TORONTO TAKES A RELAXED APPROACH WHEN IT COMES TO URBAN WILDLIFE – RACCOONS FOR INSTANCE
We have them all – coyotes, squirrels, rats, mice, chipmunks, skunks, foxes, groundhogs, muskrats, stray dogs, bats, beaver, possums, and #1 on the list – a lot of raccoons. In fact Toronto and Brooklyn, New York are the raccoon capitals of North America. They can pick latches, ride the subway now-and-then, invade attics in 10 minutes, browse back yards and gardens, climb trees, open the green food bins, establish themselves on rooftops and so on. They’re in charge and they know it. Toronto’s raccoons are fatter than ever. Temperatures have gone up and hibernation has become a non-starter for these cute, noisy, garbage-loving creatures of the night. <Photo Above – a raccoon who lives at the Toronto Zoo.>
The photo above was taken from one of Toronto’s popular locations for photographers. That’s Riverdale Park East in the foreground. Spring has officially arrived and soon brown will turn to green.
<PHOTO – @lance.416 . . . . . . #StreetsOfToronto>
ANTHROPOCENE is a collaboration among award-winning photographer Edward Burtynsky & filmmakers Jennifer Baichwal and Nicholas de Pencier. <IMAGE ABOVE – Kevin Walsh/Earth Magazine.org> The images make it clear what humankind has been up to for decades. They’re a wakeup call to the destruction caused by our species’ dominance, thus far anyway.<COAL MINE #1, North Rhine, Westphalia, GERMANY, 2015, © Edward Burtynsky, Flowers Gallery, London/Nicholas Metivier Gallery, Toronto>. “I have always been concerned with showing how we affect the Earth in a big way. To this end, I seek out and photograph large-scale systems that leave lasting marks.” – from ‘Life in the Anthropocene’ by Edward Burtynsky.<Elephant Tusk Burn, Nairobi National Park, Kenya, film still, Anthropocene Films Inc. © 2018>. “How to convey, despite our brevity as a species, the magnitude of our impact? Anthropocene in a scientific and geological sense means that we are now everywhere, all the time, and even in the rocks—those dense, mysterious receptacles of the planet’s history.” – from ‘Our Embedded Signal’ by Jennifer Baichwal.<Dandora Landfill #3, Plastics Recycling, Nairobi, Kenya 2016. © Edward Burtynsky, courtesy Nicholas Metivier Gallery, Toronto>. “It’s hard not to marvel at the engineering ingenuity of the massive industrial sites we filmed, and equally hard to ignore the devastation they represent.” – from the essay ‘Evidence’ by Nicholas de Pencier.<Uralkali Potash Mine #2, Berezniki, RUSSIA, 2017, © Edward Burtynsky, courtesy of Flowers Gallery, London/ Nicholas Metivier Gallery, Toronto><Carrara Marble Quarries, Cava di Canalgrande #2, Carrara, Italy, 2016. Mural, © Edward Burtynsky, courtesy of the artist and Nicholas Metivier Gallery, Toronto >The Art Gallery of Ontario-produced catalogue, Anthropocene, may still be available at shopAGO for $29.95; along with the 224-page Anthropocene art book published by Steidl.
The Imperial could seat about 3,000 movie-goers, and then it was sub-divided. In the 1960’s while a Ryerson student, I had the privilege of a job there in uniform – which meant a lot of standing and holding a flashlight. After a while I moved on to Loew’s, a block or so south. Same job, similar uniform. There I watched ‘Gypsy’ 27 times, ‘Whatever Happened to Baby Jane’, ‘Hush, Hush Sweet Charlotte’, the Doris Day movies with Rock Hudson, and several other musicals and dramas over and over again. That’s the life of an usher.