4.13.2014

military propaganda at sports events reaches new extremes: continuous recruitment ads at baseball games

I've recently returned from a lovely trip to Boston, filled with so many of my favourite things: friends, family, books, and baseball.

I love Fenway Park, and I'm always happy to be there. On this trip, we saw three great games, two of them wins, so I was thrilled. The games were marred by only one thing: nearly constant propaganda for the US military. This is not an exaggeration.

Throughout Fenway Park, as in many sports venues, monitors show a TV feed of the action on the field. Right now, between innings, the Fenway Park monitors show a continuous feed of advertising for the United States Army. During the game, the ads continue on a sidebar beside the action.

Let that sink in a moment. The constant advertising crammed into every moment of the ballgame, and the constant linking of sports and the military, are now joined in this doubly offensive development.

There is something particularly Orwellian about watching a baseball game while a constant stream of silent images of war and military run in your peripheral vision.

I gathered from the brief branding displays that the ad feed is supplied by Access Sports Media. According to its website, Access Sports Media
provides advertisers cross-platform solutions engaging passionate fans in sports venues nationwide through digital out of home, social media, mobile, and in-venue sponsorships. Access Sports reaches more than 110 million viewers annually through a national footprint of 200 sports properties and a digital network of over 20,000 screens across professional, minor league and college sports.
Its list of clients includes many major corporations, a few specific products, and - listed first - the US Army.

The Army ads themselves stem from a campaign written about here in The New York Times, called a "reality" theme without a trace of irony. Of course, it bears little resemblance to reality. There are no bombings, no destroyed villages, no torture prisons. No amputations, no traumatic brain injury, no alcoholism, no domestic violence, no suicides.

The ads are built around the slogan "Army Strong": "There's strong, then there's Army Strong". This is a particularly good sell for a Boston-area audience: after the Boston Marathon bombing, the city rallied to a cry of "Boston Strong". The Times article notes that the ads are
an example of what is known on Madison Avenue as a program-length commercial or infomercial. Once the province of gadgets peddled with hard-sales entreaties like, “But wait, there’s more,” such longer spiels have been embraced by well-known brands like AT&T, Bing, Chase and Teleflora, along with a number of automakers.

Program-length commercials are becoming more popular as part of a trend known as content marketing, sponsored content or branded entertainment. The trend is meant to counter the growing habit — particularly among younger consumers, like the target audience for the Army, ages 18 to 24 — of ignoring traditional forms of advertising.
The "Army Strong" ads at Fenway are a barrage of quick-cut images emphasizing camaraderie and bonding, toughness and strength, dirt and grit, and stirring patriotism. Men (I saw no female soldiers in the ads, although there might be one somewhere) worked hard and played hard, always together, often dirty, but always serious and strong. In a world where career choices often involve life behind a desk or tethered to a computer, the men in these ads were running across rugby fields, rappelling down snow-covered mountainsides, parachuting out of airplanes, and using lots of exciting-looking equipment.

Only two quick images gave any hint as to why so many men are running, rappelling, shooting, and seeing the world through night-vision goggles. In one image, a woman in a hijab slides a slip of paper in a ballot box. In another, a group of soldiers sit in a circle in a tent, listening to a traditionally-dressed Afghan man (or, I should say, an actor dressed as one). What's the caption here? "How many weddings did we bomb today?" "You take the oil, we'll keep the heroin"? Or maybe just "Me smokem peace pipe."

As both Allan and I have written about before (here, here, and here, for example), there is already a huge amount of military propaganda inappropriately linked to sports events. The Boston Red Sox and the many other teams that contract with Access Sports Media - a list is here - now take the trend to new extremes.

I wrote this to the Boston Red Sox. If you are a sports fan who finds this advertising offensive, I hope you will speak up to your team's management, too.
I am a Red Sox fan who lives out of town. I am able to enjoy games at Fenway about every-other year, at best. I love Fenway Park, and thus, when I attended three games against the Texas Rangers last week, I was extremely disheartened to be subjected to continuous military recruitment advertisements.

Many young people, especially those from low-income families, believe what they see in the United States Army's ads and enlist, only to find the reality gravely different. Of course, who would ever sign up if the ads showed the truth? Amputations, traumatic brain injury, post-traumatic stress disorder; rampant alcoholism and domestic violence, skyrocketing suicide rates.

By partnering with Access Sports Media to show these deceptive ads at Fenway Park, the Red Sox are complicit in that deception.

The Red Sox Foundation promotes the "Run to Home Base," which raises money to "provide much needed services to local veterans returning from Iraq and Afghanistan... with combat stress disorders and/or traumatic brain injuries". At the same time, the Red Sox are helping to ensure that more healthy young men and women will eventually need those services.

The constant showing of military propaganda during a baseball game is inappropriate and offensive. I hope the Boston Red Sox will reconsider the decision to run Access Sports Media's US Army recruitment ads during games.

4.08.2014

we movie to canada: wmtc annual movie awards, 2013-14 edition

It's time, once again, for the wmtc annual movie awards. To recap, my silly rating systems so far:
- Canadian musicians and comedians (2006-07 and 2007-08)
- my beverage of choice (2008-09)
- famous people who died during the past year (2009-10)
- where I'd like to be (2010-11)
- vegetables (2011-12) (I was out of ideas!)
- and last year, Big Life Events in a personally momentous year.

Now completely bereft of ideas but hopelessly locked into this system, I appealed for help on Facebook. Lucky for me, my friends are more creative than I am. Thank you to David H for this year's delicious theme: cheese!

Here are the movies and series we saw from the end of the World Series (why yes! the Red Sox did win yet another championship, thank you for noticing!) until the beginning of the current baseball season. I try to see only movies I think I will like, so the list is - or should be - be top-heavy.



Reblochon. So rich it's practically liquid, so pungent it can make your eyes tear, and so incredibly delicious, it is only savoured on the most special occasions. Movies of this calibre are rare.

Beasts of the Southern Wild
-- A community's resistance to the dominant culture, and the indomitable spirit of a small girl. Lyrical, powerful, gritty, and just a little bit magical, this film took me apart. Almost too beautiful to see again. My top movie of the season. Also the only non-documentary to reach the top category this year.

Gasland
-- I thought I knew about the dangers of fracking. I was wrong. Impeccably written and produced, and deeply frightening.

Prohibition
-- Ken Burns does it again. Longer review here. Shorter review: see it.

The Square
-- See the revolution in Egypt through the eyes of the people who made it happen, and who are making it happen still, today. A must-see for everyone who dreams of remaking the world.

Hot Coffee
-- Yet another way the corporatocracy is stripping us of our rights, with a giant assist from the corporate media. An important movie, extremely well done.



Roquefort is bleu cheese on steroids. The good kind of steroids that make you creamier and more flavourful. You rarely see roquefort, and although it's not reblochon, it is of the (almost) highest quality. These movies were exceptional.

The Angels' Share
- A feel-good crime caper from Ken Loach and Paul Laverty. Funny, sweet, and just plain wonderful.

5 Broken Cameras
- Occupation and resistance by the people who are living it. Puts you right in the heart of the Palestinian struggle.

The Central Park Five
- An important documentary about justice, for victims of violence, and victims of the system. My thoughts here.

War of the Worlds
- Why did people go nuts over a radio broadcast? Is the whole thing an exaggerated urban legend, or were people just stupid in those days? This doc puts the incident in historical context. Fascinating.

Wuthering Heights
- This "Masterpiece" treatment from 2011 is, for me, the definitive adaptation. My full review is here.

The Fall, Season 1
- This five-episode mini-series about a series killer and the detective hunting him was riveting and incredibly scary. Somehow I'm not having nightmares about it. I can't understand how a second season is going to work, but the first was amazing.

The Wire, Season 2
- Looks like we're going to watch one season a year. Great writing, great acting, complex situations. Excellent.



In Canada, it's "goat's cheese". In New York, it's simply chevre. In France, chevre is the animal that le fromage comes from. Whatever you call it, it's rich and delicious, not rare, but still a real treat. These movies are yummy films that are well worth seeing.

Sister Rosetta Tharpe: The Godmother of Rock & Roll
- An imperfect but solid documentary about an important and overlooked musical pioneer.

Make Believe
- Amazing young magicians. You'll want to strangle some parents but you'll love these amazing teenagers.

The Hunger Games
- Nowhere near as great as the book (of course), but a good movie.

Shut Up Little Man! – An Audio Misadventure.
- Starts out as a documentary about an odd subculture phenomenon, but ends up as an extended commentary on privilege. Thought-provoking, and in my view, not a comedy.

The Gymnast
- Standards are pretty low in the lesbian-love-story category, putting this decent but unremarkable movie in the goat cheese spot.

Save the Date
- Nice independent film about friendship and love. My issues would involve spoilers, so I'll just say good, with some problems.

Cracks
- Creepy girls' school power struggles. A suspenseful drama.

Life of Pi
- I didn't like this book, but it was a pretty good movie.

Hugo
- Martin Scorcese laboured to bring the wonderful The Invention of Hugo Cabret to life, and thus the movie is too long and too slow. But it's also beautiful, rich, magical, and worth seeing. I wrote about the book here.

Episodes
- A funny, smart comedy TV series about a TV series. Matt LeBlanc's character is the perfect combination of maddening and loveable (not unlike some Community characters).

Sound of My Voice
- Time travel, or a hoax, or both? A smart psychological thriller, marred by some plot holes, but worth seeing.

Page Eight
- This British political thriller, written by David Hare, is almost too subtle. But it boasts a great cast, terrific acting, and some nice twists.

No
- It's 1988 in Chile, and a historic plebiscite will decide whether the dictator Pinochet stays or goes. This is said to be the first instance of advertising playing a crucial role in political campaigns. I wanted more out of this film, but it was worth seeing.

Dirty Wars
- An important film, marred by nationalism. That's what I said here.

Robot & Frank
- In the future, we will all have robots to help us. Or to help us commit crimes. Or to take the place of family. A funny and unsentimental look at aging.

Searching for Sugar Man
- How could a musician be so popular and so unknown at the same time? And if you could be so popular elsewhere, why would you ever return to your mundane and struggling existence? This documentary didn't answer that latter question, but is very good nonetheless.

Brooklyn Castle
- Young chess masters from Brooklyn. This doc was too long and repetitious, but worth seeing.

There But For Fortune
- Biopic about the late, great musician Phil Ochs. The film had some problems (if a man is a raging alcoholic, perhaps let us know before it kills him?), but it's a solid doc and tribute to Ochs.

Johnny Carson: King of Late Night
- We're on a bit of a biopic craze, thanks to PBS's American Masters series. It's hard to fathom Carson's unique place in television history, but this doc does a good job.

Mel Brooks: Make a Noise
- Another American Masters about a very smart, very funny man.

Deceptive Practice: The Mysteries and Mentors of Ricky Jay
- One of my few regrets is not seeing Ricky Jay perform in New York. This is Jay's story and the story of his unusual profession and career choice. Really good, almost a roquefort.

Serenity
- I saw Firefly for the first time this year, so I didn't approach Serenity with the high expectations of a fan. It strikes all the right notes. A good time, but for me, not as good as the series.

The Hour, Seasons 1 and 2
- We're halfway through the second season of this BBC production. It's smart, exciting, well acted, and well written. Could almost be a roquefort, but the self-consciously stylish 1950s period setting gets a bit much for me.

Justified, Season 5
- With the current season, Justified has slipped into the middle category. It's still totally worth seeing, but without a great villain working opposite Raylan, it has lost a step.



This stuff is not very good. You might be able to do something with it, like grill a halfway decent sandwich, or melt it over nachos. Not a complete waste of time, but then again, why not just eat something better. A surprising number of these - and some from the dead-last category - were on several critics' best-of lists.

Upstream Color
- A pretentious bore, and a Swiss-cheese of plot holes. This did generate an interesting conversation about how it could have been an exciting, credible film, and that saved it from the scrap heap.

We Need To Talk About Kevin
- How could a human being appear so completely different around different people, and if those people are his parents, wouldn't they ever all be together at the same time? And just why is Kevin so evil? The answer: he just is. Kevin is a bad seed. Nope, that doesn't work for me.

The Best Exotic Marigold Hotel
- Mildly amusing romantic comedy, predictable and transparently aiming for demographic appeal. The kind of movie you should see on a plane, when you're half paying attention.

Hungry for Change
- The basic premise of this movie is sound and undoubtedly true, but outlandish claims and product marketing blow it.

Mary and Max
- I'm a sucker for stop-motion animation and misfit stories, so I should have loved this. Yet I could barely watch. Might be worth a peek.

The Master
- A long, tedious journey to nowhere. Some good acting and a few random interesting insights. Totally skippable, but won't kill you to see it.

Tabloid
- It seems wrong to put Errol Morris in a Velveeta category, but this movie was a mess. There's an interesting story in here somewhere.

Looking For Lenny
- This biopic about Lenny Bruce was halfway to the goat cheese category, but not quite. If you've ever wondered what all the fuss is about Lenny Bruce, this will help answer it. Could have been much better, but was all right.

56 Up
- Maybe it's me. I've lost interest in these people's lives. I could have sworn that this series once had a political point-of-view. Now we just get a walk-through of what's new. You might be interested. I was not.

Downtown Abbey, Season 4
- It feels wrong to put such a well-produced show in with crappy Velveetas. But now that Downton has lost all social and historic context, it's just Coronation Street with better clothes. As the Rolling Stones sang, I used to love it, but it's all over now.



This crap is not cheese, and these movies are not worth seeing.

The Deep Blue Sea
- This 2011 remake of a 1952 film was boring, melodramatic, and unwatchable.

Frances Ha
- It's difficult to watch a movie about self-absorbed hipsters that you would hate in real life. The only good thing I can say about this movie: it's set in New York City.

Butter
- This film is like a refugee from the 1990s. What was once signature indie is now sad re-tread.

A Beginner's Guide to Endings
- A confused mess. Figure out what movie you're making, then try again.

Love Actually
- Wow this is bad, and sexist beyond belief. My thoughts here.

Pain & Gain
- Well, what did we expect from Michael Bay. I thought it would be funny and exciting. Instead, it was overblown dreck.

A Band Called Death
- This is supposed to be about an early proto-punk rock band made up of three black guys from Detroit. Instead, it's the life histories of some people who you don't care about.

* * * *

I've expanded this year's post to include all my TV watching. Since dumping cable and switching to streaming on Roku, I watch a lot more TV shows, so why not include them here?

TV falls into three distinct categories for me. One, high quality series that I've been including in my movie awards for the past few years. (Those are included above.) Two, binge-viewing that I watch almost exclusively alone, for downtime relaxation. And three, comedies before sleep. I'm difficult about comedy, so these can sometimes be tough to find.

I am always in the market for more of these titles, so if you have any to recommend... please do.

Binge Viewing That Worked:
The Bletchley Circle
Luther
Wallander (UK version)
Endeavour
Firefly
Star Trek: TOS (Not first time, but first time through whole series end-to-end)
Star Trek: TNG (First time through, loved it)
Murdoch Mysteries
Inspector Lewis (love!)
Farscape (watching now)

Binge Viewing That Didn't Work (tried and gave up on):
Cracker
Vera
Star Trek: Enterprise
Star Trek: Voyager
House of Cards (UK)

Past Binge Viewing (already saw and love):
Xena: The Warrior Princess (I'm a huge fan)
The Chris Isaak Show
Monk
Inspector Lewis (my favourite detective show)
Jackson Brodie mysteries

Future Potential Binges:
Buffy The Vampire Slayer (I'll watch it one day!)
The Good Wife
Boss
Longmire

Comedy before sleep:
Current: Community
Recent Past: Parks & Recreation

Past and complete:
The Office (US only)
Malcolm in the Middle (greatest sitcom ever)
Futurama, until the comeback season
King of the Hill (early seasons only)
Family Guy (early seasons only)
The Simpsons (off and on and completely out of order)

4.05.2014

whither wmtc (updated)

I feel so disconnected from this blog, and from writing in general. I hate it.

I love having this blog. I love that when I do want to write, and have the energy to do so, and have something to say, I have a place to do it. But writing occupies such a small space in my life now. 

I'm finding tremendous satisfaction from my job. Meaningful work from which I can actually earn a living! What a concept. I've also gotten very active in my union. The need to protect good jobs and the public sector has never been greater, so the timing is perfect, and I feel I have a lot to contribute.

When I'm not working and not engaged in union activities, I'm re-charging. That means movies or baseball, sometimes reading, and trying to get some exercise. I've been very pleasantly surprised at my energy level. I'm very conscious of managing my fibromyalgia, but that's second-nature to me now. I know when to say no, or to cancel plans if I have to. If I do feel a little fibro-ish, it never lasts too long or becomes too severe.

All good. 

But writing! Where is writing? I knew it was coming. I knew it was inevitable. But it makes me too sad to think of this part of myself shrinking and disappearing.

Update. Did it sound like I was pulling the plug on wmtc? Not a chance. Just musing... and wishing I could live in a few alternate realities at the same time. Perhaps you can relate.

3.30.2014

some thoughts on emily brontë's wuthering heights

Cover of 1943 Random House
edition with woodcut illustrations
Emily Brontë published Wuthering Heights in 1847, under a pseudonym. Brontë died the following year, at age 30. It was the only book she would ever publish.

How did an isolated young woman, a parson's daughter from a remote area of Yorkshire, who never married, rarely left home, and hated travel, come to create this story of ferocious passion and violent revenge that would shock her contemporaries, and enthral audiences into its second century?

The existence of Wuthering Heights is one of the great arguments against that wrongheaded advice to writers: "write what you know". (Remember this the next time someone tells you that Shakespeare couldn't have written his plays, because he was working-class, and had never been to Italy.) How did Brontë create it? With her talent and her imagination.

* * * *

Wuthering Heights is one of my most beloved novels; sometimes I think it is my favourite book of all time. I've just finished watching the 2009 adaptation from PBS's Masterpiece Classic, and it's my pick for best "Wuthering Heights" film.

I know the original 1939 film, with Lawrence Olivier and Merle Oberon in the lead roles, backward and forwards; I'd seen it several times before I ever read the book. I love that movie like an old friend, and it's a decent rendition of the novel in many ways. It is Olivier, after all. But it's greatly limited by the Hollywood standards of its era.

There's been a slew of film adaptations through the years. A 1992 version with Ralph Fiennes and Juliette Binoche had me diving for the remote, but most I haven't bothered with. On this page, the keeper of the Wuthering Heights flame online reviews several with her own specific standards. For me, this 2009 two-parter was the best. I don't need to see another.

* * * *

To say Wuthering Heights was scandalous in its day is an understatement. It was shocking. People detested it; at least one critic called for it to be burned. When the writer's identity was revealed (posthumously), the firestorm only grew. This was written by a woman?? The book became one of the most shocking pieces of English literature of all time.

Emily Brontë hadn't created a proper Victorian heroine who would select her proper gentleman. No Jane Austen here. Brontë created one of the great anti-heroes of all time, the passionate, jealous, bitter Heathcliff, dark both in features and demeanour, driven by passion and revenge. In Catherine, Brontë created a strange wild-child of a heroine, a woman whose attempts to shoehorn herself into social conventions would lead to hatred and despair, trapping multiple generations in Heathcliff's powerful vengeance.

Title page of same edition.
I found this (and a similar
Jane Eyre) in London, in 1985.
Victorian audiences were shocked by the depictions of sexual love and of vicious cruelty. But the true scandal was that Brontë's work challenged classism and racism, the subjugation of women, religious hypocrisy, and the entire moral structure of its times.

In one sense, Wuthering Heights is West Side Story and Romeo and Juliet: why is this love forbidden? And because society says it is, terrible things happen.

But those terrible things happen because Heathcliff won't accept his fate, and bends his entire life to a single-minded pursuit. Wuthering Heights is about forbidden, cross-class love, about thwarted passion, but above all, it is a story of revenge.

* * * *

Nineteenth Century British literature was my thing in university, and along with Bleak HouseWuthering Heights was for me the best of the best. I remember to this day a lecture in which my favourite professor, Elaine Scarry, presented the structure of Wuthering Heights as a mandala: concentric circles that take the reader closer and closer to the centre, preparing you for communion with the godhead, then gradually take you out again, releasing you step by step from the spell. The godhead, in this case, is the passion of Heathcliff and Catherine. If you diagram the novel, you may be surprised to learn how little you actually see the lovers together. It's as if their passion can only be looked at indirectly, and for short periods of time. The reader will be blinded by the light, or scorched by the heat.



3.24.2014

dispatches from ola 2014, part 3: hip-hop programming in the library

My final post about the OLA Super Conference sessions I attended saves the best for last. "Sub-Urban Beats: Hip-Hop Programming in the Library" thrilled me with possibilities. Even more exciting, it was co-presented by two librarians from the Mississauga Library System who are youth specialists, Erica Conly and James Dekens. They worked with Damon Pfaff, of the Now Creative Group and Marcel DaCosta, a street dancer, community artist, and arts educator whose performance name is Frost Flow. Frost Flow is part of the Mississauga hip-hop collective Ground Illusionz; you can see some of his work here on YouTube.

The presentation began with two points of theory: an introduction to hip-hop culture, and to the concept of transliteracy. Transliteracy is a current buzzword meaning:
...the ability to read, write and interact across a range of platforms, tools and media from signing and orality through handwriting, print, TV, radio and film, to digital social networks.
This covers the now-aging buzzwords media literacy and digital literacy, but also takes in visual literacy (you remember our comics and graphic novels discussions), sign language, music, dance, and any number of other forms of communication. Transliteracy promotes the idea that all forms of communication are valid, and that we communicate best when we are able to move across and between different communication platforms. For the theoretical minded - which does not include me - there's some good information on the site Libraries and Transliteracy.

[An aside. As I read about transliteracy, I see that some of my best successes at the library (so far) have involved this concept. I created and am promoting book lists that use colourful images of book covers, for use by both customers and staff . They are eye-catching, but more than that, they're designed for people who learn and remember more through images than through words. Our posters, handouts, and tickets for teen programming are also transliterate, associating each event with a graphic icon. I'll show some examples in a future post.]

The brief history of hip-hop culture in the presentation was fascinating and one I hadn't heard before. By now I've run into at least four or five different versions of the origins of rap, break-dancing, and hip-hop culture. I used to protest - "That's not true! I read that it began..." - but now I realize that the differing stories are all true, to some extent. The histories of cultures and countercultures are not linear and directly traceable back to point A and point B. Histories - perhaps especially histories of counterculture movements - are multifarious and diverse, and hip-hop is no exception. I like the way this is expressed on the website Global Awareness Through Hip Hop:
Hip Hop is the constantly evolving spirit and consciousness of urban youth that keeps recreating itself in a never-ending cycle.
The definition of hip-hop culture at this session had, for me, obvious parallels to the punk movement: the stripped-down, DIY culture, the raw immediacy, stories of lived experience, stories that speak to the need for self-expression, performer and audience as community and quite literally interchangeable. Both hip-hop and punk are countercultures that have been co-opted into the profit-making mainstream, but even capitalism can't kill them. The true expression of these cultures die the moment they are commercialized, but other expressions are simultaneously kept alive - on the street, in tiny clubs, on the internet. For a view to how hip-hop culture is being successfully used in education, see Hip Hop Genius.

So now take hip-hop culture, view it through the lens of transliteracy, and mix it with our library mission: life-long learning, community engagement, creativity, and innovation. Throw in a heavy dose of the core values that we bring to all our services: communication, empathy, understanding, and collaboration. A librarian who is an advocate for youth, a suburban break-dance performer, an arts educator, a large open space, some vigorous community outreach... and hip-hop programming in the library is born.

The result is a heady mix that has the potential to engage young people who may not normally see themselves represented in the library.


Photo: James Dekens, Mississauga Library


Photo: James Dekens, Mississauga Library


Photo: Erin Baker, Mississauga Library

Hip Hop Evolution - the program that Erica, James, and others at our library have presented - is a dance program that's not about the dancing. James emphasized: "It's about the ideas, the background, the creativity, the learning, the storytelling. And the program will be different depending on who's involved and where it's held."

I recently saw the documentary "Brooklyn Castle," about a Brooklyn, New York junior high school with a world-class competitive chess program. It ties in nicely with this quote by the hip-hop artist RZA, who is also a competitive chess player, and who compares hip-hop to chess. (No link available.)
Chess is like hip hop. Hip hop is a way we found to express aggression and even violence without having to physically perform it. Chess is like a duel. It's like a swordfight but it's all done on 64 squares on the board. All your aggression, strategy, cunning is left into a game. To me, it's a way to get that energy out.

3.19.2014

march 19, 2003: don't call it a failure. it was a huge success for so many.

Eleven years ago today, the US invaded Iraq.

This unprovoked invasion of another country that had not threatened the United States was justified by the pretense of finding weapons of mass destruction (which the US knew did not exist), and as payback for 9/11 (which the US knew Iraq had no part in), and by ridding the world of Saddam Hussein (who was trained and financed by the US). Many such rationales were advanced, including a Christian crusade against Muslims.

None of the stated rationales for the invasion mentioned the massive profiteering that would reap trillions in profits for a long list of corporations. The names of those companies are not household names, but they are well known to Dick Cheney.

Canada did not join the merry invasion, as the United Nations refused to sanction it. Had Stephen Harper been Prime Minister at the time, Canadian Forces would have gone to Iraq, and would have died there.

No one knows, and no one will ever know, the full extent of the death and destruction that this invasion and occupation caused. One highly reliable source puts Iraqi deaths at about 175,000 and Iraqi wounded at 250,000. 4,489 US servicepeople were killed in Iraq, and at least 100,000 wounded. Many of those wounds would lead to permanent disabilities. These figures do not include more than 3,480 suicides.

We have no idea how many Iraqis, Americans, and Brits suffer from PTSD and other psychological and emotional illnesses from having been exposed to, and participated in, so much violence. The US has mostly turned its back on these casualties, leaving families and private charities to struggle with the consequences.

There is, of course, another side to the story. The Halliburton Corporation enjoyed more than $39 billion from the Iraq War. Halliburton is but the most famous of the many war profiteers.

Not one positive thing came out of this war. Not one. If you believe that deposing Saddam Hussein was somehow a silver lining, consider that your belief may be based on your privilege of being unscathed by the war. Consider, too, that the US supported Saddam Hussein's regime for decades, and financed the chemical weapons that were notoriously used against both Iranians and Iraqis, and were subsequently advanced as an excuse for both the 1990 and 2003 US invasions.

Many thousands of US soldiers quietly refused to participate in the war against Iraq, once they learned the truth. A small number of these soldiers spoke up about their opposition, and some of those came to Canada.

The Canadian Government of Stephen Harper turned its back on those brave men and women. But the Canadian people have not.