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8 books to read if you loved A Two-Spirit Journey by Ma-Nee Chacaby

8 books to read if you loved A Two-Spirit Journey by Ma-Nee Chacaby

CBC06-04-2025

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Podcaster and wellness advocate Shayla Stonechild championed A Two-Spirit Journey by Ma-Nee Chacaby, which was written with Mary Louisa Plummer, to victory on Canada Reads 2025!
In A Two-Spirit Journey, Ma-Nee Chacaby, an Ojibwa-Cree lesbian who grew up in a remote northern Ontario community, tells the story of how she overcame experiences with abuse and alcohol addiction to become a counsellor and lead Thunder Bay's first gay pride parade.
Here are eight other Canadian books to read if you loved A Two-Spirit Journey.
Becoming a Matriarch by Helen Knott
Becoming a Matriarch tells the story of Helen Knott's experience losing both her mother and grandmother in just over six months. The book explores themes of mourning, sobriety through loss and generational dreaming and redefines what it means to truly be a matriarch.
Knott is a poet, social worker and writer of Dane Zaa, Cree, Métis and mixed European descent from the Prophet River First Nation. She is also the author of the memoir In My Own Moccasins, which won the 2020 Saskatchewan Book Award for Indigenous Peoples' Publishing.
Mamaskatch by Darrel J. McLeod​
Mamaskatch tells the story of Darrel J. McLeod's upbringing on Treaty 8 territory in northern Alberta, raised by his fierce Cree mother, Bertha. In describing memories of moose stew and wild peppermint tea, surrounded by siblings and cousins, he outlines his mother's experiences as a residential school survivor and how she taught him to be proud of his heritage.
McLeod was the writer of two memoirs, Mamaskatch and Peyakow, and one novel, . He became a writer after retiring from a career as a chief negotiator of land claims for the federal government and executive director of education and international affairs with the Assembly of First Nations. He died in 2024 at the age of 67.
The Power of Story by Harold R. Johnson
The Power of Story reflects on the power of storytelling — from personal narratives to historical sagas — as they relate to humanity and even how humans structure societies. Harold R. Johnson makes a case for how stories can shape and change our lives for the better in this posthumous nonfiction work.
Johnson was a member of the Montreal Lake Cree Nation. He was a lawyer and writer whose groundbreaking book Firewater: How Alcohol Is Killing My People (and Yours) was a finalist for the Governor General's Literary Award for non-fiction. His other books include Peace and Good Order and Cry Wolf. He died in 2022 at the age of 64.
Heart Berries by Terese Marie Mailhot
In Heart Berries, Terese Marie Mailhot traces her life story. She recalls her dysfunctional upbringing on Seabird Island in B.C., with an activist mother and abusive father, and achieving an acceptance into the Masters of Fine Art program at the Institute of American Indian Arts in New Mexico. Heart Berries is a memorial for her mother, a story of reconciliation with her father and a way to write her way out of trauma.
Mailhot​ is a writer who was born and raised on Seabird Island, B.C. and now lives in Indiana. Her work has appeared in Time, Mother Jones, The Guardian and Best American Essays 2019.
Alicia Elliott explores the systemic oppression faced by Indigenous peoples across Canada through the lens of her own experiences as a Tuscarora writer from Six Nations of the Grand River in A Mind Spread Out on the Ground. Elliott examines how colonial violence, including the loss of language, seeps into the present day lives of Indigenous people, often in the form of mental illness.
Elliott is based in Brantford, Ont. Her writing has been published most recently in Room, Grain and The New Quarterly. She is also the author of the novel And Then She Fell, which won the 2024 Amazon First Novel Award. Elliott is a columnist for CBC Arts and CBC Books named her a writer to watch in 2019. She was chosen by Tanya Talaga as the 2018 recipient of the RBC Taylor Emerging Writer Award.
Our Voice of Fire by Brandi Morin
In Our Voice of Fire, journalist and writer Brandi Morin recounts her experience as a foster kid, runaway and survivor of the Missing and Murdered Indigenous Women and Girls crisis. It follows her journey overcoming adversity to pursue justice and find her power though journalism.
Morin is a writer of Cree, Iroquois and French origin from Treaty 6 territories in Alberta. Her work has been featured in National Geographic, Rolling Stone, Al Jazeera English, The Guardian, CBC and The New York Times.
Thunder Through My Veins by Gregory Scofield
Gregory Scofield is a poet who has helped shape contemporary Indigenous writing. But the path to becoming an accomplished writer wasn't easy. Scofield's father left him when he was five years old and he grew up surrounded by violence and poverty. But he had the love of his mother, the support of a kind neighbour and a desire to figure out who he was and what he wanted. Thunder Through My Veins is a memoir that recounts Scofield's early life and his experiences defining his identity and place in the world.
Thunder Through My Veins was originally published in 1999, when Scofield was 33, and was re-released with a new foreword in 2020.
Scofield is a Red River Métis of Cree, Scottish and European descent. He was the 2016 recipient of the Latner Writers' Trust Poetry Prize, a $25,000 award given to an accomplished mid-career poet. His poetry collections include The Gathering and Witness, I Am.
From the Ashes by Jesse Thistle
Jesse Thistle is a Métis-Cree academic specializing in Indigenous homelessness, addiction and intergenerational trauma. For Thistle, these issues are more than just subjects on the page. After a difficult childhood, Thistle spent much of his early adulthood struggling with addiction while living on the streets of Toronto. Told in short chapters interspersed with poetry, his memoir From the Ashes details how his issues with abandonment and addiction led to homelessness, incarceration and his eventual journey through higher education.
From the Ashes was the top-selling Canadian book in 2020, the winner of the Rakuten Kobo Emerging Writer Prize for Nonfiction, Indigenous Voices Award and the High Plains Book Award. It was also a finalist for Canada Reads 2020, when it was championed by George Canyon.
Jesse Thistle is Métis-Cree, from Prince Albert, Sask., and an assistant professor in Humanities at York University in Toronto. Thistle won a Governor General's Academic Medal in 2016. He is a 2016 Pierre Elliott Trudeau Foundation Scholar and a 2016 Vanier Scholar. He is also the author of the poetry collection Scars and Stars.

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Dunlevy: Montreal documentary hunts for stolen indigenous masks that inspired surrealists
Dunlevy: Montreal documentary hunts for stolen indigenous masks that inspired surrealists

Montreal Gazette

time01-06-2025

  • Montreal Gazette

Dunlevy: Montreal documentary hunts for stolen indigenous masks that inspired surrealists

The repatriation and restitution of art and cultural materials is a hot topic these days. A prime example is estates trying to reclaim objects taken by the Nazis or sold by Jews under duress as they fled Germany. But there's another example closer to home. Montrealer Joanna Robertson and Cree filmmaker Neil Diamond's absorbing new documentary So Surreal: Behind the Masks explores what happened to Yup'ik and Kwakwaka'wakw ceremonial masks taken from these indigenous tribes in Alaska and British Columbia's northwest coast more than a century ago by traders, government officials and collectors. The masks were brought as far as New York, where they inspired some of the great European surrealist artists, who were living in exile mid-century, and eventually made their way to auction houses, world-famous museums and private collections. Leading us on an investigative journey to learn the significance of these masks, the circumstances of their removal and where they ended up is Diamond. He appears on camera throughout the film as an unassuming, intrepid protagonist, pushing the narrative forward with playful determination. He has done the same in his other films, including 2009's Reel Injun, which examined the problematic portrayals of Native Americans in Hollywood westerns, earning him and co-directors Catherine Bainbridge and Jeremiah Hayes three Gemini Awards and a Peabody Award. 'I've gotten quite comfortable (on screen),' Diamond said recently, over coffee with Robertson at Outremont's Croissanterie Le Figaro. 'Sometimes I forget the camera's rolling and I just act real goofy.' 'I think people appreciate it,' Robertson said. 'You bring a lot of humour to these (potentially) doom and gloom situations.' One amazing shot in the documentary shows Diamond puffing on a cigarette as he rides a bicycle down the middle of the road in the bustling Champs Élysées, with the Eiffel Tower behind him, and ponders his next move. Inspired by their subjects, the filmmakers take a surrealist approach to the storytelling as they weave together disparate clues and different ways of seeing the situation. On the one hand are Yup'ik tribe members who are happy to see their masks being preserved and showcased under the same roof as the Mona Lisa: One magical moment finds Yup'ik artist and storyteller Chuna McIntyre singing and dancing joyously as he approaches one of his tribe's masks on display at the Louvre, during an after-hours visit. On the other are members the Kwakwaka'wakw and their allies, who are in a continuing fight to see their masks — including many stolen during Canada's Potlach ban in 1921 — come home. At the heart of the intrigue is a quest to locate a mystical Raven Transformation Mask and possibly converse with its current owner about its eventual return. Somewhere in the middle are the wild surrealists — Max Ernst, André Breton, Roberto Matta, Enrico Donati and Joan Miró — and their friends, including famed French anthropologist Claude Lévi-Strauss, who were endlessly stimulated by the otherworldly dreamscapes evoked by these masks. The extent to which they were aware of how these artifacts were obtained is unclear. 'I'm grateful we're able to shine a light on these stories, which are so fundamental to our understanding of who we are — of colonization and also the importance of Indigenous storytelling and culture,' Robertson said. 'The surrealists saw something — they lived through war after war after war — and they saw something in these masks, however problematic, as a reminder there's another way of being, and of seeing the world.' She expressed hope their film can foster empathy toward indigenous communities and all that they have lost. 'Yeah,' Diamond agreed, 'because if you lose your culture, you have nothing else.'

5 top shows to watch as APTN celebrates 25 years of Indigenous stories
5 top shows to watch as APTN celebrates 25 years of Indigenous stories

Vancouver Sun

time29-05-2025

  • Vancouver Sun

5 top shows to watch as APTN celebrates 25 years of Indigenous stories

The Aboriginal Peoples Television Network (APTN) is celebrating its 25th anniversary. The Canadian broadcaster is the first national public television station for Indigenous peoples, and holds the same status as CBC TV, Radio-Canada and TVA. The station is found on regular cable services, in high definition on APTN HD and streaming on APTN Lumi. In celebration of its quarter-century milestone, a new channel called APTN Languages is launching with programming in at least 15 Indigenous languages from across Canada. Programs range from the cross-cultural cooking show Moosemeat and Marmalade to the hit comedy DJ Burnt Bannock about a struggling Cree DJ. Monika Ille is the APTN CEO and a member of the Abenaki First Nation of Odanak. A recipient of the King Charles III Coronation medal in recognition of her contributions to Indigenous storytelling in Canadian media, Ille oversees a broadcast operation that produces shows ranging from mystery-thrillers and cooking shows, to documentaries and sports, all delivered from an Indigenous viewpoint. Get top headlines and gossip from the world of celebrity and entertainment. By signing up you consent to receive the above newsletter from Postmedia Network Inc. A welcome email is on its way. If you don't see it, please check your junk folder. The next issue of Sun Spots will soon be in your inbox. Please try again Interested in more newsletters? Browse here. Even such venerable shows as Hockey Night in Canada get an Indigenous spin, broadcast in both Cree and Inuktitut. Ille says that when APTN applied to the CRTC 25 years ago, it was a dream to have a national Indigenous network. The broadcaster's impact on Indigenous identity, inside and out of communities, has been profound. 'It was something completely new at the time with only a handful of Indigenous producers and creators to work with,' said Ille. 'Now, we work with hundreds, making sure that our Indigenous stories and languages are more present than ever before with us in control of not only our image, but how we want to say it. I think that makes a very big difference in our relationship with non-Indigenous people.' She sees the launch of APTN Languages as one more development in ongoing reconciliation, noting that restoring native languages is key to reclaiming culture. 'In the 21 years that I have been at APTN, I always felt that we needed to do more to make Indigenous language be accessible to all people across the country who want to hear the beauty of these languages,' she said. 'Most of the shows are also subtitled in English and French, so they are accessible. More and more Indigenous peoples are reclaiming their languages, which is essential to their identity.' APTN is based in Winnipeg, but its programs are created all across the country. B.C.'s busy Hollywood North industry is no stranger to APTN productions, with many of the broadcaster's biggest hits coming out of the province. Staff at the network provided a list of the five most popular made-in-B.C. APTN programs. 1491 — Untold Stories of the America's Before Columbus : 'An older program, but still one of our most popular series,' said Ille. 'It tells the story of many people's histories pre-European contact.' (English and French) Moosemeat and Marmalade : 'This cooking show is an all-time fan favourite,' said Ille. 'You can learn so much about people through their food and the relationship between Art Napoleon and Dan Hayes has really built a bridge between Indigenous and non-Indigenous peoples.' The show has drawn over 16 million international viewers. (English) Nations at War : This history program dives into the many wars Indigenous peoples have fought between one another and with settlers over the centuries. (English/French/ and Hul'Q'umi'num') Ocean Warriors : A docuseries about the Ahousaht's Coastal Nations Coast Guard Auxiliary team and its ongoing mission to carry out marine rescues, find missing divers, address environmental disasters and more. (English/French/ Nuučaan̓uɫ) Yukon Harvest/Dän K'eht'e : Filmed mostly in the Yukon, but also in Kamloops, Fort St. John and Stewart in B.C., this show focuses on Indigenous hunters across Canada and their culture. Nominated for a trio of Canadian Screen Awards in 2022. (English/Dän K'i) sderdeyn@

Lost for seven years, Josh Holloway is back in driver's seat in Duster
Lost for seven years, Josh Holloway is back in driver's seat in Duster

Toronto Sun

time29-05-2025

  • Toronto Sun

Lost for seven years, Josh Holloway is back in driver's seat in Duster

Published May 29, 2025 • Last updated 0 minutes ago • 8 minute read "Duster" star Josh Holloway is headlining a series for the first time since "Colony" ended in 2018. Photo by James Van Evers/Ma / Max/Warner Bros. Discovery Reviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission from purchases made through links on this page. Josh Holloway was stranded in a Hollywood wasteland five years ago when the phone rang. It was J.J. Abrams, and he was offering a route out of the figurative desert – by way of a literal one. This advertisement has not loaded yet, but your article continues below. THIS CONTENT IS RESERVED FOR SUBSCRIBERS ONLY Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. SUBSCRIBE TO UNLOCK MORE ARTICLES Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. REGISTER / SIGN IN TO UNLOCK MORE ARTICLES Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account. Share your thoughts and join the conversation in the comments. Enjoy additional articles per month. Get email updates from your favourite authors. THIS ARTICLE IS FREE TO READ REGISTER TO UNLOCK. Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account Share your thoughts and join the conversation in the comments Enjoy additional articles per month Get email updates from your favourite authors Don't have an account? Create Account The third and final season of the Holloway-starring series 'Colony' had aired more than a year earlier. Freshly 50, Holloway accepted that the dystopian drama was probably his last leading-man gig. If the offer came to play, say, a leading man's father? He'd be there. But that wasn't happening, either. 'My agents were like, 'Go take a vacation. You're not going to work,'' recalls Holloway, best known for playing the complicated con man Sawyer on 'Lost.' 'And I didn't for a long time.' Holloway embraced life as a stay-at-home dad while spending his spare time dirt biking, fly-fishing, meditating and steering his Airstream all over. He also honed his guitar skills and learned the piano. On the work front, Holloway dabbled in writing and pitched a reality show about ranch bunkhouses. (It didn't happen.) This advertisement has not loaded yet, but your article continues below. So when 'Lost' co-creator Abrams rang out of the blue and began hinting at a job offer, Holloway says, he agreed before hearing the pitch. As Abrams subsequently outlined an image from the 1972-set crime series 'Duster' – a muscle car races to a phone in the desert, and out pops Holloway to answer the call – it dawned on the actor that one of Hollywood's most influential creatives was, in fact, shaping a show around him. 'At this age,' Holloway says, 'I really did not expect something like that.' But that didn't mean the lean years were over. Green lit by HBO Max during the pandemic, the pilot didn't shoot until 2021. That pilot was shelved amid the Warner Bros. Discovery merger, then reshot two years later. And the first season was mid-production in 2023 when the Hollywood strikes halted filming for the better part of a year. Your noon-hour look at what's happening in Toronto and beyond. By signing up you consent to receive the above newsletter from Postmedia Network Inc. Please try again This advertisement has not loaded yet, but your article continues below. By the time 'Duster' premiered in May on Max, seven years had passed since Holloway last headlined a series. In the meantime, the 55-year-old's only jobs have been a recurring role as a duplicitous hedge fund manager on 'Yellowstone' and one episode of the anthology 'Amazing Stories.' 'With actors, if you don't see them for a while, you think that they're hiding in a closet or something,' his 'Duster' co-star Keith David says. 'People work. You don't see them, but they do work. So it's really wonderful to see him in a leading part. He's the kind of guy who can carry that.' Rachel Hilson plays an FBI agent who recruits Holloway's Jim Ellis as an informant. Photo by Ursula Coyote/Max Sure enough, Holloway still seizes the screen as if he never left it. As Jim Ellis, the rakish driver for a Southwestern organized crime kingpin (David) and an informant for an upstart FBI agent (Rachel Hilson), Holloway is parked right in his wheelhouse. With a sigh or a smile, Jim shakes off life-and-death developments as another day at the office. His shoulder-length locks flow in the desert breeze. Sarcastic quips roll off his tongue, and he throws around nicknames in decidedly Sawyer-like fashion. Yet there's torment and tenderness behind eyes that'll smolder one moment and flicker with sorrow the next. This advertisement has not loaded yet, but your article continues below. It's a classic performance from a dying breed of actor: the career television star. Co-created by Abrams and LaToya Morgan, 'Duster' is a throwback to a forgone era of episodic storytelling, built around charismatic characters and pulpy thrills rather than A-list star power and prestige TV sheen. Driving it all is Holloway, a slick performer with an affinity for fueling his hard-knock characters with hard-knock life experience. 'He's added this quality of having lived a complicated life that is now embedded in his performance, along with his incredible good looks and his soulfulness and his charm,' says Carlton Cuse, a showrunner on 'Lost' and the co-creator of 'Colony.' 'It's just another weapon in his actor's arsenal.' This advertisement has not loaded yet, but your article continues below. If Holloway resents the myriad movie stars and Oscar winners who have found refuge on the small screen over the past decade – making it all the harder for TV veterans to book rich roles – he hides it well. 'It makes sense to me,' he muses, 'just because that's where the creativity went. I mean, it's the golden age of TV.' 'I'm super sappy and goofy, but people have an image of me as, like, this cool guy,' Holloway says. 'I can lean into that cliché, but who I am is actually the other guy.' Photo by James Van Evers/Max Toning down the swagger and ramping up the silliness during a mid-May video chat from a New York hotel, the bespectacled actor is an easy laugh with a grin that persists through touchy topics. Far from tech savvy, he cautions people that he leaves his phone at home and might take 48 hours to respond to a text. ('It drives my friends and family crazy,' he concedes. 'I'm not of this era.') Raising an 11-year-old son and 16-year-old daughter with his wife, Yessica, in Southern California, he gleefully rattles off his responsibilities in the Holloway household – 'the Uber service, the cook, the maid, the freaking laundry guy' – and asserts that being a present father is his most cherished role. This advertisement has not loaded yet, but your article continues below. 'I'm super sappy and goofy, but people have an image of me as, like, this cool guy,' Holloway says. 'I can lean into that cliché, but who I am is actually the other guy.' His 'Duster' co-star Hilson confirms as much. 'If you meet Josh, you'll probably within the first five minutes hear him talk about his kids and his wife,' she says. 'That's just who he is. I think we find ourselves drawn to this edgy character because he just brings to it this natural softness.' Holloway's Jim has been a mafia wheelman for decades when we meet him in 'Duster,' whose eight-episode first season runs through July 3. Bloody and breezy, raunchy and groovy – the series traverses tones while serving as a 1970s travelogue with pit stops involving Elvis Presley, Howard Hughes, Watergate and other period-appropriate touchstones. Whether he's chauffeuring goons, procuring blackmail material or trafficking illicit goods, Jim rarely sheds his devil-may-care mantra. But the character remains haunted by his brother's death years earlier and the discovery that their boss may have been responsible for the hit. This advertisement has not loaded yet, but your article continues below. 'Even though he is obviously an incredibly handsome guy, there is a kind of sadness and anger under the wry and comedic surface,' Abrams says over email. '[Jim] has to be carefree and cool and funny and daring, but he also needs to be broken: someone who stopped evolving at a certain point, someone who is being challenged to wake up, reflect and be held accountable in his life.' Despite that heavy backstory, Holloway assures that playing Jim is mostly a blast – starting with the stunts. After attending Rick Seaman's stunt-driving school, Holloway shifted to lessons with driver Chris Peterson and learned 'every stunt in the book.' Asked whether he's taken those skills out in public, Holloways chuckles. 'I'd be doing that every day,' he says, 'but the computers are, like, anti-skid and this and that, and they just won't let you do it.' This advertisement has not loaded yet, but your article continues below. Then there's the opportunity to deploy his innate allure. Take a scene in 'Duster' in which Jim heads to a hospital and asks for the status of a gravely wounded patient he would rather not see pull through. Told by a female employee that such information is confidential, Jim flicks his hair, tilts his head and coolly replies, 'Then just give it to me confidentially.' Informed the man's outlook is dire, Jim smirks. 'Darling,' he says, 'you just made my day.' It's an ominous scene that, in Holloway's hands, plays as effortlessly suave. 'I grew up in a time where if you wanted to date, you had to flirt,' he explains through sheepish laughter. 'It wasn't on a gadget. You had to go out there and ask out girls and have some game.' This advertisement has not loaded yet, but your article continues below. As showrunner Morgan puts it, Holloway constantly 'borrows from himself' on screen. Referencing Steve McQueen in 'Bullitt' and Walter Matthau in 'The Bad News Bears,' Morgan says she and Abrams leaned into Holloway's inherent appeal when writing Jim. 'We thought about characters that you want to spend a lot of time with,' Morgan says. 'Josh just brings that warmth.' Holloway acknowledges that every character he plays is a color from his kaleidoscopic persona. Raised in rural Georgia, he tried a slew of professions – construction, restaurateuring and modeling, among them – before giving acting a whirl. When he took a class from Corey Allen and the 'Rebel Without a Cause' actor preached the perks of channeling such experiences on screen, Holloway lit up. 'I'd just had a lot of life experience already to draw on,' he says. 'That's what it was: I want to do everything, so I'm an actor.' This advertisement has not loaded yet, but your article continues below. Although 'Lost's' Sawyer was deemed one of the show's least popular characters in audience testing, Cuse says the actor's deep-seated pathos led the writers to reimagine him as a reluctant hero. By the time the mystery-box series concluded in 2010, Sawyer was a fan favourite. 'That was a really satisfying arc,' Cuse says, 'that was only made possible because of what Josh had inside.' Riding the wave of 'Lost's' success, Holloway turned down a slew of network TV procedurals in hopes that a movie career would take off. After booking minor roles in the 2011 blockbuster 'Mission: Impossible – Ghost Protocol,' the 2013 thriller 'Paranoia' and the 2014 action flick 'Sabotage,' Holloway grew impatient with big-budget film shoots and longed for television's expediency. This advertisement has not loaded yet, but your article continues below. 'I always had two or three jobs at once since I was 11 years old,' Holloway says. 'I did a couple of movies, and I was so bored because you'd sit around so long. On TV, you just go to your trailer to change and that is it – you're back on set, and they're busting your butt.' That's not to say Holloway is done with film: He recently shot supporting roles in the musical 'Reimagined' and the crime drama 'He Bled Neon' and will topline an indie adaptation of the Louis L'Amour novel 'Flint' that shoots this summer. But after spending a decade between movie gigs, Holloway acknowledges that he's built more for the TV grind than the big-screen machine. After biding his time before 'Duster,' Holloway is relishing one more spin in the driver's seat. 'I'm a workhorse,' he says with a shrug. 'That's my character.' Toronto & GTA Sunshine Girls Tennis Sunshine Girls NFL

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