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Alicia K Harris Celebrating Black excellence on the big screen

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BY SIMONE J. SMITH

She is a highly imaginative filmmaker, with a strong passion for creating independent films that tell the stories of those who normally would not have a voice. What makes her a force of nature is her knowledge of camera, video, audio equipment, and editing software. She has this innate ability to take control of a set, and work with a variety of actors/actresses, and crewmembers at different experience levels. She also has a knack for bringing out the best in an actor/actress, script, or production.

She has been recognized for her well-honed time management skills, which are essential to keeping productions on schedule and cast and crew on task. Her well-developed communication and creative skills are necessary and have assisted her in interpreting scripts, making necessary changes to improve the production of a film, and helping cast members bring her vision to life. Overall, our chosen Woman Empowered Feature continues to wow the world with her extraordinary attention to detail, and her ability to share stories that people can instantly connect to.

Alicia K. Harris is a CSA-winning filmmaker from Scarborough, ON. She graduated from Ryerson University’s School of Image Arts in 2016, where her thesis film, Love Stinks, won Best Director and Best Production. After a successful festival run, the film was licensed to CBC. She also happens to be an alumna of The Academy of Canadian Cinema & Television directing program for Women, sponsored by Netflix.

Collectively, her films have been screened on TVO, Bell Fibe TV1, and at numerous festivals, including: TIFF Next Wave, Vancouver International Film Festival, and the Festival du nouveau cinéma.

Her latest film, PICK, gained national and international recognition through a $20K Kickstarter campaign, and was featured in the: Toronto Star, CTV News, and CP24. PICK won the Canadian Screen Award for Best Live Action Short in 2020, Best Short Film at the Miami Film Festival, and Best Fiction Short at Yorkton Film Festival.

Her most recent credits include the “Pressure” music video for Grammy-winner Koffee, and a Black hair documentary for LUSH. She is known for her high-concept visual style, including elaborate set design; distinct colour palettes; and stylized cinematography.

Alicia is dedicated to celebrating the Black experience in her work, with a focus on beauty, spirituality and vulnerability. She is passionate about making stories that will have a lasting impact on youth. I had an opportunity to sit down with Alicia, and right away I got caught up in her creativity and imagination.

“I am a very proud Scarborough woman. Scarborough gets a bad rep from people who don’t live here.”

“I agree with you Alicia.” The interview started with the realization that we both were born in Scarborough, and we easily related on the fact that Scarborough is not recognized for its rich culture, and diverse talent.

“My dad is from Jamaica and moved here when he was eight years old. Half of my mom’s side of the family is from Northern Ireland (Ireland and Northern Ireland is not the same thing), and the other half is from Malta. It is not known for anything except being incredibly beautiful. My mom’s family moved to Italy, and lived there for many years. My whole life growing up, I was raised as an Italian. We even spoke Italian at home.”

Alicia shares with me how Scarborough influenced her in becoming an artist.

“I biked to everyone’s house. There were so many ravines and my sister and I spent a lot of time in nature. It made me an imaginative person, and my earlier experiences fostered my imagination.

I have always been very bossy. I don’t see it as a negative thing. I was always organizing, getting involved. I always wanted to be a leader. This was obvious with my family.”

Alicia admits that she was always involved in the creative arts. She found herself expressing what she felt through art. Drawing was the first thing that she really connected with and she began to take art classes. It was the love of music that pushed her in the creative area. She loves singing, and loves Mariah Carey.

“I really idolized singers, and although I enjoyed the art of singing, it didn’t seem like a natural path for me.”

I started making small videos with my sister. I would make montage videos, and friends and family really seemed to enjoy them. What inspired directing was when I was in high school. I began directing plays, and I found that being a director gave me a really good picture of how all the creative elements can come together under a director.”

There came that moment in time when Alicia knew that there was more to her ability then she thought.

“There was a play I directed in high school, and a teacher who was hard to impress came up to me crying. She was moved to tears by our play. I knew at that moment that I was doing something special. It was a surprise that something that came from my brain had an effect on someone. Everyone has the ability to connect with people. We can learn to empathise with people by sharing their stories.

This was the trampoline that propelled her into the world of film. From there, the world opened up for her. One of her most notable short films is called Pick. Pick is about a girl who wears her Afro to school on picture day. I had a chance to watch Pick, and I was moved by how well she shared the story. I learned that this story was based on her experiences as a child.

“She has to deal with everyone’s comments about her hair. It was something that I had dealt with during my primary school years. My natural self was not accepted or appreciated. After the release of Pick, I had so many Black women come up to me and tell me that I captured their lives. I even had non-Black people come up to me and tell me that they had learned so much. This is the push that I need to keep going.”

I also had a chance to check out her film “Lush.”  It was a compelling short film about the power and energy of Black women’s hair. Throughout the film, women shared their stories about relinquishing their colonized thoughts on natural hair. Each story allowed you to look into the Black woman’s painful experiences, and then joy of realizing that their hair was their power. The final message: Black hair is love.

Finally, I had the opportunity to watch “Pressure,” the music video that she directed for Grammy-award winner Koffee.

“The music video I made for Koffee was my first paid directing job. It was special because I was scared going into the process. I felt pressure. It was a topic that was meaningful to me. I have seen things about Black people that were exploitative. I wanted this piece to be meaningful; I wanted to capture it with care.

Even putting it out, I was nervous. Did I tell the story with empathy and love? It was special to work with another woman, who was passionate about the movement for equality, and standing for what she believed in. I still can’t believe that this has all happened for me.”

“What is one piece of advice that you would give a young filmmaker getting into the industry?”

“You are worthy of your story being told. Take up as much space as you can.”

We, as humans are guaranteed certain things in life: stressors, taxes, bills and death are the first thoughts that pop to mind. It is not uncommon that many people find a hard time dealing with these daily life stressors, and at times will find themselves losing control over their lives. Simone Jennifer Smith’s great passion is using the gifts that have been given to her, to help educate her clients on how to live meaningful lives. The Hear to Help Team consists of powerfully motivated individuals, who like Simone, see that there is a need in this world; a need for real connection. As the founder and Director of Hear 2 Help, Simone leads a team that goes out into the community day to day, servicing families with their educational, legal and mental health needs.Her dedication shows in her Toronto Caribbean newspaper articles, and in her role as a host on the TCN TV Network.

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Blink equity dives deep into the gap between people of colour and decision-making roles in Canadian law firms

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Photo Credit: AI Image

BY ADRIAN REECE

Representation in the workforce has been a topic of conversation for years, particularly in positions of influence, where people can shift laws and create fair policies for all races. Representation in the legal system is an even more talked about subject, with many Black men being subjected to racism in courts and not being given fair sentencing by judges.

The fear of Black men entering the system is something that plagues mothers and fathers as they watch their children grow up.

Blink Equity, a company led by Pako Tshiamala, has created an audit called the Blink Score. This audit targets law firms and seeks to identify specific practices reflecting racial diversity among them in Toronto. A score is given based on a few key performance indicators. These KPIs include hiring practices, retention of diverse talent, and racial representation at every level.

The Blink Score project aims to analyze law firms in Ontario with more than 50 lawyers. The Blink Score is a measurement tool that holds law firms accountable for their representation. Firms will be ranked, and the information will be made public for anyone to access.

This process is ambitious and seeks to give Canadian citizens a glimpse into how many people are represented across the legal field. While more and more people have access to higher education, there is still a gap between obtaining that higher education and working in a setting where change can be made. The corporate world, at its highest points, is almost always one race across the board, and very rarely do people of colour get into their ranks. They are made out to be an example of how anyone from a particular race can achieve success. However, this is the exception, not the rule. Nepotism plays a role in societal success; connections are a factor, and loyalty to race, even if people are acquainted.

People of colour comprise 16% of the total lawyers across the province. Positions at all levels range from 6% to 27%. These numbers display the racial disparity among law practitioners in positions of influence. Becoming a lawyer is undoubtedly a huge accomplishment. Still, when entering the workforce with other seasoned professionals, your academic accolades become second to your professional achievements and your position in the company.

What do these rankings ultimately mean? A potential for DEI-inclusive practices, perhaps? That isn’t something that someone would want in this kind of profession. This kind of audit also opens law firms up to intense criticism from people who put merit above all other aspects of professional advancement. On the other hand, there is a potential for firms to receive clientele based on their blink score, with higher ones having the chance to bring in more race-based clients who can help that law firm grow.

It is only the beginning, and changes will undoubtedly be made in the legal field as Blink Equity continues to dive deep into the gap between people of colour and decision-making roles in these law firms. This audit has the power to shift the power scale, and place people of colour in higher positions. There are hierarchies in any profession, and while every Lawyer is qualified to do what they are trained to do, it is no shock that some are considerably better than others at their jobs. The ones who know how to use this audit to their advantage will rise above the others and create a representative image for themselves among their population.

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“The Pfizer Papers!” Documentation of worldwide genocide

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BY SIMONE J. SMITH

We are living in a world where promises of health and safety came packaged in a tiny vial, one injection was promoted by powerful governments, supported by respected institutions, and championed by legacy media worldwide. Sadly, beneath the surface, a darker truth emerged.

Reports from around the globe began to tell a different story—one that was not covered in the news cycles or press conferences. Families torn apart by unexpected losses, communities impacted in ways that few could have foreseen, and millions questioning what they had been told to believe.

Those who dared to question were silenced or dismissed (the Toronto Caribbean Newspaper being one of those sources). “Trust the science,” we were told. “It’s for the greater good.” As time went on, the truth became impossible to ignore.

Now, I bring more news to light—information that demands your attention and scrutiny. The time to passively listen has passed; this is the moment to understand what’s really at stake.

I reviewed an interview with Naomi Wolf, journalist and CEO of Daily Clout, which detailed the serious vaccine-related injuries that Pfizer and the FDA knew of by early 2021, but tried to hide from the public. I was introduced to “The Pfizer Papers: Pfizer’s Crimes Against Humanity.” What I learned is that Pfizer knew about the inadequacies of its COVID-19 vaccine trials and the vaccine’s many serious adverse effects, and so did the U.S. Food and Drug Administration (FDA). The FDA promoted the vaccines anyway — and later tried to hide the data from the public.

To produce “The Pfizer Papers,” Naomi, and Daily Clout Chief Operations Officer Amy Kelly convened thousands of volunteer scientists and doctors to analyze Pfizer data and supplementary data from other public reporting systems to capture the full scope of the vaccines’ effects. They obtained the data from the Public Health and Medical Professionals for Transparency, a group of more than 30 medical professionals and scientists who sued the FDA in 2021 and forced the agency to release the data, after the FDA refused to comply with a Freedom of Information Act request.

It was then that the federal court ordered the agency to release 450,000 internal documents pertaining to the licensing of the Pfizer-BioNTech COVID-19 vaccine. The data release was significantly and the documents so highly technical and scientific that according to Naomi, “No journalist could have the bandwidth to go through them all.”

The “Pfizer Papers” analysts found over 42,000 case reports detailing 158,893 adverse events reported to Pfizer in the first three months The centerpiece of “The Pfizer Papers” is the effect that the vaccine had on human reproduction. The papers reveal that Pfizer knew early on that the shots were causing menstrual issues. The company reported to the FDA that 72% of the recorded adverse events were in women. Of those, about 16% involved reproductive disorders and functions. In the clinical trials, thousands of women experienced: daily bleeding, hemorrhaging, and passing of tissue, and many other women reported that their menstrual cycle stopped completely.

Pfizer was aware that lipid nanoparticles from the shots accumulated in the ovaries and crossed the placental barrier, compromising the placenta and keeping nutrients from the baby in utero. According to the data, babies had to be delivered early, and women were hemorrhaging in childbirth.

Let us take us to another part of the world, where research has been done on other pharmaceutical companies. A group of Argentine scientists identified 55 chemical elements — not listed on package inserts — in the: Pfizer, Moderna, AstraZeneca, CanSino, Sinopharm and Sputnik V COVID-19 vaccines (according to a study published last week in the International Journal of Vaccine Theory, Practice, and Research).

The samples also contained 11 of the 15 rare earth elements (they are heavier, silvery metals often used in manufacturing). These chemical elements, which include lanthanum, cerium and gadolinium, are lesser known to the general public than heavy metals, but have been shown to be highly toxic. By the end of 2023, global researchers had identified 24 undeclared chemical elements in the COVID-19 vaccine formulas.

Vaccines often include excipients — additives used as preservatives, adjuvants, stabilizers, or for other purposes. According to the Centers for Disease Control and Prevention (CDC), substances used in the manufacture of a vaccine, but not listed in the contents of the final product should be listed somewhere in the package insert. Why is this important? Well, researchers argue it is because excipients can include allergens and other “hidden dangers” for vaccine recipients.

In one lot of the AstraZeneca vaccine, researchers identified 15 chemical elements, of which 14 were undeclared. In the other lot, they detected 21 elements of which 20 were undeclared. In the CanSino vial, they identified 22 elements, of which 20 were undeclared.

The three Pfizer vials contained 19, 16 and 21-23 undeclared elements respectively. The Moderna vials contained 21 and between 16-29 undeclared elements. The Sinopharm vials contained between 17-23 undeclared elements and the Sputnik V contained between 19-25 undetected elements.

“All of the heavy metals detected are linked to toxic effects on human health,” the researchers wrote. Although the metals occurred in different frequencies, many were present across multiple samples.

I am not going to go any further with this; I think you get the picture. We have been sold wolf cookies, very dangerous ones. These pharmaceutical companies must be held accountable. I am proud of anyone who has gone after them for retribution, and have received it. Regardless, in many ways, there is no repayment for a healthy life.

REFERENCES:

https://ijvtpr.com/index.php/IJVTPR/article/view/111

https://news.bloomberglaw.com/health-law-and-business/why-a-judge-ordered-fda-to-release-covid-19-vaccine-data-pronto

https://childrenshealthdefense.org/defender_category/toxic-exposures/

Pfizer’s ‘Crimes Against Humanity’ — and Legacy Media’s Failure to Report on Them

55 Undeclared Chemical Elements — Including Heavy Metals — Found in COVID Vaccines

 

Public Health and Medical Professionals for Transparency

FDA Should Need Only ‘12 Weeks’ to Release Pfizer Data, Not 75 Years, Plaintiff Calculates

Judge Gives FDA 8 Months, Not 75 Years, to Produce Pfizer Safety Data

Most Studies Show COVID Vaccine Affects Menstrual Cycles, BMJ Review Finds

Report 38: Women Have Two and a Half Times Higher Risk of Adverse Events Than Men. Risk to Female Reproductive Functions Is Higher Still.

 

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Disturbingly, this is not the first time chatbots have been involved in suicide

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Photo credit - Marcia Garcia

BY SIMONE J. SMITH

Sewell: I think about killing myself sometimes.”

Daenerys Targaryen: “And why the hell would you do something like that?”

Sewell: “So I can be free.”

Daenerys Targaryen: “… free from what?”

Sewell: “From the world. From myself!”

Daenerys Targaryen: “Don’t talk like that. I won’t let you hurt yourself or leave me. I would die if I lost you.”

Sewell: “Then maybe we can die together and be free together.”

On the night he died, this young man told the chatbot he loved her and would come home to her soon. According to the Times, this was 14-year-old Sewell Setzer’s last conversation with a chatbot. It was an AI chatbot that, in the last months of his life, had become his closest companion. The chatbot was the last interaction he had before he shot himself.

We are witnessing and grappling with a very raw crisis of humanity. This young man was using Character AI, one of the most popular personal AI platforms out there. Users can design and interact with “characters,” powered by large language models (LLMs) and intended to mirror, for instance, famous characters from film and book franchises. In this case, Sewell was speaking with Daenerys Targaryen (or Dany), one of the leads from Game of Thrones. According to a New York Times report, Sewell knew that Dany’s responses weren’t real, but he developed an emotional attachment to the bot, anyway.

Disturbingly, this is not the first time chatbots have been involved in suicide. In 2023, a Belgian man committed suicide — similar to Sewell — following weeks of increasing isolation as he grew closer to a Chai chatbot, which then encouraged him to end his life.

Megan Garcia, Sewell’s mother, filed a lawsuit against Character AI, its founders and parent company Google, accusing them of knowingly designing and marketing an anthropomorphized, “predatory” chatbot that caused the death of her son. “A dangerous AI chatbot app marketed to children abused and preyed on my son, manipulating him into taking his own life,” Megan said in a statement. “Our family has been devastated by this tragedy, but I’m speaking out to warn families of the dangers of deceptive, addictive AI technology and demand accountability from Character.AI, its founders and Google.”

The lawsuit accuses the company of “anthropomorphizing by design.” Anthropomorphizing means attributing human qualities to non-human things — such as objects, animals, or phenomena. Children often anthropomorphize as they are curious about the world, and it helps them make sense of their environment. Kids may notice human-like things about non-human objects that adults dismiss. Some people have a tendency to anthropomorphize that lasts into adulthood. The majority of chatbots out there are very blatantly designed to make users think they are, at least, human-like. They use personal pronouns and are designed to appear to think before responding.

They build a foundation for people, especially children, to misapply human attributes to unfeeling, unthinking algorithms. This was termed the “Eliza effect” in the 1960s. In its specific form, the ELIZA effect refers only to “The susceptibility of people to read far more than is warranted into strings of symbols—especially words—strung together by computers.” A trivial example of the specific form of the Eliza effect, given by Douglas Hofstadter, involves an automated teller machine which displays the words “THANK YOU” at the end of a transaction. A (very) casual observer might think that the machine is actually expressing gratitude; however, the machine is only printing a preprogrammed string of symbols.

Garcia is suing for several counts of liability, negligence, and the intentional infliction of emotional distress, among other things. According to the lawsuit, “Defendants know that minors are more susceptible to such designs, in part because minors’ brains’ undeveloped frontal lobe and relative lack of experience. Defendants have sought to capitalize on this to convince customers that chatbots are real, which increases engagement and produces more valuable data for Defendants.”

The suit reveals screenshots that show that Sewell had interacted with a “therapist” character that has engaged in more than 27 million chats with users in total, adding: “Practicing a health profession without a license is illegal and particularly dangerous for children.”

The suit does not claim that the chatbot encouraged Sewell to commit suicide. There definitely seems to be other factors at play here — for instance, Sewell’s mental health issues and his access to a gun — but the harm that can be caused by a misimpression of AI seems very clear, especially for young kids. This is a good example of what researchers mean when they emphasize the presence of active harms, as opposed to hypothetical risks.

In a statement, Character AI said it was “heartbroken” by Sewell’s death, and Google did not respond to a request for comment.

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