions and Acquisitions et BiMiographic Setvices seMces bibliographiques The author has granted a non- L'auteur a accordé une licence non exclusive licence ailowing the exclusive permettant a la National Library of Canada to Bibliothèque nabonale du Canada de reproduce, loan, distribute or seil reproduire, prêter, distribuer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. La forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othenuise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Dedicatiou To aii the people, known and unknown, who worked to make Edmonton theatre the vibrant entity that it is toâay. Abstract The city of Edmonton has an unusually large number of theatres, dy profession& for its size. By examining the theatricd history of the city, the aim of this thesis is to show the way in which this theatre environment grew, £tom the early nineteen- twenties to nineteen-sixty-five. -
The Cbc Radio Drama Project and Its Background
THE CBC RADIO DRAMA PROJECT AND ITS BACKGROUND by Howard Fink Radio drama for me, as for many people who were growing up just after the War, was, quite simply, my introduction to theatre: the classics, Renaissance drama, and modern and contemporary plays, including European and Canadian. It is rare that one gets the opportunity to re-examine a major formative influence later in one's life, rarer still to find that in this objective light its value holds up. I have had that happy experience with CBC radio drama. I have also had an experience of a completely different kind, in attempting to trace the materials of this influ- ential phenomenon: one which, as regards the history of Canadian theatre in general, has been shared in some measure by many: it was almost impossible to study the achievement of CBC radio drama as a whole, or even at first to locate the vast majority of the plays created and produced. Of course this is partly owing to the particular nature of theatre, the original form of which, unlike a novel or a book of verse, is a live performance, which remains rather in the memories than in the bookcases of its audience. More particularly, the CBC has always considered itself a production organization rather than a repository of culture, and quite rightly so. It has, in fact, been discouraged from archival activities by the government, which considers the Public Archives of Canada as a more appropriate institution for that role. 3f course such well-known figures as Robertson Davies, George Ryga and James Reaney are well represented in print. -
Timeline: Cheslatta Carrier Nation and “Southside” Community 5000BC
Timeline: Cheslatta Carrier Nation and “Southside” Community (Updated to March 3 2021 by Mike Robertson) Please contact me for additions and/or corrections [email protected] 5000BC Archaeological evidence confirms 7000 years of human occupation in the Cheslatta Territory 1763 British Royal Proclamation reserved undefined North American land for Aboriginal people. 1770 est “Grandmother Cheslatta” born 1774 Juan Perez Hernandez claimed the Northwestern coast of North America for Spain. 1791 Spanish explorer Esteban Jose Martinez traded copper sheets to Nootka Sound Chief Maquinna for sawn timber. 1793 Alexander Mackenzie became the first white man to travel through Carrier and Sekani territories while looking for fur-trading areas for the North West Company. 1805-1807 - Simon Fraser established four trading posts in Carrier and Sekani territories: Fort McLeod, Fort George, Fort St. James and Fort Fraser. Until the Hudson Bay Company and North West Company joined together in 1821, Fort St. James was the centre of government and commerce in British Columbia (then called New Caledonia). It claims to be the oldest established white settlement on the B.C. Mainland 1807 February 10th Simon Fraser wrote a letter to express what he witnessed in Stella (Stellaquo). “Almost all Natlians are gone over to Steela.. to grand feast to burn and exhume a couple of chiefs that died of late. When they return from there they will go to the mountains to kill Caribou.” 1828 Chief Kwah captured James Douglas at Ft. St. James, whom he held until his release was negotiated. The incident lead to conflict among different Carrier Nations. Douglas went on to become the first governor of the united colony of British Columbia. -
COPPER CLIFF, ONTARIO, DECEMBER, 1957 NUMBER 9 Page 2 INCO TRIANGLE DECEMBER, 1957
VOLUME 17 COPPER CLIFF, ONTARIO, DECEMBER, 1957 NUMBER 9 Page 2 INCO TRIANGLE DECEMBER, 1957 i" Stratford Festival Company to Appear on Television ii CU 1.1l1RNGL Published for all employees of The International Nickel Company of Canada, Limited. Don M . Dunbar, Editor. Editorial Office Copper Cliff, Ont. Authorised as second class mail, Post Office Department , Ottawa. Z1 Very fHerry cfjrigtma5 Jo a/ our readeri Michael Langham (left), general manager and artistic director of the Stratford Festival , will direct a 90-minute CBC television performance of "Peer Gynt" to be sponsored by Inco on December 29 at 9 : 00 p.m. "Peer Gynt" Discussing production details in the second picture are Douglas Campbell , associate director , Mario Prizek, associate producer, and Bruno Gerussi, who will appear in the title role . This will be the first live television Holiday Bill performance of the world - famous Stratford Festival Company. There will be 16 in the cast. A special entertainment feature symbolize an inner state of mind. Peer goes first to America, where ing the ship's cook. of the holiday season will be the Miss Isabel McLean, chief li- he sells slaves, and then to China Back in Norway he meets a first live television appearance of brarian at Sudbury public library, to sell sacred idols. He also does Button Moulder (Death) who re- the Stratford Festival Company, contributes the following plot sy- a thriving business in rum and fuses peace and continent to the in a 90-minute version of "Peer nopsis for Triangle readers: Bibles, and having made a fortune now aged Peer who is fit only for Sponsored by The Inter- Gynt". -
War on the Air: CBC-TV and Canada's Military, 1952-1992 by Mallory
War on the Air: CBC-TV and Canada’s Military, 19521992 by Mallory Schwartz Thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfillment of the requirements for the Doctorate in Philosophy degree in History Department of History Faculty of Arts University of Ottawa © Mallory Schwartz, Ottawa, Canada, 2014 ii Abstract War on the Air: CBC-TV and Canada‘s Military, 19521992 Author: Mallory Schwartz Supervisor: Jeffrey A. Keshen From the earliest days of English-language Canadian Broadcasting Corporation television (CBC-TV), the military has been regularly featured on the news, public affairs, documentary, and drama programs. Little has been done to study these programs, despite calls for more research and many decades of work on the methods for the historical analysis of television. In addressing this gap, this thesis explores: how media representations of the military on CBC-TV (commemorative, history, public affairs and news programs) changed over time; what accounted for those changes; what they revealed about CBC-TV; and what they suggested about the way the military and its relationship with CBC-TV evolved. Through a material culture analysis of 245 programs/series about the Canadian military, veterans and defence issues that aired on CBC-TV over a 40-year period, beginning with its establishment in 1952, this thesis argues that the conditions surrounding each production were affected by a variety of factors, namely: (1) technology; (2) foreign broadcasters; (3) foreign sources of news; (4) the influence -
The Music Distribution Industry in Canada 2006
THE MUSIC DISTRIBUTION INDUSTRY IN CANADA 2006 BY LARRY LEBLANC FEB. 2006 This report has been prepared by Larry LeBlanc for the Canadian Association of Broadcasters (CAB). The purpose of this document is to provide a profile of the English and French-language components of distribution of the Canadian-owned label and artist sector as well as Canadian artists signed or distributed by multinationals in Canada. The report specifically discusses changes in the music distribution sector in Canada since 1998. As well, such newly emerging factors as the rise of widespread Internet-based downloading; the rise of music subscription services; and the use of ringtones, ringtunes and podcasting in affecting music sales are also discussed. The report indicates that Canadian music retail has become more consolidated and more selective with product choices. Major music retailers carry a different product mix today than a decade ago. There are fewer music CDs, and more film-related DVD and computer game product. Although radio remains a critical vehicle for the Canadian record industry, labels and retailers cite a waning impact of the medium on overall sales. The study is based on a review of existing documentation, secondary research as well as analysis and findings drawn from 11 interviews conducted by Larry LeBlanc, as the principal source of primary research. Music OVERVIEW Canada's small market size, and a sizable support infrastructure is enabling the domestic industry to develop distinct acts for audiences home and abroad. In the past three years, global markets have embraced a new wave of formidable Canadian English-language rock acts including: Arcade Fire, Broken Social Scene, Death From Above 1979, Feist, Stars, the Dears, Alexisonfire, Metric, Bedouin Soundclash, and Hot Hot Heat; as well as such French-language acts as Corneille, and Lynda Lemay. -
2005 / 2006 Annual Report
RADIO STARMAKER FUND ANNUAL REPORT 2005#–2006 ANNUAL REPORT RADIO TABLE OF CONTENTS STARMAKER #FUND 02. Message from the Chair 03. Board of Directors and Staff | Mandate 04. Application Evaluation | Applications Submitted vs. Applications Approved 05. Tracking Success | Grant Allocation by Type of Record Label 06. Radio Starmaker Funded Artists 07. Sales Certifications 08. Grant Allocation by Province | Grant Allocation by Genre 09. Grant Allocation by Music Industry Association 10. Awards Won by Radio Starmaker Funded Artists 11. Allocation of Funding by Category 12. – 16. Condensed Financial Statements 17. Appendix: Criteria for Qualifying 25 Adelaide Street East, Suite 1300, Toronto, Ontario M5C 3A1 PHONE.416.597.6622 FAX.416.597.2760 TOLL FREE.1.888.256.2211 www.radiostarmakerfund.com RADIO STARMAKER FUND ANNUAL REPORT 2005-2006 .01 ANNUAL REPORT RADIO MESSAGE FROM THE CHAIR STARMAKER #FUND This year has been one of reflection for • 77% of the total funding requested was approved We continue to maintain the highest standards of the Radio Starmaker Fund. We had the accountability to our stakeholders and the industry at opportunity to review our history from • The “funding per record” breakdown (based on the top large. Our audit process once again shows complete the inception of the fund and present an 22 funded RSF artists) is approximately $2 per record. compliance with our funding rules and regulations and overview to the CRTC during its radio With average marketing costs per album hovering in we appreciate the efforts made by our applicants to review proceedings in May 2006. the range of $3 per record this means we are making maintain this track record. -
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