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Residents close to bus crash site say too many collisions happen outside their homes

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Residents alongside the site of Monday’s Hwy. 401 bus crash differ as to what they believe causes the collisions outside their doors and what can prevent them, but many agree on this: there are simply far too many of them.

“It’s very frequent,” says Angie Chapman, whose house on Concession 2 Road, near Blue Church Road outside Prescott, is just a stone’s throw from Monday’s crash site. “There was one last Thursday night with a transport truck and a motorcycle. Two weeks ago we had two other accidents as well, both involving transports.”

Chapman estimates there’s a collision every couple of weeks in the 11-kilometre stretch between Prescott and Maitland.

“And most of it is because of distracted drivers. I travel the highway everyday for work, and following behind transports or passenger vehicles, people are all over the road, weaving back and forth – you see them on their cell phones. You see truckers looking down at their lap.”

Chapman’s next-door neighbor, Stephan Gravel, says “there’s been nothing but crashes here. This is the third one that I could literally see, just in the last month.”

The stretch of highway outside their homes is straight, says Gravel, so he’s at a loss to explain all the mishaps. Ongoing construction just east of Monday’s crash site, which has reduced westbound traffic to a single lane, may be a factor, he concedes, while transport trucks that have their maximum speeds governed may also play a part.

“When a truck goes to pass another, it may take a kilometre to get by, and everybody behind them is in a hurry after that, and that’s where the problems arise. As soon as that truck cuts back in, everybody’s hammering down.”

Additionally, he says, the site of Monday’s crash is only a handful of kilometres west of where Hwy. 416 meets the 401. “So you have the Montreal traffic and the Ottawa traffic joining in there, so this stretch would be a little heavier for a little while, until they all separate again.

“But widening the highway,” he adds, “just makes no sense. Everybody’s just going to go quicker. Sometimes I sit out here and have a coffee and watch, and there’s just people flying by here — they’ve got to be doing a buck-forty, and that’s not exaggerating.”

Most of the mishaps, Gravel says, have involved transport trucks. Another neighbor, Zach, who asked that his surname not be used because of his position as a driver in the transport industry, said there are possible causes beyond simply the governed speeds of transports frustrating other drivers.

“It’s a very long, very boring stretch, and highway hypnosis is a distinct possibility, where it’s harder to remember the last few miles and the only way out of it is for something to happen, and your reaction time is greatly stunted.”

And while he says that Ontario leads the way in trucking regulations in Canada, including the Mandatory Entry-Level Training (MELT) program introduced last year, further steps could be implemented to make the industry safer, including reducing pressure on drivers from their employers to complete routes as quickly as possible.

“You’re starting to see that with larger, more forward-thinking companies, but it has to happen faster.”

Unlike his neighbours, though, Zach says widening the highway with a cars-only HOV lane, similar to those on Hwy. 417 in Ottawa, might help. “That way, people who want to speed and get away from everyone can stay away from the transports.”

bdeachman@postmedia.com


Ottawa's symphony orchestra steps into the future with a 3D printing contest

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It is fitting that the Ottawa Symphony Orchestra will open its new season on Nov. 4 at the Canadian Aviation and Space Museum. For while the late-afternoon concert will open with a mainstay from the golden age of classical music — Johann Sebastian Bach’s The Art of the Fugue — it will close with an uncertain yet bold leap into the future.

A new work written by Montreal/New York composer Harry Stafylakis, whose music has been described as “an amalgamation of the classical music tradition and the soul and grime of heavy metal,” will end the concert, which will feature eight stringed instruments created through 3D-printing.

The show will also feature a short performance written for the winner of the orchestra’s National 3D Printed Musical Instrument Challenge, which encourages participants to improve or design ergonomically-optimized instruments to help address the numerous performance-related injuries suffered by musicians.

University of Ottawa biomedical PhD student Robert Hunter is one of three finalists in the competition. His combined interests in biomechanics, 3D computer-aided design and music led him to come up with a new clarinet and arm brace that redistributes the instrument’s weight to larger muscle groups. Existing clarinets put most of their weight on the performer’s thumb.

Hunter played clarinet throughout high school, and notes he often felt pain along the thumb and wrist of his right hand, the one supporting the clarinet. When he read of OSO’s competition, he immediately thought of improving the clarinet’s design.

“That’s one of the things we teach in class,” he says. “A problem from personal pain is always a good project.”

“A problem from personal pain is always a good project.”

The other finalists in the 3D challenge are Winnipeg’s Jared Kozub, whose design of a titanium ocarina — a hand-held wind instrument traditionally made of clay or ceramic — features a pitch-shifting mechanism and improved ergonomics; and Victor Martinez, a Richmond, B.C. designer whose electric violin design includes a chin-and-shoulder-rest system that bends and adapts to the shape, posture and playing style of the performer.

Related

University of Ottawa PhD student Rob Hunter with the first iteration of his 3D-printed clarinet and brace. On the table beside him is a 3D printer.

The winner will be announced Thursday at OSO’s open house at Dominion-Chalmers United Church.

The challenge and the stringed instruments are part of OSO’s 3D String Theory project, which, funded through a grant from Canada Council for the Arts, aims to incorporate emerging technologies in what many view as a staid, unchanging genre.

“At the symphony, we play beautiful repertoire, and the classics for a very large orchestra, like the Strauss and Mahler symphonies,” says OSO’s musical director and conductor, Alain Trudel. “We have a special mission, but I want to extend that mission to also think outside of the box, to projects that we could do that bring us to other places in town.

“Orchestras all over the world have been seen as somewhat of a museum,” he adds, “where you hear music by composers who have been dead for 200 or 300 years, like Beethoven or Mozart. I love those composers — Beethoven is one of my all-time favourites — but one of the things that was so exciting about Beethoven or Berlioz or Mahler was their sheer innovation. People would come and say ‘What are they going to do now?’ And they would listen and say ‘Oh, my God, Beethoven did this?’”

Trudel cites Beethoven’s third symphony, Eroica, as an example, noting it is about twice as long as were its contemporary counterparts; does not adhere to the strict four-movement construction; and incorporates instruments that were little-used at the time, such as trombone, contrabassoon and piccolo.

“That was really thinking outside the box, although for us, now, it seems standard.

“So I really want to motivate the creation of art in a way that’s as exciting. It’s not only to reproduce what is great and what has proven to be the classics, but also to initiate some new and sometimes completely off-the-wall projects.”

In keeping with that sentiment, OSO’s season opener includes a Frank Zappa piece, Naval Aviation in Art, which Trudel says isn’t even the show’s most offbeat composition, that nod going to Le Chaos, by 18th century baroque composer Jean-Féry Rebel. “He makes Zappa seem like pop music,” says Trudel.

“People might say you’re taking a chance,” he adds of OSO’s inclusion of 3D instruments, “but I don’t think so. Taking a chance is not doing anything. The status quo is putting classical music in trouble sometimes. For me, it’s about the art and it’s about motivating people to try something, so when people come to see this concert, it’s an event. They’ll be, ‘Oh, wow, what are they going to do? What’s going to happen?’”

But it is a gamble. For while additive manufacturing — the industry’s umbrella term for 3D printing and similar processes — traces its roots back to the 1980s, using that technology to craft fine musical instruments is still in its infancy. And although materials used for printing — now typically plastics, metals and polymers — are constantly being developed and improved upon, none so far matches the resonance and tone of wood.

“I think there’s probably nothing better than wood in certain areas,” admits Frank Defalco, manager of Canada Makes, a national network of private, public, academic and non-profit groups dedicated to promoting additive manufacturing in Canada. “Whether there are materials that can get close to the levels of wood, I’m sure they’re getting close with polymers.”

He’s convinced, though, that the day will come when a 3D-printed violin, for example, will be able to compete with a wooden one. “For sure,” he says. “It’s just a matter of getting the right material with the right design. And there are a lot of people looking at it, people who are both engineers and musicians.”

Defalco says that 3D printing offers the music world significant potential advantages. Designs can be easily customized and changed without a great increase in cost — machines needn’t be retooled, for example. Additionally, 3D printing lends itself to manufacturing items of which small quantities are required, which is why the medical and aerospace industries have been early and avid adoptees of the technology. (That said, 3D printers are still too slow for mass production; the prototype violin made for OSO took 60 hours to print.)

Defalco points to hip-replacement surgery as a comparative example. “Instead of making just small, medium and large, you can make it exactly the size a person needs. In the same way, a larger person could have a violin made that’s slightly larger.”

Costs are also generally lower and accessibility improved. UPS in the United States has offered customers 3D printing since 2016, while FedEx announced similar services earlier this year. Instead of shipping a widget across the continent or around the world, customers can simply email the design and have it made in the destination city.

“What we may see is a 7-Eleven having a 3D printer where you send your file and they print your part, and you go pick it up,” Defalco says.

That latter advantage is one that excites OSO concertmaster Mary-Elizabeth Brown. She already teaches violin to students on five continents each week, via Skype, in such distant locations as Sweden, Japan and Tanzania. “I have first-hand experience trying to help a young person in the Arctic Circle get her hands on a violin,” she says, “and that’s a little bit of a challenge. But if there’s a 3D printer in that community, maybe her parents wouldn’t have to spend several thousand dollars to fly a violin in.”

The eight instruments being printed for November’s concert include four violins, two violas and two that resemble a viola da spalla — a small cello played like a violin. Brown has already played the first violin iteration, which she found had a reduced palette compared to her 18th century Italian violin.

“It was a different kind of soul. I felt I was going to need to search and maybe change what I do a little bit.

“It takes a while to get to know an instrument,” she adds, noting that it took three or four years on her current violin “to figure out how to ask it nicely to do what I wanted it to do.”

On her traditional violin, she says, she can sonically create any colour of the rainbow. On the first prototype of the 3D-printed one, she can make some bright primary colours. “And probably some purples and greens and oranges if I work at it, but I only had it in my hands for five or 10 minutes.

“I got the sense that if I spent some time with it, I might not be able to make it make the sounds that my Italian instrument makes, but that I would be able to find a wide range of colours, and I would be able to find something in there that would allow me to be expressive.”

And indeed, further iterations will improve the instruments’ tonal qualities. According to Trudel, the first violin, designed, assembled and finished by Ottawa violin maker Charline Dequincey, with the help of digital designer Laurent Lacombe, was constructed thicker than was ultimately necessary, out of a concern that the tension of the high-E string might break the instrument’s neck.

“The first one was a bit on the safe side, it was thicker and doesn’t resonate as much. But we were surprised that it’s very much in tune and it plays well. So we’re fine-tuning the instrument — no pun intended — to see what kind of sound we can optimize.”

Brown notes that OSO is at the cutting edge of 3D musical technology. “The classical music industry, and the music industry in general, is hurtling into unknown territory really fast. I’ve talked about classical music being a living museum, and that’s really important for us to do. But at the same time, we live in this time when technology is advancing so quickly, and I think it’s so important for us to find a way for the two to coexist in a healthy way, with the outcome being more access to great music.”

Visit ottawasymphony.com for more information.

bdeachman@postmedia.ca

What is 3D printing?

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Also known as additive manufacturing, 3D printing is a process by which a three-dimensional product is made via a plotter that moves along x, y and z axes, adding material — commonly any number of plastics, polymers or metals — as it builds layer upon layer.

The process dates back to the early 1980s, and ongoing developments have added greatly to the types of material that can be used and the speed of the printers, although the latter are largely still too slow for mass production. Because designs can be easily changed without retooling a machine, 3D printing has become a favoured technology of industries where small numbers of specialized items are required, including medical and aerospace applications. In recent years, additive manufacturing has been used to print food, clothing and even houses.

bdeachman@postmedia.com

Meet the finalists in the Ottawa Symphony Orchestra's 3D printing contest

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The finalists
Three finalists were recently announced in the Ottawa Symphony Orchestra’s National 3D Printed Musical Instrument Challenge. The winner will receive the $35,000 KUN Prize, which includes a fabrication and fitting budget, a performance of the instrument by the Ottawa Symphony Orchestra, and $5,000 cash. The winner will be announced at OSO’s open house Thursday at Dominion-Chalmers United Church.

University of Ottawa PhD student Rob Hunter with the first iteration of his 3D-printed clarinet and brace. On the table beside him is a 3D printer.

Rob Hunter
Twenty-six year-old Rob Hunter took up piano at the age of six, and clarinet when he entered high school. “Everyone wanted to play sax or one of the cooler instruments,” he recalls, “but my music teacher said ‘It’d be really great if someone picked clarinet, please.’” Hunter obliged.

He practised and played a lot, and frequently suffered pain in the tendons of his thumb and wrist. “The thumb rest on a normal clarinet is like a one-centimetre-squared outcropping of metal,” he says. “It’s got a little bit of cork on it to make it softer than metal, but it’s still not very comfortable. And the structures in the thumb and wrist didn’t evolve to be load-bearing over long periods — it’s not at all natural.”

A PhD student at University of Ottawa in biomedical engineering, he thought his backgrounds in music, biomechanics and 3D mechanical design were perfectly matched for OSO’s challenge.

The final iteration of his 3D-printed clarinet, made from polyvinyl chloride (PVC) and polylactic acid (PLA), is narrower and lighter than a traditional one, and includes an arm brace that supports almost all of the instrument’s weight. Hunter also adjusted the position of some of the instrument’s tone holes to make them easier to reach without affecting the sound. His clarinet, which uses a traditional mouthpiece, also has no bell at the bottom — instead, two holes balance the instrument’s timbre and tone.

A metal ocarina designed by Winnipeg’s Jared Kozub (inset). His design includes a mechanism allowing users to change the instrument’s pitch.

Jared Kozub
For the past three years, mechanical engineer Jared Kozub has been working at the Orthopaedic Innovation Centre in Winnipeg, primarily in metal 3D printing. The centre is the only such place in Canada, he says, that is certified for medical implants using metal additive manufacturing. He also works in the aerospace industry, making parts for, among other things, satellites.

Having only heard about OSO’s competition a week before the deadline, he decided he didn’t have enough time to do something with a guitar, which he plays, and turned his attentions instead to the ocarina, a handheld wind instrument typically made of clay or ceramic.

Inspired by the Legend of Zelda video game, in which the instrument appears, Kozub bought an ocarina three years ago, and had obsessed over the mathematics involved, wondering if he could make one himself.

His 3D-printed titanium version features an innovative spiral mechanism by which the instrument’s pitch can be altered slightly more than a half-tone, allowing musicians more creative and expressive freedom. It also has as torch- or flame-like design, and tone holes positioned so that the user’s wrists, elbows and arms can be in a more comfortable position than enjoyed by current ocarinists. He also added a lanyard, or neck harness, to help support the instrument.

“In my spare time, I really like playing music,” he says. “And lately I’ve been getting into trying to compose my own, and I thought this would be a cool thing to do. Typically my designs are very mechanical in nature, and this more marries my skills in designing things in metal with more of an artistic flair.”

He says he’s also excited by the prospect of having a piece of music especially composed for his ocarina. “To hear a professional musician play what came out of my head, that would be amazing.”

Victor Martinez (inset) has designed a violin chin-and-shoulder-rest system that changes its shape based on the pressure on it. (Photo courtesy of Victor Martinez)

Victor Martinez
Victor Martinez has criss-crossed the globe for design. After studying industrial design in university in Mexico, he left his home country for Italy, where he earned his master’s degree and then designed the interiors of Fiat, Alfa Romeo and Audi automobiles for three years before returning to Mexico to start his own design consultancy firm. When contracts stopped flowing due to the 2008 financial crisis, Martinez, now 44, directed his attentions to research and academics. In 2011, he moved to the U.K. to earn a PhD in sustainable design from Northumbria University, and three years later reached Canada, where he currently teaches product design at the Wilson School of Design at Kwantlen Polytechnic University in Richmond, B.C.

He remains impassioned by cars — he’s currently working on designs for a 3D-printed one — but 20 years ago, he heard Antonio Vivaldi’s Siciliano and fell in love with classical music.

“I love the expression you can get, especially with violin,” he says. “It has such a strong and powerful way of communicating feelings. With that piece of music, you can just start crying and start feeling everything possibly imaginable. You can feel the most powerful things just by listening to these instruments. It’s indescribable.”

So when he read about OSO’s 3D instrument challenge, he felt he had to participate, and the violin’s chin and shoulder rests, the most common area for problems among violinists, seemed the place that most needed improvement.

“They’re not very ergonomic,” he says. “Just one piece of rigid material — metal or plastic or wood — that is not easy to adapt, so it’s the musician who has to adapt to the object.”

His design, made of flexible PLA plastic, features cylinders and levers that allow the opposite: the rests move and fold and adapt to each player’s form. “The instrument adapts to you,” he says, “so there’s a more comfortable fit.”

Visit ottawasymphony.com for more information.

bdeachman@postmedia.com

Spotlight: Choreographer Anik Bouvrette talks about turning 'ideas into movement'

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Spotlight is a weekly look at some of the people who are part of the Ottawa area’s arts community. This week, Bruce Deachman talks with choreographer and Tara Luz Danse artistic director and founder, Anik Bouvrette. Visit taraluzdanse.ca for more information.

“When I create now, the pieces are about imagination and creativity, and the audience has to make associations with what they see — their own personal associations. So when you come and see a show, you’re not going to be a passive audience member. Dance has no words, so it’s not black and white — it’s very grey — because you can interpret it in so many ways.

“I think that’s why many people are uncomfortable with contemporary dance, because they think there’s only one answer. I think adults are generally scared of contemporary art because they don’t like to be wrong and they don’t know what it’s about. But that’s OK. Sometimes we have to put more thought into it, and sometimes we don’t have to think at all. You just have to feel it, and you have to let yourself feel it. With contemporary art, you’re not always going to get it in the first five seconds, like so many other things in our lives. You have to invest yourself. You have to sit down and relax. You have to be an active audience member.

“I grew up in Orléans, and when I was around 13 I wanted to take a dance class. And all I knew then was what was being taught at competitive dance schools — contemporary dance was not being taught at competitive dance schools. So I started off in ballet jazz, but the timing was perfect, because the year after, De La Salle high school was opening its arts program, like Canterbury was doing. So I auditioned for both the dance and theatre programs, and decided to continue in dance. And what was being offered at the time at De La Salle was contemporary dance, and so I did that from Grade 9 to 13.

“I would take the bus all the way from Orleans every day — it was OC Transpo on St. Joseph Boulevard; it took so long.

“It was wonderful as a teenager to be immersed in an art form in such a deep and serious way, and dancing every day and creating pieces. For me, high school was amazing. I would dance for a couple of hours every day, but the cohort I was in, we were so passionate about it, we’d stay after school and rehearse, we went to dance performances and the National Arts Centre — my life as a teenager was all about dance.

“I didn’t really know about contemporary dance before then, but I think if I had I would have been drawn to it, because it’s so expressive and open, and inclusive to all body types — I couldn’t have pursued a career in classical ballet; I just don’t have the body for it.

“But I knew, going through De La Salle, that I was more of a choreographer than a dancer, and that got me very inspired and stimulated. I was 14 and 15 years old and seeing shows from companies in Europe that were being presented at the NAC, shows that were very much out of the box. And we would have guest artists come to De La Salle. And all of this spoke to me. I often found myself looking at how the choreographer was thinking about his work and putting us in his space — I was really interested in the choices the choreographer was making. So we’d be in rehearsal and I’d be a dancer in the piece, but I would find myself being more interested in the choreographic process than actually dancing on stage.

“I’d also created a few pieces when I was at De La Salle, and the response that I got from my teachers and audience members, I got a lot of feedback that this was a strength for me. So I’ve been doing that for 30 years now.

“When I started training and learning the movement in contemporary dance, it’s like I had a TV screen in my brain. I would close my eyes and I’d see movement and sequences that, in the studio, I would just let come out. It would be like I’m sitting in the theatre and looking at the stage. And it’s not that it was clear, but it was clear enough that I could go back in the studio and just work on movement or on an image of, you know, a dancer coming out with a large piece of material flowing around. I would keep seeing quite a few things. I can’t control it. I think the creative process is something very magical, and I keep thinking that — and I know this will sound a bit bizarre — not that I was chosen for this, but that I was born with this. I was born with this aptitude to be able to transpose ideas into movement. I really believe that, and I believe that everyone has a talent for something, and some of us are really lucky to find it, and others not.

“I’ve had a lot of adults come to me, saying ‘I didn’t understand what your piece was about, but I saw this, this, this and this.’ And I’ll say to them, ‘Well, your this, this, this and this is in fact a great interpretation of my work.’ Because there are lots of interpretations. And sometimes you just need it to wash over you; it’s in the moment, and then it’s gone.”

bdeachman@postmedia.com

Meet the father of 911 in Ottawa

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The 911 emergency call service has been around so long that it’s difficult to remember a time when it wasn’t. But Dr. Justin Maloney certainly can — he was one of its first proponents in Ottawa, and, with a handful of others, fought for years to get it here.

Maloney was, and still is, an emergency doctor at The Ottawa Hospital — then the General — in the early 1980s. He was interested in improving Ottawa’s pre-hospital care, which he says wasn’t good then compared to other North American and European cities. His goal was to see a full paramedic program created in Ottawa, but he recognized that you couldn’t start one without a foundation that included quick access to the system. “If someone’s in cardiac arrest or serious illness for a long time before an ambulance arrives, even the best paramedics or cardiac surgeons aren’t going to save their life.”

He recalls an Easter dinner in 1984 with his brother, Mark, then a political aspirant. “I was grousing about this, and he said, ‘Why don’t you do something about it?’ And I turned to him and said, ‘I’m a doctor, for God’s sake; I don’t know (anything) about this. Why don’t YOU do something about it? You want to run for politics.’”

911 turns 30 in Ottawa: From Parliament Hill shooting to OC Transpo crash, operators have heard it all

Within a week, Maloney was summoned to the hospital’s board room, where he was asked to give an impromptu talk about the issue to a roomful of politicos and other influential Ottawans his brother had assembled.

That got the ball rolling, and the Maloney brothers, along with current Canadian War Museum and Canadian Museum of History CEO Mark O’Neill — then a 21-year-old Carleton University political science student — and retired actress and radio host Geri Migicovsky, formed the group Action 911 — and later Action Paramedic.

One of their biggest difficulties was getting people to understand that there was even a problem that needed solving. “I did a survey at the Ottawa General one week, asking people ‘If you had to call for an emergency right now, would you know what number to call?’ and fewer than five per cent of people knew who to call.”

The group faced numerous obstacles, from pre-amalgamation duplicate addresses to pushback from area politicians. “Regional chair Andy Haydon wanted to approach Bell Canada about putting a red button on phones that would be an emergency button. But everybody else in the world had 911 and we didn’t, and this just wasn’t going to fly very far.”

Eventually, not only did the 911 service pave the way for a paramedic program, Maloney says, it also led to an expansion of public CPR programs and defibrillators, the latter initially in the region’s 44 fire stations, and now in other public places including recreation centres.

“It was important then to build us up to the modern city that we are and have evolved into,” says Maloney. “It was important then, and it’s important now.”

bdeachman@postmedia.com

911 turns 30 in Ottawa: From Parliament Hill shooting to OC Transpo crash, operators have heard it all

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The caller’s voice sounded muffled over the phone.

Did he have something tied over his mouth? Was he the victim of a robbery?

From her desk inside the 911 emergency call centre at the Elgin Street police station, Carole Lachance could tell the call had come through the switchboard of the Governor General’s residence. Beyond that, she couldn’t identify the man’s location.

She kept him on the line for 30 minutes, though, devising a crude communication system — one “Mmm” for yes, two for no — through which she pried information from him about his circumstances and whereabouts. Police and other responders were dispatched and the RCMP were notified.

The caller, it turned out, was the husband of one of the Governor General’s staffers, who, owing to a recent surgery, had his jaw wired shut. He was bleeding profusely, however, forcing him to continually swallow his own blood so he wouldn’t drown in it.

“When they finally found him,” Lachance recalled, “they got him to the hospital, but I never found out…”

Her recollection of the years-old 911 call is abruptly interrupted as a green light above her desk lights up, indicating an incoming call. Whenever that happens, she has three seconds to answer it. For now, the interview is on hold.

Hundreds of thousands of stories filter their way each year through this large, dimly lit room.

Some are small, almost-inconsequential blips that are forgotten as soon as they play out. Others are higher dramas, involving accidents, misfortune, bad decisions, crimes of greed, guile and passion, mental health issues, medical emergencies and hot-headed breakdowns in civility.

More often than not, the people telling the stories are not having their best days.

Regardless of the outcomes — whether the thief is caught, the stroke victim lives, the drowning woman is rescued, the fire is contained or spreads — the stories often begin with the same six words.

“911 emergency. Fire, police or paramedics?”

On Friday, Ottawa’s 911 service celebrates its 30th anniversary. Carole Lachance is one of five of the centre’s more than 100 employees who have been there since Day 1.

The service, says Dr. Justin Maloney, who was an emergency doctor at The Ottawa Hospital in the early 1980s when he began lobbying for it, was the first step in improving pre-hospital care in Ottawa, and ultimately led to Ottawa’s paramedic services and, eventually, the practice of having defibrillators in public places.

A woman is attended to by paramedics wearing body armour as police respond to the Parliament Hill shooting in 2014. The attack caused a 15-minute surge in calls to the city’s 911 call centre.

Ottawa’s first 911 call came in around 1:30 p.m. on June 22, 1988, shortly before the centre officially opened. But operators were, as they say, standing by, a good thing for Nepean’s Jean Paul Rochon, whose chainsaw had slipped and cut into his arm. An ambulance was dispatched.

Since then, an estimated 7.5 million 911 calls, and even more regular calls, have gone through the centre, which is owned by the city but operated by police. Last year, there were slightly more than a quarter-million 911 calls made in Ottawa — just over 700 each day. Over half of the 911 calls were for police, over a third were for paramedics, and 3.5 per cent for fire. A further six per cent were directed to other services, such as OPP, RCMP and Quebec’s 911.

According to Insp. Jim Elves, who heads the OPS communications centre, the calls are for anything and everything. “They reflect society, really.”

“It’s all natural, and it’s what you would expect. It’s wherever people converge,” he adds. “When are people off work? When is there more chance of stuff happening? So it’s probably in the evenings, probably on weekends. That’s not to say the bad things don’t happen at any time, but on average, I think it’s when more people are just naturally out and about, together.”

So rush-hour tends to be a busy time for 911 calls, and downtown busier during the day than the suburbs. And the summer more than the winter, when people are hot, when they’re close to one another, when their patience is short.

“From May until pretty much the end of October, every Wednesday, Thursday, Friday and Saturday night is going to be busy, because of the (ByWard) Market. It’s going to be flooded.”

There’s also no telling what events will trigger the most calls. The October 2014 National War Memorial-Parliament Hill shootings caused a surge of 911 calls that lasted about 15 minutes. A random accident on the Queensway, meanwhile, might generate far more calls, as passersby, unaware that others have already called, respond.

ALSOMeet the father of 911 in Ottawa

Lachance faces five monitors as she takes calls. One shows a large map of the city and where all the active police officers are. Another shows all emergency calls queued up for action. Priority 1 and 2 calls, where someone is hurt or at risk of injury, are in red. Priority 3 calls are in orange. Priority 4 calls are in yellow. Others are green. The priority dictates the response time.

The information Lachance types in from callers is acted on by dispatch operators, who are also aided by operators taking internal calls from officers. Elves describes the operation as “unbelievably organized and choreographed.

“It’s easy to say, ‘That’s their job and that’s what they do,’ but given the stress and the trauma that comes with some of the calls … it’s amazing how they are able to categorize and organize everything — get the maps up to help the officers respond and know where to go, and keep the communication going.

“As a police officer, without them, we couldn’t do our job out there on the street, because we don’t have that eye in the sky — somebody telling us you need to go here and do this, because this is what we know.”

911 call centre operator Carole Lachance worked for almost 24 hours straight during the 2003 blackout.

The stream of calls on a recent weekday afternoon is steady. Some qualify as bona fide emergencies, while others are referred to the regular police number.

An alarm company calls to notify police that one of its properties appears to have an intruder. A woman calls to ask if her son, who was picked up on an outstanding warrant, is being detained. Another woman, eating at a restaurant, shares her concern for a young girl — likely the child of the owners, she says — being “roughly” treated in the kitchen. A man’s wallet and phone are stolen from his car. A woman calls to report what she believes is a drunk driver on Carling Avenue. Periodically, cars collide, thankfully without injuries. A man in his 30s, perhaps enjoying the dulling effects of alcohol too much, is barely fazed by the commercial garage door under which he found himself pinned and from which it took four grown men to extricate him. Someone’s grandmother falls, another’s sister is experiencing pains. A seniors’ home needs an ambulance. A man is trying to cash a stolen cheque. Another burglar alarm goes off.

These are the quotidian calls that reflect the city’s everyday stress. But there are those occasional calls, Lachance says, like the one from the Governor General’s residence, that refuse to go away when the shift ends.

“They don’t haunt me, but they stick with me. I had a lady die on me. One minute you’re talking to them, and then there’s nothing. Then you hear the officer kicking the door in, and they’re telling me that she didn’t make it.

“The calls that stick with you, it’s hit-and-miss and you never know why. There was this one call in the late ‘90s, a crib death. … I was just finishing my late shift and this woman called, and I could not describe the scream. And to this day when I think about it, the hair on the back of my neck …”

The green light goes on again. Another call is coming in.

Carole Lachance has been taking calls at the city’s 911 call centre since the day it began operating 30 years ago.

Lachance says that with each call, operators must brace themselves for the worst and, with luck, dial it back from there. You err on the side of caution, especially when callers may sound more frantic than their situation warrants.

“You have to have hair on your chest,” Lachance says of 911 call-takers. “You have to be strong enough to control a conversation. If someone is screaming and yelling, you may have to scream and yell back, to be a little louder than them. Not always, but sometimes. Other times you just have to sit, and then say, ‘OK, are you ready?’

“And you have to let a lot of stuff roll off your back. I’ve had people go up one side of me and down the other on the phone, and you just have to take it.”

It also requires a professional dedication. Lachance wasn’t at work when the Hill shooting occurred, but went in anyway. She worked almost 24 hours straight during the 2003 blackout, and recalls being the only car on the Queensway when she drove to work at 5:30 a.m. on the morning following the 1998 ice storm.

“If something big is happening, you don’t just leave because your shift is over,” she says.

The job also requires enormous patience, great organization skills and the ability to listen to different things at once — phone calls, radio chatter and whatever else is going on in the room. It’s also a job that’s gotten much busier as Ottawa has grown.

“I remember a time when Ottawa used to roll up at 11 o’clock at night and everything was quiet overnight until rush hour started at 6:30 a.m. Now, we go all night. There’s never a moment to stop …”

The green light comes on.

“911 emergency. Fire, police or paramedics?” Lachance asks.

“Someone’s been bitten by a dog?”

bdeachman@postmedia.com

 

Veteran, 86, criticizes treatment at Ottawa Hospital Civic campus

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An 86-year-old Royal Canadian Dragoons veteran is deriding the treatment he received at the emergency department of The Ottawa Hospital’s Civic campus this week.

Retired Maj. Peter Jarvis claims he repeatedly requested blankets to keep him warm while waiting close to six hours for treatment for what was apparently a severe case of food poisoning.

He says the treatment he experienced was simply unacceptable.

“This hospital needs to smarten up, astronomically, in terms of service to its clientele. The staff there were rude, vindictive and neglectful.”

A Vancouver resident, Jarvis was in town last weekend for a regimental reunion, and stayed over in Ottawa for other business when, on Wednesday night, he ate a burger that simultaneously went south and north. Unable to sleep afterward and having twice thrown up, he called for an ambulance to take him from the Radisson Hotel on Queen Street, where he was staying, to the hospital. Along the way, Jarvis says, paramedics inserted an IV needle in his right arm, applied EKG patches to his chest and, as he was wearing only a thin shirt and boxers, supplied him a blanket.

His version of what transpired at the hospital is as follows.

He says he was put in a wheelchair and his personal information taken. He says he informed hospital personnel that, as well as the suspected food poisoning, he suffered chronic obstructive pulmonary disease, bilateral edema and was bipolar, and that he didn’t have his meds with him.

After about an hour, he says, unattended in a hallway, still suffering cramps and chilled to his bones, he crawled into an empty bed he had spied in an unoccupied cubicle. He was still freezing, however, and so called out for more blankets on four or five occasions over the next three or four hours — whenever he noticed someone pass by.

His calls, he claims, went unheeded beyond the occasional muttering, causing him more distress. “Eventually, I was so angry — being bipolar, I’m prone to anger when frustrated in my needs — so I started yelling, ‘Help! Help! Help!’ It seemed like the only sensible thing to do.”

That was around 4 a.m., prompting an attendant — possibly a nurse — to come and tell him to be quiet or he’d be thrown out. He says he replied that he wouldn’t be quiet until he got some blankets and some treatment, and that he’d be better off in a warm hotel than “sitting here interminably, waiting for treatment and a blanket.” The brinksmanship ended, he claims, when a pair of security guards escorted him outside, where a taxi was summoned to return him to his hotel.

Once there, he again threw up, and, at just after 5 a.m., called the police to lodge a complaint. Paramedics were again summoned, this time to remove the intravenous needle and EKG patches he was still sporting. He was told his blood pressure was low, and that perhaps he should go to the hospital. He declined, and paramedics stayed until his blood pressure stabilized.

When contacted Friday, hospital officials said, “The safety of our patients and staff is a top priority at The Ottawa Hospital.

“While we cannot speak to specific cases due to patient confidentiality, our patient advocacy department, whose mandate it is to address concerns and work with patients, families and providers is always available to our patients.”

Jarvis remains frustrated and says he wanted to go public to ensure no one else has a similar experience to his own.

“This was abuse of the mentally ill,” he says. “There was no mention of looking after my drugs. I was put in a wheelchair and abandoned.

“There’s something wrong with their method of dealing with any patient, let alone a patient who is 86 years old and a veteran. I’m not claiming special privileges as a veteran for myself, but I feel very strongly that all veterans need something more than the statement, ‘Thank you for your service.’ “


Songs in the key of 'O': Musician Paul Weber finds muse in history of Ottawa

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Spotlight is a weekly look at some of the people who are part of the Ottawa area’s arts community. This week, Bruce Deachman talks with singer/songwriter/musician Paul Weber. Visit paulweber.ca for more information.

“I came to Ottawa when I was 12 or 13. Moved around a lot before that. It took me a long time to kind of own this town and feel like this was where I came from, but now I have that feeling.

“I’ve been playing music for about 45 years, but about a year ago I wrote a song and thought, ‘The world-music band I’m playing in, The Main Street Market Band, can’t play this song; this is a solo song, kind of a country/folk song.’ So I started playing it for people, and it felt good; it felt like the right song for me at the time. And it was the first time that I’d written something about my own community, my own neighbourhood.

“It was a song about the Great Fire of 1870, and it really clicked for me, writing a historical song like that. And I thought I’d write some more like that, and they just popped out. The next one was about the building of the Rideau Canal, and I realized that I’ve read about this canal — I’ve walked by it every day — and it’s got these stories that are amazing. It took them two days in 1826 to get from Entrance Bay to Dow’s Lake — just surveying the land — because it was a swamp.

And I made a decision early on that I wanted to write songs about Ottawa and the Ottawa Valley, whether they were historical or current day, whether they were old history — the old stories — or whether they were songs about a bouncer at the Chaudière — more recent kind of folklore.

“I found that writing about my own community was something I could connect to. And in the process of writing these songs, I started thinking that there’s a whole project of songs — a CD — so I’ve been working towards probably twice the number of songs that I’d need for a CD, hoping that that will be done in early winter, and in the interim I’m getting out and playing these songs as much as I can, and getting audience feedback, which is great.

“I wrote this song about Gerry Barber, this bouncer at the Chaudière Club in the ’70s and ’80s, and the reaction was overwhelming. The stories I heard from people and the emails I was getting — from people in the Northwest Territories, even — and people sharing the video everywhere. And I started noticing that it was being shared by people with the last name of Barber, and it turned out they were all Barber family members — descendants or siblings of Gerry Barber, and I’ve had several conversations with his son, his daughter, other cousins, grandkids. That meant a lot to me, to get that kind of reaction. It was really touching.

“I also wrote a song about the fentanyl crisis. And one about how I dislike that the media often calls the federal government ‘Ottawa.’ You turn on the radio and you hear ‘Ottawa this’ and ‘Ottawa that,’ but that’s not Ottawa, so I wrote The Ottawa Song, about all the things I love about Ottawa — kind of like Hank Snow’s I’ve Been Everywhere.

“I have another song about the Syrian refugee crisis and connecting that to my grandparents and their arrival in Canada 100 years ago. And I wrote a song about my neighbourhood — I learned recently that the first airplane in Ottawa landed just a few blocks from my house, on Slattery’s Fields, which is now the hydro station on Riverdale.

“I’m really looking forward to recording these songs and putting them out on CD, because they have an energy to them, and I love getting out and playing them. It’s funny, I’ve been playing in bands for so long, and all of a sudden finding this spot where I can connect to the song and tell the story. Often in a band, you have a lot of things going on and that story gets lost. But when you’re by yourself with a guitar and you tell a story and engage with people, that’s a real powerful experience.

“There’s something, especially in the days of the internet, about telling that local story, about our own lives, our own past, our own history, that people respond to, that they connect with. It’s personal. We’re so used to looking elsewhere for our stories, but we’ve got these amazing stories ourselves that need to be told.”

bdeachman@postmedia.com

Gratitude Journal: The strange, offbeat things that make Canada great

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When fireworks light the Sunday skies over five time zones and nearly 10 million square kilometres, signalling the official end of Canada150, there will be almost three million Canadians who will be celebrating (or not) from elsewhere around the globe — those expats who make up nearly nine per cent of our population.

Unlike the rest of us, these people don’t typically wake up each morning to Montreal bagels slathered with poutine. They seldom experience the elation of discovering a handful of loonies, a few broken Hawkins Cheezies and a butter tart under the couch cushions. They rarely find themselves in the thick of workplace water-cooler discussions over whether or not to renovate the prime minister’s crumbling house (the lowercase one), or whatever inanity burst forth from Don Cherry’s mouth the night before. It is these displaced Canucks who perhaps best understand Joni Mitchell’s plaintive cry: “Don’t it always seem to go, that you don’t know what you’ve got ‘til it’s gone?”

Related

So it is with our exiled confrères in mind that we present this, the Great Canadian Gratitude Journal, listing some of the things that make Canada unique, some that make it the best place in the world to live, and some that, well, give us cause to practise our world-famous apologies. But they all conspire to make us Canadian.

We love nature
Sure, other countries love nature. But did any of them hire a security guard to watch over a single killdeer, as did Ottawa’s Bluesfest when a chattering plover decided to build her nest and start a family right where Bryan Adams was scheduled to play a few nights later? No, my fellow Canadians, they did not.

We buck trends
While the world’s citizens increasingly congregate in coastal areas, Canadians, who have three oceans at our doorsteps, still largely prefer to line up along the U.S. border instead of by the salty air and sandy beaches. But there may be method in our collective thalassophobia: If and when the oceans rise by, say, 10 metres, and residents in places such as New York, Miami, Singapore and Tokyo are paddling for the hills, most of us will be OK (with apologies to Richmond, B.C., anyone landing at Vancouver International Airport, and many Canadians living on Water Street, be they in Saint John, St. John’s, Halifax or Charlottetown).

We can go toe to toe with Mexico
We all know about the worm (more accurately insect larva) found in bottles of Mezcal, but for a flavourful drink addition that more forcefully tests imbibers’ mettle, you want to go to the Downtown Hotel in Dawson, Yukon, any night between 9 and 11 o’clock and order a Sourtoe Cocktail.

The drink you will be presented will contain a mummified human toe, and once you’ve finished it — “You can drink it fast, you can drink it slow, but the lips have got to touch the toe” — you will be a member of the Sourtoe Cocktail Club.

The ritual began in the early 1970s when an amputated toe that 50 years earlier was attached to gold miner and bootlegger Louie Linken was found in a jar of rum in an abandoned cabin. It was brought to the hotel by tour boat operator Captain Dick Stephenson, and the fun began. Since then they’ve gone through a couple of footfuls of toes — four or them were accidentally swallowed, while a fifth was consumed on purpose. Others were lost or stolen, while replacements have been bequeathed to the hotel.

We are an enigma shrouded in a conundrum, wrapped in a riddle and served with two creams and two sugars
Yes, perhaps the most iconic piece of Canadiana is the Tim’s double-double. But talk about neurosis: In what other country does the largest retail chain’s chief product, consumed like Smarties at a fat kid’s birthday party (two billion cups a year, or roughly 55 cups for every man, woman and child in Canada), spark a national debate over whether it’s any good? And while we love, love, love our Timmy’s — so much so that we overlook that fact that it is no longer Canadian-owned, but rather just another piece in a Brazilian investment firm’s portfolio — our fealty is not boundless: When the restaurant chain pushed back against Ontario’s higher minimum wage by cutting employee benefits, its reputation suffered drastically, dropping it from No. 4 in a 2017 Leger poll to No. 50 a year later. Only Sears Canada, which declared bankruptcy, fared worse.

Still, even to Tim’s detractors, there’s something oddly comforting about this chain of nearly 4,000 doughnut shops spread across the nation like the now-defunct Distant Early Warning Line that once kept us safe from outsiders.

We got game
Particularly hockey. But it speaks volumes about Canadians that we lay claim to being the best in the world at the sport despite not having a Canadian team’s name engraved on the Stanley Cup since before Ottawa Senator Cody Ceci was born. Moreover, how amazing is it that after playing millions of hockey matches in arenas and on lakes, rivers and in backyards for well over a century, we’re still arguing about how to end a tie game?

We do lay claim, though, to the world’s longest hockey stick, a 62-metre one — slightly longer than an actual NHL rink — attached to a community centre in Duncan, B.C., which forced the good people of Eveleth, Minnesota to call their piddling 33-metre stick “The World’s Largest Free-Standing Hockey Stick.” (A word to the wise, though: If the oceans rise 10 metres, Eveleth may ultimately win out.)

We award A’s for effort
“Only in Canada,” said Leonard Cohen in his Juno Award-acceptance speech in 1993, “could somebody with a voice like mine win vocalist of the year.” Two years later, the same honour was bestowed upon Neil Young.

Raw out, refined in
Much of the economic engine that powered our young nation was driven by export of raw materials — lumber, say — that other countries turned into something useful — ships, say. That winning formula exists to this day.

Try this easy test: First, read this list of actors and pick out the Canadians: Neve Campbell. Seth Rogen. Ryan Gosling. Rachel McAdams. Matthew Perry. Martin Short. Ellen Page. Michael Cera. Michael J. Fox. Anna Paquin. William Shatner. Sandra Oh. Rick Moranis. John Candy. Will Arnett. Evangeline Lilly. Dan Aykroyd. Jim Carrey. Donald Sutherland. Ryan Reynolds. Mike Myers.

Done? Now list five really great Canadian movies. (And no, Porky’s was not great.)

How do we do it? Location, location, location
Meanwhile, even Canadian cities have tried to get in on the Hollywood exodus. Manitoba’s legislature building in Winnipeg served as a Kansas courthouse in the movie Capote. Parts of Ottawa stood in for Kansas City, Missouri, in 1990’s Mr. & Mrs. Bridge. The University of Toronto subbed in for MIT and Harvard in the Ben Affleck and Matt Damon launching pad Good Will Hunting, while other parts of that city have served as New York, Chicago, Baltimore and countless other American cities. Montreal has filled in for South Carolina, Russia and Gotham City, among others. Parts of the Canadian Rockies feigned a Wyoming accent in Brokeback Mountain. We’re like the Sally Field of locations: “You like us, as long as we dress like someone else.”

A diorama from the Gopher Hole Museum in Torrington, Alta.

We love nature, Part II
Those wishing to learn about Canada’s history and culture need look no further than the tiny Gopher Hole Museum in Torrington, Alta., where diorama after diorama display westward wagons, grain elevators, hockey and curling, music jamborees, farming, weddings, the RCMP, Canada150 celebrations, church life, First Nations and first love, all using stuffed gophers (more accurately Richardson’s Ground Squirrels) to tell our story. Look out, Canadian Museum of History!

Ottawa artist on that hat: 'The spirit of Michael Jackson visited me himself'

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Spotlight is a weekly look at some of the people who are part of the Ottawa area’s arts community. This week, Bruce Deachman talks with visual artist Christina Lovisa. Visit christinalovisa.com for more information.

“Art was probably a lifelong passion for me, but squashed in high school by my guidance counsellor, who said ‘You’re never going to make any money as an artist.’ I was in Deep River, which is where the scientists who work at the nuclear plant in Chalk River live. Everybody was science-based there, so when somebody excels in arts, they think ‘Huh, how do we get this person into a science field where they can straighten themselves out?’ So the guidance counsellor says ‘We need to get you into a science field that is somewhat artistic,’ so I became a dental hygienist. That’s where they pushed me, and I did that for about seven years. And then I woke up and said, ‘What’s going on here?’

“But it was one of my patients who told me she was taking art classes now that she was retired. And every time she came in, I’d ask her more questions about her art. I realized I cared more about her art than her teeth, and that’s when I thought, ‘I should explore this art thing.’ I needed to do something different. So I started taking classes.

“I work a lot in encaustic painting, a more-than-2,000-year-old method of painting. It started out as a waterproofing method for boats and other water vessels using wax. And the Greeks discovered that if they added some pigments, some colour, to the wax itself, then they could make designs on the boats and make them look really attractive. And to stabilize the wax, they added this tree sap, which is called damar resin, which, when it hardens, prevents the wax from melting in the sun. The Italians started using it as fresco paint, and it became known as the outdoor paint.

“I like history in objects. I like things that tell a story. Things that are a little worn, things that have paper peeling off them. I like that sense of history. There’s a little decay in all my stuff; it’s really attractive to me. And in encaustic, the base of the paint is clear, so you can see through it. By adding pigment, you can adjust the light-fastness of the paint, and what I like is starting with a background of something that had some history, and by adding wax you can see through little glimpses, almost like little windows into what’s going on in the back. And to me, that mystery creates an interesting sense of decay and of history, within a painting that can be very new.

“One of my passions is making samples for different outlets. I work for a publishing company and a licensing company, so a sample for them would be me making something that I think the commercial world would want to buy and hang above their couch — that kind of thing. So it’s generally more décor than it is fine art.

“So I will make a sample for them, usually something small — 6”x6” or 6”x8” — and if they like it and can photograph it, that’s what they’ll do; photograph it, enlarge it and print it.

Ottawa artist Christina Lovisa designed this fedora for Cirque du Soleil’s Michael Jackson ONE show. She estimates she’s made close to 2,000 of them since the show opened.

“But sampling for a company like Cirque du Soleil was different in that they’re show-specific. They wanted me to develop something for the Michael Jackson ONE show. That was my first contract with them. They had asked for a handmade souvenir to be sold in the gift shop, and I was trying to think of all kinds of things, and this is where I honestly believe that the spirit of Michael Jackson visited me himself.

“Normally my milieu is painting, so I kept thinking in terms of painting. But I was driving down the highway and, just like watching a YouTube video, I actually watched this fedora, which has become one of their best-selling items since the inception of the show. I watched the construction of it, I knew the materials, I knew everything — so much so that I actually turned the car around and went searching for the parts so I could start putting this hat together.

“When it was done, I showed it to Cirque. There were 15 artists that were competing, and once they saw the hat, they just loved it. It had a little camera on it, and exploding pixels all over it. A mixed-media piece. They tried to get me to do other renditions — do it in white, do it in pink — but none of the others took off. Just the one that was shown to me in that little video in my head.

“They asked me, ‘How many can you make? Do you have a factory?’ And I was like, ‘No, I’m just one person.’ So I actually set limits for how often they can order, and the quantities, and they have been ordering that hat consistently since the inception, which I think is six or seven years now. I think I’ve made close to 2,000 hats now, each one by hand. I think I could make them in my sleep.”

After today, Spotlight is going on a summer hiatus. Fear not; it will return in the fall.

bdeachman@postmedia.com

Police seize loaded handguns in early morning incidents

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Ottawa police officers seized a pair of handguns in separate incidents in the wee hours of Saturday morning.

The first occurred shortly before 1 a.m. during a traffic stop near the corner of Lester and Albion roads.

Police said the anti-gang officers were in the area as part of an increased police focus following recent incidents of shots fired.

At the stop, officers spotted marijuana in the vehicle and while arresting the two occupants, discovered that the passenger was carrying a loaded .32-calibre revolver.

Two hours later, patrol officers were called to the parking lot beside the Booth Centre on George Street after a man was seen with a handgun.

Police allege that Abdirahem Ahmed, 20, was seen threatening a victim with a handgun after an altercation in the ByWard Market area.

Responding police officers arrested Ahmed and seized a 9mm “with a full magazine and one in the chamber.”

There were no injuries in the incident.

Ahmed is to appear in court Sunday to face charges of attempted murder, pointing a weapon, and a number of other weapons charges.

Investigations into both incidents continue.

Third annual hoops tournament encourages youths to reach for the top

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Ayoub Omar had barely passed midcourt when, to his defender’s surprise, he leapt and took aim at the hoop. Not the tallest 14-year-old you’ve probably ever met, it’s unlikely he was aware of Drake’s In My Feelings blasting throughout the gym as he released the basketball in a high arc, or thought much, as the ball caromed off the backboard and through the basket, about the purpose behind the three-on-three tournament in which he was playing.

He was mainly there, he later said, to be with his friends and have some fun shooting hoops. “Have fun with friends, get a barbecue. Just have good times, good moments. It’s good.

“There’s stuff on the news saying there’s gunshots and stuff like that,” he added, “but really, if you come to the neighbourhood, you see kids smiling and a lot of stuff going good. People talk about the negative stuff and leave the positive stuff behind.”

Ayoub Omar, 14, takes a three-point shot against a defender at Saturday’s Balling 4 Our Brothers basketball tournament at the Michele Heights Community Centre.

But there certainly was a higher purpose to Saturday’s third annual Balling 4 Our Brothers tournament, held at the Michele Heights Community Centre and nearby Ottawa Boys and Girls Club. It was a day that revolved around basketball, but also included such activities as a barbecue, henna and face-painting, and tug-of-war.

“It’s an event to pay tribute to the brothers in our community that lost their lives due to violence,” said Mishka Kana, one of nine volunteer members of West End Youth Motivators, which organized the tournament and activities. “Basketball is the perfect activity because it’s the main sport played all the time by everybody in our community.”

The tournament featured 16 teams comprised of players aged 13 to 15 in the junior division and 16 to 19 in the senior. Most of the participants, Kana added, came from the Michele Heights, Ritchie Street and Foster Farm neighbourhoods.

Mukhtar Ismail, another organizer, said the event and other mentorship programs put on by WEYM aim to enforce the notion that the participants all have great potential and talent, and can do whatever they want. “We want to let them know that they can make whatever they want come true, and that they don’t only have one option and that that option is the streets.

“So we promote that goodness, so they can say, ‘OK, I can be that lawyer, I can be that person in the NBA or I can be a coach,’ that they can be whatever person they want to be, with hard work and dedication.”

A number of speakers, including Bay ward Coun. Mark Taylor, were scheduled to address the event on the subject of “excellence.”

“I’m doing this to support the community,” said 17-year-old player Alrayan Abdelkareem, adding that events like Saturday’s help reduce violence by fostering a sense of community. “But it’s not like what they portray in the media, like shootings every single day and people getting stabbed in those areas. It’s not as bad as it used to be. It’s getting better, day by day.”

bdeachman@postmedia.com

Woman facing assault charges in stabbing of 15-year-old girl

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A woman has been arrested in connection with the stabbing on Tuesday of a 15-year-old girl.

Taite Roarke-Sinclair, 18, was arrested on Friday and charged with aggravated assault, assault with a weapon, possession of a dangerous weapon and uttering death threats. She appeared in court on Saturday and was remanded into custody.

The victim was stabbed in the abdomen at about 6 p.m. Tuesday near Colonel By Drive and Laurier Avenue West, near the Rideau Canal, and subsequently taken to hospital with potentially life-threatening injuries. She was reportedly in stable condition by Wednesday. There has been no update on her current condition.

According to Ottawa police, the victim and Roarke-Sinclair knew one another.

Teen volunteer returns to field after being hit on head by discus at track and field nationals

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A teenager can thank her lucky stars — and the quick reactions of a nearby Good Samaritan — that she’s still able to thank her lucky stars after being struck in the head by a discus Friday morning at Terry Fox Stadium.

The 14- or 15-year-old volunteer discus retriever at the Canadian track and field championships let her attention stray while in the field of play at Mooney’s Bay, according to Mathieu Gentès, Athletics Canada’s chief operating officer.

A nearby on-field official, seeing that the girl was about to be hit by the flying discus, called out a warning and pulled her away, the result being that she was dealt a glancing blow instead of something possibly much worse.

“And not that you ever want to get hit in the head with a discus,” Gentès said, “but it was a good thing that it was the junior women throwing the discus then, so it was a one-kilogram discus as opposed to a two-and-a-half-kilogram discus.”

The event’s medical team responded and, given that the girl was hit in the head, paramedics were called and she was taken to the hospital, treated and released.

All’s well that ends well, though, and Gentès said that the girl, whose parents asked that she remain anonymous, returned to the event Saturday to resume her volunteer duties.

“It was probably more a scare than anything, which obviously we’re pretty happy with.”

bdeachman@postmedia.com


Bluesfest says opening-night snafus remedied, but still advises fans to come early

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After a couple of opening-night snafus that left throngs of visitors complaining about long lineups in Thursday’s blistering heat, coupled with water-filling stations that failed to live up to their moist promise, Ottawa RBC Bluesfest officials say that things are now running smoothly.

“There are no lineups,” declared festival official Joe Reilly as the festival entered its third day. “People are instantly getting in. People are getting in fine now, and they were getting in fine (Friday) night. And I’m going to each filling station and trying every faucet to make sure they’re all working. I tested them all (on Friday) and they were all working.

“Sadly, one of them had an intake problem on opening night, which, given the heat, was not the right night to have that issue.”

Reilly added that while the festival has tweaked some of its main-gate operations following Thursday night’s show that saw some Bryan Adams fans wait as long as an hour to get on site, he nonetheless recommends that festival-goers not leave it until the last minute to show up for whatever concert they particularly want to see. “It’s challenging if everyone does that.”

While attendance figures weren’t available on Saturday, Reilly noted that Canadian rock icon Adams’s Thursday night concert attracted one of the largest Bluesfest crowds, while Saturday night’s headliner, Shawn Mendes, was also expected to draw a very large audience.

In between the two, Friday’s headliner, flute-playing septuagenarian prog-rocker Ian Anderson, of Jethro Tull fame, attracted, perhaps not surprisingly, a more modest-sized crowd.

Sunday’s scheduled lineup, meanwhile, consists of 19 acts on the festival’s five stages. American country star Brett Eldredge, who performs at 9:30 p.m. on the City Stage, tops the bill.

The little church that could: Saint-Sixte rebuilds after fire destroyed the village's heart

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When a fire tore through the Catholic church — the only church — in the village of Saint-Sixte, Que., a dozen kilometres north of Thurso, three years ago, it left little more than cinders in its path. The safe that held church and municipal records dating back to the 1800s miraculously withstood the searing heat, while the metal cross atop the church’s bell tower, fashioned more than a century earlier by blacksmith Albert Amyot in his forge just across the street, was bent and mangled, but not beyond salvation.

Today, that cross, hammered back into shape, is again above Saint-Sixte’s church, a newly built house of worship that serves as a proclamation reminding parishioners and others of the spirited resolve of this community of just 460 souls (close to 750 if you include those in the cemetery behind the church). Inside are other reminders: a sign on a wall, for example, that reads “Oser y croire” — Dare to believe it. And on a piece of wood are written the names of the nearly 50 volunteers who actually built this church.

The interior of the newly built Catholic church in Saint-Sixte, Que., north of Thurso. The original church burned down three years ago.

A week ago Saturday, the church held its first regular mass in the new building, with Gatineau Archbishop Paul-André Durocher blessing the building and delivering the service. Close to 100 parishioners squeezed into the 80-seat nave, while a tent was set up outside to handle the overflow crowd of 60 or 70 people. At a nearby park, between 250 and 300 people gathered for a post-mass barbecue dinner.

Pauline Larouche and her husband listened to last week’s sermon from the porch of her house immediately adjacent to the church. The 73-year-old and her husband were among three families who lived in the former presbytery, where the electrical fire that destroyed the church started on July 6, 2015. In one fell swoop, she lost her house, her belongings AND her church. “It was hard to get over that,” she says.

While she recognizes that the sort of poor attendance that plagued Saint-Sixte’s church before the fire — as few as 10 parishioners for some masses, church president Richard Hotte says — is often reason enough for many churches to be shuttered, Saint-Sixte, Larouche felt, couldn’t bear that fate, and she, like many others, pitched in to make sure it wouldn’t happen.

“The church had to be rebuilt,” she says. “There was no way it couldn’t. We needed one. For us, it was the heart of the community. There are other churches, in Ripon, in Thurso, but it’s not like those are in YOUR place.”

Indeed, many found that even Saint-Sixte’s disused former town hall, which filled in as a substitute church following the fire, was wanting. “It just wasn’t church,” Hotte admits. And, apart from an auto-repair shop and a small highway restaurant, the latter that just opened this year, faith really is Saint-Sixte’s only business.

“A little town like this without a church,” Hotte says, “it’s not a living life.

“It won’t disappear without a church, but it won’t have that sense of community.”

According to André Malette, whose house across the road from the church includes his grandfather Albert Amyot’s former forge, there were many in town who were against rebuilding.

“People worried about the cost of a new church, or whether it could sustain itself.” The idea of a memorial park was suggested — essentially a plaque and a bench on which visitors to the cemetery might rest a bit and read about the old church.

But they did have some money — $180,000 in insurance money, plus $40,000 from private donors and other fundraisers, so a committee of six or seven residents was struck, architectural plans were commissioned, and volunteers — so many volunteers — stepped forward.

“There were days when we had to turn away volunteers,” Hotte recalls. “There were too many to fit in the church.”

But, were it not for those volunteers, says Malette, a retired construction worker who served as project foreman, there would be no church today. “It wasn’t just the people who put up drywall and windows, but people who donated propane and other things we needed. If we had to pay for all of that, it would have cost half-a-million dollars to build that church.”

Instead, they did it for about $160,000 so far, leaving funds for further work and maintenance.

The interior of the newly built Catholic church in Saint-Sixte, Que.

Malette and Hotte, who served on the church-rebuilding committee, both recall the exact date when the work began in earnest: Nov. 27, 2017. Apart from the architect’s plans, nothing had yet happened, but on that day they determined they would celebrate Christmas midnight mass, just four weeks away, in their new church.

Walls went up in record time. Other churches, some closed, some not, provided furnishings — the tabernacle came from Masson, the candle-laden offerings table from Fasset. Archbishop Durocher supplied the large wooden crucifix. A local metalworker fashioned a new baptismal font.

“We worked until 8 p.m. on Dec. 24,” Hotte recalls, “and had midnight mass four hours later.”

There’s still some work to do. A new copper-roofed bell tower is being built, although it will house only loudspeakers. The church’s original bell, which cracked when it fell to the ground in the fire, will be repaired enough to be displayed as an outdoor memorial.

Sod was laid just a few weeks ago. Two of the church’s windows, meanwhile, currently boast stained-glass designs; the other 10 will wait.

Since Christmas, the church has hosted a number of weddings, funerals and baptisms and, judging by the number of people attending those ceremonies, Hotte is convinced that the days of services with fewer than 10 attendees aren’t likely to return anytime soon.

“We have a new priest and everybody likes the way he handles the masses. People have come from other parts of the area and we ask them why, and they say it’s not like a big church. The mentality is not the same. It’s not as official as a big church.

“Also, so many people have actually had a hand in building this church. They’re more invested in it now.”

Larouche, eager to attend the second Saturday mass, agrees. “It’s great,” she says. “But we worked for it. We had to work for it.”

bdeachman@postmedia.com

'I wasn’t ready to give up': Ottawa dairy farmer rebuilds after last year's devastating fire

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Peter Ruiter figures he had two options after a fire last fall destroyed his livelihood: He could rebuild and return to dairy farming, the job he’s worked at and loved for the past 35 years, or he could walk away from his Blackrapids Farm and try something new — politics, perhaps, or feed sales. He was fast approaching 50, and the smart money, not to mention most of the people offering him free, unsolicited counsel, told him to get out of farming.

He recognizes that advice was likely the financially sounder choice. Still, he decided to rebuild.

“I think those people don’t get that I love what I’m doing,” he says. “If you hated doing this and it was a job to get up every morning, then, yeah, you’re looking forward to retirement. But if you love what you’re doing … I wasn’t planning my retirement; I was planning what I was going to do for the next 10 years, with the barn, with the cows, with everything. And I’m looking forward to this now.”

Right now, “this” doesn’t look like much: The digging of the foundation commenced on June 1, and the wall framing has been going up since the beginning of July. On Tuesday, the roof trusses were delivered, while workers raised some decorative timber framing for the barn’s front door, featuring 8” x 8” white oak beams and dowels similar to those used in the original building. Ruiter expects it will be mid August before the roof is in place, and mid November before the 25,000 square-foot barn will be completed and the process of restocking the herd underway.

On Sept. 8, 2017, a fire engulfed and consumed the NCC-owned, 1870s barn that the Ruiter family had worked in for six decades, dating back to 1958 when Tinus Ruiter, Peter’s father, arrived from the Netherlands to work as a hired hand on the Prince of Wales Drive farm then owned by the Craig family. The blaze killed 80 Holstein cows and calves, plus two more in the days that followed. Sixteen cows — 10 that were out to pasture and six at a neighbour’s farm, were spared.

The outpouring of support was swift and generous, as friends, neighbours, acquaintances and strangers alike showed up with food, money, condolences, best wishes and offers of help. A GoFundMe fundraising webpage brought in $55,000.

“The community support has been tremendous, and this barn doesn’t get built without it,” Ruiter says. “That, with the NCC help and the insurance help, that’s what’s building the barn.

“I’ve been pretty blessed with what’s happened so far, and pretty amazed with how good people are.”

The deluge of encouragement continued until after Christmas, Ruiter recalls. It took him and his wife, Rosemary, nearly that long to decide what to do.

“I’m 50 and I’ve been doing this for 35 years, and for a lot of people, that’s their whole career. But I wasn’t ready to give up.”

Farmer Peter Ruiter with a calf born in a neighbour’s barn three days after the fire last year.

They made the decision to rebuild in late November or early December last year.

“I like doing stuff, and I like working, and I liked the job I was doing before, so why would I give it up?”

Ruiter also recalls a piece of advice a stranger gave him at a benefit fundraiser last year. After offering his condolences, the man said he wanted Ruiter to remember one thing. “He said ‘I had a heart attack when I was 48, and they told me I had less than 10 years to live, so I sold everything to live for 10 years in retirement. And I’ve been waiting 32 years to die. Don’t wait — live your life.’

“And that really stuck with me.”

This modern-day version of a barn-raising, close to a million-dollar venture before you add the cows, milking robots and other equipment, involves numerous partners, including bankers, insurance companies, the NCC and the kindness of friends and strangers.

And while the barn should be functioning in a handful of months, he says he expects it’ll be a decade to build his herd to what it was before the fire.

Meanwhile, the 20 cows he currently has live on six nearby farms while construction continues, and Ruiter checks in on them regularly.

“I’ve got to get my cow fix in,” he says.

“The cows will be in the best hotel they could ever be in,” Ruiter says of the new barn. “And by golly, by the time everything’s figured out and if my plan works out, I’ll have a nice living and maybe won’t have to work as hard as I have in the past — maybe the 80 to 90 hours a week will just be 65, with robots milking and feeding the cows.

“It’s nice to know that in the future, my son or daughter or family will take over a farm that’s now starting in 2018, and not 1870.”

Work has started on Peter Ruiter’s new barn at his farm on Prince of Wales Drive.

bdeachman@postmedia.com

Pre-Confederation lighthouse near Brockville destroyed by fire after lightning strike

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A longstanding piece of Canadiana was forever lost on Monday evening when the Cole Shoal lighthouse, just west of Brockville in the Thousand Islands, burned to the ground after presumably being struck by lightning. It was the last remaining of nine Canadian lighthouses built in the Thousand Islands in 1856.

“It was no longer a navigation aid, but it’s certainly a piece of history,” says conservation biologist and historian Mary Alice Snetsinger, who has extensively researched and written about the 19th-century St. Lawrence lighthouses, including Cole Shoal. “It’s been there since before Confederation.

“There have been various times when someone’s wanted to pull it down, and the local reaction has been very much, ‘No!’ ” she adds. “People really appreciate it. It’s been a local landmark, and on Facebook you’re seeing all these comments like, ‘I used to play there when I was a kid.’

“For me it’s sad because I’m interested in those lighthouses, and it’s sad to see the last one of them go. And it’s been very sad to see the Canadian side of the river — there seems to be a lot less appreciation for (the lighthouses), whereas the ones that were built on the American side are all still standing.”

Part of the reason for that, she explains, was that the British government was unwilling, unlike its U.S. counterpart, to spend money on limestone or steel lighthouses, instead using cheaper wood, which was prone to the weather and fire, and more dependent on regular maintenance.

“The Americans seem to have more interest in that history.”

The Cole Shoal lighthouse as it appeared around 1947. The last remaining of eight Canadian lighthouses built in the Thousand Islands in 1856, the structured was destroyed by fire on Monday after it was struck by lightning.

More commonly known as Five Mile Light for its distance from Brockville, and also Coleman’s Creek or Cole’s Shoal light for its proximity to land settled by Adam Cole at Cole’s Ferry, the lighthouse was the easternmost of these original, largely identical structures in the Thousand Islands.

Five keepers tended its light during the 71 years that it was in operation, starting with Richard Elliott in 1856 and ending with David Hodge, who last turned out the light when it was decommissioned in 1927 (according to one resident, some records suggest it may have been 1931).

Cole Shoal lighthouse, the last remaining of nine Canadian lighthouses erected in the Thousand Islands in 1856, as it looked last summer. A fire destroyed the lighthouse on Monday after it was struck by lightning.

According to Snetsinger, little is known about Cole Shoal’s lightkeepers apart from a very few scattered details — Hodge in 1917, for example, had asked for a new boat because his leaked “about a pailful every time I go to the light. I do not consider it safe in a big wind.” Five years later, he reported that a duck had broken one of the lantern’s lights of glass and that he was unable to repair it.

The lighthouse remained in place after it was officially removed from service, largely on the request of ship operators who wanted it as a daytime beacon.

Over the years, various offers were made, without success, to purchase the lighthouse. In 1948, the Department of Transport invested just over $200 — the equivalent today of about $2,400 — to repair damage from weather and vandalism.

In 1972, says Snetsinger, the Ontario Heritage Foundation (now Ontario Heritage Trust), performed some maintenance on the building. In 2001, the lighthouse received a $15,600 upgrade that was intended to keep it in one piece for another 30 to 40 years.

For area residents and cottagers, the lighthouse’s demise ends a memorable period.

“It’s very sad,” says Hugh Billings, who grew up in Brockville and who now owns the original lighthouse keeper’s cottage, which his grandfather bought at a public auction more than 80 years ago. The various lightkeepers, he says, used to row out each night to the shoal to light the beacon’s kerosene lamp. As a youngster at the cottage, Billings also used to row out to the shoal, just for fun.

“I grew up at that cottage, and the lighthouse is known by everybody in the area,” he says. “The lighthouse keeper’s cottage has been in our family since 1935, so to lose the actual lighthouse is especially heartbreaking. It’s something that will never come back.”

Another cottage resident, Mike Milne, has spent each of his 59 summers near the lighthouse, and also laments its loss. He and other residents gathered together on Monday night and watched as the lighthouse burned.

“We had a terrific storm (Monday) night,” he says. “And there was one bolt of lightning, and that was it. And it hit the lighthouse, and it literally went up like a Roman candle.”

According to Milne, the local fire department responded, but couldn’t do anything to put out the blaze because it lacked access to a barge.

“It was like losing a member of the family,” Milne says, “and we felt even worse because there was nothing we could do.”

As a youngster, he says, he and friends use to go out to the lighthouse almost daily, ignoring their mothers’ repeated warnings to not climb to the top (not to mention their mothers’ repeated admonishments for having done so the day before, using a rope tied to a nearby shipwreck to climb to the top).

There is some bitter irony in the current situation, he adds, as a representative from Ontario Heritage Trust was coming to inspect the lighthouse on Thursday to determine what needed to be done to preserve it. According to Milne, the visit is still expected to happen — he’s hoping that, at the very least, a commemorative plaque will be erected on the shoal. But another option is to rebuild the post-and-beam structure — numerous residents met on Tuesday morning to discuss the possibility of starting a GoFundMe campaign to raise the needed funds.

Londoner Richard Hone, whose family has been vacationing within sight of the lighthouse for three generations, says he’ll also miss the familiar nine-metre structure. “First of all, it’s a navigation aid for small craft. When we go out on our boats, we use the Five Mile Light as the crossover point out of the main channel and into the small-craft channel that goes straight up through the Thousand Islands on the Canadian side.

“And one of the first things that we do when we come to the cottage, and it’s a family tradition, everybody meets on the sea wall, where the view looks upriver to the Five Mile Light. It frames our reference point in a historical view.”

bdeachman@postmedia.com

So Good to have known you: Longtime restaurateur hangs up his apron

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The accumulated aches and pains of running a restaurant for nearly a quarter-century finally caught up with Peter and Kitty So, who last weekend hung up their aprons and handed the keys of their So Good eatery to new owner En Qiang Xue, along with all of their recipes, including such mysterious-sounding dishes as Triple Delight and Eight Treasures in Spicy Sauce.

Also in the bargain came a handful of long-serving staff members and a solid reputation that has made the Chinatown establishment a favourite among Ottawa diners since its doors first opened in October 1994.

“I’ll miss my great, great customers the most,” Peter, 65, said on Wednesday. “They aren’t just my customers — they’re also all my friends.

“I’ll keep going back to see them,” he added, “but just as a customer now.”

Exactly how many friends he and Kitty, 66, have made there is anyone’s guess. Peter estimates they have served between 15,000 and 20,000 tables of guests each year for the last 24 years, with each table seating an average of four people.

“You figure it out,” he said.

It adds up to between 1.44 and 1.92 million customers, noshing six days and nights a week through countless fields of snowpeas, forests of lemongrass, barnyards of half crispy ducks, oceans of seafood and oodles and oodles of noodles.

Peter and his wife opened the restaurant when he was 41 and feeling burned out in his job as a practical nurse at the Riverside Hospital.

The restaurant business, however, wasn’t the easiest alternative. “It was a lot more work than I expected,” he said of his time in the food-service industry.

He added that the new owner, Xue, worked as a chef at So Good for three months before agreeing to buy the business. The sale was contingent on Xue keeping both the current employees, including one chef who’s been there since it opened, and the Sos’ recipes.

Although he’s retiring from the restaurant business, Peter will hardly be idle; he plans to continue his involvement in the Chinatown BIA, and additionally owns and manages between 15 and 20 commercial and residential properties.

“We’ve worked very hard in life to get where we are,” he said. “I’ll still be busy, but it won’t be as physical as owning a restaurant.”

bdeachman@postmedia.com

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