Make this ground beef, eggplant and potato casserole for a hearty dinner
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Cision Canada
23-06-2025
- Cision Canada
Rhythms of Canada Festival Returns for Two Days of Art, Music, Dance, and Celebration
One of Toronto's favourite summer festivals will bring global flavours and rhythms to the heart of the city in a two-day festival for all ages TORONTO, June 23, 2025 /CNW/ - On June 30 and July 1, 2025, the Aga Khan Museum and Aga Khan Park will come alive with Rhythms of Canada, a vibrant, site-wide summer festival. This year's programming focuses on celebrating the diverse artists, organizations, and cultural voices that shape Canada's creative landscape, with co-curated performances that reflect the city's rich pluralism and honour both traditional and contemporary expressions. Featuring an exciting lineup of live music, interactive family activities, delicious food, and engaging cultural experiences, the festival has quickly become one of Toronto's most popular. From Pakistan to Cuba, Ghana to Toronto, this year's free headlining performances will bring global rhythms to the Main Stage. The diverse lineup includes: Natasha Noorani – A genre-bending musician and music historian from Lahore, Pakistan, co-presented with Tawoos Initiative. Narcy – An Iraqi-Canadian artist, educator, and cultural producer based in Montréal. Persian Alchemy – A Toronto-based ensemble rooted in the Persian maqam tradition, co-presented with Small World Music. Jorge Betancourt and Café Cubano – One of Canada's first all-Cuban salsa bands, co-presented with Lula Music & Arts. KAYAM – A Canadian artist blending pop, Afrobeats, and R&B, with influences from East Africa, India, and the UK. Eagleheart Singers – A renowned Toronto-based drum group from the Moose Cree and Wikwemikong First Nations, sharing over 25 years of powerful performances rooted in song, ceremony, and community. Solara – A band formed by eight Humber College students as the culmination of the 2024 Intercultural and Creative Music Fellowship hosted in partnership with the Museum. Gye Nyame Band - A Ghanaian-Canadian highlife group combining traditional Ghanaian rhythms with contemporary Canadian influences, co-presented with Batuki Music Society. In addition to the headlining performances, the TD Pop-Up Performances Stage will showcase local talents, featuring the Toronto Klezmer Society, Achanté, Luis Anselmi, and a unique Tapestry Jam. On July 1, the Museum will host special Canada Day events, including: A live performance by The Band of The Royal Regiment of Canada at 12:30 pm. A Citizenship Ceremony hosted by Immigration, Refugees, and Citizenship Canada to welcome new Canadians. " Rhythms of Canada has become a cherished annual tradition at the Aga Khan Museum. It is one that truly embodies our pluralistic mandate," says Dr. Sascha Priewe, Director of Collections and Public Programs. "Year after year, this vibrant festival brings together people of all ages and backgrounds to dance, sing, and celebrate. It's a powerful reminder of the ability of the arts to bring communities together and bridge cultures, which lies at the very heart of what we do as a museum." Filled with immersive and engaging experiences for visitors of all ages, Rhythms of Canada will also include: Creative Workshops – Offered daily, where visitors can try water marbling, jewellery making, or clay tile design. (Paid registration is required.) Interactive Performances – Where visitors can learn new moves and rhythms in Bollywood dance, flamenco, African drumming, and more. Local Community Partners – Hands-on activations hosted by community partners, including the Royal Ontario Museum, Toronto Zoo, Ontario Science Centre, and the Bata Shoe Museum, where families can interact with their favourite heritage organizations. Free Museum Admission – Complimentary access to the Museum Collections Gallery, with reduced $10 admission to the current major exhibition, As the Sun Appears from Beyond: Twenty Years of the Al Burda Award. Delicious Food – A world of flavour from local food trucks and the Museum's on-site restaurant, Diwan. Family Activities – Fun for all ages, including arts and crafts, face painting, and outdoor games. To learn more about Rhythms of Canada programming, visit About the Aga Khan Museum The Aga Khan Museum in Toronto, Canada, has been established and developed by the Aga Khan Trust for Culture (AKTC), which is an agency of the Aga Khan Development Network (AKDN). Through permanent and temporary exhibitions, educational activities and performing arts, the Museum's mission is to spark wonder, curiosity, and understanding of Muslim cultures and their connection with other cultures through the arts. Designed by architect Fumihiko Maki, the Museum shares a 6.8-hectare site with Toronto's Ismaili Centre, which was designed by architect Charles Correa. The surrounding landscaped park was designed by landscape architect Vladimir Djurovic.
Winnipeg Free Press
05-05-2025
- Winnipeg Free Press
New York Times wins 4 Pulitzers, New Yorker 3; Washington Post wins for coverage of Trump shooting
NEW YORK (AP) — The New York Times won four Pulitzer Prizes and the New Yorker three on Monday for journalism in 2024 that touched on topics like the fentanyl crisis, the U.S. military and last summer's assassination attempt on President Donald Trump. The Pulitzers' prestigious public service medal went to ProPublica for the second straight year. Kavitha Surana, Lizzie Presser, Cassandra Jaramillo and Stacy Kranitz were honored for reporting on pregnant women who died after doctors delayed urgent care in states with strict abortion laws. The Washington Post won for 'urgent and illuminating' breaking news coverage of the Trump assassination attempt. The Pultizers honored Ann Telnaes, who quit the Post in January after the news outlet refused to run her editorial cartoon lampooning tech chiefs — including Post owner Jeff Bezos — cozying up to Trump. The Pulitzers honored the best in journalism from 2024 in 15 categories, along with eight arts categories including books, music and theater. The public service winner receives a gold medal. All other winners receive $15,000. The Times' Azam Ahmed and Christina Goldbaum and contributing writer Matthieu Aikins won an explanatory reporting prize for examining U.S. policy failures in Afghanistan. The newspaper's Doug Mills won in breaking news photography for his images of the assassination attempt. Declan Walsh and the Times' staff won for an investigation into the Sudan conflict. Alissa Zhu, Nick Thieme and Jessica Gallagher won in local reporting, an award shared by the Times and The Baltimore Banner, for reporting on that city's fentanyl crisis. The New Yorker's Mosab Abu Toha won for his commentaries on Gaza. The magazine also won for its 'In the Dark' podcast about the killing of Iraqi civilians by the U.S. military and in feature photography for Moises Saman's pictures of the Sednaya prison in Syria. Weekly A weekly look at what's happening in Winnipeg's arts and entertainment scene. ___ David Bauder covers the intersection of media and entertainment for The Associated Press.
CBC
11-04-2025
- CBC
Alex Garland's Iraq-war film Warfare is visceral, exciting and unethical
There are multiple MAMs on the roof. Your CO is screaming in your ear to collapse to the first deck, while JTAC is screaming for CASEVAC. Two bravos wait outside, surrounded by IED phosphorus. A frogman kneels beside you, while another frantically asks if you've broken down yet — equipment's good to go. Someone pops smoke. The show of force is three mikes out. The first frogman is smiling. "BTF up, bro!" Confused yet? Don't worry, I am, too. I was frantically scribbling notes throughout director Alex Garland's most recent apolitical politics movie Warfare, and I'm still not sure I got all the terms right. For all I know, I may have just sworn at you. But explanation and context are not desirable qualities to Garland. In fact, at a recent Toronto Q&A, when somebody asks what value his film has for audiences, he basically says they're taboo. "One of the functions of this film is to hear from a veteran as accurate as possible," he says of Warfare, which painstakingly recreates, in real time, a specific catastrophe ex-Navy SEAL and co-director Ray Mendoza went through in 2006 in Iraq. "Taking away cinematic devices like music … in order to get something maybe more reliable." WATCH | Warfare trailer: An attempt to avoid manufactured emotion It's an interesting — if entirely artificial — constraint he's laid at his own feet: everything that you see in Warfare really happened. But more than that, everything that happened, Garland would have you believe, is in Warfare. "There was no decision to be made about whether something was valuable for the story or how helpful it would be for audiences," he said. "There's no backstory, because these guys don't talk about their backstory … There's nothing to explain their jargon — there's nothing to help anyone." But as a result, what ends up making it to the screen is a slick, almost nauseating confusion. The boundaries Garland draws for himself are probably most evident in how we connect — or rather, fail to connect — with the characters. Though we are sold on famous faces — Will Poulter, Joseph Quinn and Canada's D'Pharaoh Woon-A-Tai round out the impressive cast list — we are hardly able to hold on to their names, let alone learn what makes them keep fighting as faceless Iraqi forces pepper them with small-arms fire. So why did Garland make a movie devoid of character growth, political examination or commentary? To explain, he tells a story about the time he was backpacking through Vietnam and stumbled across an establishment called The Apocalypse Now Bar, named after the 1979 Francis Ford Coppola movie. Given the film's stunningly bleak depiction of war in Vietnam, Garland saw the contrast as ironic. Using poetry, music, set design — and yes, story — Coppola was able to construct a movie with a message that reaches across decades. One that holds so much cultural cachet that a bar owner in Vietnam was willing to ignore the blood-soaked title, and use its allure to attract starry-eyed Western backpackers. Garland and Mendoza view making a movie with that level of manufactured emotion as a mistake, and it wasn't something they wanted to repeat. Anti-war movies "There are anti-war films that exist," Garland said at the Q&A. "But something that is really unfiltered, and is trying to be as honest as it possibly can, seems to me to have value." The goal is admirable. François Truffaut is often quoted as saying, "It is impossible to make an anti-war film." That's because the limited scope and implicit artistic bias of cinema necessarily leads to a glorification of war instead of an indictment of it. No matter how harrowing the Saving Private Ryan Omaha Beach invasion scene is, or how macabre and eye-opening the infamous Soviet coming-of-age war movie Come and See may be, they are truncated simulations you live through from the comfort and safety of a theatre seat. So why not go the Garland route and do your level best to remove yourself as a factor? It's a strategy the director recently employed in Civil War, the summer blockbuster marketed as a timely commentary on the violently fractious state of U.S. politics. In the end, it was so politically spineless it unironically chose to depict California and Texas teaming up against the rest of the country. While that could have been seen as an unfortunate marketing hiccup, Warfare cements Garland's "shut up and dribble" beliefs when it comes to the arts — a philosophy that artists shouldn't challenge the biases of their audiences, as that somehow goes beyond the job description. Harrowing and believable performances This is not to detract from Warfare 's achievements as a re-enactment. It is constantly efficient and exciting, expertly choreographed with harrowing and believable performances. Warfare is the type of movie for American Sniper fans — specifically, the ones who felt annoyed whenever director Clint Eastwood turned away from the pink mist to question the role self-deluded nationalism plays in the primacy of American foreign policy. But in Garland's misguided belief that objectivity is even possible, Warfare contradicts the message it's actually sending, while pretending it's making no statement at all. Every jet swooping in to push back the unnamed, unexamined attackers, every adrenaline-pumping AR bullet pumped into exploding concrete, and every hand-holding moment of masculine camaraderie (including the almost sickeningly apt tagline: "The only way out is together") works to cement a worldview that Garland apparently believes is fact, not opinion. A worldview that suggests American military might is right, and — aside from a few unfortunate hiccups — the current global power structure is hunky dory. The good guy is on top. This is not a rare belief — far from it. Everything from Black Hawk Down to the incredible series Band of Brothers operates under this axiom. But they also do so from the obvious understanding that all art is, should be, and must be, subjective. All art is political, and as even documentarians will tell you, every filmmaker is showing you a limited, slanted version of the truth. Intentionally blinding yourself to that fact, telling yourself and your audience that you are being objective is, in a word, unethical. Instead, Warfare glorifies its depiction of war by hiding behind the gimmick of simply showing the truth. This is really what happened, Warfare claims, as it shows you flag-bearing Americans valiantly fighting against inexplicably bloodthirsty "MAMs" — a military term used to refer to "military aged males." And every drop of blood they really shed reinforces a narrative Garland is somehow unaware could have another side. You don't even need to dig too far beneath the surface to unearth the belief supporting that misstep. In fact, it's one that Garland himself admits to. "I started doing this at 24 and I'm now in my mid-50s," he said, "And realizing that truth has an electricity about it that is just different — and leaning into that electricity." But in Warfare, that electricity doesn't come from truth. It comes from an unending maelstrom of bullets, buttressing a film absolved of questioning how we should feel about them. You might call the end result nothing more than video game voyeurism, but that also falls short. Even Call of Duty managed its infamous "No Russian" level, which asked players to participate in a mass shooting at an airport — both emotionally binding them to the main character and making them question the morality of brutal warfare. In Warfare, the closest we come to that is a five-second sequence where a woman whose home is destroyed in the crossfire grabs Poulter. "Why?!" she screams. "Why, why, why?" Poulter's character gives the only answer Warfare ever offers up. "I'm sorry, I'm sorry," he says. And then the bullets are back.
