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Hamilton woman searched for 24 years for the daughter she was forced to give up. Then fate brought them together

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HAMILTON—It was the saddest of happy endings.

Darcy Dee was slipping away, her body finally giving in to the breast cancer she’d been fighting for four years.

But Darcy had already won another battle — one that she’d waged for a quarter-century — the struggle to find the little girl she’d been forced to give up in 1991, the baby the system had taken away from her all those years ago after deeming her an unfit mother because of her disability.

At her bedside during those last few days was the 29-year-old woman who had been taken away from her mother as a toddler, fostered and soon adopted, the woman who had grown up and lived most of her life with a loving adoptive family just minutes from the birth mother she never knew. But miraculously, fate had brought them back together in 2015, allowing for three years that would have to make up for nearly three decades lost.

Darcy Dee, 59, died Jan. 20 in Hamilton’s St. Peter’s Hospital. Her funeral takes place Saturday.

She is survived by 10 siblings, and by her daughter — Veronica Ann — the daughter for whom she searched for 24 years.

“Knowing that my mother got her greatest wish, to heal the wound of losing me, has been a huge inspiration,” Veronica said after her mother’s passing. She marvels at how through all those years that they were apart, Darcy essentially built her life around the quest for her lost daughter.

“She formed habits throughout her city to be visible and available so that I might by chance find her,” Veronica said. “She never gave up and I’m so grateful I could be there to show her it was all worth it.”

I told the first chapter of Darcy’s story nearly 30 years ago in November 1990, in the Star, as Darcy was waging a losing battle with the Catholic Children’s Aid Society in Hamilton for the custody of Veronica.

I’d met Darcy by chance in the food court of a Hamilton mall that autumn while I was on assignment. Darcy had been left disabled by a brain injury after being hit by a truck while walking to school on a winter day, when she was 8. She was declared dead at the scene, but somehow survived.

That day in Hamilton, she rolled up beside my table in her scooter, which had a carrier basket full of loose-leaf papers. Once she discovered I was a reporter, Darcy wanted me to read the documents in her basket, notes she’d been typing over the months, the journal of her struggle to regain custody of her daughter. (Over the years, she would type thousands of pages.)

Darcy’s speech was slurred. She had difficulty controlling her movements and articulating her feelings. But her journal read like poetry. Page after page of fluid and heartbreaking detail about how she’d had Veronica with a guy she’d met, and then lost her. Estranged from her family, the fiercely independent Darcy had been living in an apartment in downtown Hamilton.

She contacted the children’s aid society during her pregnancy, and shortly after the baby’s birth, Darcy was deemed unfit as a parent.

“All my life people told me I couldn’t do anything,” Dee said during one of several interviews in her tiny subsidized apartment in 1990. “Well, now I did the thing that is supposed to be the most important of all — I created a life. Now they want to take that away from me.”

After a year of increasingly infrequent and restricted supervised visits, the courts ruled on Feb. 11, 1991, that Veronica would be placed for adoption and that Darcy would not be allowed to see her again.

The system was true to its word, for 24 years.

The story that Darcy shared with me in 1990, the story that continued to unfold in the intervening decades, reads like a screenplay.

She was born in Buffalo in 1959 to John and Rayme Dee, professional actors who immigrated to Canada for work and settled in Ancaster, Ont. Anyone who watched Canadian television in the 1970s and early ’80s would recognize Darcy’s dad, John, who played Al Waxman’s crusty neighbour Max on King of Kensington.

Darcy left home at 21 after getting a Grade 12 diploma from a vocational school. She eventually moved to Toronto, where she took some courses in English and history at Ryerson, without much success. Back in Hamilton in 1982, she sat in on courses at McMaster University and Mohawk College.

When I met her in the small, dingy apartment in 1990, I noticed how she made the best of the lack of space and narrow hallway: because of her limited mobility, she got around by practically bouncing off the walls, propelling herself from the table, to the chair, to the bed.

The journal entries I read in 1990 were heartbreaking and gave voice to the thoughtful, eloquent and angry young woman that the system had written off.

She wrote about when her daughter turned 1.

“Yesterday was Veronica’s birthday. Her very first. I did not get to see her. Although I carried on with my own life, I had a pretty heavy heart, thinking of her. Remember last year at this time, I was in the hospital, in pain, having just had Veronica the night before?

“Yes, but the greatest pain of all is not being able to see my baby.”

Darcy Dee with her young daughter, who she had to give up to children's aid three decades ago.
Darcy Dee with her young daughter, who she had to give up to children’s aid three decades ago.

After losing Veronica, Darcy reconciled with her large family, and her sisters in particular became the champions of her efforts to locate her daughter. Her parents have long since died.

Darcy’s family and friends recall a spunky, unpredictable woman who could fly into a rage at those she felt were putting her down, and just as quickly flash a wide smile and howl with laughter.

“This is the story of a woman who grew up fighting — for her independence after a severe brain injury, for her life with a cancer diagnosis — and then, in the short time left to her, to find the daughter she was forced to give up,” her sister Betsy wrote in an account of Darcy’s struggle.

Darcy and I were in touch sporadically over the years.

In a journal entry on Veronica’s 10th birthday, June 10, 1999, Darcy wrote: “I will never stop praying for you, and loving you, even though I do not know where you are. You could be in the house in front or behind me for all I know.”

In 2007, when Veronica would have been turning 18, I contemplated trying to find her myself, or even publishing the baby photos of Veronica that I had taken at Darcy’s apartment in 1990. But I concluded that would be a violation of the girl’s privacy.

In late 2014, Betsy let me know that Darcy had been diagnosed with breast cancer and that the family was stepping up efforts to find Veronica.

By then they’d already been through years of paperwork, trying to make contact and obtain official records of the adoption. I went to see Darcy in Hamilton in November of 2014. She was very ill and was now confined to a wheelchair. And she still talked about finding her Veronica.

Little did anyone know that the clue to Veronica’s identity and whereabouts was already in Darcy’s possession. After my visit, Betsy sent a follow-up email to share some adoption-related documents that Darcy had received from Service Ontario in response to one of her requests. The key document was the 1992 record of Veronica’s adoption. While all of the adoptive family’s identifying information had been dutifully blacked out, for some reason the document showed Veronica’s legal name at the time of her adoption.

It took a minute on Google to find Veronica, a young web design and marketing consultant who was at that point living and working in Hamilton, blocks away from her birth mother.

Darcy’s sisters were in a quandary. How should they go about confirming Veronica’s identity and making contact? They didn’t share the finding with Darcy until they could get in touch with Veronica. After weeks of deliberating, they dropped off a letter at Veronica’s apartment, informing her of the identity of her birth mother and extending the invitation for a meeting.

Several weeks later, on Jan. 25, 2015, a Sunday afternoon, the family arranged for Veronica to make a surprise visit to her birth mother’s apartment.

Darcy was seated with her back to the door when Veronica entered and made her way into view.

“Do you know who this is?” the sister asked.

Darcy didn’t.

At that point, the striking young woman with blond hair and blue eyes knelt down in front of Darcy’s chair and took her hand.

“I’m Veronica.”

Veronica looks back now on that remarkable reunion and the months that followed.

“My reunion with Darcy was joyful, compassionate, all about doing things together as newly introduced people,” she said. “We went and did fun activities all through the summer. Darcy always pictured us in the sunshine together and she got her wish.”

Veronica was struck by her resemblance to Darcy, in physical appearance, and in attitude.

“She’s passed that focused, never-say-die spirit on to me.”

In the little time they had together, a lot was left unsaid, in part because it had become so difficult for Darcy to communicate.

“Most of what happened between Darcy and I was over coffees and in each other’s hearts,” Veronica recounted. “We couldn’t easily communicate but the wonder and surreal happiness of beating the odds together was our primary emotional story.”

In the days before Darcy’s death, Veronica spent hours at her birth mother’s bedside in Hamilton, still holding her hand. And while Darcy is gone, she has left her daughter a written legacy, thousands of pages of her writing.

Years before, on Nov. 11, 2007, Darcy typed this poem in her journal. After her death, it seems almost prophetic:

I can only hope and pray

That maybe, just maybe some day

That in heaven, or on earth

It will be like a rebirth

We will meet face to face

I will hug Veronica

And hold her

And she? She will touch my shoulder

Never to let go of each other

Allan Thompson was a reporter with the Toronto Star from 1987 to 2003, when he became a journalism professor at Carleton University.

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Anglais

Nostalgia and much more with Starburst XXXtreme

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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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Anglais

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

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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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Anglais

MELS new major movie studio to be built in Montreal

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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.

STUDIO SHORTAGE

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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