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Tanya Talaga talks about her Indigenous heritage and why holding the first Massey lecture in Thunder Bay was so important




For the last two years, Tanya Talaga has barely had a moment to catch her breath. Since the publication of her 2017 book, Seven Fallen Feathers, the Toronto Star reporter has been on a professional tear, winning numerous writing prizes, completing a public policy fellowship with the Atkinson Foundation, and making history as the first Indigenous woman to give the prestigious CBC Massey Lectures.

Talaga’s lecture series, All Our Relations, examines the legacy of cultural genocide against Indigenous peoples and has already been heard by sold-out crowds everywhere from Vancouver to Halifax. Starting Monday, it will be heard by the rest of the country, too, with the broadcast of her Massey lectures on the CBC radio show, Ideas.

Ahead of the first broadcast on Nov. 12, the Star spoke with Talaga about her Indigenous identity, her evolution as a journalist, and why she insisted on holding the first Massey lecture in the northern Ontario city that started it all: Thunder Bay.

I’d like to start by talking about your personal history and identity. You’re Polish on your dad’s side and Anishinaabe on your mom’s side. What kind of relationship did you have with the Indigenous side of your identity as a young girl?

I grew up in Toronto and I would spend some summers in northern Ontario with my mother in Raith (an hour northwest of Thunder Bay). She would pack us up in the car and we would head out for the two-days drive north, and in Raith, we would stay with her grandparents, who were residential school survivors that raised her. That, to me, was very much my link with my family, with my Anishinaabe side, because we were in the bush.

Growing up in Toronto — it’s weird, especially in the time I grew up. I would tell people, “My dad’s Polish, but my mom’s mom is Ojibwe,” and they would look at me like I had six heads. Nobody really got that and from my appearance, everyone always thinks I’m Italian or Greek.

But when I was a girl up north, I felt like I belonged.

As you mentioned, your great grandparents were residential school survivors. What has been the legacy of that trauma in your own family?

It wasn’t until I was in my early 20s that I found out I had a sister that was given up for adoption, and that my mother had three brothers that were put into the children’s aid system. So it was then that everything started coming together: “Oh, right. Right! This is because of the residential school system.” This is the fractured nature of my mother’s family. We’re all close and we’re all lucky because all the kids came back to us, except for one, and that was my uncle Alvie, who died. He spent most of his life as a carnival hand and he never reunited with my grandmother.

It’s the same legacy that everyone’s had, and that’s part of the reason why I write what I write. It’s hard because all Indigenous families have so much to overcome because of history, because of colonization. It sounds ridiculous when you talk about intergenerational trauma but it’s not; its very real and it goes from generation to generation. And those stories are hard to bring forward sometimes and hard to talk about.

I was a slave to the assignment desk, writing general city news, for years. And sometimes I would bring up story ideas concerning First Nations issues, specifically health issues, and there wasn’t too much interest. I think you could ask any Indigenous journalist that and they would say the same thing; there was no appetite in the mainstream media because the mainstream media was run for a long time by a lot of British people.

It’s getting better … but once Indigenous editors are making decisions about what’s covered, and how it’s covered, that’s when you’re going to see changes too. It’s the editors who are still in control and making decisions.

Nowadays, mainstream outlets are covering Indigenous issues more than ever before. When did you first notice a real shift underway in newsrooms in terms of their interest in these stories?

When the Truth and Reconciliation Commission report came out, for sure. Once that came out (in 2015), once it hit the media, it was everywhere. You couldn’t look away, right — 6,000 dead children, 150,000 people went to residential school, all of these survivors that were interviewed. Those truths, once they’re exposed and out there, you can’t put them back. The country had to hear them.

The report coming out, and the commission coming out, also coincided with the rise of social media, the rise of the Internet, and the rise of APTN (Aboriginal Peoples Television Network), which was out there broadcasting and becoming more and more popular. CBC Indigenous was formed and that’s really helped add to the landscape. Those are just mainstream outlets, though; there was always an Indigenous media, it just wasn’t really noticed.

Five years passed between your first reporting trip to Thunder Bay and your decision, at the urging of your editor at House of Anansi, to write your first book about the “seven fallen feathers,” the Indigenous kids who died in Thunder Bay. Why did so much time pass before you considered turning this story into a book?

To be honest with you, I was a single mom; I divorced in 2010. So, I was a working full-time journalist and I had two small kids. At the time, I couldn’t mentally and physically devote what I knew I needed to without completely killing myself.

It wasn’t just about the time; this book would also be occupying places in my mind and my heart, right? I always knew I would write about the seven kids, but I had to be in the right place and time. And Alvin Fiddler (Grand Chief of Nishnawbe Aski Nation) said that to me: “You weren’t meant to write the book before, but you’re meant to do it now.”

You did eventually get to a place where you could write this book. But you’re still the mother of two children, albeit older now, who share your Indigenous heritage. What was it like to be a parent reporting these painful stories about Indigenous children dying of neglect, murder and suicide?

I write about resiliency and I write about love. All the stories of the kids, of the losses that have happened in our communities, also show an incredible love and honouring of the kids and the youth. Everyone has gone through so much and I try and tell my kids, “You know, you come from strong stock. You come from many cultures; your father was Irish, I’m Polish as well, and you’re Indigenous. So you come from this incredible background, but on your Indigenous side, we’re still here. The effects of colonization and genocide didn’t work.”

And it’s going to be the youth that will carry us forward. I really believe that.

It’s such difficult emotional territory to immerse yourself in, especially when you have a personal connection to the subject matter. What did you do to protect yourself emotionally and psychologically?

I am very lucky to speak almost daily with Sam Achneepineskum. He is an elder from Marten Falls First Nation; he was actually the elder for the families during the inquest for the seven fallen feathers, and he’s become my elder. And I keep in touch with many families and leaders in northern communities frequently. I wouldn’t be able to do this work without that strong sense of community that’s behind me.

Last year, you were chosen for the 2017-2018 Atkinson Fellowship in Public Policy to write about youth suicides in Indigenous communities; this work became the basis of your CBC Massey Lectures. What was your reaction when they asked you to do the lectures?

It was pretty shocking. I had no idea that was the reason why my editor and publisher wanted to see me. So I met them for dinner and they said, “You’re going to be asked to be the CBC Massey lecturer and I went, ‘What?!’” I just didn’t really believe it. When I think of who has been asked to be a Massey lecturer in the past; it’s a lot of older people, people who are academics or very well-known in Canadian culture and politics and arts and letters. Names like Martin Luther King Jr., Willy Brandt — Nobel Prize laureates. I’m like, really? I don’t have much in common with these people.

But this is sort of one of those times in life where you have to buck up and do it, because this is a platform and an honour, and you can spread the message. You can get out there and tell the stories that need to be told. But I’m not joking when I say that I honestly spent the next four days hiding under my bed, because I couldn’t believe I said yes.

Were there any rules from the CBC around how you should approach the lectures, or were you given free rein?

Free rein. I worked with Philip Coulter, he’s the producer of the Massey lectures for the CBC show Ideas. He carried a printer with him in his bag to all the cities we were in and he printed up my lecture right before I went on stage. So that’s when he (would first see) it.

I think they were panicking a little bit with the first lecture thinking, “Oh my God, I can’t believe she’s writing her lecture right up until the last minute.” But then they realized, oh, that’s how she works, and then everyone sort of settled into my rhythm of pushing it to the last minute.

There were five Massey lectures altogether, with the last one in Toronto. But tell me about the first one in Thunder Bay.

We agreed that if I’m going to do the Massey lectures, I wanted to start in Thunder Bay, which has never had a Massey lecture before. For me, it’s where my mom’s family is from, it’s the city of the seven fallen feathers, it’s a place where children have come to die. There’s been heartache but also hard work at trying to make things better. This whole entire colonial project in Canada; it’s all here in Thunder Bay. It’s almost a mirror of Canada, what’s happening in the rest of the country.

I also told the CBC I wanted to indigenize the lectures. I’m not going to just stand up at the lectern and lecture; that’s not who I am. I’m not an academic, I’m a storyteller, and this is going to be told through an Indigenous lens and this is about community. That means I want my community up there and I want every single community that I go into represented on stage when I do these lectures.

So we had a push for that and Nishnawbe Aski Nation (NAN) stepped up right off the bat and helped us secure the largest theatre in Thunder Bay, which seats 1,500 people. They opened all the seating up for free, so they invited everybody from the Thunder Bay community to come see the Massey lectures, which means people didn’t have to pay for tickets for $40 or $50 … not only did we have every single seat filled, there were also 400 people standing.

Also, my grandmother Margaret was there, who is 93, her sister … family came in from Winnipeg, North Bay. My mom was there, my kids were there, and my mother’s brother. Sitting in front of my family were some of my friends from Nishnawbe Aski Nation. Also in the front row were some of the families of the seven girls from Wapekeka and Poplar Hill First Nation who died by suicide.

It was so emotionally loaded and weighted. And, you know, this is the first time somebody like me had done the lectures and had done them in this way. I knew this was our opportunity to show Canada: This is how we do it. This is unity, this is resiliency. And honestly, I carry that night with me.

This interview has been edited for length and clarity.

Jennifer Yang is a Toronto-based reporter covering identity and inequality. Follow her on Twitter: @jyangstar


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Nostalgia and much more with Starburst XXXtreme




Get a taste of adventure with Starburst XXXtreme based on the legendary NetEnt Game. The nostalgic themes are sure to capture fans of the classic version as they get treated to higher intensity, better visuals, and features. The most significant element of the game is its volatility. Patience will not be an essential virtue considering the insane gameplay, and there is a lot of win potential involved. It retains the original makeup of the previous game while adding a healthy dose of adrenaline. 

Starburst Visuals and Symbols

The game is definitely more conspicuous than before. The setting happens over a 5-reel, 3-row game grid with nine fixed win lines, which function if a succession from the left to the right reel is present. Only those players that that attain the highest win per bet line are paid. From a visual standpoint, the Starburst XXXtreme slots illustrates lightning effects behind the reels, which is not surprising as it is inherited from the original version. Available themes include Classic, Jewels, and Space. The game is also available in both desktop and mobile versions, which is advantageous for players considering the global pandemic. According to Techguide, American gamers are increasingly having more engaging gaming experiences to socialize to fill the gap of in-person interaction. Starburst XXXtreme allows them to fill the social void at a time when there is so much time to be had indoors. 

Starburst XXXTreme Features

Players get to alternate on three features which are Starburst Wilds, XXXtreme Spins, and Random Wilds. The first appears on reels 2,3, or 4. When these land, they expand to cover all positions while also calculating the wins. They are also locked for a respin. If a new one hits, it also becomes locked while awarding another respin. Starburst XXXtreme offers a choice between two scenarios for a higher stake. In one scenario with a ten times stake, the Starburst Wild is set on random on reels 2,3, or 4, and a multiplier starts the respin. The second scenario, which has a 95 times stake, starts with two guaranteed starburst wilds on reels 2,3, or 4. it also plays out using respin game sequence and features. The game also increases the potential with the Random Wilds feature to add Starburst Wilds to a vacant reel at the end of a spin. Every Starburst Wild gives a random multiplier with potential wins of x2, x3, x5, x10, x25, x50, x100, or even x150.

The new feature is sure to be a big hit with the gaming market as online gambling has shown significant growth during the lockdown. AdAge indicates the current casino customer base is an estimated one in five Americans, so Starburst XXXtreme’s additional features will achieve considerable popularity. 

What We Think About The Game

The gambling market has continued to diversify post-pandemic, so it is one of the most opportune times to release an online casino-based game. Thankfully Starburst XXXtreme features eye-catching visuals, including the jewels and space themes. These attract audience participation and make the gameplay inviting. The game also has a nostalgic edge. The previous NetEnt iteration featured similar visuals and gameplay, so the audience has some familiarity with it. The producers have revamped this version by tweaking the features to improve the volatility and engagement. 

That is characterized by the potential win cap of 200,000 times the bet. Starburst XXXtreme does not just give betting alternatives for players that want to go big. The increase of multipliers also provides a great experience. If the respins in the previous version were great, knowing that multipliers can go hundreds of times overtakes the game to a new level. 

Players should get excited about this offering. All of the features can be triggered within a single spin. Whether one plays the standard game or takes the XXXtreme spin route, it is possible to activate all of the features. Of course, the potential 200,000 times potential is a huge carrot. However, the bet size is probably going to be restricted and vary depending on the casino. It is also worth pointing out that a malfunction during the gameplay will void all of the payouts and progress. Overall, the game itself has been designed to provide a capped win of 200,000 times the original bet. 

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‘We’re back’: Montreal festival promoters happy to return but looking to next year




In downtown Montreal, it’s festival season.

In the city’s entertainment district, a musical act was conducting a sound check on stage Friday evening — the second day of the French-language version of the renowned Just For Laughs comedy festival. Tickets for many of the festival’s free outdoor shows — limited by COVID-19 regulations — were sold out.

Two blocks away, more than 100 people were watching an acoustic performance by the Isaac Neto Trio — part of the last weekend of the Festival International Nuits d’Afrique, a celebration of music from the African continent and the African diaspora.

With COVID-19 restrictions continuing to limit capacity, festival organizers say they’re glad to be back but looking forward to next year when they hope border restrictions and capacity limits won’t affect their plans.

Charles Décarie, Just For Laughs’ CEO and president, said this is a “transition year.”

“Even though we have major constraints from the public health group in Montreal, we’ve managed to design a festival that can navigate through those constraints,” Décarie said.

The French-language Juste pour rire festival began on July 15 and is followed by the English-language festival until July 31.

When planning began in February and March, Décarie said, organizers came up with a variety of scenarios for different crowd sizes, ranging from no spectators to 50 per cent of usual capacity.

“You’ve got to build scenarios,” he said. “You do have to plan a little bit more than usual because you have to have alternatives.”

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MELS new major movie studio to be built in Montreal




MONTREAL — MELS Studios will build a new film studio in Montreal, filling some of the gap in supply to meet the demand of Hollywood productions.

MELS president Martin Carrier said on Friday that MELS 4 studio construction will begin « as soon as possible », either in the fall or winter of next year. The studio could host productions as early as spring 2023.

The total investment for the project is $76 million, with the Quebec government contributing a $25 million loan. The project will create 110 jobs, according to the company.

The TVA Group subsidiary’s project will enable it to stand out « even more » internationally, according to Quebecor president and CEO Pierre Karl Péladeau. In the past, MELS Studios has hosted several major productions, including chapters of the X-Men franchise. The next Transformers movie is shooting this summer in Montreal.

Péladeau insisted that local cultural productions would also benefit from the new facility, adding that the studio ensures foreign revenues and to showcase talent and maintain an industry of Quebec producers.


The film industry is cramped in Montreal.

According to a report published last May by the Bureau du cinéma et de la télévision du Québec (BCTQ), there is a shortage of nearly 400,000 square feet of studio space.

With the addition of MELS 4, which will be 160,000 square feet, the company is filling part of the gap.

Carrier admitted that he has had to turn down contracts because of the lack of space, representing missed opportunities of « tens of millions of dollars, not only for MELS, but also for the Quebec economy. »

« Montreal’s expertise is in high demand, » said Montreal Mayor Valérie Plante, who was present at the announcement.

She said she received great testimonials from « Netflix, Disney, HBO and company » during an economic mission to Los Angeles in 2019.

« What stands out is that they love Montreal because of its expertise, knowledge and beauty. We need more space, like MELS 4, » she said.

There is still not enough capacity in Quebec, acknowledged Minister of Finance, the Economy and Innovation Eric Girard.

« It is certain that the government is concerned about fairness and balance, so if other requests come in, we will study them with the same seriousness as we have studied this one, » he said.

Grandé Studios is the second-largest player in the industry. Last May, the company said it had expansion plans that should begin in 2022. Investissement Québec and Bell are minority shareholders in the company.

For its part, MELS will have 400,000 square feet of production space once MELS 4 is completed. The company employs 450 people in Quebec and offers a range of services including studio and equipment rentals, image and sound postproduction, visual effects and a virtual production platform.

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