Tuesday, February 01, 2022

ALBERTA WRESTLING
Oral History: How Bret ‘The Hitman’ Hart became the Excellence of Execution
























LONG READ

Kevin Michie 
SPORTSNET
 19 hrs ago


The best there is, the best there was and the best there ever will be. It’s not a mantra, it’s the truth.

Throughout his professional wrestling career, Bret ‘The Hitman’ Hart lived by those words. It was taken as fact in a world of fiction, and understood as non-fiction when collecting facts as to why he’s considered by many the greatest pro wrestler of all-time.

It’s with this understanding that it should come as no surprise that Bret became the first professional wrestler to be honoured on the Canadian Walk of Fame last month.


It’s easy to consider Bret Hart as one of the greatest ever when you add up all the five-star matches, the pool of career accolades and the testimonials among fans and wrestlers. But how did Bret reach this pedestal of greatness? What qualities did Bret possess that made him stand above the rest in a sports entertainment industry full of giants?

Sportsnet sat down with Bret and several members within the professional wrestling business to break down the characteristics that made ‘The Hitman’ such a legendary figure.

His Foundation


There is perhaps no more well-known family in pro wrestling. The Hart family’s legacy was forged in Western Canada thanks to the success of Stampede Wrestling, a regional wrestling promotion established long before Bret began paving his own way to superstardom. Once in WWE, his legacy was cemented thanks to several noteworthy matches and storylines throughout the 1990s. Much of that legacy surrounds Bret’s family, and his father Stu Hart.

Bret Hart: I was the son of Stu Hart, and my dad was Canadian amateur champion. Being the son of a wrestling promoter and a guy that was certainly a legend in the wrestling business, the wrestling profession, as a legitimate tough guy, at wrestling. I had to live up to my dad’s reputation and I remember thinking, ‘I need to try and be the star for my dad. I’m going to be the star he needs me to be.’


Natalya Neidhart (WWE Superstar; Hart family member; Calgary, AB native): You think about what my grandfather passed on to Bret, and Bret carries that on today, and I look up to Bret so much that for me, and my own career in WWE, especially as a woman, I try to think about those qualities: dedication, durability and passion. Bret is the person that carries that torch today but it all came from my grandfather, Stu Hart.


TJ Wilson (former WWE Superstar; Hart family member; Calgary, AB native): Bret really (hit) that stride in those early ‘90s. I think he exploded so much that everybody wanted to learn his backstory, and that’s where all the Hart family stuff came in. It’s like seeing a Marvel movie and then going back and seeing the backstory of the next movie that comes out.

Jimmy Korderas (former WWE referee of 20-plus years; Toronto, ON native): Stu was all about respect and that showed with all his children. And it filtered down, you see it with (Natalya), you see it with TJ. In Stu’s mind, respect for the business and those you work with was first and foremost and that was very apparent with Bret, because that’s the way he treated everybody. He treated everybody with respect.

Dave Meltzer (Wrestling Observer Newsletter; San Jose, CA native): It’s funny because he was actually a dual citizen (Bret’s mother Helen was American), but everyone knew he grew up in Calgary and was the first Canadian to win the WWE title. I think being the first, and also calling attention worldwide to the heritage of Stampede Wrestling which was unknown outside of Canada, was part of it.

Bret: When I first went to WWE, they wanted me to say I was from America. And I remember going, ‘I’m Bret Hart from Calgary.’ That’s where I’m from, that’s where I want to be from. I stuck to my guns and made them. I stayed ‘Bret Hart from Calgary’ with my dad’s history which eventually got worked into my storylines about The Dungeon and growing up in the Hart family.

The Dungeon was a training ground for prospective wrestlers, situated in the basement of the Hart family home in Calgary. The Dungeon received its name thanks to the small and dank conditions, in both appearance and scent, but also due to the harsh nature of the training. Stu would bring interested grapplers downstairs to test their aptitude for the profession and commitment to the craft. It wasn’t unusual to hear screams and cries for help as Stu locked a trainee in a submission hold. Each member of the Hart family — the British Bulldog, Dynamite Kid, Jim Neidhart, Brian Pillman, Superstar Billy Graham and many more — trained under Stu in The Dungeon.


© Provided by Sportsnet The “Dungeon” in the three-storey Calgary home formerly owned by pro wrestling’s famous Hart family. The house went up for sale in 2010. (Jeff McIntosh/CP)

Eric Young (former WWE Superstar; Florence, ON native): All of these amazing talents have come through The Dungeon. The mystique of it, the prestige of saying, ‘Oh I trained there. I survived The Dungeon.’ Everybody wants to, especially if you’re Canadian, you want to hook your wagon to that because it’s just this unmatched success and unmatched lore and that’s because it was promoted and talked about in very high regards on WWE television.

Korderas: It’s a who’s who list of who was there (trained in The Dungeon). If there was a Mount Rushmore of families, the Hart family is definitely on that Mount Rushmore of wrestling families, for sure.

Bret: I just think all of this went into this character that I was at the beginning, a real wrestler, with a real history and a real reputation. I was always trying to live up to be the son of Stu Hart. I always had so much weight on my back to live up to my dad’s reputation to be tough and to be the best.

Natalya: My grandfather, his only refuge was wrestling. So for our family, we bleed it. It literally is in our hearts. We bleed pro wrestling. When you think about the greatest pro wrestling families of all-time, the Harts are No. 1. We really are so passionate about the industry.
His Canadian Roots

Bret changed the line of thinking that international wrestlers couldn’t be supported in the United States, as Hart proudly proclaimed his Canadian-ness, and fans around the world embraced it. In 1997, as Hart chastised the U.S. and American fans as part of a storyline on WWE television involving likes of Shawn Michaels and Steve Austin, he was still lauded across the globe, particularly in Canada.

Bret: I was always mindful that I needed to be a hero in Canada. I need fans in Canada to go, ‘Yeah that was cool what Bret Hart did, I still back him even though he cheated last night.’

Sami Zayn (WWE Superstar; Montreal, QC native): I would love to do a more modernized version, a bit more of an intellectual approach, a bit more of a factual approach to what Bret did in 1997 because I thought it was revolutionary. It’s never been done before and it’s never been done since. Global hero, despised in one country like that. It was revolutionary, we all remember it, we all rave about it to this day.

Meltzer: I think he played into Canadian frustration over Americans considering them like the little brother and acting superior. He played into things in society like health care and violent gun crimes that Canada was superior to the U.S. in that nobody in wrestling had ever done. The fact he did that in the U.S. and got booed for it made Canadians proud of him. Plus, WWE did a lot of TV out of Canada that summer and it was really a perfect storm. I think there was also the element that Canadians were more into wrestling itself and Americans were more into show biz wrestling, and Bret represented the former. The other key to Bret’s legacy is that he was the hero to Canadian kids wanting to be wrestlers in that era and a lot of Canadians turned out to be strong at the mechanics of wrestling since Bret was so good at that aspect.

Young: There are a lot of Canadian wrestlers. I don’t know what it is, there must be something in the water, (but) we seem to be good at it. Bret would be a huge part of any of our careers: idolizing him, learning from him, and watching how he did it.

Wilson: Being born in wrestling, it was a very different setting than a lot of other people. You have to experience it a little bit in Calgary, and the Hart house, to fully understand. I think that’s where that believability becomes so important to Bret, through his whole life.


































His Execution


In a world of scripted sports entertainment, the only aspect of a Bret Hart wrestling match ever left to be determined was whether it would be awarded a five-star review. Hart wanted to be the best professional wrestler in the industry and did so via a commitment to believability inside the ring.

Bret: I’ve always taken myself pretty seriously. All my dreams came true when I won the world title (for the first time in 1992). It gave me credibility and it made my life. I had proven a point to myself. I didn’t get into wrestling to be a wrestler, I got into wrestling to be the best wrestler in the world. And suddenly I was the best wrestler in the world. That meant so much to me that I gave so much and tried so much harder to live up to that. I think that I did a good job as a hero for the rest of my career.

Natalya: He really had such a strong foundation, and that foundation, that work ethic, I think that Bret is one of the greatest engineers or architects in the history of pro wrestling. His precision, just how he believed in himself and how he believed in his work. His integrity, his quality of work, his work ethic… it’s just second to none.

Korderas: Going into the business we have the suspension of disbelief, and we want to believe that everything we see is real. The thing about Bret Hart was everything he did in the ring made you believe. He was so crisp with everything he did.

Young: I think he’s the best storyteller ever, in the history of pro wrestling. Every single thing he did was done with absolute perfection and that’s where the believability comes.

Natalya: (The Hart Family) cares so much about the quality of the sport, as much as anything, and I think that transcends. I think people feel that when they watch a Bret Hart match. That’s timeless. You think about some of the greatest pro wrestling matches in the history of the industry — whether it’s Bret Hart vs. Shawn Michaels at WrestleMania 12, Bret Hart vs. Steve Austin at WrestleMania 13, Bret Hart vs. Owen Hart at WrestleMania 10 — some of the most iconic pro wrestling matches in the history of the industry involve Bret Hart.

Young: I think he’s the best storyteller ever, in the history of pro wrestling. His ability to use physicality and wrestling as a vessel to tell this amazing good vs. evil story. Whether it was him and Shawn (Michaels), these two top-of-the-mountain babyface wrestlers wrestling at WrestleMania 12, one of the most iconic matches of all-time, or whether he was wrestling a limited Diesel, who was a big guy but couldn’t do a whole lot. Those were two completely different opponents but he could have these amazing matches and tell these amazing stories.

Bret: It’s quite a complicated thing to have an Iron Man match with Shawn Michaels at WrestleMania 12. Very few wrestlers in the industry anywhere can do that. My matches were always very tight, always very believable, always very logical. All you have to do is see Bret Hart take one front turnbuckle and you start to question whether wrestling is real or not

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© WWE Bret Hart and Shawn Michaels at WrestleMania 12. (Photo courtesy WWE)
His Influence

As Bret’s star power grew, buoyed by his in-ring prowess, many aspiring pro wrestlers took notice. Wrestlers today who name Bret as an influence include top WWE stars such as Drew McIntyre, Roman Reigns, Edge and more. Hart’s commitment to his craft is now applied by wrestlers across the industry.

Bret: I was six-feet tall, I was 235 pounds, I didn’t have a super physique, I wasn’t a car salesman interview guy. I was all about the wrestling, though. Even when I was a nobody, people would say, ‘He’s a good wrestler.’ I was a wrestler’s wrestler. I understood the moves, the timing and how to tell a story. I became famous amongst my peers for being the best guy out there to tell a great story.

Natalya: Bret’s always been my inspiration, as far as going, ‘I want to be like Bret Hart where I can have a great match with anyone.’ Bret had a magic about him, it really was art. He could work with anybody and bring out the absolute best in them, like a magician. And then whenever that person would wrestle against someone else, it wouldn’t be the same magic, because the magic was Bret. Bret was so confident in his own abilities that he wasn’t afraid to help someone else look good, because he knew just how great he (was).

Wilson: He saw his matches like little movies and I think that’s why he took certain pacing to his matches. I think that’s where all that believability comes from because he’s seeing it as scenes and if this scene’s not believable, we can’t go to the next scene.

Young: As a person that’s been in wrestling and understands it at a very high level now, it was Bret’s self-belief. It’s not cockiness. He believed that he was Bret Hart. He believed that he was the Excellence of Execution. He believed that he was the best there is, the best there was, the best there ever will be. … Everything he did was perfect. He didn’t do something unless it made sense and unless he could do it well.

Ricochet (WWE Superstar; Philadelphia, PA native): He’s actually an inspiration of my style now. I’ve been going back and studying a little bit of Bret Hart, trying to take a little bit of his direct style of wanting to win the match. I’ve always been a fan of ‘The Hitman’.

Korderas: He is one of the best innovators, but he did it in a different manner. He knew that he had to make it as authentic as possible. For example, the Sharpshooter. It’s the little things that matter and Bret was a master at doing the little things. He was able to do everything well. People wish that they could be as smooth and as believable and as technical as Bret is in the ring.

Natalya: I think he’s the greatest of all-time. He didn’t have all the smoke and mirrors, he didn’t have all the crazy pyro, he didn’t have a crazy entrance. You were just getting the true character. And he believed in himself so much and he took being a champion so seriously, like it was a part of who he is.

Wilson: There’s a certain intangible that Bret had … he was able to make these timeless classics, and those matches hold up. They don’t just live in nostalgia from 20 years ago, 30 years ago. You pull them up and watch them today, they still hold water, they still hold the exact same amount of water today … (if not) more.

Korderas: Bret was great at making it look so good. It just felt like it was so easy, so natural to him.

Bret: I always was real because I believed I was real, in the sense that it was a character that was formed from the beginning that was based on reality. I always to try to explain to people that I was Bret ‘The Hitman’ Hart when I was 6-years-old.
Turmoil ahead for Italy after bruising presidential vote

The re-election of President Sergio Mattarella in Italy has temporarily averted a political disaster and may ease the passing of key reforms, but Machiavellian plotting by political parties has just begun, analysts warn.
© Handout Italian President Sergio Mattarella has been re-elected but that is unlikely to halt the Machiavellian plotting among political parties

© Alberto PIZZOLI Italy's Prime Minister, Mario Draghi signalled his interest in the presidential job but was not picked

After six days of deadlock and amid fears the government could fall, the 80-year old -- who had made it clear he did not want to serve a second term -- agreed Saturday to put parliament out of its misery.


It was, he told the country, an exceptional situation: debt-laden Italy, one of the worst hit by the 2020 pandemic in Europe, was "still going through a serious health, economic and social emergency".

Mattarella needed at least 505 votes from an electoral college of 1,009 lawmakers and regional representatives in Saturday's vote. He won 759, earning another stint as president in spite of himself.

The only other serious contender for the job -- Prime Minister Mario Draghi -- was needed at the head of government to keep Rome on track with major reforms to the tax and justice systems and public sector.

Draghi, brought in by Mattarella last year, has been racing to ensure Italy qualifies for funds from the EU's post-pandemic recovery scheme, which amounts to almost 200 billion euros ($225 billion) for Rome.

- 'Near-impossible job' -


Many were concerned Italy would slip behind on the tight reform schedule should Draghi step down as prime minister, or that his elevation would spark snap elections in the eurozone's third largest economy.

Mattarella's election removes that immediate risk. But fractures within Italy's parties have deepened over the past week and are expected to worsen further as campaigning intensifies ahead of a 2023 general election.

"The question is whether the key ingredient of Draghi's government -- a broad, cross-partisan majority -- will still be there in a few days," Francesco Galietti of political consultancy Policy Sonar told AFP.

"If not, the situation will rapidly become untenable".

Wolfango Piccoli of the Teneo consultancy said rebuilding trust within the ruling coalition was "a near-impossible job", and a realignment was now likely "both within individual parties and alliances".

The biggest loser is Matteo Salvini, head of the anti-immigrant League, who had hoped to play kingmaker but instead failed to get his candidate elected and was forced to ally with the centre-left bloc.

That public embarrassment may spark a leadership contest, just as the right-wing bloc collapses.

- 'Machiavellian' -

Giorgia Meloni, head of the far-right Brothers of Italy party, who did not want Mattarella as president, accused Salvini of betrayal and said she was no-longer allied with him or centre-right leader Silvio Berlusconi.

A leadership battle is also expected within the once anti-establishment Five Stars Movement (M5S), which may affect its entente with the centre-left Democratic Party (PD).

Draghi will have to ensure the government can continue to function -- though Piccoli points out the PM's standing "has been affected too", after he signalled his interest in the presidential job but was not picked.

Galietti said he expected the political scheming now to be "as Machiavellian as it gets".

But Lorenzo Codogno, a former head economist at the Italian treasury, said the division between the weakened parties could have silver lining.

"There will be less veto power by parties, and this may facilitate Draghi’s job in finding a compromise among different positions on reforms," he said.

AFP
Welcome to the Year of the Tiger

Tom Murray 1 day ago
EDMONTON JOURNAL

Sonny Sung has many fond memories of celebrating the Lunar New Year while growing up in Taiwan.
© David Bloom Chef Sonny Sung demonstrates how to prepare duck with glutinous rice in preparation for Lunar New Year at Evario Kitchen and Grill.

“When you’re young, you’re always waiting for New Years,” explains Sung, currently the executive chef at Evario Kitchen and Bar. “First of all you’re wearing new clothes because your family buys you some, and secondly there are the red envelopes with money that you’re given by everyone in the family. It’s very enjoyable.”

That’s just the tip of the iceberg when it comes to the 16-day celebration that Sung and more than two billion people scattered across the globe participate in every year. Commemorating the last day of the year according to the lunisolar calendar, Lunar New Year also marks the end of winter and will herald in the Year of the Tiger this Tuesday. The fun continues until the first full moon of the year, which is marked by a Lantern Festival. Traditions that have accumulated during its history, which stretches back more than 2,000 years, include ritual house cleaning, firecrackers, incense burning, ceremonies, offerings to ancestors and deities, the always impressive Lion Dance, and perhaps most importantly, the food.

Most dishes would be familiar to westerners: spring rolls, steamed fish, chicken, dumplings and sweet rice cakes are among the items found on any family’s table, as well as sticky rice, braised shiitake mushrooms, duck and the famous longevity, or long-life noodles. Also called Yi Mein noodles, it’s a simple dish often served at New Years and birthday celebrations, and is meant to symbolize longevity.

Edmonton-based graphic designer Alex Chan, who spent part of his childhood at his grandma’s village in Hong Kong, recalls many of the meals of his youth.

“For my mom, it was the only time that she made so many deep-fried dishes,” he laughs. “They weren’t things she made on a normal day, because they’re unhealthy and you waste a lot of oil making them. She still makes a few dishes for New Years, but not any of those.”

He’s a long way away from throwing firecrackers around the common area as a kid, but Chan still reaps the benefits of the red envelopes.

“It’s because I’m still a bachelor,” he chuckles. “I grew up in this very small village, which is a bit strange because 99 per cent of Hong Kong is urban. It meant I got a very traditional Chinese New Year. But growing up we would sometimes use the money we got from the red envelopes to gamble. Chinese New Year is the only time children would be allowed to do this, so we played a game with dice called Fish, Stream, Chicken. For a lot of kids, this was their introduction to gambling.”

yegarts@postmedia.com





   


‘Klondike’ Review: Harrowing Drama Braids Marital and Political Warfare on the Russian-Ukrainian Border

Guy Lodge 22 hrs ago
© Courtesy of Sundance Institute/Kedr Film

Personal and political turmoil face a serene camera in “Klondike,” a vision of the ongoing war in Donbass war that brooks no compromise in depicting the severe impact of the conflict on the region’s civilians — in particular, the innocent women to whom the film is dedicated. Ukrainian writer-director Maryna Er Gorbach largely assumes the viewpoint of a heavily pregnant farmstead owner as her life and home quite literally fall apart on July 17, 2014, the day a Malaysia Airlines passenger flight was shot down over Donbass, killing nearly 300 people. Irka (Oxana Cherkashyna) is determined to stand her ground even as her fellow villagers flee oncoming armed forces. In Er Gorbach’s potent film, shot in unbroken, unblinking takes that observe obscene violence and destruction with cold candor, Irka’s resistance to warfare is at once fierce and futile.

Winning the directing award in Sundance’s World Dramatic competition — ahead of a European premiere in Berlin’s Panorama strand — ought to boost “Klondike’s” profile with more adventurous arthouse distributors. Er Gorbach’s film remains a tough sell, however, with its relentlessly downbeat worldview only sporadically tempered by quietly mordant humor, stray instances of domestic tenderness and the considerable beauty of cinematographer Sviatoslav Bulakovskyi’s deep, desolate widescreen compositions. As Russian military buildup on the Ukrainian border intensifies, meanwhile, “Klondike” has chilling topicality in its favor, even if the tensions it shows are all too longstanding.

The real-life plane crash isn’t the first shattering event that jolts “Klondike’s” fictional narrative into action. That comes in the film’s opening scene, as the modest farmhouse that Irka shares her her husband Tolik (Sergey Shadrin) falls prey to a mortar misfire — decimating one exterior wall, and leaving the interior a wreckage site of dust and debris. An alleged “mistake” on the part of local anti-Ukrainian separatists — one of whom is a none-too-apologetic friend of Tolik’s — the incident is, in Tolik’s view, the final straw that should prompt he and his wife to get out of dodge before their child is born. Irka, however, resents the idea of having to leave her home over men’s fighting, and obstinately enters survivalist mode: preserving vegetables, milking their one weary cow and attempting a cleanup of their ruined, now al-fresco living room.

Yet when the plane goes down not far from their farm — the crash site a smoking red flag on the horizon, approached in long shot by crawling emergency vehicles — even Irka’s doughtiness takes a knock. A large scrap of aircraft fuselage is flung into their farm, standing in stark fields like a surreal, skeletal monument to lost life; they’re further drawn into the tragedy when a Dutch couple turn up days later in search of their missing daughter, one of the plane’s passengers. Er Gorbach’s script condenses history somewhat by having contentious NewsCorp footage of anti-Ukrainian rebels ransacking the crash site — embedded in the film itself — emerge mere days rather than a year later, fueling ideological discord between Irka and Tolik.

Irka, like her volatile younger brother Yuryk (Oleg Scherbina), is loyally pro-Ukrainian, and while Yuryk condemns Tolik as separatist scum, the truth is he’s that not very politically impassioned at all. As Tolik attempts to play all sides for the sake of domestic contentment and protection in the community, his middle ground becomes untenable once aggressive soldiers invade their vulnerable home turf — with Irka due to give birth at any moment. Without undue contrivance or melodrama, El Gorbach overlaps escalating marital tension with the larger war closing in on the couple to claustrophobic life-or-death effect, building to a finale of staggering savagery. There’s enough vivid conflict at play here that the insertion of the real-life Malaysia Airlines horror perhaps isn’t strictly necessary as a contextual device — though its accompanying circus of mourners, gawkers and authoritarian ghouls contributes to the film’s spiraling end-of-days atmosphere.

That air of chaos, meanwhile, is kept in check by the stark formal rigor of El Gorbach’s filmmaking. Acting as her own editor, she’s sparing with her cuts, opting to reveal key information either through long, patient pans, or by letting human interactions play out in full, sometimes in the middle distance, as the camera plants itself and watches. The rolling panorama from Irka’s bombed-out living room — over multiple planes of emptying, pointlessly fought-over farmland, toward the smoldering atrocity on the horizon — becomes the film’s default view, picturesque and unspeakable in equal measure. Irka is sufficiently fascinated by it to suggest they rebuild the missing wall simply as a giant window, though it pains the viewer to imagine what will ultimately be left to look at, and who will be left to look.

Murder trial over Bangladesh factory collapse resumes after five years

Bangladesh has resumed the murder trial over one of the world's most devastating factory disasters after five years mired in appeals and court procedure, prosecutors told AFP on Tuesday

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© MUNIR UZ ZAMAN Bangladeshis mourn relatives killed in the collapse of Dhaka's Rana Plaza, home to numerous textile factories

More than 1,130 workers died in 2013 when a nine-floor warren of textile factories in the capital Dhaka fell down.

The collapse of Rana Plaza -- where clothes for top fast fashion brands such as Zara, Primark and Benetton were produced -- highlighted unsafe conditions in the country's lucrative garment industry and triggered mass protests demanding action from global retailers.

A court in 2016 charged 41 people with murder for signing off on building standards and forcing employees to work despite cracks appearing in the complex the day before the disaster.

But the case was halted for more than five years while several defendants tried to get their charges vacated, and the country's high court suspended the indictments of two local officials accused of approving the shoddy building.

On Monday, a judge ordered the trial resumed for 36 of the original defendants -- three have since died -- while a prosecution request to vacate the two suspended indictments will be considered separately.

"We want to conclude the trial as quickly as possible. Already too much time has been wasted," chief public prosecutor Sheikh Hemayet Hossain told AFP.

"The building didn't have any (construction) plan. It would shake when machines were switched on. And the owner of the building, Sohel Rana, used hired muscle to force the workers to go to work on the day of the collapse."

Hossain said all of the accused except Rana have been free on bail.

Rana's father, who was a co-owner of the complex, is among the defendants who died before facing trial, fellow prosecutor Shamsur Rahman said.

- 'Of course we want justice' -


Bangladesh's economy has soared in recent years, largely on the back of its $35 billion garment trade, which accounts for more than 80 percent of the country's exports.

The industry is second in size only to China's, but fires and factory collapses are common due to lax building regulations and improperly kept volatile chemicals.

Its operators are also a powerful political lobby, and Rana's connections to the ruling Awami League party have been widely reported in local media.

He became a nationally reviled figure after the disaster, with survivors recounting how they were slapped and threatened into working on the day of the collapse.

Rescue workers struggled for weeks to retrieve the bodies from the ruins, but some of those in Rana Plaza that day are still unaccounted for.

"We haven't got justice for nine years," said former garment worker Rehana Akhter, 35, whose left leg was amputated after she was trapped in the complex.

"Of course we want justice. They should keep (Rana) alive so that he could look after the amputees like me and all other victims."

sa/gle/cwl/leg

AFP
The unsolved mystery of the SS City of Boston's disappearance

Randi Mann 

The SS City of Boston was an iron-hulled, single-screw passenger steamship. Its maiden voyage was on Feb. 8, 1865, from Liverpool to New York. Its final sail took place on or after Jan. 28, 1870. Of course, no one knows the exact date as she disappeared.

The City of Boston's final voyage was supposed to be from Nova Scotia to Liverpool. Onboard was Capt. Halcrow, plus 83 crew, 55 cabin passengers, and because it was the 1800s, an additional distinctly counted 52 steerage passengers.

© Provided by The Weather NetworkMemorial in St Pancras Parish Church London to victims of loss of SS City of Boston 1870. Courtesy of Cj1340/Wikipedia/CC BY-SA 3.0

It did not make it to its destination, and no one is completely sure what happened to the ship, but there are some conjectures.

A violent storm occurred on Jan. 30, which could explain the ship's fate. Others suggested that a collision with an iceberg could have caused it to sink.

People said they saw the ship off the coast of Ireland on Feb. 25, reporting that both cylinders in the engine appeared to be broken.

But on April 25, a piece of wood with the inscription "City of Boston is sinking. Feb. 11" washed up at Perranporth, Cornwall.

In November of the same year, a message in a bottle found at Crantock, Cornwall, described that the ship had collided with another vessel and was sinking.

© Provided by The Weather Network
Inman Line of Mail Steamers "City of Boston." Courtesy of Wikipedia

One theory even suggested that the ship was sunk on purpose by "Dynamite Fiend." This rumour started after an explosion at the German seaport of Bremerhaven killed 80 people. The dynamite was planted by someone who wanted the insurance money for the ship, but it blew up prematurely. It was later disproven that there were any relations between these two incidents.

The disappearance of the SS City of Boston remains a mystery, but to learn more about the ship, listen to today's episode of "This Day In Weather History."

This Day In Weather History is a daily podcast by Chris Mei from The Weather Network, featuring stories about people, communities and events and how weather impacted them.

Thumbnail image: The Missing Screw-Steamer City of Boston, by Edwin Weedon. Courtesy of Wikipedia
MUBI Acquires Sundance Doc ‘Free Chol Soo Lee,’ U.S. Theatrical Release Set for 2022 (EXCLUSIVE)

Wyatte Grantham-Philips 
VARIETY
© Courtesy of Grant Din/Sundance Institute

Free Chol Soo Lee” has been acquired by global distributor, streamer and production company MUBI.

The documentary, which premiered last week at the Sundance Film Festival, will come to U.S. theaters in 2022, with release plans in other territories (Latin America, Ireland, Germany, Austria, Italy, Turkey, the U.K. and other parts of North America) to be announced soon. News of the acquisition comes after the film’s producer Su Kim was presented with the Sundance Institute and Amazon Studios Producers Award for documentary features on Friday.

Directed by Julie Ha and Eugene Yi, “Free Chol Soo Lee” follows 20-year-old Korean immigrant Chol Soo Lee, who, in 1970s San Francisco, was racially profiled, convicted of murder and sentenced to life in prison. Investigative journalist K.W. Lee later dives into his case, igniting a powerful social justice movement that both unites Asian American communities and inspires activists in the coming generation.


“Our team is overjoyed to be partnering with MUBI, who embrace and share our goal of making sure Free Chol Soo Lee finds a large and diverse audience,” said Ha and Yi in a statement announcing the acquisition. “They understand the art of the film and the heart of the story: the love between a poor Korean immigrant street kid and the strangers who embraced him, and deemed him worthy… We hope to ensure a long life for the film and an enduring legacy for Chol Soo Lee and the landmark movement he inspired.”

“Free Chol Soo Lee” is produced by Su Kim, Jean Tsien, and Sona Jo — with executive producers including Sally Jo Fifer, Lois Vossen, Stephen Gong, Kathryn Everett, Andy Hsieh and Bryn Mooser. The film is a co-production of ITVS in association with the Center for Asian American Media, with funding from the Corporation for Public Broadcasting. Submarine negotiated the acquisition deal with MUBI.
Alberta farmers tout new digital technologies to save costs, time

Lisa Johnson 


Some Alberta farmers say fast-advancing digital technologies have already become ingrained in their multi-generational family operations.
© Provided by Edmonton Journal
 A barley field south of Edmonton.

Willie and Nick Banack help operate a 2,800-hectare (7,000 acre) grain farm in the Camrose area. They spoke at a panel discussion Thursday with farmers from across Canada about their adoption of new agricultural technologies, from light bar GPS guidance for machinery to auto-steering technology and more sophisticated apps that collect and analyze data from the field.

“This technology is easier to use than it ever has been,” said Willie Banack, who said the digital age has produced profound changes for his industry since he started farming in the early 1990s.

“Our farm has expanded almost three-fold in that time frame,” he said, adding digital tools have allowed operators to work longer with less fatigue, and end up with less overlap or miss in the field, especially when spraying herbicides or pesticides.

The panel was hosted by Matt Eves, a representative from Bayer’s Climate FieldView, a digital agriculture platform that collects and analyzes data from the field to help producers track things like crop yield.


An agribusiness market study from the Calgary Economic Development Forum published in 2020 noted the “precision farming” market, including the use of information technology and GPS, was estimated to grow from US $7 billion in 2020 to US $12.8 billion by 2025. Producers on Thursday’s panel said they’ve bought into digital tools to help them make better decisions about where to invest resources.

“One of the biggest things that has changed for us, as in keeping track of data, is the ability to really look at where input costs are, making sure that we’re putting the right amounts of product on the right fields in the right time and the right place,” said Willie Banack.

Nick Banack said during last summer’s heatwave, using an app to quickly find where crops were being affected by drought conditions helped the farm to determine where in the fields they should apply fungicide.


“That was a pretty big cost savings for us this year because for a pretty large portion of our fields, we were really not going to do anything with that fungicide,” he said.

Brian Witdouck said at the panel he knew his family’s Lethbridge-area seed production operation needed to adopt digital tools for the long term.

“I knew if we did not take advantage of it, you were already checking out, it was a slow decline for you,” said Witdouck.

Kevin Witdouck said his father and uncles used to check their irrigation equipment manually every morning, but now he uses an app to get notifications on his cellphone if an irrigation pivot shuts off. His message to older generations when it comes to adopting digital tools is to “get on it.”

“I guess we have a few headaches, but then there’s a huge (return on investment) on it,” he said.
MANITOBA
Art exhibit melds biology, Indigenous perspectives


Artist Mary Anne Barkhouse’s exhibit “opimihaw” at the Art Gallery of Southwestern Manitoba is the culmination of a lifelong love affair with art and biology.

“Ever since I [was] a kid, I’ve been fascinated with biology and art,” Barkhouse said. “That separation between art and science — I don’t see it as having ever existed.”

Barkhouse is Namgis, Kwakwa̱ka̱ʼwakw, and originally hails from British Columbia. Her experiences as an Indigenous person made her intimately familiar with issues like food sovereignty and ensuring the integrity of the landscape.

In her nation, the major issue is deforestation, Barkhouse said.

She comes from an Indigenous and European background and this is reflected in her art. Her mother is from a famous carving Indigenous family in British Columbia, while her father hails from Nova Scotia.

“From both sides of my family, I’ve had very direct experiences with [land] stewardship,” Barkhouse said. “I’m familiar with both coasts from Nova Scotia to British Columbia, and here I am in the Prairies.”

In her art, she looks to create juxtapositions between Indigenous knowledge and histories with European perspectives to play with audiences.

Her goal is to tease out conversations about the species impacted by changes to the ecosystem and the role people can play in the revitalization of the landscape.

“There’s these two threads that are going through the exhibition and through my artwork.

“I bring my own perspective and background to it, but I also hope that when people are looking at [it], they bring their own experience to it, and that the pieces themselves are open for interpretation, and that people can draw not only an aesthetic appreciation but a personal community thread from the different artworks.”

Barkhouse cited the return of bison to Wanuskewin in Saskatchewan as the major impetus behind the project. The bison are a critical image on the plains and are featured throughout her work in “opimihaw.”

Opimihaw is the name of the creek running through Wanuskewin.

A herd of bison was recently released onto the landscape at Wanuskewin set Barkhouse’s artist mind aflame.

“I was looking into the return of bison from both the ecological perspective and what that meant to the land, and I was also looking at it from the Indigenous perspective and looking for common threads from where I’m from originally,” Barkhouse said. “A lot of the time, things these species do are in direct competition to human interests, which [is] exactly why they’ve been killed over the past hundred years — but they have a job … it’s exciting for me to be showing.”

Barkhouse is known for her work with bronze sculptures, but the “opimihaw” art installation draws on several different materials, including textiles and ceramics.

As visitors make their way through the installation, she hopes they are considering why different animals and materials are featured and what makes them important.

“It goes back to their own personal relationship to land. Their own personal relationship to whatever community they belong to,” Barkhouse said. “They think about those relationships and how there is that cause and effect between the smallest thing you can do and the daily choices that we make.”

Her pieces do not attempt to anthropomorphize the animals. Instead, she focuses on how the animals have been perfectly crafted by evolution to fit their ecological niche.

Barkhouse works to push the idea of the Prairies being the animals’ home so viewers think about what types of guests they are; to help promote this analogy, they are placed in domestic settings.

“Are we terrible house guests?” Barkhouse said with a laugh. “That’s part of what I’m trying to get at by placing these animals.”

Art Gallery of Southwestern Manitoba curator Lucie Lederhendler said it was challenging bringing the exhibit together due to the size of some of the pieces, but she has tried to arrange the displays in a way that gets the audience thinking.

The exhibit speaks to concerns regarding the changing landscape of the Prairies, Lederhendler said, which is a message Westman residents can relate to.

The show is a special exhibit to Brandon, she added, because of Barkhouse’s ability to incorporate biology into her work, inspiring conversations and meaningful dialogue about humanity’s place on the natural landscape.

She added “opimihaw” creates a unique worldview that can teach people to see the landscape in new ways.

Lederhendler cited the large Wanuskewin tapestry with bison as an example.

“It’s about creating an interior space and showing how things reference each other,” Lederhendler said.

“opimihaw” has its opening reception, featuring the Sweet Medicine Singers, today at the Art Gallery of Southwestern Manitoba at 7 p.m. A guided tour of the exhibit with Barkhouse will be available Friday at 1 p.m. The art installation will be on display at the AGSM until April 9.

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Chelsea Kemp, Local Journalism Initiative Reporter, Brandon Sun
Canada's Calvalley says it suspended oil operations in Yemen's Hadramout

ADEN (Reuters) - Canada's Calvalley Petroleum has suspended its operations and exploration in Yemen's Hadramout province due to deteriorating security conditions after having resumed activities in the war-torn country in mid-2019, the company said.

It confirmed a Jan. 17 notice to staff and contractors, seen by Reuters, announcing suspension of activities in block 9, citing production and transportation disruption since Dec. 14 from checkpoints outside the company's gate and road blocks.

"The company will not be resuming its production and development operations until solutions are found to the deteriorating security conditions," the firm said in an emailed response to Reuters last week.

Tribal members in Hadramout in South Yemen had blocked roads in protest over several issues including power outages, unpaid public sector wages and the province's share of oil sales, according to a Jan. 25 letter by local authorities on Facebook.

Hadramout is under control of the internationally recognised government that is backed by a Saudi-led coalition, which intervened in March 2015 against the Iran-aligned Houthi movement that now largely controls the north.

Yemen had been pumping some 127,000 barrels per day (bpd) but the war choked energy output, which now stands at some 60,000 bpd, according to government data.


Like other international oil firms, Calvalley shut down work in 2015, but it resumed production in July 2019 in block 9, where it has a 50% interest, at 3,500 bpd, with output rising to 6,700 bpd in November 2021, it said.

It launched a 3D seismic programme for new exploration prospects in block 9, which contains total proven and probable reserves of around 42.2 million barrels, according to the firm.

(Reporting by Mohammed Ghobari and Reyam Mokhashef, Additional reporting by Nia Williams; Writing by Ghaida Ghantous; Editing by Raissa Kasolowsky)