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proud in:
#weekdayjeans
Your personal style says a lot about you, it can also give you the confidence and the freedom to be who you are and proud of it!
This winter we asked a few of our friends about their personal style and their favourite thing about wearing denim.
Olivia in: Voyage
"My style is a way of expressing myself. I'd say my style is something that says a lot about me. You kind of get the idea of who I am just by looking at what I wear. Denim is timeless, I believe you can wear it with practically anything. You can dress it up or dress it down and still be feeling yourself! Haha!"
instagram.com/oamcls
Amadeus in: Single
"I try to cut down the decisions I have to make in the morning by keeping my clothes mainly black. So I think my style says says that I'm a very tired morning person. Denim is great because you never have to wash it."
instagram.com/amadeusrudolfsson
Lefteris in: Drift
"My style says two things: confidence and queerness. I like denim because it it makes me feel in charge and ready to conquer the day!"
instagram.com/lefterisballatsas
Alton in: People
"My style is more about a mood. I always dress in what I feel like and don't really care about other's opinions, that may also work as an explanation of me as a person. I like denim because it's a classic look and easy to customize for your own personal style."
instagram.com/116sec
Nora in: Mini
"I really don't spend much time at all thinking about my style. I dress the way I want for the day. It's winter now, so mostly my style says don't freeze please! My favorite thing about wearing denim is when you match it with other denim items. It can give you such a clean and bold look, and I've seen it combined in many ways. It's nice!"
instagram.com/norlicious
Agnes in: Double
"Every morning I merge two styles into one: sporty meets goth, princess Leia meets businessman or biker meets librarian. No outfit should be one-dimensional, cause I'm not. Denim is my favourite cure for feeling like a 12-year-old from the inside and out. I don't want to be sweet-smelling or pretty – I'd much rather be loud, unpolished and rough."
instagram.com/agnesshutrick
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A contemporary production company, Complementary Colors needed an identity at the collision of culture.
Brand Identity,
Complementary Colors creates content that captures the collision of identity and culture in both entertaining and moving ways. Founded by Jonah Disend, who started his career in the theater as a producer and director and then took an 18-year detour as the founder of Redscout – helping define new futures for media, technology and pop-culture brands. Complementary Colors brings together both his worlds, and Franklyn was asked to help craft the collision. Franklyn was tasked with building an iconic identity to both distill the brand premise and serve as a platform for a broad and expressive collection of studio projects – the result is as colorful as the name suggests.
The Story of Two C's
Complementary Colors is an insight-driven studio whose productions often focus on radically contrasting ideas that reveal surprising commonalities. To bring this idea to life visually, we created a dynamic system of colorful "C" letterforms that move, collide and overlap – creating moments of brilliant white "insight."
Sound Design Father
Amazon's Darling of Audiobooks
Betaworks
Unexpected Tech

redpajama_set_name: RedPajamaCommonCrawl


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CUSU Council votes to support abortion law reform in Northern Ireland
Members of CUSU Council voted in favour of a motion to support abortion law reform in Northern Ireland in the last Council meeting of term.
CUSU is situated on Mill LaneLouis Ashworth
by Cait Findlay & Chloe Bayliss
Monday May 13 2019, 9:17pm
The motion called on CUSU's Welfare and Rights Officer and Women's Officer to campaign for the decriminalisation of abortion throughout the UK, focusing on the current inaccessibility of abortion in Northern Ireland.
The vote means that CUSU will support the Abortion Support Network (ASN) and other organisations providing support to individuals who cannot access abortion services in their local area, as well as the NUS-USI's "Trust Us" Campaign for the decriminalisation of abortion in Northern Ireland.
Speaking in favour of the motion CUSU Women's Officer noted that "it's very important that we show solidarity with our sisters in Ireland".
The motion noted that Northern Ireland is currently the only country in the UK where abortion is still illegal, with a maximum sentence of life in prison. Exceptions can be made when there is a risk to the life to the life, physical wellbeing, or mental health of the pregnant person.
In a poll carried out in Northern Ireland in October 2018, 65% of respondents believed that having an abortion should not be a crime.
The motion was supported by Alliance for Choice, an activist organisation campaigning for abortion rights in Northern Ireland, as well as the London-Irish Abortion Rights Campaign, which campaigns for access to free, safe, and legal abortion across Ireland and Northern Ireland.
Last year, the CUSU Women's Campaign gave seven Irish students grants of up to £110 to travel to vote in Ireland's historic abortion referendum. The funding was only available to students who intended to vote 'yes' to repealing the 8th Amendment of the Irish Constitution. Ultimately, 66.4% of voters voted to repeal the Amendment.


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Pulse welcomes Ferry Corsten for special
By Roy Martin	 May 29, 2013 - 9:32 am
One of the biggest dance DJs in the world is heading to RTÉ Pulse this Sunday for a live eight hour radio show.
Ferry Corsten will perform Corsten's Countdown on the digital station before his gig at the Academy in Dublin.
On announcing the show, Ferry said: "I'm really excited to start my first ever Corsten's Countdown summer edition."
He told RTÉ TEN, why he decided to bring the show to Ireland said: "We did the first two specials in New York so I thought it would be great to try and broadcast the next special from a different region. We got an offer to be able to do a show in Ireland and seeing [as] RTÉ is a great supporter of the show, we jumped at the opportunity."
Corsten's Countdown has worldwide fans via his website and Facebook page, where he counts down 10 tracks ranked by his listeners.
rte pulse


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The Igbos have more at stake in Nigeria
Posted on July 26, 2013 by Anthony-Claret Ifeanyi Onwutalobi
THE recent twist in Nigerian politics leading to agitations for presidency based on ethnic and zonal cleavages, has led some to the conclusion that no leader can emerge that will unite Nigeria.
Their reasons include that a Northern leader will attract resistance from other zones, because the North led this nation for 35 out of 50 years and basically brought us to this stage of despair.
The South West got power from the military in 1999; their leadership brought in GEJ, under whom we are still groping, with insecurity and bad politicking threatening the very existence of the country, while the North has vowed to remove him from Aso Rock.
Many, therefore, reason that Nigeria has reached a stage where no leader will be able to unite the country. I do not agree with this position, and I am not alone.
There is yet a zone that has shown complete and unalloyed loyalty to the nation of Nigeria, and within that zone lies the leadership that will take Nigeria out of the doldrums. An honest check of the investments by ethnic personalities and individuals across the country, take us to one ethnic group that qualifies by reason of their investments in each state of Nigeria to produce a leader that will bring unity.
My unaided estimates, for want of verifiable statistics, show that in Lagos, Igbo investment is not less than N300 trillion; it is double of that in Abuja at about N600 trillion.
In Kano and Kaduna, Igbo investments run up to N10 trillion respectively; while in Borno, Yobe, and Adamawa states, Igbo investment run into N5 trilion respectively. In Plateau State Igbo investment is hovering over N15 trillion! I can confidently add that there is no state in Nigerian where Igbo investments in business do not exceed N5 billion.
Capitalism is about investments, profits and financial power. The Holy Scripture tells us a man's heart is always where his treasures are kept. Igbo treasures and investments are spread across every nook and corner of Nigeria.
It makes sense to me to posit that only an Igbo man can bring unity to Nigeria. The problem is that those Igbo haters do not want to face this fact and would prefer our continued suffering as a nation,than accepting this honest reality! A few reports of this reality will help us.
In 2007, the Minister for FCT,Mallam Nasir el-Rufai declared that "Igbos have acquired about 73 percent of landed property in Abuja".
He was addressing a gathering of South East elected officials,he also revealed how the National Chairman of the Peoples Democratic Party, PDP, Senator Ahmadu Ali abused him for demolishing his house in Asokoro District in Abuja.On a lighter mood, el-Rufai called on the Igbos to take Abuja as the sixth state of the South East in view of their dominance of the real estate sector of the FCT.
He pointed out that such dominance explains why the Igbos appear to have been the worst victims of the demolition exercise in the territory.For instance, he said 68 percent of the land allocations in the FCT belong to the 19 Northern states, but in actual land ownership, 73 percent belong to the Igbos with the most aggressive in land ownership belonging to the indigenes of Anambra State, while Ebonyi lags behind.
In Benue State, in 2010, when the Igbo community resolved to boycott the popular Zaki Biam Yam Market, the biggest in the nation, over disagreements with the host community, the market ran into serious challenges. In reaction to this, Governor Gabriel Suswan said: "Any state government that ignores the Igbo does so at the risk of its economy.
It is in this wise that I appointed a high-powered official in my government from the Igbo community to liaise between me and the community…; as we develop further, the issue of where one hails from will no longer be an issue because people from other communities would contest and win elections in communities where they reside and have made contributions".
During the Jos crises in 2011, a coalition of people from the South-East , South-South and South-West resident in Jos, Plateau State said "that since the crises started in the state, the Yoruba had lost property worth N450bn; the Igbo, N410bn; and South-South, N110bn.The three groups from the year 1994 to date lost property estimated at over N970bn."
In Maiduguri in 2011, it was reported that "the majority of the non-natives, especially Igbos, have resorted to selling their houses and other landed property, at ridiculously cheaper rates, saying that they no longer feel safe to carry out their businesses in Maiduguri and other neighboring Northern states."
In 2012, following the death of some Igbos in a bomb explosion in Kano, an Igbo leader was reported as saying: "With more than one million Igbos and our over N20 billion investments in Kano, this is our home away from home. And no one can force us to return home where… land is scarce and expensive for setting up new businesses."
A report this year 2013 has it that "the Igbo community in Kogi State has concluded plans to launch N200 million social responsibility fund to facilitate development of the permanent site of a comprehensive college under the aegis of Igbo Community Association, Lokoja branch".
The Igbo community in Kogi State plan to use the commissioning of the college to celebrate its centenary anniversary, which exemplifies peaceful communal living in Nigeria.
President of the association, Mr. O.A. Achinivu, said: "The official handover of the college project to Kogi State government is expected to coincide with Nigeria's Centenary of programmes, under the theme: "Cultural Integration: Veritable Tool for National Unity."
If Nigeria wants peace, only an Igbo president can give us unity, peace, and progress, because the Igbo people have more at stake in Nigeria, than all other federating ethnic units. You may take it or leave it, the facts and reports speak for themselves.
Mr. CLEMENT UDEGBE, a lawyer, wrote from Lagos.
Nigeria marks 100 years of amalgamation
NIGERIA: Tukur Has Destroyed PDP, Says Dangogo
2015: Youth Group Urges Jonathan to Declare Interest


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News Releases (Archived)
Three Massachusetts Contractors Fined $154,200 for Hazards at Haverhill Bridge Project
NOTICE: This is an OSHA Archive Document, and may no longer represent OSHA Policy. It is presented here as historical content, for research and review purposes only.
OSHA News Release
Region 1 News Release: 06-950-BOS/BOS 2006-147
Contact: Ted Fitzgerald
METHUEN, Mass. -- Three Massachusetts contractors face a total of $154,200 in penalties from the U.S. Department of Labor's Occupational Safety and Health Administration (OSHA) for fall, drowning, crushing and other hazards at a Haverhill, Mass., bridge construction site.
Cited were J.F. White Contracting Inc., of Framingham, Mass.; Aztec Steel Inc., of Carver, Mass.; and Trevi Icos Corp., of Boston. All three are working on the construction of a new Upper County Bridge over the Merrimack River. The citations resulted from an OSHA inspection begun last November in response to a complaint.
"Among other hazards, employees were exposed to falls of up to 30 feet from an unguarded walkway. Those working on barges, the bridge and near the river faced drowning hazards from the absence of life vests and an available lifesaving skiff, while workers risked being struck by a rotating crane whose swing radius had not been blocked," said Francis Pagliuca, OSHA's area director for Middlesex and Essex Counties, Mass.
J.F. White Contracting Inc. faces a total of $114,500 in penalties. The company was issued four repeat citations for the fall, drowning and crane hazards, and 10 serious citations for obstructed cofferdam egress; no warning signals, evacuation plan or second means of exit for employees working in the cofferdam; defects in lifting slings and hooks; guardrail deficiencies; oxygen and acetylene gas cylinders stored together; unguarded deck holes; and an unlabeled electrical panel.
Aztec Steel Inc. was issued one repeat citation for unguarded floor holes and seven serious citations for fall, drowning, guardrail, cofferdam and debris hazards. It faces $22,200 in penalties. Trevi Icos Corp. faces $17,500 in penalties and was issued four serious citations for an unavailable lifesaving skiff, unguarded floor holes, unguarded crane swing radius and no warning signal or evacuation plans for employees working in the cofferdam.
A serious citation is issued when death or serious physical harm are likely to result from a hazard about which the employer knew or should have known. OSHA issues a repeat citation when an employer has previously been cited for substantially similar hazards and those citations have become final. OSHA cited J.F. White Contracting Inc. in April 2005 for similar hazards at this job site while Aztec Steel Inc. was cited in April 2005 for a similar hazard at a Boston work site.
Each company has 15 business days from receipt of the citations to request and participate in an informal conference with the OSHA area director or to contest them before the independent Occupational Safety and Health Review Commission. The investigation was conducted by OSHA's Methuen, Mass., area office, telephone (617) 565-8110.
Employers are responsible for providing a safe and healthful workplace for their employees. OSHA's role is to assure the safety and health of America's workers by setting and enforcing standards; providing training, outreach and education; establishing partnerships; and encouraging continual improvement in workplace safety and health. For more information, visit www.osha.gov.
U.S. Labor Department releases are accessible on the Internet at www.dol.gov. The information in this news release will be made available in alternate format upon request (large print, Braille, audio tape or disc) from the COAST office. Please specify which news release when placing your request. Call (202) 693-7765 or TTY (202) 693-7755. The U.S. Department of Labor is committed to providing America's employers and employees with easy access to understandable information on how to comply with its laws and regulations. For more information, please visit www.dol.gov/compliance.


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American Crash: Part III
by D.R. Tucker May 17, 2015 January 8, 2022
President Reagan not only derailed our progress on infrastructure and race relations, he's also responsible for this planet speeding towards climate catastrophe.
Remember Reagan's November 1979 speech announcing his third run for the GOP presidential nomination (following failed bids in 1968 and 1976)? Remember how that speech was filled with moronic attacks on President Carter's bold, forward-thinking policies on energy?
The details of Reagan's assault on our environment were perhaps best chronicled in this 2004 Grist piece, but we don't often recall that Reagan was warned directly about the coming climate crisis–and he just didn't give a damn. As Ben Block noted in a 2008 WorldWatch Institute piece:
On June 23, 1988, in sweltering heat, [climate scientist James] Hansen told a U.S. Senate committee he was 99 percent certain that the year's record temperatures were not the result of natural variation. It was the first time a lead scientist drew a connection between human activities, the growing concentration of atmospheric pollutants, and a warming climate.
"It's time to stop waffling so much and say that the evidence is pretty strong that the greenhouse effect is here," Hansen told reporters.
Scientists first expressed concern about possible climate change more than a decade before Hansen's testimony. The most-publicized report came from the National Academy of Sciences in 1977. It warned that average temperatures may rise 6 degrees Celsius by 2050 due to the burning of coal.
Around the same time, Hansen, a space scientist at NASA's Goddard Institute for Space Studies (GISS) in New York, began studying the effect of greenhouse gases on climate. His first paper on the subject, published in the journal Science in 1981, predicted that burning fossil fuels would increase global temperatures by 4.5 degrees Fahrenheit (2.5 degrees Celsius) by the end of the 21st century.
The incoming Reagan administration responded to Hansen's predictions by cutting funding for GISS.
You can trace a direct line from Reagan's reckless disregard of the climate crisis to the rhetoric and actions of such figures as Senator James Inhofe. This is why the argument that Reagan would have taken action on climate change stretches credibility. Reagan had multiple opportunities to lead on climate–and he botched all of them. (There were plenty of warnings about the climate crisis in the 1980s, but the Gipper evidently had other things on his soon-to-be-enfeebled mind.)
In his September and October 1980 debate performances, Reagan made it clear that he didn't consider environmental protection a priority. As you listen to today's Republican presidential candidates mock or downplay the importance of reducing carbon pollution, just remember: they're following in their hero's footsteps, and leading us on a pathway to hell.
NEXT: Reagan's declaration of war on women.
UPDATE: From 2012, my radio colleague Betsy Rosenberg on the right's Reagan fetish (Part I and Part II).
The Liberal Reagan You Never Hear About
In "Magazine"
Reagan and Neshoba
The Schism Between Reagan and the Modern GOP
In "Books"
D.R. Tucker
D. R. Tucker is a Massachusetts-based journalist who has served as the weekend contributor for the Washington Monthly since May 2014. He has also written for the Huffington Post, the Washington Spectator, the Metrowest Daily News, investigative journalist Brad Friedman's Brad Blog and environmental journalist Peter Sinclair's Climate Crocks.
More by D.R. Tucker


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Bodyworks: Quadriceps Injuries
How to recognise them, how to overcome them
By Patrick Milroy
The quads and hams, to be colloquial, surround the knee in a tripod-like fashion, the quadriceps through the patella and its tendon acting to straighten the knee, while the hamstrings at the back of the thigh diverge, to be inserted behind the knee on the inside and outside to complete our tripod. If you think of them as being like the guy ropes of a tent, a tightening of one group will stretch the other, and it is this alternate movement that enables the knee to function.
The quadriceps muscles may be torn anywhere from hip to knee.
The common acute tear will cause sudden pain, accompanied by weakness which may make you stumble or fall. It is more likely to occur if you are pushing off to jump a hurdle or obstacle, or to go uphill.
Little difficulty is usually experienced in the diagnosis of a quadriceps tear. There is pain at the site of injury and any resistance to straightening of the knee will cause pain at this site. As a bruise forms, there is thickening of the muscle, which becomes hard and tender, although, if the muscle is severed completely (a not uncommon situation) a gap may be visible when the muscle contracts.
Medical investigation
Because the diagnosis is so obvious, investigations are rarely required unless the condition becomes chronic, with the risk of the scar changing to bone (myositis ossificans). An x-ray will confirm whether bone is forming within the scar tissue.
Other causes of pain in the thigh are rare, though it is not impossible for a stress fracture of the femur, an adductor muscle tear or referred pain from the lower back to appear as quadriceps pain.
The basic principles of RICE apply to early management. This should occupy 48 hours, with ice being applied for 15 minutes per hour, as often as feasible. This will limit bleeding and aid later rehabilitation as you attempt to stretch, then strengthen the damaged muscle.
Apart from professional guidance as to the optimum time-scale for patient-initiated treatment, some forms of electrical therapy may further speed up healing. The risk is always of over-enthusiastic treatment and the complications mentioned above.
Can you run through it?/Recovery time
While a simple tear may recover in a week, a complete rupture or deep tear of the muscle may have effects for several weeks. If there is a complete rupture, surgical repair is not necessary, as accessory muscles will take the strain and build power and strength to mimic the actions of the injured muscle. A return to full strength may take three months.
More From Injury
I've torn a calf muscle – what should I do?
Everything you need to know about ankle injuries
What is the best way to treat plantar fasciitis?
Why you're getting knee pain when running
Injured? Read our complete guide to cross training
Why you get foot cramp when running
Do carbon shoes cause injury?
4 ways to manage patellar tendinopathy
7 ways to strengthen your kinetic chain
What to do if you've twisted your knee
Runner's World, Part of the Hearst UK Wellbeing Network Runner's World participates in various affiliate marketing programs, which means we may get paid commissions on editorially chosen products purchased through our links to retailer sites.


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Dubai is a member of the United Arab Emirates, the cluster of sheikdoms along the Arabian Sea. Located at the crossroads between East and West, the emirate's long-standing trading tradition has for centuries brought visitors from throughout the Middle East and neighbouring regions. Now modernized, Dubai continues to attract many with its international facilities and its exotic, yet cosmopolitan lifestyle. Dubai has the best prices in the Arab Gulf states for gold, electronics, perfumes and is a tax-free city. It also has good beaches and excellent resort hotels. The town was the residence of the British political agent for the former Trucial States from 1954 until 1971. Known as the Venice of the Gulf, Dubai is the chief port and commercial center of the United Arab Emirates.
Abu Dhabi is one of the most modern cities in the world. It is the center of government and business life in the UAE. The architecture of its modern buildings and sky scrapers is the finest in the Middle East. The promotion of tourism and various tourism related projects will elevate Abu Dhabi to a Singaporean status in the region. Large gardens and parks, green boulevards lining all the streets and roads, sophisticated high-rise buildings, state-of-the-art communication services and transport, the presence of all the international luxury hotel chains, rich shopping malls, cultural centers and events provide tourists a one-of-a-kind experience all the year round.
Surrounded by striking mountains on one side and soft sandy shores along its coasts, Muscat is an ancient town, characterized by a unique civilization reflecting Arabian and Islamic influences. It maintains a medieval appearance with two ancient Portuguese forts guarding the rocky cove around which the town is built. In the heart of the old, walled-in city is the magnificent Sultan's Palace and various ancient buildings, distinctive with Eastern Arabian style, Arabesque gates and beautiful engravings. The Muttrah Souq (bazaar) is without a doubt the most interesting souq in the Arab Gulf States - with a vast array of Arabian antiques, bright textiles and exquisite gold and silver jewelry. Muscat is indeed a treasure chest of places to see, where history comes alive and age-old secrets are revealed in a taste of timelessness. Muscat boasts fine museums. Distinctive with its clean silver sands, Qantab Beach is surrounded by mountains which prevent exposure to strong winds. Muscat is a photographer's delight.
Salalah is the capital of Dhofar province, which is the southern region of the Sultanate of Oman. Lovely parks and groves of banana, papaya, watermelon and vegetables give the city a tropical atmosphere and have earned it the name Garden City. Along the coast lie miles of uncrowded beaches, bordered by a brilliant blue sea. Other attractions include ancient forts, archaeological sites, fishing villages and the tombs of prophets. While it is mainly the rugged landscape and the beaches that appeal to visitors with a penchant for unspoiled locales, the modern and fast-growing city offers an interesting museum, architectural highlights such as the Al Husn Palace and colorful, bustling souks, where everything from frankincense and fragrant perfumes to gold and silver jewelry is sold.
Most of all, Salalah has to be appreciated as an off-the-beaten-track location and for the uniqueness that marks the Dhofar region.
Jordan's only outlet to the sea, Aqaba is a popular holiday destination - with a superb climate and beach-edged Red Sea waters that boast some of the world's finest coral reef diving. Aqaba is the only seaport of Jordan. Visit fabled Petra, perhaps the finest archaeological site in the Middle East. The great monuments of this Nabatean 'rose-red city, half as old as time' were hewn from living sandstone some 2,000 years ago, and rediscovered only in 1812. Nearer Aqaba is the spectacular scenery of Lawrence of Arabia's Wadi Rum, where rugged jebel mountains rise sheer from the desert sands.
The Suez Canal links two oceans and two seas the Atlantic and Mediterranean via Gibraltar to Port Said, and the Indian Ocean and the Red Sea via Bab Al Mandab and the Gulf of Suez to the port of Suez. It is the longest Canal that has no locks, it can be widened and deepened at any time when necessary. The Suez Canal's strategic importance lies in the fact it is essential for world trade and greatly shortens the distance between East and West. The distance between Tokyo (Japan) and Rotterdam (Holland) is shortened by 23% if it goes round Africa.
Ashdod is one of Israel's largest ports and a living museum of ancient history. It was one of the five cities of giants, and it was here the Philistines brought the captured Holy Ark, sacred to the Hebrews. Ashdod's 23-level tel (archaeological dig) lies southeast of the modern city. Among the remains of the 10th century CE Fatimid Fortress, archaeologists discovered an early Arabic document recounting Byzantine ships once brought Muslim prisoners to Ashdod to sell back to their families.
Jewish Highlights - Jerusalem - One Day - Ashdod Port
Masada & the Dead Sea - One Day - Ashdod Port
Tel Aviv & Surrounding Area - One Day - Ashdod Port
Holy Land to three of the world's major religions, Israel has a great emotional and spiritual effect on its visitors through its magnificent religious shrines and tenacity of a nation that, against all odds, made the desert bloom. As a center of shipping, banking, foreign commerce and wholesale trading, Haifa boasts institutions for higher education and for scientific research, a theater, a concert hall, museums and places of culture and entertainment. The residential areas and major hotels are situated along the ridge of Mount Carmel, about 900 feet above sea level. Clandestine Immigration & Navy Museum features the ship which ran the British blockade during the Mandatory period. Mane Katz Museum is dedicated to the world-renowned Jewish artist of the same name who left his home, paintings and other works of art to the city. Gan Ha-Pesalim, a lovely garden overlooking the bay, is home to over 20 bronze sculptures by Ursula Malbin. Elija's Cave, known as the center of the prophet's activities, is holy to Jews, Christians, Moslems and Druze.
Jewish Highlights - Galilee & Golan Heights - One Day - Haifa Port
Jewish Highlights - Jerusalem - One Day - Haifa Port
Visitors come to Kusadasi for beaches and nearby ruins of Ephesus. The major attraction is the archaeological site of ancient Ephesus, considered to be most important in Turkey. The history of this ancient city dates back to 10th century BC; many remarkable structures seen today are result of an excavation and restoration program. Along a white marble road grooved by ancient chariot wheels, the two-story Library of Celsus presents a striking sight. There are temples, houses of noblemen, and community buildings lining ancient streets. Nestled in the mountainside is a 25,000-seat amphitheater, still used for performances during Festival of Culture and Art. Bible buffs may know Ephesus as inspiration for St. Paul's Epistle to Ephesians and the site of one of the first seven churches of Asia Minor. Treasures are kept in the Seljuk Archaeological Museum. Among the better-known ancient sites near Kusadasi are ancient Miletus and Dydima. Remains include a well-preserved Roman theater at Miletus and Dydima's sacred temple of Apollo.
Kusadasi: Ancient Ephesus Tour - 7 hours
Kusadasi: Priene Day Tour - 7 hours
Kusadasi: The Greco-Roman City of Ephesus & the Wine-making Village of Sirince - 7 hours
Dardanelles
The Dardanelles, formerly known as the Hellespont, is a narrow strait in northwestern Turkey connecting the Aegean Sea to the Sea of Marmara.
This centuries old capital guards the slender waterway between the Mediterranean and the Black Sea, and is the doorway between the East and West. Visitors can explore remnants of Byzantine Constantinople in the Sultanahmet district, where you will have the chance to see ancient splendors, such as the Haghia Sophia, the Blue Mosque and Topkapi Palace. At night the city boast a lively nightclub scene and excellent Turkish dining options that may include cultural entertainment and dancing. Istanbul also features splendid shopping malls, boutiques, and hand crafted items can be found all over the city.
Istanbull: Highlights - 7 hours
Istanbul: Jewish Heritage Tour - 7 hours
Istanbul: Private Art Collections - 7 hours
Istanbul: Private Yacht Cruise along the Bosphorus - 7 hours
Istanbul: The 16th Century Masterpieces of Sinan the Architect - 7 hours
Istanbul: Edirne Highlights - 11 hours
Mykonos's many captivating attributes make it one of the most celebrated Greek holiday islands. Its main village is a colorful maze of narrow streets lined with white-washed houses, many with bright blue doors and shutters. As an attractive backdrop, famous windmills are lined up like toy soldiers on the hillside, vestiges of a time when wind power was used to grind grain. Mykonos has churches and chapels scattered about the island; quite a number of them are located right in town. Radiant flowers spill over white-washed walls and shady courtyards. In addition to swimming, sunning, water-skiing and surfing, visitors find endless shopping opportunities. Artists have relied on Mykonos' beautiful setting to inspire them. The most photographed site is the Paraportiani, a cluster of white-washed churches resting below windmills. Mykonos's museums include an Archaeological Museum, which houses relics from the Trojan War, a Folk Art Museum and a Maritime Museum. The best beaches are Aghios Stephanos, Psarou, Kalafatis, Onros, Panormos and Elia.
Mykonos Island Tour - Half Day Tour
Mykonos: Stunning Mykonos - 4 hours
Piraeus is the seaport for Athens, the capital of western civilization, which boasts a fantastic mix of classical ruins and vivacious modern life. Climb the hill of Acropolis to wonder at the Parthenon, join the lively Athenians in Constitution Square, and find a welcoming taverna for spirited bizouki music, plenty of ouzo to drink, and energetic Greek dancing. Piraeus is the largest harbor in the country. The white chapel of St. George at its summit has a theater bearing the same name. The hill of Nymphs is the site of a planetarium, which is located above magnificent Thesseio temple. Among all of these hills, Acropolis is the one that glorified Athens and the whole Greek world and became the symbol of the western civilization. Bays and small rocky or sandy coves dot the area and during the summer are filled with Athenians and foreigners enjoying their beauty.
Athens at a Glance - 3 hours
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From Naples visitors can explore the rugged Amalfi coast, Italy's most romantic stretch of coastline. Near Amalfi is the resort of Positano, where visitors enjoy strolling through streets and shopping in small boutiques. Take an excursion to legendary Pompeii, an ancient Roman city covered and preserved by the debris from the violent eruption of Mount Vesuvius in 79 A.D. The monuments of this city are considered to be among the finest of any ancient city in Europe, and visitors can spend a day here learning about life in a Roman town during the first century A.D. The Cathedral of San Gennaro, a fine medieval building, has one chapel containing the tomb of Charles of Anjou, while another houses the cathedral's gold and silver treasure. Among the Christian underground burial vaults discovered in an area of suburban heights, the Catacombs of San Gennaro can be visited. Capodimonte Park - a well-kept tropical park - has a royal palace built by Charles III in 1738 that now houses Naples' picture gallery, the National Museum of Capodimonte.
Naples - Full Day to Capri - 8 hours
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Naples: Food Tour of Naples - 4 hours
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Malaga is a popular holiday destination - known as the birthplace of Picasso and for sweet Malaga dessert wines from vineyards outside of town. Points of interest include impressive Gothic architecture, remains of a Moorish castle and interesting museums. Malaga is a popular starting point for trips to Granada and resorts along Costa del Sol. Splendid Granada and famed Alhambra are the region's most outstanding attractions. Magnificent Moorish palaces and fortifications contrast sharply with Christian churches from Spain's 1492 Reconquest era. Ronda's incredible location affording spectacular views over the valley and distant hills. Malaga Fine Arts Museum holds works by Spanish artists of the 16th to 20th centuries and by artists from Malaga, including Picasso. Marbella, which has been favored by the rich and famous, is a very popular holiday and yachting resort destination. One of the first resorts of the Costa del Sol, Torremolinos has luxury hotels, busy plazas and shopping streets, a lively art scene, a Wax Museum created by Madame Tussaud, and a glitzy casino.
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The nine mountainous islands of the Azores were long a haven for Atlantic traders and explorers sailing between the Old and New Worlds. On the green and fertile island of Sao Miguel, Ponta Delgada was once no more than a fishing village. 16th and 17th century economic growth saw the construction of lavish palaces and churches of the period, many still surviving. Not to be missed are the twin crater lakes of Sete Cidades, just a causeway apart, but the one blue, the other green.
Originally a fort built by the U.S. Army in 1838, during the Second Seminole War, Ft. Lauderdale has little left of its warlike past. Instead the city welcomes visitors with broad beaches and an easy pace of life, plus convenient air and water connections that make the city a perfect place to visit.
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Home / Canadian cinema / E131: Remembering Jeff Barnaby
Seventh Row Editors / December 23, 2022
E131: Remembering Jeff Barnaby
This podcast episode pays tribute to the great films and enormous impact of Mi'gmaq filmmaker Jeff Barnaby who passed away on October 13, 2022. He directed two landmark Indigenous feature films out of Canada: Rhymes for Young Ghouls (2013) and Blood Quantum (2019).
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Mi'gmaq director Jeff Barnaby (pictured) is the subject of this in memorial podcast episode.
Mi'gmaq filmmaker Jeff Barnaby passed away unexpectedly from cancer on October 13, 2022. He was only 46. He is best known as the writer-director of two feature films in colonial Canada: the landmark film about residential "schools" Rhymes for Young Ghouls (2013) and the popular zombie film Blood Quantum (2019). But he has also made three excellent shorts, which we hope to help people discover: From Cherry English (2004), The Colony (2007), and Etlinisigu'niet: Bleed Down (2015).
We've been huge fans of Barnaby's work and activism, and are still very much mourning the loss of this incredible talent who wasn't given the opportunities he deserved. There are so many films we will never get from him now. But we also wanted to talk about how many roadblocks were put in Barnaby's way while he was alive, preventing him from making all the films he could have and wanted to make in his time.
This episode is a tribute to Jeff Barnaby — a complicated, difficult, visionary filmmaker — and what his work has revealed about Canada and the film industry. When Barnaby died, we didn't just lose so much future work from this important filmmaker that we all wanted to see (and he wanted to make), but we also lost a huge resource of cultural knowledge of the Canadian and Indigenous Film Industries.
This episode features Editor-in-Chief Alex Heeney, Executive Editor Orla Smith, as well as Associate Editor Dr. Brett Pardy.
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On the podcast episode Remembering Jeff Barnaby
01:51–3:45 Why are we talking about Jeff Barnaby?
Jeff Barnaby's accomplishments
3:45–6:26 Jeff Barnaby's unexpected passing and his huge impact on the film industry
6:26–10:38 Barnaby not only changed filmmaking but effected social change with his work
10:38–16:56 How the Canadian film funding bodies failed to support Barnaby's work in the ways it should have. We also discuss why they wanted to fund Rhymes for Young Ghouls but not Blood Quantum
16:56–19:44 Making films about colonial trauma without showing gratuitous violence or making trauma porn at the same time
19:44– 24:52 Dr. Brett Pardy on teaching Rhymes for Young Ghouls and its weighty emotional impact on the viewer. We also discuss Barnaby's use of genre to capture a settler audience and talk about colonialism. Barnaby did this without being didactic or preach. He's not there to teach; just to provoke.
24:52-30:21 Rhymes for Young Ghouls is so accomplished it doesn't feel like a first feature.
How Jeff Barnaby's experiences reflected the problems with the Canadian film industry
30:21-32:08 Barnaby wasn't given the opportunities he should have been given in the time that he had, even though everyone in the Canadian film industry knew how talented he was and how important his work was.
32:08-47:58 How Jeff Barnaby was refreshingly honest on Twitter and in interviews when discussing the realities of being an Indigenous filmmaker. Barnaby had a lot of integrity. He also worked to uplift other Indigenous artists. He was one of the most accessible filmmakers on Twitter and would regularly engage (positively) with other film fans and critics.
47:21-49:24 The loss of Barnaby also means the loss of a huge body of knowledge of how the Canadian film industry works to support (or fail to support) Indigenous filmmakers.
49:24-52:54 The lack of critical or academic interest in contemporary Canadian film, let alone Indigenous film, and how we have tried our best to fill the gap.
52:54-57:13 Jeff Barnaby's short films, as well as why they are worth catching up with
57:13-59:31 Related episodes, what's coming next on the podcast, and other wrap-up thoughts.
Show Notes on the podcast on remembering Jeff Barnaby
Read Alex Heeney's interview with Jeff Barnaby on Blood Quantum and colonialist zombies
Read Seventh Row's 50 favourite films of the decade which also includes Rhymes for Young Ghouls as #6.
Watch Jeff Barnaby's short From Cherry English (2004) (Available worldwide)
Watch Jeff Barnaby's short The Colony (2007) (Available worldwide)
Watch Jeff Barnaby's NFB short made from archival footage, Etlinisigu'niet (Ble)ed Down (2015) (Available worldwide)
Read Canada's Truth and Reconciliation Commission Reports
Read The Huffington Post's review of Rhymes for Young Ghouls from 2013 written by an Indigenous writer who claims that Indigenous Peoples didn't know how bad residential schools were back when the film was set.
Become a member for access to all of our upcoming episodes. This also includes most of our episodes on Indigenous films
Listen to our first podcast season on Women at Cannes
Bonus 27: Empathy on film with Dr. Brett Pardy (FREE to everyone) – Dr. Pardy did his PhD research on how films can create empathy, and used Barnaby's Rhymes for Young Ghouls as a case study for some of his on-the-ground research.
Ep. 39: Jeff Barnaby's Rhymes for Young Ghouls & Blood Quantum (Members only) – In this early episode of the podcast, we compare and contrast Barnaby's two features, as well as discuss how he uses genre in innovative ways, and more.
Ep. 62: Indigenous YA, part 1 (Members Only) – We discuss three recent contemporary Indigenous YA films from Canada: Beans (2020), Monkey Beach (2020), and the TV show Trickster (2020).
Ep. 63: Indigenous YA, part 2 (Members only) – A broader survey of Indigenous YA out of Canada from the last decade, including Rustic Oracle (2019), Tia and Piujuk (2018), The Grizzlies (2018), Kuessipan (2019), and Rhymes for Young Ghouls (2013).
Discover more great films from Canada, including great Indigenous films
2018-2019 was one of the best years for Canadian cinema in history. Discover these great films through conversations with the filmmakers, guided by the Seventh Row editors in our inaugural annual book, The 2019 Canadian Cinema Yearbook.
Get your copy now!
Episode (excerpt) transcript
The transcript for the free excerpt of this episode is AI-generated by Otter.ai.
Seventh Row Podcast Transcript
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Orla Smith 0:18
Welcome to the Seventh Row podcast. I am Orla Smith, one of the hosts of the podcast and the executive editor of seven throw. Seventh Row is a nonprofit online film criticism, publication and publishing house dedicated to helping viewers engage in political conversations through the lens of cinema. We're invested in how film can be a catalyst to help people understand and think about social structures and social change.
On today's episode, we'll be paying tribute to a brilliant and influential filmmaker Jeff Barnaby, who passed away in October at age 46. We've talked about Barnaby, his work and the incredible influence he's had as an indigenous storyteller working in the Canadian film industry a lot as a publication. We're huge fans, we've interviewed him, we place his debut film round for young girls at the number six lot of our best of the decade list. We covered that film in his second feature Blood Quantum on this podcast. And as a collective of Seventh Row, we've been invested in talking about his career. And it was obvious to us that we had to have an in depth discussion about his legacy when he passed away, and that we wanted to have one, as well.
But it's taken us a while to work out what that conversation should be. Which is why it's taken a while for us to put this episode together. But we're having it now with this episode. And the hope is that we can celebrate his immense accomplishments. And also for people who are not aware of Barnaby and his work, that you know why he was so important and why he's someone you should pay attention to.
Our bonus episodes like this one are usually members only, but we felt it was important to have this discussion on our main free podcast feed, so that everyone could listen to it. If you want access to our other bonus episodes, you can become a member at seven dash rho.com/join That will also be in the show notes. The voices you're here this episode. Me, hello, my co-host Alex Heeney, the Editor-in-Chief of seventh row and our Associate Editor Brett party. Here's the episode.
Alex Heeney 2:48
So today on the podcast, we are paying tribute to Mi'gMaq filmmaker Jeff Barnaby, who suddenly and sadly passed away from cancer on October 13 of 2022. We wanted to take some time to really think about how best to pay tribute to him. So that's why this is coming out a couple of months later, Barnaby directed two feature films Rhymes for Young Ghouls and Blood Quantum. And he had an enormous impact on the Canadian film industry and I think indigenous filmmaking around the world. So we're going to talk about his films and his legacy and celebrate this artist who was as gone too soon. I am Alex Heeney, editor in chief of Seventh Row. I am joined by my co host executive editor Orla Smith. Hello. And our guest Associate Editor Brett party. Hello.
It was such a huge shock to see that he had passed away huge job. Yeah, yeah. I, I was with a friend. And I saw that I saw that it happened. And the friend hadn't heard of Jeff Barnaby. And I suddenly found myself like, trying to explain just how important this guy was. And it was such a shock, and I, you know, is letting it sink in. And then the kind of watching as the or particularly the Canadian Press reacted and kind of felt like, very disappointed by how people? Well, when I say people again, I mean, specifically the press,
which we should say is basically the white settler press. Although I don't know that eight btn which is the Aboriginal Television Network. did much better.
Yeah, I mean, you know, obviously there were a lot of indigenous filmmakers who had worked with him or knew him or had been influenced by him who had very heartfelt things to say about Jeff binaries importance, but there's sort of printed remembrances of him, were kind of copied from the same press release. And it felt like people weren't really talking about just how influential this guy was like how much he changed. Cinema, like he changed Canadian cinema set at The Hague and changed indigenous cinema. He did really fascinating and innovative things with genre filmmaking. Like he, he is someone who it takes like, I mean, we thought about writing something. And we were like, we've got to think, how would we write? How do we kind of recommend this legacy? And then we realized that we can only kind of, well, the best way to do it would be to do it. Like in a podcast episode, where we could go along, because like, it felt like that was the only way we could really talk about all the very complex ways that he was important. And the complex things he did like that. It takes a lot to reckon with that. And I felt like, you know, it's representative of what was so excited about, like his career that he never received the recognition and support that he he needed and deserved, that his you know, his death was not treated by the Canadian press with the gravity that it should have been.
I think also like, you know, it's one thing to say filmmakers, films, changed filmmaking. And that's, you know, a big accomplishment, but I think he was one of the few filmmakers who can actually say that they affected social change. I think that's a much rarer thing. I think, for a lot of people. Rhymes For Young Ghouls was sort of a landmark film, where it may have been the first time they encountered, you know, Indigenous storytelling kind of was for me.
You know, I was an ignorant settler, like the rest of us who, you know, I'd heard about, I vaguely knew that residential schools existed in the sense that, like, I had been told in one sentence in school in history class, you know, that we had them from, you know, the 1800s, and that they were starting to close in the 60s, and the last one closed in the 90s. But I had no idea what that really meant in what is the fact that they were like, sights of torture for children and genocide. And I, I didn't really know about all that stuff. And I think I started, you know, the kind of amazing thing about rhymes for young ghouls, is it. It is such an emotionally impactful film, but it also raises so many questions. And if you're a settler, and you aren't already educated makes you go, Oh, wow, there was a lot I didn't know.
Brett Pardy 7:51
There's actually reviews from 2013 of people suggesting the film is anachronistic that to suggest that the Indigenous people knew about how bad the residential schools were at the time, because settlers didn't know about that at the time. So they assumed that well, no one did, which is just shows... I know, it just it's just mind boggling to think that to accuse the film of being anachronistic that just kind of shows how much settlers assumed residential schools then buried.
Yeah, yeah. And it was, I mean, there's a lot to say about this film that I'm not going to set up in the next few minutes. But I think it like for me personally, it kind of made me go is this whole part of Canadian history that I was not told about, that I did not know about that I did not know to be curious about. And, you know, got me interested in, you know, looking for every Indigenous film that was made and doing my homework, which I think was part of what Jeff Barnaby wanted settlers to do when he saw his film, among other things like, was that, you know, he was there to provoke and it was our job to go and do the work.
Yeah. Like, that's what is so great about his films is that and from his Twitter presence, you get the sense clearly has no interest in this idea that he's out that he has to like, educate settlers. No, you know, he has to make films with a settler audience in mind, which, unfortunately, is how a lot of Indigenous projects seem to get funded, especially over the last couple years, as what's their kind of educational value?
Yeah, whereas Barnaby's films, you do you learn a lot because he's engaging. I think he's trying to get their audiences in through the fact they're genre films. And then once you're intrigued by that, the hooks there, then he's going to actually get into Okay, yeah, this seems like a horror film. But that's because for Indigenous people. Life has been a horror film in many ways, and I'm going to show how, and you can follow along and feel it and then go want to learn more about it.
You then there's some kind of funny ironies to, to the fact that that's what what happens because he wrote the screenplay for a blood quantum, I think, in 2010, or earlier, like, well before rhymes for young ghouls, and nobody wanted to make it. And he had to write the film that was about residential schools and make that first so that he could then make the crowd pleasers zombie film. i Oh, and even then he could barely, I mean, barely get the money. And it was, you know, it's a miracle that that film exists.
Brett Pardy 10:38
It shows you how bad the Canadian funding system is that you can make Rhymes for Young Ghouls. It's like critically beloved, treated as this like landmark film. And then it's like, six years, right? We don't really want to fund another one of your films, because yeah, I don't know. We want no more oversight over what you're going to say.
Alex Heeney 10:58
Well, and also, I mean, he had been making... he started making short films in 2004, and within film circles,
like he was on that he was on the Canadian film festival circuit.
Yeah, he was on the Canadian film festival circuit. And if you were in the know, watching films, made in Canada, then you knew he was a big deal. Because by the time I had become aware of rhymes for young girls, and started hearing it talk, talked about everybody who was in it was like, yeah, we've known he was a big deal for 10 years from his shorts. But then, like, what ended up what ended up happening with, you know, how his films got seen is I think blood quantum ended up drawing in a lot of audiences, because it really was kind of a more pure genre film. And you could kind of not care about the issues it was talking about, you just want to see like a penis get cut off,
I think was on Shudder, which definitely helped.
Well, yeah, and also TIFF. You know, I give TIFF, a lot of flack for doing a shitty job promoting Canadian cinema. They actually did their job with blood quantum, they gave blood quantum the opening night slot, and they programmed it in Midnight Madness, they really gave it a platform to find an audience. And they could have buried it the way they bury most films that are, you know, contractually obligated to program in order to get their funding from the Canadian government.
But this was a really good thing that they did for the film. And I remember at TIFF that year, I was at the world premiere and, and, you know, I was kind of shocked to hear the film getting discussed on the film, common podcast, like they gave it a proper launch, which they don't do much, but at least they did do that. And I think that by giving it a proper launch inside like a, you know, a place for genre, film lovers, that was instrumental in getting a shudder deal. And then the fact that it was on shudder meant that it was available around the world. And you know, it got buzz within and got buzz within the genre community, which is a pretty intense sort of like,
yes, and blood quantum as a really easy kind of pitch line.
Yeah, exactly. Well, you want to see what it is
on this film about where there's a zombie outbreak, but zombies only affects settlers and not indigenous people. So the people on indigenous reserve kind of create like this fortress against the settlers zombies for trying to get in.
Well, it's more like a zombie bite moaning infect indigenous people, but they can still eat you alive. Yeah, I
mean, like, they're still a threat, but you're not going to become a zombie yourself. You just you're just, which is better. Never.
Orla Smith 13:47
Yeah, reserves become a place where the uninfected settlers want to escape to.
But I think blood quantum, then its popularity led people to go back and check out Rhymes for Young Ghouls. So effectively, Jeff Barnaby was right, that that was a good film to make to have made first but Canadian funding bodies were. We're not.
I'm kind of surprised the Canadian funding bodies went for rhymes for young ghouls. To like, I really want to know how that happened. Because it just is not something that that's not the sort of thing Canadian film making likes.
Yeah, I don't know. I mean, as far as like in the history of Canada's Truth and Reconciliation attempts, claims, I don't know what to call it because we're doing a shitty job.
Yeah, kind of wanting public praise for suggesting that we might do something someday.
Oh, that's, that's, that's that's the perfect distillation of it.
Maybe but as long as it's maybe as long as we can still as long as sellers can still feel good about it. Ah, yeah, we'll do it. Maybe.
But so I mean, in that context, we were talking before we started recording about the Truth and Reconciliation Commission reports, which were published in 2016. So rhymes for young ghouls, you know, has in it a lot of things that settlers wouldn't have known about because they didn't become matters of like settler public record until 2016. And rhymes was 2013, I believe. And the commission began in 2008. So they may have been at the point where they were like, Oh, someone wants to make a film about residential schools, we should probably do that. And maybe didn't look that closely, or quite understand. Or maybe they thought that was a triumphant story, because Aila doesn't quite Yeah, totally have to go to like, maybe they maybe they kind of got the through line. They're like, Oh, this girl avoids residential school. And she's plucky and they're like, Oh, cool. Sign me up. And they just kind of miss that the film was about her. Everyone was traumatized for generations, and there was no way out. I mean,
it's also impressively cheap. It was $1.5 million. Which, if
you want, oh, my God, how did you do?
To write that for one and a half? Canadian.
He's working with relatively few locations. Like you can see how and there's not really many effects, which is probably why they were less likely to do blood quantum and more like this can like we can pay you like no money to make this right. And it will still like be possible. Right?
There's still more effects than you would expect for a million and a half dollars. Why seek with
an animal? Yeah.
is I mean, the makeup budget might have been must have been quite a bit because there's a lot of people getting beaten up. And then with bruises and cuts, and all all of that.
I think the film was actually impressed is very economical, and how it shows the violence, though, because it does, yes. Because I showed this to a group largely of settler viewers once and the place showing it was concerned that this was going to be, you know, too, too, too upsetting and too violent. But I was pointing out that, which seems like the whole point of it was we were looking at, you know, legacies of colonialism, which kind of hard not be violent. And like there's no way you'd say Rhymes for Young Ghouls is like reveling in this violence. It's handling it about as responsibly as it can that the only act of violence that we actually see fully in front of the camera is when kind of at the end when the Indian agent is shot, that most other acts of violence are implied. And it cuts away just before it happens.
Yeah, I mean, even blood quantum does that quite a bit, even though it does show some really graphic stuff. There's a lot of scenes where it's implied violence. But I mean, I think it's
like nothing sadistic about Jeff Barnaby. Yeah, I
mean, I think, like what, as far as I'm aware rhymes for young ghouls was basically our first fiction film to deal with residential schools, which I should kind of put in quotes, because they're called schools, but they were more like concentration camps for children.
I believe it was.
And, you know, now because we're looking back at this almost a decade later, we can see what other films have been made about residential schools. And there's like Indian horse, which you've seen, I mean, I've seen it too, but you have more articulate things to say about it than I do, right.
I mean, the scenes in residential school are designed very much to make white people cry is how I would describe how residential schools are treated in horse mean. Slow Motion scene where a kid is locked in a cramped closet as a children's choir sings Ave Maria. It's a it's a heavy handed film. Rhymes for Young Ghouls, I think what I was saying that there's not much violence. It manages to make the scene where I was hairs cut off the most violent scene.
Oh, my God. Yeah. So I mean, I think it's, I think it's still the most traumatic of the films like, as far as if you think about like a gut response that I had to rise for young goals compared to like these other films. Rhymes for young ghouls hit me way harder. But he doesn't do it with gratuitous violence.
And what's scary about the nuns in it is they're not like cackling evil. They're just not even human. Almost just sort of there. Yeah. Like just forcing people to do things, but they have no, they have no reaction to it at all. And that's terrifying.
I want to say like, Brett, this is a film that you've chosen to teach. Yeah, quite a lot. Right. Yeah. And I think maybe I'd be interested in in hearing you talk about why.
I think it's that I like that it is trying to hit you on an emotional We'll first and then you're going to, once you feel how things are, then you're interested in why things are that way. The film doesn't try and reverse that round. I really liked the sequence where Isla is mixing a bunch of joints with different substances. And she talks about how there's this kind of the importance of forgetting within the community. And I feel it kind of works to explain kind of how not only the residential school system was bad, but like, entire culture of the reserve is shattered, because what used to be a communal thing is now the only way to survive this kind of taking advantage of someone else's desire to forget their trauma.
And and to clarify for the rest that you're you're teaching it in the context of like how films create empathy. Yes.
Which if you haven't listened to our episode with Brett, after his dissertation defense, he does have a PhD in how films do attempt to create empathy, I guess is
he was one of the three films that I wrote on in Yeah, dissertation. Largely because I was looking for particularly a film around indigenous settler issues. And I was looking for a film that wasn't trying that wasn't trying to didactically explain things. That's still a fairly limited pool of films, sadly,
yeah. Well, especially when you are conducting your research, because that would have been would have been about four years ago. I mean, I feel like a lot has changed in four years. Four years ago, we couldn't there just weren't 10 indigenous films being made that we could put on our top 10 lists? Yes, because there weren't 10 of them. It wasn't even that like there weren't 10 Great Ones, there just weren't 10. And, you know, when we made our list of the best films of the the 2010s, this was Ryan strangles was our number six. And Brett, you yelled at us it wasn't high enough on the list. And I think you're right. I mean, Orlando, I have had this discussion, we would have changed a lot of things on that.
Right, I would have always very difficult as long as I'm happy.
Yeah. Yeah, we need to get back to that list at some point. Oh, God,
let's not open that can of worms.
I mean, I find it hard to talk about because I just like the like, I liked how the film kind of washes over you. Like, if we shot it edited in a really propelling interesting way for the most part.
And it's just really good at like, being a film that shows how these people have no good options. Like, even when there's like a triumphant defeat of the bad guys, it's still at the cost of like, people's well being in some way, whether that's like, traumatizing in in multiple different ways. So even things that might seem like temporary wins, still don't solve things for the characters, but it is able to tell that very bleak story of trauma in this genre casing that still makes it even at times kind of entertaining.
And I think he's someone who was very interested in like, finding ways to tell very profound stories of colonial trauma in a way that was compelling to general audiences. And to like, bring those stories to a mainstream through the use of genre. And I think, you know, it's a real shame that we didn't get to see him become more prominent, and bring those stories to even larger audiences. I mean, in an interview that you did with him, Alex, he talked about how he wants to kind of like do a movie for every classic monster like he did his zombie movie. You want to do like your vampire movie in this kind of movie. Yeah,
I can actually quote what he said. Yeah, he says, I've always been a hardcore horror fan. I almost feel like I have a classic monster trilogy in me about zombies, werewolves and vampires. If I go to my grave, having done a genre film with each one of those monsters, I die a happy man, which is just like really depressing reading now.
Yeah. I mean, he did one. But you know, it's very sad to think about what we didn't get.
And he also talked about doing a cosmic horror film about the end of the world and someone trying to escape their fallen their fallen city to get home, which sounded interesting. So you had you had lots of ideas?
Oh, yeah. Well, I'm yeah, like, I, I mean, I think one of the miracles of rhymes for young ghouls is to film it's full of ideas and That also doesn't feel like a first draft, you know, like, it is technically a first feature. And in no way are we ever talking about this film as though it's a first feature. I mean, he kind of he, I mean, he had made a few shorts that were pretty impressive. But he like launched into this is like a fully formed filmmaker. And yeah, for me the film, I've seen it several times. And every time I watch it, I feel like I missed a third of what happened. And I don't think that I'm an unattentive viewer, I just think there's, you know, that's, that's the mark of a great film is that there is you see new things every time you watch it, and I think especially as a settler, and thus, you know, fairly ignorant. Every time I watch it, having learned more and gotten more context, there are more things in it that I get that went over my head. And I think you know, what you were saying Orla, like about how he shows the the impacts of things that happen on the community. I think it's it's really a great film about systemic issues, while like, it basically has this simple three line of the story is there's a teenage girl named ALA, she is trying to stay out of residential school by bribing the truant officers, which she manages to get money for her by having a drug business that she runs with her. Her uncle. That's kind of an you know, a big part of the plot hinges on the fact that her stash of money from her drugs gets stolen. And so is she going to be able to pay the guy in time to stay at a residential school, and a bunch of stuff happens. That's like the basic plot. But there's so many intricacies because it's a film about community and everything that happens in it, you see the knock on effects, like on the one hand, Ayla is kind of you know, she's played by Deborah Jacobs, who's incredibly charismatic. She's styled is very cool. And she's Devery Jacob. So you root for her. And you're like, Oh, she's she's found a way around the system. But it's like, yeah, but as Brett was saying, her solution to survive is that she provides, on the one hand, she's providing drugs to people to help them survive. On the other hand, she's part of the problem that's causing problems on the reserve. And, you know, part of her trauma stems from the fact that her mother died by suicide after accidentally running over her brother when her mother was drunk. Like, and as she says in the film, that she aged 1000 years,
and her dad decided to go to prison for that rather than actually faced up to the trauma of that having to raise his daughter by himself.
Right? Well, and the flip side of that is he also did but at the same time, he also did that because ala was like, technically in front of the wheel like not that you should blame children for this, but he was also trying to protect his daughter. So like, all of these things have multiple meanings and multiple resonances. You know, like, her uncle who has been charged with taking care of her in the absence of her incarcerated father is a snitch, who gets paid by the Indian agents to snitch on the other indigenous people on the reserve, and get them in trouble. And there's a scene early on in the film, where you see this raid on a strip club, where the Indian agents are beating up all these indigenous people to a bloody pulp and her uncle is get some cash in his pocket. And he stands by looking, you know, unhappy about what's going on. And then, shortly after, there's a scene in which he gets beaten to a bloody pulp by a bunch of other indigenous people for being a snitch and somewhere percolating in the background is like, Well, why is he a stitch? Is it really that he's profiting from it? Or is this like part of his deal with the Indian agents to help keep Ayla out of residential school? Like how much of this is for her benefit? Like I don't think the film answers the question, but it raises it. Though I don't know that I caught that on the first viewings, but like because ala thinks that she's paying off the Indian agent and that's how she's staying out. And I suspect there's a lot more going on behind the scenes that she's not aware of.
Yet he was a person who like I think he spoke a lot publicly on his Twitter moment mainly about how you know, who was not short on ideas and how he felt that he was being, you know, excluded for Have a lot of opportunities excluded from support, like support to make more films to make films in the way that he wanted to. He was very, very open about how hostile he felt that the film industry was to him, rightfully so. And I did have like, weird feelings again, about the way people talked about that, or the way they didn't talk about that when he died. I mean, he died very young, he was 46. So certainly, you know, a lot of the career he could have had was cut short. But at the same time, he started making films 18 years ago, and he made his shot his first feature film almost a decade ago. We didn't even if he had to die at age 46. We didn't need to only have to Jeff Barnaby feature film. Like, he, he was ready to go, it seems you know, he had all this potential in him and
eat films in the last 10 years.
Yeah. And when we say oh, it's such a shame he died so young, he could have made all these films. Actually, I think we should also say, it's such a shame that the Canadian film industry prevented him from making all the films that he should have made while he was still alive. Beyond the films that he would have made after he died that
they delayed him so much on the ones he did make, because the colony was what 2008. Yeah. And that I think doesn't seven. Okay, so that was a short film of that. That's the film that everybody talks about as like, you know, wow, this is a this guy's a big deal. And it took, so six years between that. And when Ron three angles was made, like that's
that he was a known quantity, he was a known
quantity. Yeah. And hugely respected a, he should have been able to make a feature.
And while many establishes the kind of genre style that he would then go into work. Yeah, like, you know, he made it clear what he wanted to say. And I think it's great to celebrate the films he made, but also like, let's not forget how much of a toll they took on him. Like he would often on Twitter talk about how he was thinking about giving up because it was just took so much out of him to try to, like, make it by as a filmmaker. Yeah. And that's partly because like, he wasn't being given opportunities, and partly also because, because his films were so low budget, and just not given, like the resources and support they needed. He, he had to, you know, wear so many hats, like, I think you asked me at one point, Alex, like why, you know, he like to direct rate, compose and edit his film, so you can post music for them as well, he edited them. And his answer was basically like, well, because we didn't really have the money to pay someone else to do it. Yeah, and he's very good at those things, certainly. But you don't always want to like be break your back, like, not get any sleep, trying to do the job. So if 10 Different people Yeah. And there's a quote from the interview that you did with him on blog content that I find really sad. That's at the very end of the interviews, which I'll just read in full. And he says, where it becomes exhausting and frustrating is that you wanted things a certain way. And you realize it would have worked a certain way. And you lament, having left that on the page or left at onset, with low content because of time and money issues. I've never experienced more loss from script to screen that I have with this film. So that's really at the end of the day, what exhausts you, not the physical labor or the mental labor, because if you're doing this, you love it. It's not what you want. It's, it's gotten, it's not getting what you want, and realizing it months after years after in this case, I just watched it this morning. And all I noticed were the fucking mistakes. You can't appreciate your own work on that level. That's where it becomes taxing. And I love that he was very upfront about saying that even when promoting his own film. Yeah. He was like, watching this film was painful for me because I didn't get to make it the way that I wanted to. And it took so much out of me. And I think he was he was important as a filmmaker because of the films he made. But also because of the way that he wasn't afraid to say that like he shouldn't have had to make them in the way that he did. Yeah, And I think we should talk about that more around his death. Because clearly based on the way that he talks about his own work he that's a message that he wanted out there about his films and about his experience in the industry.
Yeah, I think when he said that, to us, that changed a lot how we looked at indigenous films, because we became really aware of the budgeting constraints. Because I think when we review and discuss indigenous films, we always talk about the caveat of how they weren't allowed to make the film that they wanted to make. And that the there's different, you can't quite judge it on the same standard as a film that is allowed to achieve its potential. And that you can see that a lot happening in indigenous films that are made in Canada. And you know, he's not the only filmmaker to lament this.
More ideas, and there was budget.
And there's, I think there's huge ambition, right? You Loretta Todd, who made Monkey Beach said, said, You can't survive colonialism and not be epic. And I think they were there's a lot of desire to make these big, epic stories for good reason. And, you know, it's kind of a miracle that, like, runs your angles is that and I don't know how he made it on the tiny budget he had, you know, we've had lots of great films that have been made on not on shoestring budgets, but you also can feel how much was probably left on the page. And then you can also get killed that by the filmmaker.
And it's so rare in a world where at the moment where everyone is so over the top promotional to be that honest, yeah. That's what was cool about his Twitter account, because like, artists are always using their, their social media. It's just endless kind of hype for themselves. And he was just always so regular and honest about what he was into what he was thinking on his Twitter, it was. I can't think of many filmmakers like that.
Yeah, I'm the way that like, you could actually see the complexities and the contradictions there. Like, because he died a couple of weeks before the imaginative Film Festival happened this year. And so I was going back and because I'd remembered he'd said a lot of things about imaginenative Through the years and of course, I was thinking about him and his legacy as imaginenative rolled around, and I was looking back back at his tweets, and it's, you know, if you search Jeff Barnaby and imaginenative, you see tweets that say everything from you know, like, you want to see films by women go to imaginenative. It's great. And you know, what a great screening we had. And oh, they're doing this thing with Devery, and lots of lots of laudatory things about them. And then at the same time, you also have tweets where he talks about how when rounds from young for young girls screened to imaginenative It got a standing ovation, but it lost the award to satellite. Well, he didn't say this, he said to a white woman, but if you look it up, it's it was satellite boy, which was, which is actually a David gobble feature. He's in that film. It was made by white women, Australian film, and that one, and he actually quotes one of the jurors in one of his tweets about how they said they felt that run three angles was too bleak, basically something like that.
Which is, of course, exactly when you're running an indigenous film, you can be concerned about?
Yeah, um, he felt hard done that by a lot of organizations that were supposed to uplift indigenous people for good reason. And, you know, that made him somewhat of a controversial figure because he had really strong opinions about how indigenous films should be made by indigenous people, not just have some indigenous people in the cast or have an indigenous script editor who, okay is a script written by a white person,
which when you say that out loud, doesn't really sound that controversial.
No, I know. But like, oh, it's true. Like all he got through that, you know, and he told people, he said this stuff, face to face to people in power, and they blacklisted him.
I know how Darren artists have integrity. No.
I was saying that, like, he was just someone who, who definitely just who wasn't just in it for himself, like he was very passionate about, like, indigenous cinema as a whole and did things like I mean, his support of Devery Jacobs was unwavering. And he even when she moved into filmmaking, making shorts, produce some of her shorts, right.
Yeah. I mean, he fought for her to be in rights for young goals. When I interviewed Deborah, she actually told this story about like, they really didn't want to let her star in this film because she was an unknown quantity and Jaffa really believed in her and he, like, really fought for her. And of course, she was the perfect person to start the film. And the film launched her career and she herself, as you know, has not gotten, you know, I mean, she's becoming a star now. But it's taken too long. It's been 10 years, like, where all the starring roles you should have had in the last decade.
Um, yeah, that's, that's another thing where it's like, you know, we can celebrate that every Jacobs is, you know, getting nominated for awards now, and winning awards. But like, let's also talk about like, how, you know, if she was like a white settler, she would have been, like, super famous right after Ryan Hsiung goals.
Yeah. One, I think also, it's, you know, something that she had said to me, I'm paraphrasing your video, I should look it up. You know, before Ryan's for young girl. She's just never seen anybody who looked like her in a film on screen. And she felt like she there was no space for her in the film industry. And then she met Jeff Barnaby and got to make rounds for young girls. And suddenly, she felt like maybe there was a place for her in the industry. And of course, in the next few years was a lot of people telling her that there wasn't space for her. Until, you know, she started to find some footholds and the world started to change.
And she she, you know, she's been in a lot of indigenous films lately, that arguably, like a getting made now because of the influence of someone like Jeff Barnaby. Yeah, absolutely. So he he helped create an environment in which someone like Devery Jacobs could have a career.
Yeah, I mean, even the idea that we have this whole genre of like indigenous genre films, we didn't have enough indigenous fiction films before that, that you could even say that that existed as as a genre. But now we have Knight raiders and Monkey Beach and, and Jeff Barnaby films. In Canada, there's this, there's others in other countries as well. And we've talked about Jeff Barnaby having a Twitter presence that was, you know, influential and important, but I, we haven't really talked about the fact that he also is like a very accessible person on Twitter. Like, he acted like a regular guy, which a lot of filmmakers don't, even if they are regular guys. And I mean, I guess I'm the only one who's actually interacted with Jeff Barnaby on Twitter. I mean, I didn't do it very much. But I met him on Twitter before I had seen rise for young girls because I was tweeting about how I wanted to see the film and somebody was an but I was living in the States at the time. And where can I find it and somebody tagged him in and I like he told me how I was going to be able to see his film, which is kind of wild. And you know, he was pretty generous. Like you followed him, he'd follow you. And then like, I know, he read some of my tweets, because he responded to them. I know he listened to our episode on his films, because he tweeted at us about it. So
honestly, a bit a bit nerve wracking.
It was very, might have thought about it a little differently. If I know and he was going to be listening to it. You kind of expect these things to go out into the void. And then when directors actually listened to your podcasts on their film, you freak the hell out.
has happened a few times. It has Yeah. Yeah. So I think I mean, he was kind of a generous, he's just a very generous presence. I mean, he also was kind of an angry presence, you know, justifiably so. But
I mean, he talked about his anger at the world and the unfairness of the world and the film industry, as well, a lot. And I think that's something he was very passionate about using Twitter as a platform for.
Yeah, but he was also like, just like a film Twitter guy in a way like, yeah, like, even a couple times, I posted questions about like, what are movies about? Blah, what are your favorite movies like blah, and, you know, he responded to them, like, like a human.
And he was very funny on Twitter. Yeah.
And, you know, like, I mean, my experience was, you know, once I really put my foot in it, and he reached out to me and DM to me and helps me not do that again and try and crawl my way out of there, which was a very generous thing for him to do and did not have to do in my senses. That was just something that he did like it was Didn't, I'm not alone. I mean, Brett, I don't know if you want to mention this, but you were saying that you knew somebody who reached out to him who was doing work on.
Yeah, one of my colleagues was, was putting together an indigenous film class. And she's indigenous from New Zealand and was looking for Canadian films. And she was talking to Jeff Barnaby on Twitter. And then they were DMing about ideas for the class. And that was just in September, like a month, month and a half before he died. Like, it's amazing. He's taking the time to help shape that class.
Yeah, I mean, I get I get the, I think he really cared about these things. So I think if you reached out to him, and he knew you cared, he would talk to you.
Yeah, it wasn't just posturing. He would do these things privately and do work that again, he didn't need to do, but he felt very passionate about, I think he, you know, brez no idea. Just how much like that conversation you had with him in DMS, has just affected our the way we like, interviewed indigenous filmmakers from then on. Yeah, he just says, as he said, his talking openly about how difficult it has been to make his films at a low budget has influenced the way we think about indigenous film. He's also an influencer reporting, when talking to indigenous filmmakers, just from sort of small but important acts of putting himself out there to tell people when they're wrong.
And he's one of the only people who's really talking about, you know, what it was like to work in the Canadian film industry as an indigenous person. There was a lot of inside baseball stuff, you know, including his both praise and complaints about imaginative, that was a real insight. And, you know, I would have, it feels like, not only have we lost a great filmmaker and changemaker and you know, person who is uplifting other indigenous people, we've also lost a huge I mean, I don't know how much he talked about this, or how many people know, but like, he was a huge resource as far as understanding the history of Indigenous filmmaking, fiction filmmaking in Canada, and what that scene was like. He knew it in a way other people didn't, because he was there first. And because he was willing to talk about it, and now we've lost that whole body of knowledge. You know, there's, you know, there's snippets that are left, there's this Twitter account, there is what he told other people. So you know, we have little bits and pieces, but it feels like a huge cultural memory loss.
And, you know, we've published one really great interview with him on seven throw, but I think we've always had, like, sort of in the back of our head, like this idea that like, oh, it would be great to sort of if he was willing, do longer profiles. So Jeff Barnaby, yeah, someone that like, we pick his brain, he has so much to say he's so fascinating. And he's so passionate about what he says like, it felt like, of course, like in the future will, like, publish a long profile or multiple with Jeff Barnaby. And now to realize that, like, that knowledge won't be imparted anymore. It's very sad.
Yeah. Yeah, absolutely. I mean, when I interviewed him, I kind of thought that was the first of many interviews that I hoped to do. To hear what he had to say about so many things. And
because that I think there are a ton of very in depth, lengthy profiles of him or interviews of going in deep about any of his specific films and filmmaking. And they would have been good if the one we did with him was any indication. Yeah. Well, I would have had a lot of swears in them. A lot.
Well, there aren't a lot of people who care about cinema tomate in Canada, viewer still who care about indigenous cinema. You know, I was once I was recently looking through the profiles of like grad students in film studies across most of the major Canadian universities where I was aware they had film studies programs, and there are zero people working on contemporary Canadian cinema, let alone cinema. Yeah. Wow. I mean, I didn't look everywhere I look to where did I look? I looked at McGill. I looked at SFU I looked at UBC U of T Concordia Ottawa. I
know you've covered all the main ones. Yeah,
I think I looked at Dalhousie or somewhere out out east and I couldn't believe that nobody was working on this because I thought I thought I want to do like why this program, there's got to be like a grad students somewhere, right like or who's who's working on indigenous film in Canada, or even just Canadian film. And I, I couldn't find it, I couldn't believe it. And anybody who said they might there were some people who said they were like interested in indigenous film, but they, you know, they weren't doing anything about it, I'd look and see their advisors and their advisors weren't publishing on that either. So like, that's a pretty, pretty depressing state of affairs. And then when you look at, you know, who covers this stuff, like, to my knowledge, there is one person in Canada, who is indigenous and writes about film, and she's not a film critic. She's a journalist who occasionally writes about film and programs film. And so what it's where it's left to the settler press, and most people, you know, they're the publications don't want to publish it, because it's not going to move hits or just don't care. And, you know, as you can tell, from the reviews of Ron's around gills that you were talking about, Brett like, there aren't a lot of people, you know, are there people who he can who can ask him the right questions, because they are informed. And I'm not saying I'm that person, but I'm more informed than do really really depressingly what it seems to be most people out there. Like, I was really hoping that I could find somebody who was like the academic in this, you know,
I mean, I think we've tried very hard to approach writing about indigenous film and interviewing indigenous filmmakers in the right way. And that's yeah, a long learning process. Yeah, but the ideal situation would be that, like, there would be an infrastructure in place where like, there were indigenous film critics with that specialty. Who were being supported by, like, major publishing institutions, who could do that work themselves.
Yeah. Exactly. And that we could, you know, maybe do some work that they don't want to do about communicating to settlers, but
we will continue to try our best with this stuff. And I think do better than some of the settler news media and film media in Canada, but like, you know, we're gonna make mistakes. Because yeah, what happened, Jeff? Jeff Barnaby can't correct us anymore. He did. Yeah. And, you know, the we weren't, it's hard to know what you don't know, and what we're losing out on because those perspectives don't exist. Yeah. At least in publishing in major publishing.
So we've talked a lot about Jeff Barney B's feature films, Ryan's for young girls and blood quantum. And, you know, the films he didn't get to make and now will not get to make but I think one of the things that is still a discovery for many people, and was a discovery for me actually finding these as we were preparing for this episode are his short films, which, you know, they are actually out there and available. And I think we'd recommend checking them all out. Right, you had some thoughtful things to say about his first short, from Cherry English.
I think all of his films actually have a have really strong moments of using horror imagery as a way to communicate kind of indigenous history and the dramatic violence that's occurred to them like, like in from Cherry English, there's a scene where, when an indigenous man is real, is asked to say something in his language is like, I don't know anything in my language.
That's a white person. So yeah, she says in Indian.
Yes. And then there's a scene where his tongue literally comes out of his mouth. And he's been trying to, like, jam it back in. So that's a very interesting visual metaphor for losing a language. Yeah, the call when he has some some intense chainsaw action?
Oh, my God. Oh, yes. And then he also made a short for the National Film Board where he was editing together. It's called bleed down,
which is definitely my favorite of them. Yeah. Because even though he's just selecting archival imagery, it comes across as this really chilling horror film, the way he edits it together, and the music and the pacing. And it also shows you the callousness of some of the things that were filmed and put in the archives
bleed down as part of a series of short films that were commissioned. And by the National Film Board from indigenous filmmakers or who are then thought to be indigenous. Michelle Latimer is one of them. But including Jeff Barnaby, and also Carolyn mnay, where they were asked to work with archival footage to make a five minute short film. I've seen Carolyn Monet's film, and it's kind of a little miracle because it looks exactly like her other shorts, like all of the she picks the same kind of images. As you see in her other shorts. It feels exactly like a Carolyn Monet film. And then here with bleed down, you have Jeff Barnaby, and it's like the same. You know, as Brett said, it's like a horror film and a really angry one about the horrors of colonialism. And you know, he takes this footage that is, was produced by a colonialist organization made by settlers, I'm sure shot through an extremely colonialist lens and takes it and uses it to expose the horrors of colonialism in a way that only Jeff Barnaby Can I think, something we didn't talk too much about, but I think is all mentioned as he's you know, he has edited all his films, and he's really great editor. And you really see that and bleed down. I think it's, you know, if you really want to see what, how much a filmmaker put their stamp on archival material, by the way they edit it. Souvenir is a great series for that. And Jeff Barney's film is, I think, a really strong indicator of that. So we will put in the show notes links to all of his films, which fortunately, are all available worldwide. You can even just download the colony off of Vimeo. They're all free to watch online. And something that Jeff Barnaby talked a lot about with blood quantum was how influenced he was by the Anishnaabe, a filmmaker Alanis Obomsawin, who has made some real landmark documentaries for the National Film Board here in Canada. And I'm sure he would want people to be checking out those films, who were admirers of his films and want somewhere more somewhere further to look.
Thank you so much for listening. Again, we implore you to seek out Barnabus work and we'll include information on how to find it in the show notes. If you do watch his films, please let us know about it. And please share them with other people. We've talked about Barnaby on this podcast before in episodes that are now a members only. Those would be episode 39 on rhymes via angles, and bad content. And our two part series on indigenous way which is episode 62 and 63. You can become a member at seven dash show.com/join. Also, we did an episode that's free to the public that we mentioned in this episode, which is a bonus episode number 27. In which we talk to Brett about his PhD on empathy in film. And he one of the key texts that he discusses in his PhD is rhymes for young girls. So we talk about that film in that context there as well. So I will link that in the show notes for you. We will also link in the show notes to our on site written interview with Barnaby which was quoted in this episode. I really recommend reading it his insights and his passion. incredibly compelling. If you enjoyed this episode, we would love for you to let us know. You can email us at contact at seven dash rho.com or tweet at us all at at seventh row a CV and t h o w it's the same on Instagram. But the best way to tell us what you think of the pod is by rating and reviewing on Apple podcast. It helps a ton and always makes our day. We'll see you next time
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Filed Under: Canadian cinema, Canadian film, Podcasts, Social Justice Tagged With: Canadian cinema, genre, Indigenous, Jeff Barnaby, Short Films