
Lakeside Lilies
Port Credit, ON
[Photo By: KPA]

2165 Mississauga Road North. Range 3, CIR, pt. Lot 10.And more here:
This is a two-and-a-half storey structure built as an English country estate in English Tudor Manor style. It was designed by architects George and Moorhouse in 1938 and originally known as the William George Dean residence. (William George Dean was a director of Eaton's.) The building later became a convent for the Felician Sisters of St. Francis Canada. It is not visible from the road. There is a carriage house attached to the east side and a modern addition to the west. There was a small cemetery on the property where about seven of the sisters were buried. Sometime before 2004 six of the sisters' bodies were moved, without the knowledge of the Registrar of Cemeteries, and reinterred in Assumption Cemetery. It is possible that there are still some burials on the property. The property is listed on the Heritage Register. Description as of July 2018.
Agency: Mississauga Library System
Felician Sisters of St. Francis Canada Convent & Cemetery, Erindale
Date Built: 1938
Subject: Historic buildings - Ontario - Erindale (Mississauga)
Location: 2165 Mississauga Road North, pt. Lot 10, Range 3 CIR


...there is no article [on VDare] that is exclusive to the praises of God's excellent hand in this American Nation.And those who refuse and abandon the protection and wisdom of God are easy prey. And their missions will never be accomplished.
Rather, we now have a full expose on the Devil himself.
...there are not too many Amharas in Minnesota. Minnesota is an Oromo stronghold because that’s where Oromo refugees were settled. The Amhara stronghold is Washington DC.VDare links to a site called: The Unz Review, an Alternative Media Selection for comments, which is where Merema posted hers. The Unz Review seems to be the online home of regular VDare contributor Steve Sailer, who also penned the Ethiopia article. All comments are posted at the Unz Review.
The good folks in Minnesota are being inconvenienced because of a conflict that is thousands of years old over the control of the Nile waters. Remember in the Bible when Pharaoh sent an army led by Moses to Nubia because Black people (Nubians) threatened to cut off the Nile’s water supply?
Jawar Mohammed, an Oromo living in Minnesota single-handedly founded the Oromo Media Network with money provided by EGYPT. Egypt is a a key player in all this because they are trying to destabilize Ethiopia. Egypt is panicking because they are loosing control of the Nile- their ONLY source of water. Most of the Nile water originates in the Amhara highlands and Ethiopia is building a HUGE dam. No Nile, no Egypt.


Eswar talks about her childhood with her grandmother in India.------------------
More information on Eswar here, a 2019 post at Reclaiming Beauty I titled: White Out at the AGM
"...In her Brampton [Ontario] living room, a Ganesha statue sits on a side table...Now, Eswar is bringing her grandmother's ancient stories, and some contemporary South Asian tales, to life in the GTA [The Greater Toronto Area, which includes Mississauga]."
This is a fairly long post, so thank you for your time.
Until December 2019, I was leading a community engaged arts project at the Art Gallery of Mississauga (AGM). A project that I conceived and birthed, and was nurtured lovingly by the racialized and marginalized communities of Mississauga. A project that received funding from the Ontario Trillium Foundation (a grant that I wrote) to the tune of over $420,000. A project that used stories as a common denominator, to bring together the diverse cultural groups and the racialized communities in Mississauga and beyond, engaging with ideas of self-representation to question colonial narratives. A place to share stories, laughs and the heartbreaks associated with them. There were plenty of laughs alright, and heartbreaks a plenty. A project that consumed my very being, every single day for over three years. A project that I had to abandon because the then Treasurer (and I believe, currently the Chair) decided that he had the right to be a bully, an obnoxious and aggressive force that undermined this initiative. An aggression so toxic that to this day, I fear going to Mississauga, lest I see him again.
It began as a pilot project in 2017. It was a runaway success. The community wanted their voices heard, their stories told and I decided to expand the project. In 2018, things began to change. A number of events dramatically transformed the working environment at the AGM. We were told that the Gallery was financially unhealthy and the very existence of the Gallery was at risk. The one silver lining was receiving the Trillium funding for my project. However, things escalated in 2019. I witnessed, along with my colleagues and many members of the arts community, an alarming deficit of clear communication, leadership and respect from the board and the directorship of the AGM. But all of this paled in the face of patriarchy and white supremacy that was rampant in the Board. The then Director was asked to leave and the predominantly white governance Board decided to become an operating board (there was no public announcement about this shift, nor was the membership informed). A Board that had no clue on how the arts world functioned, let alone how community engagement and relationships are built and nurtured. With no Director to act as buffer, the staff were at the mercy of the Board. Staff were constantly micro-managed and belittled. Things came to a head when the last remaining full-time staff’s position was suddenly and mysteriously dissolved. I say suddenly because despite the position being part of the new 5-year strategic plan approved by the Board and the then Chair & Interim ED, it was dissolved soon after.
At first it seemed as if I would be spared but how wrong I was! Within weeks I was subject to aggressive emails demanding why the artists I had contracted for the project were paid so high (mind you this was a funder approved budget and were being paid as per industry standards); why are there no European voices in this project (one of the main objectives of border crossings was to make room for communities and voices that were until now absent); and then some questions that were beyond the scope of my job description and expertise, though I tried to the best of my ability to answer them all. Emails, so aggressive that I began to dread logging into my computer. I was made to feel incompetent, incapable of doing minor tasks correctly and peppered with questions that felt more like inquisitions. Then there was the gaslighting behaviour. On one occasion I was asked about a missing camera that had “supposedly been bought” for the project – in spite of me insisting that there was no camera bought, I was repeatedly interrogated, making me feel like a criminal. Finally, I was told that if the camera couldn’t be traced, it was my job to lodge a complaint with the police for insurance purposes. It reached a point where I began to question my own sanity, my memory, my actions, my thoughts. After much heart wrench and soul searching, I resigned. I left the project and everything that I had worked towards to that point behind.
Until today I have chosen not to make a broader public statement of the toxicity that my colleagues and I walked into every single day. So why am I speaking now? I, like several others, left space for the funders (specifically the City) and the community members to voice their concerns about the organization. But I realize that to remain silent out of respect for our community may be taken as complicity in an erasure of agency, which was in no way my intention.
Two things happened that galvanized me into action -- the first of the two was on June 3, 2020. There was a post from AGM as part of the #BlackOutTuesday in support of the Black Lives Matter movement. I saw the post and laughed. The hypocrisy I thought! A “leadership” that treats its BIPOC staff with utmost disregard and disrespect now expressing solidarity! I was tempted to comment something nasty but desisted. Then there was a post on Twitter that for me was the tipping point. A podcast (a podcast I had produced and hosted) with the Treasurer as guest. I haven’t been able to bring myself to listen to it. It has brought back all the toxicity to the fore, everything I thought I had under control, the fears, the anxiety, the shame, the rage, the guilt at abandoning the community members, who had time and again made themselves vulnerable, trusting me with their stories. The fact that I had to let go of my project, my creation that was second only to my own child, and this bully is still about exuding power!

Since April 24, the daily case count started declining, then began rising again after around June 9. What virtually every fear-mongering story on America’s allegedly precarious situation leaves out, however, is the steadily dropping daily death numbers — from a high of 2,693 on April 21 to 808 on June 24. That April high was driven by New York City and its environs; those New York death numbers have declined, but they have not been replaced by deaths in the rest of the country. This should be good news. Instead, it is no news.The situation is likely identical in Canada.
[…]
There are no crises in hospital capacity anywhere in the country. Nursing homes, meat-packing plants, and prisons remain the main sources of new infections. Half the states are seeing cases decline or hold steady. Case counts are affected by more testing; the positive infection rate captured by testing is declining. The current caseload is younger, which is a good thing. The more people who have been infected and who recover, the more herd immunity is created. Meanwhile, daily deaths from heart disease and cancer — about 3,400 a day combined — go ignored in the press.


The Spotted Sandpiper has a wonderfully extensive range, for I have met with it not only in most parts of the United States, but also on the shores of Labrador, where, on the 17th of June, 1833, I found it breeding. On the 29th of July, the young were fully fledged, and scampering over the rocks about us, amid the putrid and drying cod-fish. In that country it breeds later by three months than in Texas.- Illustration and caption from John J. Audubon’s Birds of America.
While flying out in these wide circuits, agitated by superior feelings to those of hunger and necessity, we hear the shores re-echo the shrill and rapid whistle of 'weet, 'weet, 'weet, 'weet, and usually closing the note with something like a warble, as they approach their companions on the strand. The cry then varies to 'peet, 'weet, 'weet, 'weet, beginning high and gradually declining into a somewhat plaintive tone.
- From John J. Audubon’s Birds of America
When airborne [sandpipers] tend to be vocal animals. They sound off with a distinctive three-note, piping-like cry - often represented as “twee-wee-wee.”Audubon describes the bird bobbing its tail as it sings. I didn't see this, but what I noticed was an endearing bend forward of its longish neck, perhaps as it contemplates flying off.
