Canadiens Hard At Work On A Scorching July Day
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Diverging Reports Breakdown
Canadiens Hard At Work On A Scorching July Day
Jack and Riley Hughes were on the ice, just like Jack Gorton. Jeff and Julie Petry touched down for the wedding and hurried to Mandy’s salad for some sustenance. The Suzukis got married in June in Turks and Caicos, but judging by the fact that Juraj Slafkovsky told Miroslav Satan that he couldn’t attend the wedding, all signs point to a big wedding bash on Saturday. The players seemed to be in good spirits, though. One of them had written “M. Evans” on tape on Evans’ jersey, in addition to fashioning a “C” out of tape for the front of his jersey.
Jaku Dobes and Ivan Demidov were first on the ice before the Zamboni had even finished its job. Many Habs soon joined them; Patrik Laine, Samuel Montembeault, Alex Newhook, Juraj Slafkovsky, Alexandre Carrier, Mike Matheson, Arber Xhekaj, and Jake Evans were all on the ice, joined by Laval Rocket players Florian Xhekaj and Lucas Condotta.
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Three mystery guests turned out not to be so mysterious at all; Jack and Riley Hughes were on the ice, just like Jack Gorton. The VP of Hockey Operations’ son and the GM’s sons had some quality training partners.
There was no Nick Suzuki on the ice on Friday, since his wedding party is tomorrow, it’s fair enough. The players seemed to be in good spirits, though. I don’t know who it was, but one of them had written “M. Evans” on tape on Evans’ jersey, in addition to fashioning a “C” out of tape for the front of his jersey. No captain? No problem with this crew.
The players warmed up for a while before playing a brief three-on-three game on a shortened ice surface, then switched to a two-on-two format spanning the full width of the ice. Poor goalies had no time to breathe as the attacks came fast and furious.
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While he wasn’t on the ice, another former Montreal Canadiens arrived today. Jeff and Julie Petry touched down for the wedding and hurried to Mandy’s salad for some sustenance. According to makeup artist Claudia Vitorino, the Suzukis got married in June in Turks and Caicos, but judging by the fact that Slafkovsky told Miroslav Satan, Team Slovakia’s GM, that he couldn’t attend Slovakia’s team-building activity for the captain’s wedding, all signs point to a big wedding bash on Saturday.
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There was a welcome to town cocktail on Friday night according to Mrs. Suzuki’s Instagram before the official celebrations kick off on Saturday.
Photo credit: Karine Hains
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Billy Joel Reveals The Trump Remark That Made Him Get Political On Stage
Billy Joel said he took action after seeing white nationalists marching in the streets in Charlottesville, Virginia, for the “Unite the Right” rally. The singer added a Star of David to his outfit when he performed at Madison Square Garden following the march. Joel has previously spoken out about Trump’s comments, telling CBS News back in 2018 that he “had to do something that night” he performed. “I didn’t want to get up on a soap box on stage and say, ‘This is wrong,’” Joel said.
However, the singer shared one particular Trump moment that inspired him to express his views.
“Sometimes there are things that happen and you can’t just look away,” Joel said in part two of his HBO documentary, “Billy Joel: And So It Goes,” according to Entertainment Weekly.
Joel said he took action after seeing white nationalists marching in the streets in Charlottesville, Virginia, for the “Unite the Right” rally, and comments that Trump made after a man drove his car into a crowd and killed a protester.
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“I was angry,” Joel said of watching the demonstration. “Here they are marching through an American city saying, ‘Jews will not replace us.’ We fought a war to defeat these people!”
“And when Trump comes out and says, ‘There were very fine people on both sides,’” the “Uptown Girl” singer recalled. “He should’ve come out and said, ‘Those are bad people.’ There is no qualifying it. The Nazis are not good people. Period.”
To protest Trump’s comments, Joel said that he added a Star of David to his outfit when he performed at Madison Square Garden following the march.
Billy Joel wears a jacket with the Star of David during the encore of his 43rd sold out show at Madison Square Garden on Aug. 21, 2017 in NYC. Getty
“I had to do something, but I didn’t want to get up on a soap box on stage and say, ‘This is wrong,’” he said. “So I wore the star. But basically to say, no matter what, I will always be a Jew.”
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Joel has previously spoken out about Trump’s comments, telling CBS News back in 2018 that he “had to do something that night” he performed.
“It really enraged me, actually,” Joel said at the time. “My old man, his family got wiped out. They were slaughtered in Auschwitz. Him and his parents were able to get out. But then he was in the U.S. Army during the war and fought with Patton and was shot at by Nazis. My family suffered. And I think I actually have a right to do that.”
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Photojournalist Louie Palu lends a human perspective to Canadian hard-rock mining in new exhibit
Photographer Louie Palu documented hard-rock mining operations in northeastern Ontario and northwestern Quebec from 1991 to 2003. The Toronto Metropolitan University’s Image Centre revisits Palu’s seminal works of documentary photography with the exhibition Cage Call. The landmark series was collected in a pair of books created in collaboration with Charlie Angus (a writer and journalist before he became an MP) Some images appeared in The Globe and Mail, where Palu was once a staff photographer. Seventy-five per cent of the world’s mining companies are headquartered in Canada, as art historian Siobhan Angus, Charlie’s daughter, notes in a supporting essay. The exhibition includes more than 50 photographs and a collection of ephemera from his time in the hard- rock mining belt. The images are arranged in the typological studies of photographers Hilla and Berhera and appear on a wall opposite a small edifice in one of the most famous images of one of Palu”s most famous subjects, a small town.
Two thousand metres down the mine shaft, you can see just as far as your headlamp shines, says photographer Louie Palu. It’s as hot as a scorching July day and the air smells like diesel. Your boots sink in the mud underfoot.
And when the shrieking drills quiet, you may hear the sound of cracking rock from elsewhere in the belly of the Earth. Miners call these unnerving noises “the bumps.” Some bumps are okay; some are not.
From 1991 to 2003, the Toronto-born photojournalist, now based in Washington, documented hard-rock mining operations in northeastern Ontario and northwestern Quebec.
Visiting more than 100 active, abandoned and closed mines in places such as Cobalt, Ont., and Val-d’Or, Que. – locales named for the metals pulled from the ground – Palu developed a holistic picture of mining that includes the work, the workplaces and the workers, as well as their communities.
The landmark series was collected in a pair of books created in collaboration with Charlie Angus (a writer and journalist before he became an MP). Some images appeared in The Globe and Mail, where Palu was once a staff photographer.
Open this photo in gallery: Palu’s dramatic black-and-white exposures capture the human side of a huge Canadian industry.photo courtesy Louie Palu/The Image Centre/photo courtesy Louie Palu/The Image Centre
This fall, the Toronto Metropolitan University’s Image Centre revisits Palu’s seminal works of documentary photography with the exhibition Cage Call, including more than 50 photographs and a collection of ephemera from his time in the hard-rock mining belt.
It’s an exceedingly Canadian industry: Seventy-five per cent of the world’s mining companies are headquartered here, as art historian Siobhan Angus, Charlie’s daughter, notes in a supporting essay. But it’s a story rarely shown to Canadians.
“It’s this world that has been such a foundational part of our consumer culture,” Palu says, “but there are almost no photos of it.”
Just as Palu’s photojournalism has illuminated other hard-to-see topics, from asbestos exposure to the continuing militarization of the Arctic, Cage Call lends a human perspective to an immense industry that’s largely unseen.
”His profession drives him to really look for places where people can’t go themselves,” says exhibitions curator Gaëlle Morel. “He’s kind of the witness.”
In dramatic black-and-white exposures, Palu presents sturdy figures armoured in oil slickers going to war on the rock face with spear-like jackleg drills. He pictures the Inco Superstack rising monumentally over a two-storey family home in Sudbury, Ont. He shows what lunch looks like 440 metres underground. He features bodies shaped by the dangerous, demanding work, and others – with burned or damaged or missing limbs – that have been reshaped by it.
“Bone and skin lose to rock and steel all the time,” Palu says.
In a newsprint supplement for the exhibition, which features some never-before-seen images the photographer calls his “hidden tracks,” Palu includes a picture of seven older women, nicely dressed, from a social function at the Porcupine Dante Club in Timmins, Ont.
Open this photo in gallery: Palu’s photographs also depict the architecture unique to hard-rock mining.photo courtesy Louie Palu/The Image Centre/photo courtesy Louie Palu/The Image Centre
This is called “the widows’ table,” he explains. “How much more clear can it be that this is the type of job that, at least in the past, had this real life-and-death thing going on?”
A counterbalance to such deeply human stories, one gallery wall collects photographs from the subseries Industrial Cathedrals of the North. Here, Palu surveys the awesome architecture of a couple dozen headframes – the tall structure that supports a mine’s hoisting machinery – rising heavenward like church steeples. The images are arranged in a grid – like the typological studies of photographers Hilla and Bernd Becher, the curator points out – evincing the quasi-sacred aura of the boomtown edifice in one example after the next.
On the wall opposite, one of Palu’s most famous images appears as a small print. You must move close to read it. The photo shows a miner at 760 metres underground signalling for his equipment during the tunnelling or “sinking” of an elevator shaft. Arms outstretched beneath the curious opening, the figure looks as if he’s hailing a spaceship. “It’s a unique moment that you can only photograph once in a mine’s life,” Palu says.
Riding a big metal bucket down into the abyss, then standing there among the blasted rock, Palu says he felt as if he’d just landed on the moon himself. For the shaft miners, though, the task was utterly ordinary; it was just another shift. The image portrays that dissonance, and suggests most Canadians are alienated from the kinds of work their country is deeply invested in.
Open this photo in gallery: Palu’s photojournalism illuminates hard-to-see topics. Though 75 per cent of the world’s mining companies are headquartered in Canada, the industry remains largely unseen.photo courtesy Louie Palu/The Image Centre/photo courtesy Louie Palu/The Image Centre
While Cage Call presents viewers with a compelling documentary of mining – in its many facets – around the turn of the 21st century, it also addresses the immediate present, bringing into focus the extraction of materials that are evermore crucial to our daily lives.
We rely increasingly on this work. The phone in your pocket uses dozens of mined metals and minerals from all over the world. Even Palu’s silver gelatin prints use the very metal some of them picture.
“Mining is photography and photography’s mining,” he’s fond of saying. “You can’t separate the materials from this beautiful vision we make.” Offering these peeks beneath the subterranean curtain, Palu wants the viewer to feel implicated. It is the mission of his work.
“Every day, there’s an illusion,” he says. “I think photojournalism could be something that shifts our consciousness.”