Canada's top children's authors coming to Hamilton's Westfield Heritage Village

20+ Proven Performers to Entertain Thousands at Telling Tales
Award-Winning Festival Announces Detailed Plans for Year Two

For Immediate Release:
September 7, 2010

More than 20 of Canada’s best-loved children’s authors, illustrators, musicians, and storytellers will visit Hamilton’s picturesque Westfield Heritage Village to meet their fans and lend a hand to raise funds for local literacy programs on Sunday, September 19, from 10:00 a.m. until 4:00 p.m.

• Presenters include: Adwoa Badoe, Robert Blunsdon, Hugh Brewster, Creative Theatre Company, Wallace Edwards, Natale Ghent, Linda Granfield, Elize Hartley, Jude Johnson, Rukhsana Khan, Monica Kulling, Andrew Larsen, Kenneth Oppel, Gillian O’Reilly, Pearls of Time, Shelley Peterson, Turkey Rhubarb, Ken Roberts, Philip Roy, Ken Setterington, Kevin Sylvester, Jeremy Tankard, Maureen Sawa reading Shin-chi’s Canoe, written by Nicola Campbell and illustrated by Kim LaFave and winner of the 2009 TD Canadian Children’s Literature Award, Frieda Wishinsky, and Paul Yee.

• Presentation stages include: the Bandstand, the Jerseyville Railway Station, the Large Meadow, the Lockhart Meadow, the Mountsberg Church, the Native Village, the One-Room School House, and the Summer Stage.

In addition, festival-goers can enjoy:
• Famed Westfield buildings staffed with engaging interpreters
• Chats with costumed literary favourites – you might meet Charles Dickens, Anne of Green Gables, or Winnie the Pooh!
• Two fun-filled activity centres
• A wide selection of presenters’ books and CDs for purchase at Bryan Prince, Bookseller’s on-site retail tent and an autographing area to get those purchases signed
• Telling Tales Book Swap & Shop – leave your used children’s books and pick up something that is new to you for just a loonie or a toonie.
Additional Festival Highlights Include:
• Kick off of Adult Basic Education Association’s Life Long Learning week. Last year, the popular event week welcomed 50,000 participants to over 1,400 events. For more information on Adult Basic Education and Life Long Learning Week, please visit http://www.abea.on.ca/llw/
• Spotlight on Shin-chi’s Canoe, winner of the 2009 TD Canadian Children’s Literature Award, written by Nicola I. Campbell, illustrated by Kim LaFave, and published by Groundwood Books. Join Maureen Sawa, Director, Public Service and Community Development, Hamilton Public Library, and a former board member of the Canadian Children’s Book Centre, for her reading of Shin-chi’s Canoe at the Bandstand at12:30 p.m. For more information on this exciting award program, please visit: http://www.bookcentre.ca/awards/

• The suspense is over! The winners of our annual Bookmark Contest – a joint project of the Hamilton Public Library, The Hamilton Spectator, and the Telling Tales Festival – will be announced from the Bandstand at 1:00 p.m.
About Telling Tales: A Family Festival of Stories: Launched in 2009, this free festival drew over 4,000 attendees from across Ontario in its first year, and established its unique mandate: to entertain children and families of all ages and, equally importantly, to raise money for Hamilton-based literacy programs. Earlier this year the festival won Tourism Hamilton’s Award of Excellence for best festival in the medium budget category and honourable mention in the category of best rookie event of the year. In 2009, Telling Tales raised $20,000 in donations and sponsorships and directed these funds specifically to the Hamilton Literacy Council, the Summer Literacy Program, Early Literacy Hamilton, and the Original Griffin Literacy Project. Organizations interested in building their local literacy projects are invited to submit their written request to the Telling Tales Litercy Funding Committee. Full details can be found on our website at www.tellingtales.org. While Telling Tales is free to attend, donations to literacy are accepted and encouraged.
The festival extends special thanks to its host partners – Westfield Heritage Village, operated by the Hamilton Conservation Authority; the Hamilton Public Library and the Rotary Club of Hamilton Sunset. Key financial support from TD Bank Financial Group, the Ontario Trillium Foundation, CHML/Y108 Children’s Fund, and many local Rotary clubs is gratefully acknowledged.
The festival’s media partners are The Hamilton Spectator, Y108/AM900 CHML/VINYL 95.3 FM, and CHCH Television.

Telling Tales is pleased to recognize the invaluable assistance of its community partners and its many in-kind donors and sponsors. The festival’s community partners include Adult Basic Education Association/Lifelong Learning Week; Boys and Girls Clubs of Hamilton; Bryan Prince, Bookseller Ltd.; Early Literacy Hamilton; Frontier College; Hamilton Association for Residential and Recreational Redevelopment Programs (HARRRP); Hamilton-Wentworth Catholic District School Board; Hamilton-Wentworth District School Board; Hamilton Literacy Council; and YMCA.

Among the festival’s many in-kind donors and sponsors are Arcelor Mittal Dofasco, Bermingham Foundation Solutions, Canadian Children’s Book Centre, The Carnegie Gallery,Friends of Hamilton Public Library, Friesen’s Corporation, First Student Canada, Hamilton Scenic Specialty, Hamilton Video and Sound, Hillfield Strathallan College, Imagination Plus, Michelangelo Catering, Nove Studio, Outdoor Convenience, Realtors’ Association of Hamilton-Burlington, Rockton World’s Fair, the Russell I. Ellman Fund of the Hamilton Community Foundation and Spencer’s Mercantile.


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Media Contact:
June Dickenson, Marketing Chair
Direct: 647 477 6000 or 905 689 0388
E-mail: junedickenson@cogeco.ca

Full details at: www.tellingtales.org
Follow us on Twitter at: www.twitter.com/tellingtalesFFS
Find us on Facebook. Become a fan!

Issued by Stephen Weir

Media launch for sculpture garden at McMichael

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MEDIA ALERT & PHOTO OPPORTUNITY
MAJOR ART ACQUISITION ANNOUNCEMENT AT THE McMICHAEL CANADIAN ART COLLECTION ON WEDNESDAY, SEPTEMBER 8 AT 11:30 AM

WHAT: Join us for a special announcement regarding a major art acquisition for the McMichael Collection and to learn more about our upcoming Grounds Enhancement Project.

WHY: The McMichael will unveil its significant plans to enhance the gallery grounds and build an outdoor Sculpture Garden featuring works by a well known Canadian artist (identity of the artist to be revealed during the announcement). Artworks will be on display for photography/filming by the media. The McMichael previously received confirmation on March 12, 2010 that the Federal and Provincial governments will contribute $4.2 million through the Infrastructure Stimulus Funding program to complete this major project.

WHERE: McMichael Canadian Art Collection, Grand Hall
10365 Islington Avenue, Kleinburg, ON L0J 1C0
905.893.1121 • www.mcmichael.com

WHEN:Wednesday, September 8, 2010. Formal remarks will commence at 11:30 a.m. followed by a reception and refreshments at noon.

WHO:Upkar Arora, Chair of McMichael Board of Trustees
Michael W. Johnston, Chair of McMichael Foundation Board of Directors

PLEASE RSVP—MEDIA CONTACT: Stephen Weir, Publicist
Gallery 905.893.1121, ext. 2529 • Mobile 416.801.3101
Email sweir@mcmichael.com

Cheat Sheet for Gallery Security Guards

The Things You Find On The Floor
Julian Schnabel: Art and Film

While attending the media launch to the Art Gallery's new exhibition - Julian Schnabel: Art and Film, I picked a 2-page sheet off the floor. It was called a cheat sheet - points of film trivia to help security personnel answer questions from the media as they looked at Schnabel's artwork.
Great idea. Going to steal it. Just a little suprised at some of the terms listed -- who doesn't know that ADreferences dates after the birth of Christ?

Cheat Sheet A Guide to the Exhibition’s References to Cinema
Cinema has had a strong impact on Julian Schnabel's artistic imagination, inspiring his painting in many ways. It is a dynamic force, appearing throughout his work, linking paintings that are visually very different through common themes. Some of the references are explicit, others are less so. Schnabel also references popular culture and mythology, as well as events, people and places that have personal for significance him. Below is an alphabetical (by first name or letter) listing of names and terms referred to in Schnabel's paintings.

Name or Term Reference


Accattone Refers to Accattone, a 1961 film written and directed by Italian director Pier Paolo Pasolini
A.D Stands for Anno Domini (Latin) meaning the " year of our Lord." This term is used to signify dates after the birth of Christ.
Albert Finney British actor (born 1936) who starred in the 1984 film Under the Volcano, directed by John Huston. It is based on Malcolm Lowry's 1947 of the same name, telling the story an alcoholic British consul in a small Mexican town.
Andy Warhol Andy Warhol (1928-l 987) an iconic figure American in pop art as a painter, printmaker and filmmaker He was portrayed by David Bowie in Schnabel's 1996 film Basquiat. Warhol was also a pioneer of experimental filmmaking.

Bernardo Bertolucci: Italian film director and screenwriter (born
In l 940) known for such fi1ms as Last Tango in Paris and The Last Emperor. He was the first assistant on Pasolini's Accattone and is a close friend of Schnabel. Brando: Marlon Brando (1924-2004) was an American actor known for his roles in A Streetcar Named Desire, The Godfather and Last Tango in Paris. He directed one film, a western called One-Eyed Jacks (196l) in which he also starred
Catherine Marie-Ange: A reference to a character (Catherine) in the 1971 French film L'Araignde d'eau (The Water Spider) and the actress who played her (Marie-Ange Dutheil)
Cortes A municipality in Spain, not far from Schnabel's home in San Sebastian
El Espontaneo Translated as The Rash One, a 1964 film by Spanish director Jorge Grau
Gary Oldman An acclaimed British actor and filmmaker (born 1958), Oldman starred in Schnabel's film Basquiat a character based on Schnabel himself.
Jane Birkin British model, actress, singer and film director (born 1946) who attained celebrity status in the 1960s.
Jean Vigo A French film director (1905 - l934) who helped establish poetic realism in film in the 1930s and influence French New Wave Cinema of the late 1950s and early 1960s.
JMB Refers to Jean-Michel Basquiat (l 960-1988), an American artist who was the subject of Schnabel's l 996 biopic Basqujat
Malcolm Lowry British novel and poet (l909-1957) best known for his novel Under the Volcano, which was made into a film starring Albert Finney.
Malik Joyeux Tahitian big wave surfer (1980-2005) who was known for tackling the treacherous barrel waves at Teahupo'o, Tahiti. Died in Hawaii taking on the notoriously difficult surf of Oahu’s Pipeline.
Mickey Rourke: American actor (born l 952) known for his recent role in The Wrestler. Starred in Francis Ford Coppola's Rumble Fish and gained notoriety in the film 9 '/2 Weeks
Norma Desmond Refers to Norma Desmond, a character in Billy Wilder's 1950 film Sunset Boulevard. Desmond, played by actress Gloria Swanson, is an aging silent movie star desperate to a comeback.
One-Eyed Jacks the only film directed by actor Marlon Brando, who also played its lead character, Rio. Other cast members of this Western include Karl Malden, Slim Pickens, Jurado Katy Hector and Ben Johnson
Pixote: Brazilian film (l981) depicting the life of Brazil's delinquent youth. Directed by Hector Babenco, who appears as an actor in Schnabel's second film, Before Night Falls (2OOO)
Platoon: Famed l986 film written and directed by Oliver Stone, set during the Vietnam War
Ragazzo Padre An Italian phrase meaning "the boy father." It refers to a line of dialogue from Francis@ Ford Coppola's seminal film The Godfather (1972)

Rula Refers to Rula Jebreal, Palestinian journalist, author and screenwriter who collaborated with Schnabel on his forthcoming film Miral which is based upon her novel of the same name.
Rumble Fish A 1983 film directed by Frances Ford Coppola, based on the S.E. Hinton novel of the same name. Stars Matt Dillon, Mickey Rourke, Dennis Hopper.
Shoeshine: Reference to the 1946 film (Italian title: Scjuscia), which was the first major work by director Vittorio de Sica, best known for his film The Bicycle Thief. Veramente Bestia Italian phrase meaning “beast" or "a true beast."

CUTLINE: Julian Schnabel takes the media through the new Art Gallery of Ontario exhibition: Julian Schnabel: Art and Film

We knew we were in trouble when my photographer's dive computer started speaking in French

St Moritz Watch Company in British Columbia made a fatal mistake - they asked for a quick note from any watch owner who might have had their lives saved by a St Moritz watch.
(asking a writer for a "brief note" especially when there is a prize on the line is like asking a politician on the stumps to say a "brief word or two")
Companies that have products to sell that might not normally gain media traction often resort to holding writing or photo contests to get attention. With the advent of Facebook and other Social Media sites, companies can now contact hundreds of thousands of people who have an interest in your product.
Even when a company is giving away a significant prize, in 2010 they don'need any mainstream media coverage to justify the monies spent on getting their product in the public eye. St Moritz makes a great watch and as an owner I recieved an emailed invitation to send in a story about how their watch might have saved my life (or at least did something unique).
Well turns out, my analog watch did help me once when a computer technology let me down.This story won't mean much to people who don't dive. And it is long winded. But as a freelance writer who gets paid by the word .... and besides, there is a $5,000 watch prize at stake. Will let you know how it goes.
(I posted this here rather than my "stories published blog" because while being a true story, this is all about getting that extra 20 minutes of fame for a product most people in the world will never have heard of ... till now.)

WATCH THIS STORY ABOUT HOW UNDERWATER NO ONE CAN HEAR IT TICK

My wife bought my first dive watch from St Moritz at Underwater Canada 29 years ago. St Moritz had sent only one person out to the now defunct national dive show and convention. My wife looked after the St Moritz booth every now and then during the 2-day show to allow for bathroom breaks. In return she got a great price on my first dive watch.
Two years later I traded it in, again at Underwater Canada. I got a Chronosport UDT. I still have it today, thanks in part to always making sure that St Moritz handled the servicing for my timepiece. Although to be honest, like the family's 100 year-old axe (when the handle broke in 1920 it was replaced, then the axe head was replaced in 1950 and the handle was again replaced in 1980) there isn't much, besides the bezel and the watchface that dates back to that 1988 dive show.
It was the all-original watch that saved my ass in the late 1990s.
As I remember it, this is how it happened. I was on assignment in Miami for Diver Magazine and was also helping out with a TV science show. We were looking at the city's artifical reef project. Miami was building reefs to help protect the fish stock and to give divers cool things to dive on. There were ships sunk, old army tanks were stacked onto the sand and even an oil rig was dropped on the bottom just off Miami Beach.
My photographer had his own TV show and as a result received a lot of new equipment that was, at the time, cutting edge and meant to replace all the old fashion dive gear things like pressure gauges, depth gauges and watches. Not all the prototype gear he received, made it into the marketplace.
The two of us - and 2 network cameramen - decided to use a new integrated kit that fed all the critical information one needs - depth, bottom time, decompression information and air consumption - into a single source. As an added feature of this (back then) experimental equipment, you could hear the basic dive information through a speaker that was attached to one's mask strap.
We went out to sea on a dive boat filled with students who were in training to become professional dive guides. The students didn't care about the terrible viz, the current or the wildlife - they had to get their underwater hours in as quickly as possible.
Our first dive of the day was an old oil rig. Our plan was to descend to 100 feet and film a pair of resident Mako sharks who fed on the reef eco-system that had grown up on this deep water artifical reef.
The current was ripping. We had to haul ourselves hand-over-fist down the line to get to the oil rig's platform. It was hard pulling ourselves down since we were all carrying a lot of lighting gear, video and still cameras. My three companions, anxious to shed as much gear as possible, went without a backup computer,depth gauge or watch. I refused to part with my St Moritz Chronosport and a waterproof NAUI dive table card.
All the way down to 100 ft my computer kept talking to me. Every 5ft it shouted out the depth. When I got to a cross-section on the submerged platform, I immediately, as is my practice, checked my watch. I noted the time and listened to the depth.
To get out of the way and to escape the current I waited on the leeside of the huge, coral covered leg that the anchor line was tied to. I watched the cameramen, fighting the current, as they pulled themselves down to my level. Behind them, coming through the gloom was a pack of dive students, pushing and crowding each other as they raced to get to where I hovered.
When my crew reached this spot of calm, I gave them the OK sign. I got two OK's back. The third cameraman wasn't happy. He was slapping the side of his head, he wasn't having ear problems he was having hearing problems, for some reason he had accidently set his computer to verbally give all readouts in metric and in FRENCH!
When it comes to shooting for TV, cameramen are expected to suck it up - sharks,ripping current and malfuctioning computers be damned. They decided, through a lot of gesturing that they would share time/depth information with each other. They began filming, while I did what I do best ... staying off camera and taking life easy. I watched the dive students getting blown off the artifical reef and then having to swim their hardest to get back to the shelter of the platform. I watched a pair of Blue Makos effortly swim against the rage and luckily into the frame of our videocameras.
About 15-minutes into my dive I realized my computer had gone silent. I had no idea of my bottom time, or how much air I had. I turned to my cameramen to tell them I was heading up. They weren't there.
I spotted them on ascending up the line a long swim away. Two of the cameramen were breathing off the same tank. The third was carrying most of the gear. One signalled that they were leaving me to make it up on my one.
They were swimming in a controlled,albeit rushed, fashion. Like me, their units had stopped talking - in any language - and their gauge was flashing zeros. One of the cameramen had drained his tank fighting the current, unaware that he was low until it became hard to breathe.
They were on the line, not sure of their bottom time, maximum depth or amount of air remaining. To make matters worse, a horde of dive students were coming up the line like a just launched space shuttle. Politness was not part of their playbook and they pushed and shoved my buddies out of the way as they too tried to decompress on the line, at exactly the same spot.
Meanwhile down below, with my watch and with my dive tables I planned my exit strategy. I swam three times my body length up the leg of the platform, giving myself more bottom time. I waited until the would-be-dive masters had cleared the bottom section of the line.
I made it to the rope and began pulling myself up towards the surface. I watched the second hand on the St Moritz to monitor my ascent rate. I kept my eyes on the divers overtop of me, and watched as they finished their enmasse stop at 15 ft. When they moved to the stern of the boat, I climbed up to where they had hung. I took a 5-minute stop, entertaining myself by watching the divers attempt a group exit onto the dive platform all at the same time. Just before I climbed onto the ladder my computer started talking to me again and in English!
Back in the boat my three buddies were reviewing what had happened. I was able to tell them that none of them had swam below me at the 100 ft mark. And I was able to tell them that their bottom time was less than 20-minutes. My St. Moritz hadn't saved their lives but it sure saved all of us from a lot of needless worries. It also stopped my buddies from looking for symptons of the bends in each other.
Our old analog kits were reclaimed from the dive bags. Everyone strapped on their wrist watches. We made a second and third dive that day using tables. It wasn't the last time in my dive career that I had a computer crap out on me - my St Moritz watch has never let me down and I continue to dive with it to this day (which reminds me I have to get the battery changed before I head out again)!
CUTLINE: My Watch. My Room. My Mess. 27-year old Chronsport UDT

AGO Opening: Perfection is the Enemy of Done

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MEDIA PREVIEW DURING HANGING - A POX ON SLICK (AND IT WORKED!)

ROUGH NOTES (Of Course) FOR AN UNFINISHED BLOG:

Thursday morning launch for Julian Schnabel: Art and Film. It all started in typical AGO fashion. The curator, David Moo and the artist take turns at the podium in front of a conference room filled with journalists, videographers, art insiders, bloggers and me. Coffee service at the side. Pastries aligned on glass trays oh-so-perfectly.
58-year old Julian Schnabel is an American artist and filmmaker. In the 1980s Schnabel received international media attention for his "plate paintings"—large-scale paintings set on broken ceramic plates ( on display at the AGO). Now he is best known for his movies - he directed Before Night Falls, which according to Wikipedia became Javier Bardem's breakthrough Academy Award nominated role and the four-time Academy Award nominated The Diving Bell and the Butterfly. He has won a Golden Globe, as well as BAFTA, a César Award, a Golden Palm, two nominations for the Golden Lion and an Academy Award nomination.
His show, which opens at the AGO this week, reintroduces his art to the public.
The man himself was at the media preview. Funny! Schnabel all rumpled and dishevelled actually made Toronto journalists look well dressed!
Quotable quote: "“I like this town you have here,” he said. “It’s like Houston was years ago. (Canada is like) a computer chip run a muck!" Realizing that the audience might have interpreted what he said as an insult he explained: "50 years ago before the US went to shit!'
Big thing missing? No AGO CEO Matthew Teitelbaum(holiday) or retiring chief curator Dennis Reid (apparently no longer in the building).
After the 45-minute long official opening we all climbed into a bank of elevators and headed to the exhibition space. What a difference a floor makes. Formal morphed into Controlled Madness. Show not completely hung. Fork lift trucks -- Beep Beep as they back up (real turn off for TV crews!) -- move sculptures around the room. Installation experts were on ladders painting and hanging. Text panels were taped to walls.
The artist revelled in the chaos. He roared around the large space with a large media cloud in tow. " I won't take any questions until you have looked at my show for at least 15-minutes" he warned us. No time to ask questions, artist talked non-stop for the first half hour of the tour!!!
Perfection is the enemy of done - having a media preview in the raw state really worked, especially in context with an artist who specializes in producing work that doesn't look quite complete. You get a sense you are really seeing something before the rest of the world does.
Only draw back not everything up yet ... "One of my paintings was used in Ghost Writer". A film by Roman Polanski - "Problems with insurance, getting it off set and getting it here" people will see that in a week or two.
Of course this media preview during the hanging is something that I do at the McMichael all the time. Out of necessity. For all the coverage the gallery gets, Kleinburg openings are hard sell for journalists covering the art beat. Too far to travel. Group of Seven off their radar. In some cases journalists don't consider the McMichael part of their "beat" (still can't get a reply from Globe and Mail critic R Vaughan, doesn't respond to gallery emails or phone calls).
During the McMichael hangings the curator and/or artist can stay busy while we await visitors ( who don't always come).
Why was AGO so busy? No sure. Schnabel's connection with films and the Film Festival fast approaching? Or is it just that this is the first major "art" happening in the city since the G20 afflicted ROM Terracotta Warrior failed media launch earlier this summer?
Hard to say. But, AGO broke its own mold for this Media Preview. Judging by the positive articles in print and on the TV, it worked. Big Time.

CUTLINE: AGO technician prepares a wall for hanging. Right: Julian Schnabel in the middle of a scrum. Below. A plate. A plant. A blur. Artist's signature piece.

PanAm Games: Diversity Business Network Hosts “A World of Opportunity” Conference

OPPORTUNITIES FOR DIVERSITY-OWNED BUSINESSES WITH
TORONTO 2015 PAN/PARAPAN AMERICAN GAMES
Diversity Business Network Hosts “A World of Opportunity” Conference

TORONTO, Thursday, August 26, 2010— Diversity-owned businesses will gain valuable information about how they can find opportunities related to the 2015 Games at the Diversity Business Conference | Toronto 2015 – A World of Opportunity, hosted by the Diversity Business Network in partnership with the Toronto 2015 Pan/Parapan American Games.
“The diverse community in Toronto is large, strong and critical to the success of our Games,” said Ian Troop, CEO, Toronto 2015. “We recognize the talent that exists and we are committed to involving these communities and their businesses and services every step of the way.”
Keynote speaker, Ian Troop, will be joined by John Campbell, CEO of Waterfront Toronto; Antonio de Santiago Executive Vice-President of Infrastructure Ontario; and Howie Wong, General Counsel of Toronto Community Housing. The speakers will outline opportunities and steps that diversity-owned businesses can take to be involved in the Games independently or in partnership with Tier 1 suppliers. Breakout networking sessions will allow attendees to meet each other and conference panelists.
“The Pan American Games and this conference represent a significant step in opening the doors for many diverse companies to play a major role in the economic development of our City.” said Courtney Betty, Chairperson of the Diversity Business Network. “By 2031 visible minorities will be in the majority in the City, with a purchasing power exceeding $150 billion dollars. It is critical that we empower these businesses to create win-win situations for all players in the economy.”

Centerplate, the leading hospitality provider to North America's premier sports stadiums and convention centres and a committed supporter of community and diversity, is the title sponsor. Other sponsors include the Royal Bank of Canada and Meyers Norris Penny (MNP). Meyers Norris Penny LLP (MNP) is one of Canada’s largest accountancy and advisory firms and a leading service provider to diversity-owned businesses.
The conference takes place Thursday, September 16, 2010 from 1:00 p.m. – 6:00 p.m. at the Westin Harbour Castle Hotel in Toronto. Registration is open online at www.enablediversity.com/toronto2015 or at 647.439.1693.

About the Diversity Business Network
The Diversity Business Network is the access point for companies, associations, organizations and governments to communicate, collaborate and develop strategies to maximize the opportunities for diversity-owned companies. In addition to identifying new business opportunities for diverse suppliers, the Diversity Business Network helps build the capabilities of diverse companies to expand their business and compete for global contracts, opening up a world of opportunity.
For more information about The Diversity Business Network, visit www.enablediversity.com
About the Toronto 2015 Pan/Parapan American Games
The Pan American Games is one of the world’s largest international multi-sport events, held every four years for athletes of the 42 member nations of the Pan American Sport Organization (PASO). The Games comprise all Summer Olympic Games sports, as well as traditional Pan American sports. The Toronto 2015 Pan / Parapan American Games will draw 10,000 athletes and officials and feature 48 sports in 17 municipalities across the Greater Golden Horseshoe area. The Toronto 2015 Pan American Games will take place July 10-26 and the Parapan American Games August 7-14.
For more information, visit the Toronto 2015 website: www.toronto2015.org
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For more information, please contact:
Stephen Weir (stephen@stephenweir.com) - 416-801-3101
Diversity Business Network

2010 CALYPSO COMPETITION RESULTS

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Organization of Calypso Performing Artistes (OCPA)
“KAISO 365” Calypso Monarch Finals

Toronto, ON, Canada: The Organization of Calypso Performing Artistes (OCPA) hosted its 2010 “KAISO 365” Calypso Monarch Finals at The Imperial Oil Auditorium, Ontario Science Centre on Saturday, July 24th, 2010. This sold out event saw nine calypsonians compete for the title of OCPA’s 2010 Calypso Monarch.

A panel of qualified, volunteer judges awarded points based on the following criteria: Lyrics (max. 35 points); Melody (20); Rendition (25); Presentation (10); and Originality (10) for a total of 100 points. The order of merit was determined by discarding the highest and the lowest score per contestant. 2010 OCPA Head Judge: Lennox Borel.

The above judging criteria was used for OCPA’s Preliminary, and Final competition(s). The judges’ decision is final, and the Monarch results were announced at the end of the July 24th show. They are as follows:

2010 OPCA Kaiso 365 - Calypso Monarch Results

RANK - NAME (STAGE NAME - SOBRIQUET) - HERITAGE
1st Eulith Tara Woods (MACOMERE FIFI) - Tobagonian-Canadian
2nd Michael Thomas (REDMAN) - Grenadian-Canadian (2009 defending champ)
3rd Bryan Thornhill (STRUCTURE) - Barbadian-Canadian
4th Hamilton Alexander (The WEB) - Trinidadian-Canadian
5th Smokey Burke (SMOKEY) - Barbadian-Canadian
6th Guney Cedeno (GUNEY) - Trinidadian-Canadian
7th Zunaki Tuitt (NAKI) - Trinidadian-Canadian
8th Leslie Carrabon (DeCARRA) - Trinidadian-Canadian
9th Trevor Quammie (PENSHIONER) - Trinidadian-Canadian

In addition to a cash prize of over $5000, Eulith Tara Woods (Macomere Fifi) will receive a trip to London , England for its Notting Hill Carnival, and a trip to Atlanta for its 2011 Georgia Caribbean Carnival.

The 2010 OCPA Kaiso 365 Canadian Calypso Monarch Finals was carried live-to-air on Saturday, July 24th, 2010 on radio locally and worldwide via CHRY 105.5FM (www.chry.fm). Special guest performances were had from Young Rashida, and Akima Paul – 2009 London Calypso Monarch.

Nine other annual, special awards were also announced on Saturday, July 24th, 2010. They included:

BEST LYRICS
“Your Turn to Die” – Winston Maingot and Carlyle Bailey

BEST MELODY
“Your Turn to Die” – Winston Maingot

BEST PRESENTATION
Eulith Tara Woods (Macomere Fifi) for the song “Haiti Will Rise Again”

BEST VOCAL RENDITION
Eulith Tara Woods (Macomere Fifi) for the song “Your Turn to Die”

MOST ORIGINAL CALYPSO
“ Haiti Will Rise Again” – Lyrics by Winston Maingot and Carlyle Bailey; Melody by Winston
Maingot; Sung by Eulith Tara Woods (Macomere Fifi)

BEST COMPOSITION ON A LOCAL TOPIC
“We Watching You” – Lyrics by Bryan Thornhill

MOST HUMOUROUS CALYPSO
“It Ain’t Right” – Lyrics by Kenny Quammie; Melody by Mathew John; Arranged by Kenny
Quammie & Mathew John; Sung by Trevor Quammie (Penshioner)

BEST ARRANGEMENT
“ Haiti Will Rise Again” – Winston Maingot

PEOPLE’S CHOICE
Eulith Tara Woods (Macomere Fifi)

The "Kaiso 365" Calypso Monarch competition is presented by the Organization of Calypso Performing Artistes (OCPA), a non-profit arts organization (www.ocpacalypsoca.com). OCPA is a cultural presenting partner in the annual Scotiabank Caribana Festival (www.caribanafestival.com).

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Media Contacts:

Stephen Weir
Stephen Weir & Associates
Tel: 416-801-3101
Email: stephen@stephenweir.com