Archive for January, 2017

KENROC TOOLS CORPORATION, 1st use of 3370 DUNDAS STREET WEST as building is constructed now

KENROC TOOLS produced mining related  tools at the 3370 DUNDAS STREET WEST for a period of years which the blog is working to determine, if any one has images of this plant the blog would love to post them.

 

Cintas a company  supplying corporate identity uniform programs, now has the ste and building.

An excavating tool or bit for drilling holes in earth formations in which the bit has a body with a working face on one end that is provided with hard wear resistant carbide inserts. The inserts on the working end of the body include peripheral gauge inserts and disposed in the side of the body, preferably in axial alignment with the gauge inserts, are other inserts also for holding gauge and advantageously having square outer ends with the diagonals of the squares arranged vertically and horizontally. More than one row of the side gauge inserts can be provided in the bit body.

 
Sep 16, 1985 AS Assignment
Owner name: KENROC TOOLS CORPORATION, 3370 DUNDAS STREET WEST,
Free format text: ASSIGNMENT OF ASSIGNORS INTEREST.;ASSIGNOR:KENNAMETAL INC.;REEL/FRAME:004458/0417
Effective date: 19850909

Publication number US3858671 A
Publication type Grant
Publication date Jan 7, 1975
Filing date Apr 23, 1973
Priority date Apr 23, 1973
Also published as CA981248A, CA981248A1, DE2417600A1, DE2417600B2
Inventors Johnstone David C, Kita John F
Original Assignee Kennametal Inc
An excavating tool or bit for drilling holes in earth formations in which the bit has a body with a working face on one end that is provided with hard wear resistant carbide inserts. The inserts on the working end of the body include peripheral gauge inserts and disposed in the side of the body, preferably in axial alignment with the gauge inserts, are other inserts also for holding gauge and advantageously having square outer ends with the diagonals of the squares arranged vertically and horizontally. More than one row of the side gauge inserts can be provided in the bit body.

What is claimed is:

1. In a mining bit; a bit body having a working face at the front end and a peripheral wall extending rearwardly from said working face, inserts mounted in the front end of said body and distributed over said working face and protruding axially therefrom, at least one row of gauge inserts mounted in the front end of said body near the juncture of said working face and said peripheral wall and extending angularly from the body so as to protrude radially outwardly beyond said peripheral wall and axially outwardly beyond said front end, and at least one row of further inserts extending radially into the peripheral wall of said body in circumferentially spaced relation and spaced axially along said peripheral wall from said gauge inserts, each said further insert having a radially extending sharp cutting edge on each of the axially upwardly and axially downwardly facing sides thereof, the radially outer end of each said further insert being disposed radially inwardly from the cylindrical envelope of the radially outermost points on said gauge inserts a fraction of the amount which the gauge inserts protrude radially beyond said peripheral wall.

2. A mining bit according to claim 1 in which a said further insert is disposed in each axial plane of the bit body which contains a gauge insert.

3. A mining bit according to claim 1 in which the radially outer end of each further insert is rectangular in cross section with a diagonally of the rectangle disposed in a vertical axial plane of the bit body.

4. A mining bit according to claim 1 in which each gauge insert has a said further insert in axial alignment therewith, each said further insert having a radially extending sharp cutting edge on each of the axially upwardly and axially downwardly facing sides thereof.

5. A mining bit according to claim 1 in which the further inserts in said one row thereof are in axial alignment with respective ones of said gauge inserts, and an additional row of said further inserts axially displaced along said peripheral wall from said one row and circumferentially staggered relative to the said further inserts of said one row thereof, the inserts of said additional row thereof also having radially extending sharp edges formed on the axially upwardly and axially downwardly facing sides thereof.

6. An insert according to claim 1 in which said hard wear resistant material comprises cemented tungsten carbide.

7. An insert according to claim 1 in which the radially outer end of each said further insert is disposed about 0.010 inches radially inwardly from the cylindrical envelope of the radially outermost points of said gauge inserts.

Hei

Regent Park,

 

https://www.thestar.com/news/city_hall/2017/01/14/108m-sought-to-get-regent-park-rentals-built.html <– full story

Toronto is inviting senior governments to a “conversation” about how they can help fund the third phase of the successful, but costly, Regent Park revitalization.

Mayor John Tory, councillors Pam McConnell, who represents Regent Park, and Ana Bailão, the city’s housing advocate, make the case for provincial and federal help in a letter dated Thursday and obtained by the Star.

“The plans to expedite the complete of Phase 3 are ambitious and require creative financial solutions to bring them to life,” they wrote to local MPP Glen Murray, Ontario’s environment minister, and local MP Bill Morneau, the federal finance minister.

“Any delay in proceeding with the current construction schedule for Regent Park revitalization will disrupt the momentum that has been built and demoralize the tenants who are waiting to return to new units.”

The redevelopment of what had become a troubled 69-acre Toronto Community Housing project started in 2005. TCH and lead developer Daniels Corp. are reaching the midpoint of its five-phase remake into a vibrant, mixed-income neighbourhood of condos, rental units, sports and community facilities, retail and more.

Phase 3 includes construction of 637 replacement rental units in four buildings, two of which are under construction, and the Regent Park Athletic Grounds that opened last summer. The cost, excluding some Daniels buildings to come later, is $256 million.

Toronto is $108 million short, prompting the letter.

Eaton’s before the centre

Good Girl Magazine

from, http://www.grrrlzines.net/interviews/goodgirl.htm

 

Good Girl!
Communicating across difference and building community among Canadian Women

An interview with Nikko Snyder

by Elke Zobl

June 2002

Can you tell me first of all a little bit about yourself? How old are you, where are you originally from and where do you reside now?
I’m 25 and live in Toronto Ontario Canada. I grew up all over Canada, but
mainly in Calgary. I went to university in Montréal, and after that was done I moved to Toronto, where I’ve been living for the past 3 years.

What do you do besides your zine?
Right now I’m working on a Masters in Environmental Studies degree at York University in Toronto. I also have a degree in music, which I struggle with all the time – I’m not playing (cello) right now, but it’s always in the back of my mind as something that I want in my life again. The other thing I’m involved with is yoga, which helps to keep me Grounded!
For how long have you been running your zine now? How many issues did you put out until now? Are you the only editor or is there a team?
We’re just about to release the third issue of good girl, which is due out this June. I got a lot of help with the first two issues, with editing, layout, etc., but mostly it was just me. For the third issue I decided it was time to open it up and get some other perspectives involved to help me make decisions about the direction of the magazine. So I sent out a call for volunteers to sit on good girl’s first ever ‘volunteer editorial board’. I got over 30 applications from people across Canada – after interviewing all of them (what an incredible experience!) I managed to narrow it down to about 10 women. Together, we’ve spent the past few months collectively selecting and editing submissions, and putting together good girl issue 3. We’re located all over the country (from Newfoundland to British Columbia!), so most of our communication has been over email, which has been a real challenge. Actually, this coming week almost all of are able to meet (in person) for the first time. Nine of the eleven of us are getting together to meet and hang out and have a meeting – I can’t believe we’re almost all in the same place to do it!

Bringing together a board is one of the best steps that good girl has taken. I think having a group of people working together ensures that a variety of perspectives and questions are raised about everything. It’s challenged me (and everyone else, I hope) to think hard about what the purpose of goodgirl is, and how we want to help the project fulfil its potential.

What made you decide to start this project? How did you come up with the idea and the name?
I was inspired by reading about the many awesome zines that have come before us – and also by my frustration because there wasn’t anything with a national scope in Canada, and I felt there was a need. There’s stuff going on in Canada, and a lot of amazing women doing incredible things, but I felt there wasn’t enough communication between them. I also have mixed feelings about media in general – I really wanted to challenge the mainstream media and create an alternative for young women; a place where young women can create the media they want, instead of being dictated to by the mainstream.

I chose the name good girl because it seemed universal somehow. Not universal in the sense that all women will relate to it in the same way, but in the sense that a lot of women have experience with an idea of what a ‘good girl’ is. Whether their experience is good or bad, rooted in family or age or racism or whatever, I loved that it could spark people. Whether it makes them mad or laugh or think it’s ironic, I hope that people can use this one phrase and whatever it means to them, and use it to jump into dialogue with other women.

What topics are most often discussed in your zine?
good girl is submission based, and I really want the magazine to reflect what women are thinking about at the time. For example, our second issue was themed “all things sexual”, not because I wanted to publish an issue on sex, but because the theme emerged on its own from the submissions we received. I loved that it just happened without me forcing it. Generally, it seems that people are interested in talking about feminism and what that means to them, and different ways it’s expressed or challenged in their lives. Sex and sexuality seem to be on people’s minds too, and that can range from sex drives to sexual assault to sexual health to sexual orientation to motherhood to porn to whatever.
What do you hope to accomplish by establishing your zine?
I really hope to create a space where Canadian women can come together, build community and have a healthy, functional forum in which to discuss some of the hard issues that we face. Canada has a lot of unique issues that really distinguish us from the States – most of the time we get so bombarded by American media that it’s hard to find space to talk about issues from another perspective. So I mainly want good girl to serve Canadian women.

At the same time, I don’t think that good girl is specific only to Canada – I think it’s just as beneficial for Americans to read perspectives other than their own, so I would like good girl to reach American readers.

What does zine making (and reading) mean to you? What do you love about zine making? What is the most challenging aspect of making zines?
For me, women making zines, or art, or anything else creative is about taking the media back – challenging the bullshit that goes on in the mainstream media, reclaiming public media space, and above all, expressing ourselves creatively. It’s about creating our own spaces where this creative expression is possible, on our own terms. Of course, since these spaces fall outside of the mainstream media, it’s hard to find certain kinds of support for them (ie, financial).

What was your first exposure to zines? How did you find out about them? What have they come to mean to you?
I didn’t know much about zines until I started reading about how magazines like BUST had started as tiny DIY projects. I started good girl because I thought print media would be a good way to reach people across space.Canada is a very big country, but we have a relatively small population, so it makes it hard to reach people in different regions.

Do you consider grrrl zines as an important part of a movement of sorts? Do you think zines can effect meaningful social and political change?
I think zines are important because they’re about people taking space back and making their own space. This reclamation of space (mental, physical, emotional, spiritual, you name it) definitely has social and political meaning, since so much of what is going on right now on a global level has to do with space being eaten up in ways that often seem beyond our control as individuals and communities. Making zines proves that we can take control of our spaces back, and that’s definitely political!

At the same time, I think that zine culture has its limitations, and I think it’s important for zine makers and readers to stay conscious about what these are. I think we need to be careful not to get stuck in our own worlds and heads, but instead keep reaching out to other people doing other stuff, pushing the boundaries, and pushing our own boundaries. good girl has been about busting down my own boundaries and encouraging others to do the same. It’s all about continuing to make connections, communicate across difference – that’s why I think a project like grrrlzines.net is so important!
What advice would you give others who want to start a zine?
Don’t be afraid to make mistakes, but also don’t forget that there are plenty of people who came before you that can help! After making a ton of my own mistakes, I’m beginning to wish I had taken more time to learn from the mistakes and successes of others. At the same time, the only way to make something happen is to just start it. It’s so easy to get wrapped up in all the reasons why something is impossible. Acting, just putting yourself and your ideas out there and doing stuff gets momentum going. It’s amazing how stuff can just start to build on its own momentum, once it starts!

Do you define yourself as a feminist?
Yes. 100%!

What are the most pressing issues you are confronted with in daily life (as a woman/feminist)?
For me the biggest thing right now is becoming aware of the contradictions within feminism and within my own feminist life. Like realizing that even if I’m fighting to end oppression for someone (like women), chances are I’m still in a position where I’m oppressing someone else. That’s the way oppression works, and the hardest thing for me has been to become aware of my own privilege. At first I found this paralyzing, and it was like I couldn’t do anything, because nothing was good or right enough. But I’m slowly learning that where the richest learning happens is through leaning into the contradictions, feeling them and learning to move around within them. Not ignoring them, but not being paralyzed by them either. This is a huge process for me, especially in my work on good girl.

Are you active in the feminist movement?
I feel like my involvement with good girl is my activism right now, and that making connections between women (which is what good girl tries to do) is really important feminist work.

What do you think about feminism today? Do you see yourself as part of Third Wave Feminism and what does it mean to you?
I do identify with the idea of Third Wave Feminism, and I think its strength is in challenging the contradictions in feminism and continuing the discussion. I think what it really means to me is that feminism does not exist only as a ‘gender’ issue. Feminism to me is about going to the hard places where sexism intersects with racism and classism and ableism and heterosexism, and all the other forms of oppression that exist in the world. Going towards these places is hard because it requires me to do what I was alking about before: really engage the contradictions, and feel them. And t doesn’t always feel good to realize the ways in which I am oppressor and oppressed simultaneously. But that’s where the work needs to happen, and I feel that Third Wave Feminism can help feminism continue to evolve to the place of being able to deal with this stuff.

The word feminism is a huge challenge in and of itself, and I think that’s another huge challenge in the so-called ‘Third Wave Feminist’ movement. There are plenty of women out there who may not identify with the word feminism, for any number of totally valid reasons. So how do you use the word feminism without alienating people? I’m struggling with that a lot in good girl.
Which role plays the Internet for you? Does it change your ideas of making zines and doing/reading zines?
The Internet is a hugely important means for communicating, especially when money is scarce. It’s really the only way to connect with people affordably, especially in huge countries like Canada or the US. I think that’s why there’s so much revolutionary stuff happening online.

At the same time, I can’t imagine the Internet taking over real books, zines etc. I could never read a book online, and I barely ever read anything off the Internet, unless I have to. I totally appreciate the work of the countless awesome online zines and projects, but I’d way rather sit down with a real magazine or book, get it all ratty and worn. That’s why good girl is a print mag, even though it’s so much less affordable.

Recognizing the importance of holding special events and festivals

Love thy neighbor and prosper
Parks & Recreation. 32.9 (Sept. 1997): p106.
Abstract:

Many communities, even very small ones, are recognizing the importance of holding special events and festivals. These promote tourism, which provides income for recreational programs and boosts economic development, and they also improve community relations.

Full Text:

Building Community Relationships is a Vital Process for Festival and Special Event Success as a part of Community Tourism Development

All across our nation, many community residents, along with recreation and park professionals, are realizing the potential of tourism as part of an economic development strategy and financial support base for recreation programs. In addition to economic benefits, the lesser recognized non-economic benefits of tourism may be key in developing support among local community residents, support which is vital to the long-term success of community tourism development. Festival and special events, events that are short-term and consequently less impactful on the physical and sociocultural environments, are among the fastest growing types of tourism attractions. Even in small towns of less than 1,000 people, it is not uncommon to see two or three major festivals held each year. Because of the proliferation and scale of some of these events, it has been suggested that festival and special events constitute one of three major categories of tourism attractions. As such, festival and special events can complement the other two major categories: ambient attractions, such as climate, scenery, culture, hospitality, and wildlife; and permanent attractions, such as theme parks, historical sites, sports facilities, convention centers, and sacred sites.

Building Community Relationships

Building community relationships is a vital process for festival and special event success as a part of community tourism development. Efforts here can occur at two distinct levels. At an intra-community level, working on building relationships within a community is crucial. At an extra-community level, building relationships with other communities in a particular region–and with other agencies and organizations outside of the region–becomes important.

There is considerable evidence supporting the importance of building and strengthening relationships within a community in order to facilitate successful festivals and special events. First, local leaders, as the “spark plugs” and the “movers and shakers,” provide the driving force for festival and special event success. They provide leadership, get other individuals actively involved in meaningful roles, and coordinate activities of different organizations and agencies. These leaders may be park and recreation professionals or volunteers in the community. Reliance on volunteers is often crucial to an event’s success. As volunteers working with volunteers, such leaders unselfishly work on key committees throughout the year, up-front and behind-the-scenes. The result of this process of overall building and strengthening relationships can be a deep and expanding ownership of a festival or special event by all members of a community.

Second, the long-term success of such events is likely to depend on the extent to which these events identify and respond not only to needs and wants of visitors, but also to those of community residents. Small festivals developed by townspeople and scaled to their tastes seem to be successful; residents need to perceive that they have control over the form and function of their community. Consequently, it is important to listen to the local people and pay attention to the real spirit of the community. To be successful with such efforts takes creativity and a strong community spirit. A broad base of community mix keeps the ownership of the event diverse, and it keeps the management team in touch with everyone’s vision for the event. Jointly developed plans, approaches, and shared goals enrich the impact of a festival or special event as an agent for community empowerment. Such cooperative and collaborative enterprises can build trust and ownership and create all kinds of meaningful relationships within a community. By developing place-rooted community themes and celebrations based on the local physical features and sociocultural characteristics, community roots, identity, and pride can also be strengthened.

Third, establishing and marketing a public image and event identity is crucial to long-term and continued success. Of key importance is developing and maintaining a close working relationship with the local media in order to generate favorable publicity at every opportunity (Rolley and Clements, 1994).. Such publicity helps create a positive image of the festival and special event in the minds of both local residents and visitors. Leadership, along with public and private partnerships, marketing strategies, and a dedicated and interested community base, will strengthen community relationships and guarantee a festival or special event’s continued success and growth.

At an extra-community level, building and strengthening relationships with other communities in a particular region becomes important, especially in terms of coordinating a variety of events and other tourism opportunities throughout that region. Communities in a region can create a tourist destination by joining together to present visitors with a package of different tourist activities, attractions, and experiences.

As an example, local leaders from several towns in the Ozark region of the southwest Missouri joined forces and worked together to develop the Festival of Lights, designed to be America’s largest outdoor lighting attraction during the Holiday Season. In each region, community groups, businesses, and government get into the festive spirit by sponsoring creative lighting displays in order to celebrate the holidays and attract visitors to the region. Once visitors arrive for the Festival of Lights, they find there are dozens of other things to see and do throughout the region during the holidays.

Another example of inter-community involvement in coordinating a variety of events for visitors can be found among 19 different villages and towns in Fulton (Il.) County (Burr, 1997). Here, the Spoon River flows southeast through a scenic valley of woodlands and farmlands, eventually emptying into the Illinois River. The Spoon River was made famous in the early 20th century by poet-author Edgar Lee Master’s Spoon River Anthology. Masters lived in Lewistown, and in his youth wandered along the banks of the river and in Oak Hill Cemetery. Later, he gathered thoughts and ideas into a written book of poems about the local residents. Today, the highways and byways in Fulton county sport the colors of four seasons and are open to visitors year-round, with routes running approximately 140 miles through a variety of picturesque rural towns such as London Mills, Avon, Farmington, Babylon, Canton, Ipava, and Vermont. Although the spoon River Valley Fall Festival is the largest special event in the area, a variety of other festivals and special events occur throughout the year in the different communities. Marketed with the theme “Spend Some Time with Nature’s Joy on the Spoon River Scenic Drive,” a marketing mix employing a variety of approaches, attracts a large number of visitors to the area. In 1996, over 120,000 people visited Fulton county over two weekends in October for the Spoon River Valley Fall Festival.

In Iowa, the Des Moines River flows from the heart of the state to the Mississippi River in the southeast. Riverboats used to steam upriver to Des Moines, passing through scenic, wooded Van Buren County and its old river towns of Bentonsport, Keosauqa, Bonaparte, and Farmington. Today, 15 different towns and villages market themselves under a unified rural tourism concept as the Villages of Van Buren, preserving a slower-paced environment in which visitors can relax and enjoy the rural small-town settings and amenities. County tourism promotional history began in 1987 with “Bike Van Buren,” an event that brought bikers from throughout the state. The success of this event demonstrated to local leaders the great potential for tourism development that lay untapped in their county. Today, tourism visitation is promoted through the theme “Explore the Villages of Van Buren–An Age Apart.” A variety of festivals, special events, and other activities attracts a great number of visitors to the Villages of Van Buren from April through December. In 1996, over 200,000 visitors toured the Villages of Van Buren. The Fall Festival attracts about 15,000 to 20,000 visitors each weekend. Other festivals held throughout the year draw about 3,000 to 5,000 visitors. Most of the visitors come from a 100- to 150-mile radius, which includes the cities of Des Moines, Iowa City and Cedar Rapids. However, more and more visitors are coming from as far away as Chicago, St. Louis, and Kansas City.

Strengthening relationships with other agencies and organizations outside of the region is also important. There are a variety of agencies, such as the USDA Forest Service, National Park Service, U.S. Soil Conservation Service, National Endowment for the Arts, state tourism bureaus and state arts councils that may be able to contribute professional expertise and financial resources to the development of festivals and special events at the local level.

Show Prospective Volunteers and Supporters the Potential Benefits

It is sometimes difficult to get a “critical mass” of local residents excited and actively involved as volunteers in a festival or special event. However, if the potential benefits can be demonstrated to residents as prospective volunteers and supporters, there can be an enormous amount of energy and good will for such projects. For the visitors, a festival or special event might be an opportunity for a leisure, social, or cultural experience beyond the everyday experience. Visitors may be attracted to the novel experiences that festivals and special events offer. Local residents may also enjoy these events that offer opportunities for a new experience. In addition, festivals and special events may offer a wide variety of other benefits to local residents.

A good financial return on invested resources is a primary benefit of festivals and special events that are staged as commercial ventures. However, the majority of festivals and special events are organized by nonprofit or governmental entities interested in producing other benefits besides revenue. Festivals and special events can stimulate economic growth and development by increasing opportunities for employment, improving local infrastructure and recreation facilities that local residents can utilize, landscaping, and conserving the culturally rich heritage of a town or region. In addition to bringing in money to the local economy, festivals and special events may benefit a community by creating a positive image of place, minimizing negative impacts, contributing to sustainable development, fostering better host-visitor relations, and helping to preserve sensitive natural, social, and cultural environments. Festivals and special events may be used to promote agricultural products, enhance community spirits by serving as an outlet for community expression and promote community pride, togetherness, awareness, and culture. Internal revenue may be generated for the festival or special event organization, or external revenue may be raised for scholarships or for a variety of nonprofit organizations. Festivals and special events can provide opportunities for recreation and socialization, along with opportunities for family togetherness, fun and entertainment for all ages.

Although the Festival of Lights was designed as an economic-development project, it also produced the added benefits of enhanced community identity, increased local pride and better regional cooperation. In the Spoon River Valley, local residents really enjoyed sharing their rich heritage with visitors, the beautiful scenery, crafts and demonstrations, antiques and quilts, historic buildings, house tours, great food, outdoor recreation, and many other sights and sounds of their county. All of this activity has instilled “pride” in the towns, villages, county, and region–pride in place, tradition and family. In Van Buren County, residents have banded together to present themselves as a unit through coordination and cooperation, and this focus on unity has been beneficial for the county. The success of the county’s festivals and special events has made residents more aware of the county’s amenities. Residents enjoy their quality of life, are proud of their heritage, and enjoy sharing it with visitors.

A Process For Facilitating Festivals and Special Events

Figure 1 on page 108 depicts a model of a conceptual process for facilitating festivals and special events. As a first step in this process, it is necessary to gain an understanding of a community’s situation. This can be accomplished by conducting an assessment of community attitudes toward festivals and special events, present and potential tourism attractions that may complement festivals and special events, human resources and visitor services, quality and capacity of the infrastructure, and nearby markets.

[Figure 1 ILLUSTRATION OMITTED]

As a second step, goals and objectives for the festival and special event must be identified and established. A festival or special event with the goal of substantial economic impact may have a very different character than one with a goal of instilling its residents withe a sinse of pride. In the third step, it is necessary to identify and involve interested residents who are supportive of tourism and tourism-related development in the form of festivals and special events. Individuals here provide initial leadership and can influence the broader populace by demonstrating the potential benefits of festivals and special events. If there is not fairly widespread interest and support for tourism development initiatives in a local area or community, there is a strong probability such efforts will not be successful. In step four, with growing support, individuals and groups must be able to share information in order to make sound judgments for decision-making. As a fifth step, there must be a sharing of ideas among interested individuals and groups, and identification of place-rooted community themes that may be developed and celebrated through festivals and special events. If tourism development is to be part of a county- or region-wide economic development plan, themes must be identified for the entire county or region. The sixth step in the process involves the actual planning, followed by the seventh step of planned actions toward festival and special event development and implementation. This is followed by the eighth step of the actual operation of a festival or special event. As a last step in the process, there should be evaluation or feedback that loops back to and continuously affects and modifies all of the previous steps in order to ensure continued success and growth of a festival or special event.

Without strong and supportive intra-community relationships between volunteer leaders, volunteers, and local residents; between volunteer leaders and recreation and park departments; between recreation and park departments and other government agencies; between special interest groups and businesses; between businesses and tourism planners and developers, process of facilitating festivals and special events may not be workable for a community. Strong community relationships provide underlying support for the process to occur and for it to thrive.

Building and strengthening relationships with other communities in a particular region can facilitate the coordination of a variety of events and other tourism opportunities for visitors throughout the region.

The Role of Parks and Recreation Professionals

Recreation and park professionals are uniquely positioned to facilitate festival and special event success as part of community tourism development. These professionals recognize their responsibility and the impact their programs have on the quality of life for local residents. Many park and recreation departments are already programming festivals and special events. In addition, park and recreation departments can do more to document both economic and noneconomic benefits for their communities resulting from festivals and special events. Visitor expenditures can position a park and recreation department as an economic asset. The park and recreation professional is in the unique position of being able to bring community constituencies together in order to build and strengthen relationships within a community.

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1890 – Urban development and today in Toronto

1890 – Urban development
Such an Unexpected Pleasure, credit:Punch Historical Archive

Canadian Pacific Railroad line though the Junction, train traffic. Source: The CPR Railway

Rail traffic data in the vicinity of

CP’s Lambton Yard and mile 5.87 of our Galt Subdivision, classified as a Principal Main Line.

The information requested is as follows:

1. Number of freight trains 0700 to 2300: 24 Number of freight trains 2300 to 0700: 9 Number of passenger trains (GO Transit*): 18 *GO Transit passenger service runs weekdays between 0700 & 0845 and then between 1630 & 1930.

2. Average number of cars per train freight: 60 Maximum cars per train freight: 160 Number of cars per train passenger: 13

3. Number of Locomotives per train: 2 (4 max) freight, 1 passenger

4. Maximum permissible speed: 50 mph (freight), 70 mph (passenger)

5. Whistle signal is prohibited approaching public grade crossings through the study area. However, the whistle may be sounded if deemed necessary by the train crew for safety reasons.

6. Considerable shunting and switching carried out in the Lampton Yard is not included in these numbers.

The information provided is based on rail traffic over the past month to May 2016. Variations of the above may exist on a day-to-day basis.

Hei

Has happened. Inorganic Market, broken, older unused electronics for safe disposal, Sat, Jan 21, 10 AM – 2 PM Annette Public Library

Inorganic Market

Co-sponsored by The Annette Library and Green 13

Sat, Jan 21, 10 AM – 2 PM
Annette Public Library, 145 Annette Street (outside)

Bring your TV’s, computers, phones… broken, older unused electronics for safe disposal via a certified Ontario vendor: ADL Process Electronics Recycling.

To view list of items accepted:  http://www.adlprocess.com/electronic-waste/
See more at Toronto Public Library event page.

The Food from Thought project

As the world’s population continues to grow, stories of food poverty and barriers to access persist. This is not because we are undergoing a food shortage. On the contrary, despite exponential rises in population over the past 25 years, production has historically always surpassed demand. The unfortunate truth is that one third of the world’s food does not find its way to the table. In the city of Vancouver alone, 80, 000 potatoes, 30,000 eggs and 70,000 cups of milk are thrown away each day. It is this level of waste, along with the severe inequality that accompanies it, that creates an increased demand which threatens both local and global food security. To meet this demand, food is often produced in varieties and quantities that are vastly different than what the world’s population needs.

The

University of Guelph has received $76.6 million from the federal government to start a “digital revolution” in food and agriculture.

The government is investing in U of G’s Food From Thought research project, which will use high-tech information systems to help produce enough food for a growing human population while sustaining the Earth’s ecosystems.

The funding, announced today by Lloyd Longfield, MP for Guelph, on behalf of Kirsty Duncan, minister of science, will come from the Canada First Research Excellence Fund (CFREF), which supports world-leading research at universities and colleges.

It’s the largest single federal research investment in U of G history.

“This will position Canada as a leader in sustainable food production,” said U of G president Franco Vaccarino, adding the project will help farmers produce more food on less land using fewer inputs.

Join RCIScience and Evan on Friday, January 20th at the First Canadian Place for a special look at factors like food waste, climate change, extreme weather events, and policy influence food security in Canada and globally.

RCIScience at Lunch with Dr. Evan Fraser @ TORONTO DOWNTOWN: FCP Gallery
Jan 20 @ 12:00 pm – 1:30 pm
RCIScience at Lunch!

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The Regent Park Mr Tory is seeking higher level government funding to complete. And why he needs to do the same for the Junction, The Junction Triangle and Parkdale.

Above, the new section of Oak St. In Regent Park.

The Junction, which is in need of major infrastructure repairs and mods, to simply keep the community livable, lacks any real attention from both the local Etobicoke and the main Toronto Councils.

Our main recreation centre opened in 1972 in need to basic repairs and and it’s design is outdated. Lacking current popular use areas that are common in other centers, such as a dance studio, and a older persons lounge, and other really needed items. However this post is simply a take note hope, that the community with rise to request, really demand the repairs and use design changes.

The money can be found, in 2012 the city invested over 160 thousand dollars in the (see this this post)Swansea Town Hall. Although changes to the Annette Recreation Centre would cost more, they are desperately needed.

This above image from the Swansea Town Hall website copyrighted by them.

New subsidized townhouses in Regent Park, that are being used to house people even when not completely finished. The red arrow points to the required front porch BBQ that is a must have for Regent Park townhomes. 🙂

The above two images show the new and old of Regent Park. The top image is of one of the more iconic buildings form the 1950’s creation of the subsidized housing. The bottom image pictures the new market rate, hipster and profession persons condos that now dominate Regent Park.

Utterly convinced Now Magazine does not want much coverage of its office move 

The new address, 
503 – 192 Spadina AvenueToronto, ON, Canada M5T 2C2

Pics of the old building coming down.

Old location at Orange circle 

Last part of the Maple Leaf Mills on Junction Rd. The railtrack. 

Intention to Designate under Part IV, Section 29 of the Ontario Heritage Act – 421 Roncesvalles Avenue  (Ward 14)

​Summary:

This report will recommend that Council state its intention to designate the property at 421 Roncesvalles Avenue.
 
This report will be made available prior to the Toronto Preservation Board Meeting scheduled for January 26, 2017.

Background Information:

(January 12, 2017) Report from the Chief Planner and Executive Director, City Planning Division – Intention to Designate under Part IV, Section 29 of the Ontario Heritage Act – 421 Roncesvalles Avenue – Notice of Pending Report

  1. (http://www.toronto.ca/legdocs/mmis/2017/pb/bgrd/backgroundfile-99877.pdf)

​Licensing and Standards Committee requested the Executive Director, Municipal Licensing and Standards to:
To include, 

Include holistics and body rub parlors in her forthcoming report on the review and modernization of Chapter 545, Licensing.

A 2014 view of the Junction gentrification by Leslie Kern

All text Leslie Kern Department of Geography and Environment, Mount Allison University

Selected parts of the text.

The Junction: environmental gentrification in progress In the Junction, the particular pathway from derelict to hip is both familiar and unique, and not quite as simple as ‘industry—pollution—disinvestment—cleanup—reinvestment— gentrification—displacement’.

It is important to start the story before the industrial stage. Located at the intersection of traditional First Nations trails (including the major Carrying Place Trail along the Humber River), the Village of West Toronto Junction, founded in 1884, and its railroad-based industry were made possible by the original dislocation and dispossession of the Six Nations of the Grand River, the Mississaugas of the New Credit First Nation, and the Five Nations Iroquois (Nagam, 2009). The railroad enabled the growth of Toronto’s stockyards in the area (begetting the city’s nickname—Hogtown) and served major factories such as the Heintzman Piano Company and the Canadian Cycle and Motor Company.

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