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Oct. 4th, 2016
Sixties Scoop survivors say birth records 'mysteriously' lost or destroyed:
allthecanadianpolitics:
When Lori Ann O'Cheek went to search for her birth records, she was told her files burned in a fire. When Carla Williams asked a different agency for her birth records, she too was told they burned in a fire. Likewise Trevor Bass. Likewise Jessica Sear.
Wayne Snellgrove, on the other hand, was not told his birth records were destroyed. He was told there were none to begin with.
“I got a very nice letter from Vital Statistics telling me I don’t exist,” Snellgrove said. “I am nowhere to be found.”
Different survivors dealing with different agencies from across Canada facing similar barriers to access their past.
It is a yet another twist in the evolving legacy of the Sixties Scoop. Survivors, pulled from their Indigenous homes and adopted by white families around the world, now search for their birth and treaty records only to be told they cannot be found.
“There was no record of my adoption, no record of the adoption agency,” Lori Ann O'Cheek said. “I just kept getting answers that the agency burned down and that’s it.”
Carla Williams was told the same thing. She didn’t believe it.
“A fire that I don’t believe ever happened, that [the child welfare agency] couldn’t confirm at all,” she said.
Survivors and critics say it is another example of forced assimilation and the federal government’s effort to erase their Indigenous identities.
“If we grow up not knowing we’re Indigenous and we’re entitled to the land and treaties and status, then they don’t have to honour those treaties,” said Colleen Cardinal, a Sixties Scoop survivor, author and advocate. “They don’t have to resource or revenue share.”
That’s why so many survivors can’t find their way home, she said.
“There are so many Indigenous adoptees out there that have no idea what their rights are,” Cardinal said. “That they are connected to the land and to status and to treaties.”
Continue Reading.
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allthecanadianpolitics:
When Lori Ann O'Cheek went to search for her birth records, she was told her files burned in a fire. When Carla Williams asked a different agency for her birth records, she too was told they burned in a fire. Likewise Trevor Bass. Likewise Jessica Sear.
Wayne Snellgrove, on the other hand, was not told his birth records were destroyed. He was told there were none to begin with.
“I got a very nice letter from Vital Statistics telling me I don’t exist,” Snellgrove said. “I am nowhere to be found.”
Different survivors dealing with different agencies from across Canada facing similar barriers to access their past.
It is a yet another twist in the evolving legacy of the Sixties Scoop. Survivors, pulled from their Indigenous homes and adopted by white families around the world, now search for their birth and treaty records only to be told they cannot be found.
“There was no record of my adoption, no record of the adoption agency,” Lori Ann O'Cheek said. “I just kept getting answers that the agency burned down and that’s it.”
Carla Williams was told the same thing. She didn’t believe it.
“A fire that I don’t believe ever happened, that [the child welfare agency] couldn’t confirm at all,” she said.
Survivors and critics say it is another example of forced assimilation and the federal government’s effort to erase their Indigenous identities.
“If we grow up not knowing we’re Indigenous and we’re entitled to the land and treaties and status, then they don’t have to honour those treaties,” said Colleen Cardinal, a Sixties Scoop survivor, author and advocate. “They don’t have to resource or revenue share.”
That’s why so many survivors can’t find their way home, she said.
“There are so many Indigenous adoptees out there that have no idea what their rights are,” Cardinal said. “That they are connected to the land and to status and to treaties.”
Continue Reading.
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sparklesandstress:
Big Hero 6 (2014) dir. Don Hall and Chris Williams
original score by Henry Jackman
+ Immortals by Fall Out Boy
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Big Hero 6 (2014) dir. Don Hall and Chris Williams
original score by Henry Jackman
+ Immortals by Fall Out Boy
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via IFTTT
art-of-swords:
Sword of Heimdall
Swordsmiths: David DelaGardelle of Cedarlore Forge & Andy Davis of Mad Dwarf Workshop
In November of 2009, swordsmith David DelaGardelle and metal artisan Andy Davis of the Mad Dwarf Workshop were contacted by the production team working on bringing Marvel Comic’s legendary comic book ‘Thor’ to the big screen. David then began to refine the design back forth with the team in Photoshop to make it as functional and realistic as possible.
In refining the design, they tried their best within the parameters to throw in some slightly historical touches seen on some ancient Germanic swords, such as the swords fuller and knot work patterns. The sword itself however is obviously at its core meant to be majestic and quite literally “out of this world”.
The sword’s ornate guard and pommel were the most challenging aspect of the entire sword, due to their unique shape and function. Heimdall’s sword is not simply a mere war sword, instead it is an ancient and key that controls Heimdall’s technologically advanced observatory on the Bifrost bridge of Asgard.
It opens and closes portals to other worlds and dimensions in which the hero’s fight in the film. Being both a sword and a key, the guard serves the double purpose of obviously protecting its wielder, and also serving as extending handle bars to turn the key once its placed into its keyhole.
The guard and pommel were cast out of hollowed polished bronze for the hero steel swords, and colored lightweight aluminum for the stunt versions. Norse knotwork was carved into the fittings and into the figured Mahogany grips by hand on each copy of the sword. The knotwork is a reflective nod back to the original Norse mythology and cultural-history the comics were based off of.
The knotwork is also reflective of the patterns seen inside the walls of Heimdall’s observatory and in the architecture and décor of the city of Asgard itself. In total, the sword stood at 5 ½ feet long from tip to pommel, and the hero steel and bronze versions weighed close to 10 pounds each.
Source: Copyright © 2016 Thor, the Movie, MVL Film Finance LLC; TM & © 2011 Marvel Entertainment, LLC and its subsidiaries
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Sword of Heimdall
Swordsmiths: David DelaGardelle of Cedarlore Forge & Andy Davis of Mad Dwarf Workshop
In November of 2009, swordsmith David DelaGardelle and metal artisan Andy Davis of the Mad Dwarf Workshop were contacted by the production team working on bringing Marvel Comic’s legendary comic book ‘Thor’ to the big screen. David then began to refine the design back forth with the team in Photoshop to make it as functional and realistic as possible.
In refining the design, they tried their best within the parameters to throw in some slightly historical touches seen on some ancient Germanic swords, such as the swords fuller and knot work patterns. The sword itself however is obviously at its core meant to be majestic and quite literally “out of this world”.
The sword’s ornate guard and pommel were the most challenging aspect of the entire sword, due to their unique shape and function. Heimdall’s sword is not simply a mere war sword, instead it is an ancient and key that controls Heimdall’s technologically advanced observatory on the Bifrost bridge of Asgard.
It opens and closes portals to other worlds and dimensions in which the hero’s fight in the film. Being both a sword and a key, the guard serves the double purpose of obviously protecting its wielder, and also serving as extending handle bars to turn the key once its placed into its keyhole.
The guard and pommel were cast out of hollowed polished bronze for the hero steel swords, and colored lightweight aluminum for the stunt versions. Norse knotwork was carved into the fittings and into the figured Mahogany grips by hand on each copy of the sword. The knotwork is a reflective nod back to the original Norse mythology and cultural-history the comics were based off of.
The knotwork is also reflective of the patterns seen inside the walls of Heimdall’s observatory and in the architecture and décor of the city of Asgard itself. In total, the sword stood at 5 ½ feet long from tip to pommel, and the hero steel and bronze versions weighed close to 10 pounds each.
Source: Copyright © 2016 Thor, the Movie, MVL Film Finance LLC; TM & © 2011 Marvel Entertainment, LLC and its subsidiaries
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