The Mammalian Daily

Satirical fiction in newspaper form

Lovely to look at - Book by Noreen

OTD in 2012—Band’s new song, “Put a Leash on It” sparks controversy

By

Is this the life Les Chiens Débraillés believe Park Canines covet?

The Park’s Canine community is threatening to boycott all music by the controversial band, Les Chiens Débraillés, after the release yesterday of its new song, “Put a Leash on It.”

In an open letter to the band and its management and to the Canine Music Association (CMA), DoGGeD, a newly-formed group of “concerned Park Canines” wrote of their “dismay and feelings of dejection” when they heard the song.

“We are writing to let you know that we find the song’s message offensive and condescending. In releasing this song, Les Chiens Débraillés has alienated its fellow Canines and, in so doing, shown its lack of taste in both music and intraspecial relations,” the letter read.

In response, Philippe Chiendeur, the band’s manager, released a one-line statement saying that the band does not comment on “the meaning or message of any of its musical material”.

Canine Music Association President R.F. Aarrf also released a short statement. In it, he said the CMA does not deal directly with complaints from “disgruntled individuals or groups.” The last controversy the CMA was involved in was the dispute between the Association of Park Radio Stations and the popular Park band The Cynics, after the APRS pulled a Cynics song from the airwaves.

Earlier today, however, The Marsupial Messenger’s acclaimed music reviewer Pierre Sucre came to the defense of the band. In a short column, he wrote that DoGGeD “has it all wrong.”

“Leaving aside the stereotype that Canines have no sense of humour, this group [DoGGeD] has completely missed the point of the Chiens Débraillés song. To the rest of us, the song is a lament. It’s about the economy, stupides, and the effects the downturn has had on our sense of independence. In my opinion, the song isn’t even about Canines. It’s about trying to survive in a world in which we do not have complete control over our lives,” Sucre wrote.

________________________________________________________________________________

See also:

Association pulls Cynics’ song from airwaves

________________________________________________________________________________

OTD in 2016—Beyond A Shadow Of A Doubt: Park Museum hosts first pop-up exhibit to honour POPS election process

By

beyond-a-shadow-of-a-doubt-for-park-museumIn celebration of this year’s POPS election season, The Park Museum will host a pop-up exhibit entitled, “Beyond A Shadow Of A Doubt.”

In an announcement yesterday afternoon, the museum’s Board of Governors said the multimedia exhibit is meant to honour the POPS election process as well as this year’s unconventional campaign.

The exhibit will showcase material related to the 2003 decision by Mr. Justice Augustus Dindon to open the position of POPS to elections. It will also feature memorabilia from past campaigns, including posters, flyers, buttons, newspaper interviews, television and radio interviews, and recorded speeches.

This is the first pop-up exhibition hosted by the museum since its opening in March of 2015.

“Beyond A Shadow Of A Doubt” will run from 31 October until 17 November 2016.

OTD in 2012—Douglas Cheetah film to be re-released in time for Halloween

By

Bitter Litter Pictures announced today that it has re-released Douglas Cheetah’s controversial 2007 film, Black Cats Can’t Jump, in time for the Halloween season.

In a press release, the company confirmed rumours that the director’s cut version of the film will screen at the Park Cinema for two weeks only, beginning October 30.

“We are pleased to offer our sophisticated Park audience the director’s cut of Douglas Cheetah’s groundbreaking work,” the release stated.

Through a spokesAnimal, Cheetah expressed delight that more Animals will be able to see the film.

“Five years is a long time. Many more Animals have been born and come of age in that time and I am delighted that they will be able to see this film,” he said.

Cheetah is currently out of The Park, at work on a documentary that he hopes to release at the 2013 Park Interspecial Film Festival.

OTD in 2015—Millicent Hayberry to star in new Gianfranco Colocolo mystery series

By

Millicent Hayberry

Millicent Hayberry will return to the stage in 2016

Millicent Hayberry will ring in the new year by starting a new gig at the Burrow Theatre.

In a press communiqué today, the renowned actress announced that, beginning in mid-February, she will star in a series of mysteries by award-winning author Gianfranco Colocolo.

“I am very pleased to announce that 2016 will find me back onstage at the Burrow Theatre, in a series of mysteries by Gianfranco Colocolo, the award-winning author of Murder at the Fishbowl. I look forward to working with our brilliant director Jean-Luc Briard and the rest of the wonderful cast,” the communiqué said.

The Burrow Theatre confirmed that rehearsals for the first play begin on Monday.

“As Millicent is a hibernator, she will not be available after November 17, so we have to get going right away and use the time we have,” a spokesAnimal for the theatre said.

Hayberry, who is best known for her portrayal of author Imogen Aardeekhoorn in both the stage and screen productions of Mixed Nuts, is one of The Park’s early risers and, as such, she does not plan to return to her burrow after Groundhog Day. Instead, said the theatre’s spokesAnimal, “she expects to arrive here on February 3, bright-eyed and bushy-tailed and ready to get back to work.”

OTD in 2014—Controversial new “game” lets Animals experience capture, domestication

By

New Park game

Groups blast game that lets players experience capture, domestication

A new game that bills itself as “the extreme Animal experience” is being criticized by many, including some of The Park’s citizen aid and action associations.

The game, which is called “Kokemus!,” was created by KartalTechSolutions, S.A. in association with Geoffrey’s Cat Entertainment. This is the first time that Geoffrey’s Cat Entertainment, best known for their award-winning film, Black Cats Can’t Jump, has ventured outside the world of film.

In a statement released today, leaders of the majority of The Park’s immigrant and refugee aid groups came down hard on the game, saying it “traumatized the young, caused and promoted fear, and made light of the real experiences suffered by Park Animals.”

Angus Deerhound, media relations representative for Runaway Rovers, a group that assists formerly domestic Canines, called the game “despicable” and suggested that it be outlawed as soon as possible.

“If the creators of this game knew anything about the situations they depict as fictional, they would never have produced such a thing. It is an insult to any Animal who has survived enforced domestication,” he said.

Inez Gallina, President of Home to Roost, echoed Deerhound’s sentiments this morning in an interview on CLucK Radio.

“They [the creators] must be heartless to suggest that it’s fun to put Animals through the kind of trauma that we see every day,” she said.

But Talia Katsikas, Founder and Director of the Working Wounded Performing Arts Company, praised the game.

“Anything that raises awareness of the plight of those who have experienced enforced domestication or suffered the pain and loneliness of immigration, is a positive thing, in my view. The more they play that game, the greater will be their understanding of many of our fellow citizens. We should all welcome any opportunity to spend some time in another Animal’s coat,” she said.

OTD in 2015—Canine Music Association, PHS join forces to push for Barkettes museum

By

barkettes-museumThe Canine Music Association has teamed up with the Park Historical Society and members of The Park’s music community to push for the establishment of a museum to honour the life and work of Thisbe and the Barkettes.[pullquote]The Barkettes broke the species barrier when it came to music and they paved the way for the success of all other Park musicians. We are long overdue in honouring them by keeping their accomplishments alive for the next generations.—Park Historical Society president Clark Cascanueces [/pullquote]

In the current issue of the Association’s monthly newsletter, CMA president, R.F. Aarrf makes the case for the museum, writing that the disappearance last May of the set list from the first concert of the Barkettes’ Bring Your Own Bone tour was “the straw that broke the Barkettes’ back.”

“The intention was for the set list to be preserved for eternity,” Aarrf writes. “Instead, it was stolen from right under our noses because there was no security. If nothing else, this event highlights the need for a proper home to honour the group’s legacy.”

Aarrf also criticizes the decision to place the original sheet music of “Stuffed Dogs Don’t Shed” at The Park Museum.

“With all due respect to The Park Museum, this is a travesty. Not to have a suitable home for such an important piece of Park musical history is an embarrassment to the Barkettes. Shame on The Park,” he writes.

This is not the first time that Aarrf has fought for a Barkettes museum. Two years ago, he called out the Park Finance Office (PFO) for incompetence and short sightedness for not properly supporting the arts and he warned that funding cuts and ignorance threatened the Barkettes’ legacy.

This time, Aarrf says he won’t take no for an answer, nor will his ally, Park Historical Society president Clark Cascanueces. In fact, they are asking everyone to sign a petition to tell the Archons that The Park needs a Barkettes museum.

“The Barkettes broke the species barrier when it came to music and they paved the way for the success of all other Park musicians. We are long overdue in honouring them by keeping their accomplishments alive for the next generations,” he said on the Yannis Tavros show yesterday.

OTD in 2016—ZEAL, Stinktier make peace at Snowbird Farewell

By

zeal-stinktier

Zeal and Faramund Stinktier at Snowbird Farewell

Popular Park singer ZEAL and Faramund Stinktier of the SCENTient Beings duo set aside their differences yesterday to play an emotional set together at the annual Snowbird Farewell.

It was an intense few minutes, not only for the two musicians but for all the celebrants at the annual gathering in honour of The Park’s Avian migrators. A few seconds after concluding the duo’s greatest hit, “Beings and Nuttiness,” the father of Reekabilly music ushered his singing partner Harimann Stinktier off the stage and invited ZEAL to come up and perform with him.

A very surprised ZEAL graciously accepted the invitation, and they sang three songs—two of ZEAL’s and one of the Beings’—before they left the stage.

Asked later by a reporter whether he’d planned the move, Stinktier said he hadn’t.

“I saw him [ZEAL] standing there in the audience and, you know, we haven’t spoken since he backed out of performing at the Winter Solstice celebrations because of my decision to transition to a Zebra. But when I saw him, it just made sense to me to give it a try. I didn’t ask him for understanding and we have no plans to sing together again. It was just a moment and that moment seemed right for us to bring harmony to the event,” he said.

ZEAL has not said anything about his performance yesterday.

OTD in 2016—Director Zebra peddles compassion and hope in WINK: PIFF Feature Film Review

By

WINK Movie Poster 1WINK
♥♥♥♥♥♥

Directed by G.D. Zebra | 65 minutes | Premiere screening October 1 at the Park Cinema

It sounds cliché, but it was true: there wasn’t a dry eye in the theatre on the night of October 1.

By the time the credits rolled at the premiere of G.D. Zebra’s amazing new film, WINK, it seemed as though all Park Animals had found it in their hearts to embrace each other for the rest of time.

Of course, we knew it wouldn’t last. And it didn’t. But for one brief shining moment—all right, several, as the film was screened again on October 5—The Park seemed as Jor had meant it to be: open, free of prejudice, and dedicated to providing a peaceful, safe, and prosperous life to all its citizens.

Produced by Kevin Kodkod (of Black Cats Can’t Jump fame), and narrated in parts by Willem Leopard, WINK takes us on the personal journey of a group of striped and spotted Animals who, after suffering a lifetime of prejudice, opt to have their visible differences removed.

One might expect Zebra to have made his mark on the film through his personal perspective, but what makes WINK so powerful is the fact that he steps back and lets the participants tell their own stories. And, in large part, it is the timeline itself that allows us to feel the full effect of those stories.

As we follow the group for a period of three years—before, during, and after their stripe and spot removal procedures—the participants cease to appear to us as a homogeneous group. Rather, we see them as individuals who have experienced similar but distinct reactions to their visible otherness. And in discussing those reactions, they open a window through which we see their suffering and hopes more clearly.

As they introduce us to their families, their friends, and their way of life, their “otherness” seems to disappear. By the time they’ve booked their procedures, we find ourselves wondering why they’ve done it. Unfortunately, that wonder doesn’t last very long.

Indeed, we learn from the film’s title that these Animals have no way of escaping their past experiences which inform their lives forever. The title comes from a statement made by participant Aadhya Leopard, who when asked how it felt to emerge as a solid-coloured Animal, said, “It’s like a wink. It’s like I’m saying I’m just like you, but we both know I’m not.”

Participant Maximilian Appaloosa went even further. “What I discovered is that there is no such thing as an invisible minority. What your ancestors have suffered and the narrative you were raised on determines who you are and how you interact with others. And other Animals can sniff that out even if you look the same as they do. I discovered that all Animals have some kind of radar. It’s not just Bats,” he said.

The film, which lasts just over an hour, includes interviews with popular Park musician and anti-stripe-removalist ZEAL, anti-sortitionist and self-described “naturalist,” director Douglas Cheetah, and SCENTIENT Beings composer and father of Reekabilly music Faramund Stinktier, who announced his transition to being a Zebra last year.

But the film isn’t about the famous, or even about the striped and spotted Animals whose stories it tells. It is really about the rest of us, whose duty it is to confront our own otherness in order for all otherness to disappear.

WINK
The Park Cinema
October 17-31
Showtimes: 11:00; 1:00; 3:00; 5:00; 9:00

OTD in 2014—Park Repertory Theatre to raise funds from tours of Aardeekhoorn’s burrow

By

The Park Repertory Theatre will host tours of playwright Imogen Aardeekhoorn’s burrow

The burrow of the late playwright Imogen Aardeekhoorn will be the subject of a series of guided tours hosted by the Park Repertory Theatre, The Mammalian Daily has learned.

The tours will help the theatre raise much-needed funds, according to Chief Executive, Valencienne Castor.

“We struggle to make ends meet and Imogen was well aware of the situation. I believe that was one of the reasons she left the burrow to the theatre,” Castor says.

Aardeekhoorn, who died this past July, willed her burrow to the theatre on the condition that it remain as it was found after her death. Castor is adamant that “nothing has been touched or moved” since the will was probated by the law firm founded by Ingmar Prärievarg.

Before the probate, there was talk of opening a second stage in the burrow or a studio space for students of the Millicent Hayberry Centre for the Study of Drama and Performance at the University of West Terrier. Those plans have been shelved, at least for now, said Castor, in part due to funding issues.

“We are not able, at this time, to contemplate opening a second space and we do not want to enter into a competition with the Burrow Theatre,” Castor told The Mammalian Daily.

“Our goal is to honour Imogen’s wishes and we know that she wanted the Park Repertory Theatre to survive.”

OTD in 2013—Museum takes heat for letter blaming construction workers

By

Park Museum

The Park Museum’s Board has been criticized for blaming the Builders’ Guild for the current dispute that has halted  construction on the museum since September 14.

The Board of Governors of the Park Museum has come under fire for appearing to blame members of the Association of Professional Park Construction Workers (APPCW) for the ongoing strike at the museum.

In an open letter addressed to the museum’s future patrons, the Board contends that it has bargained “in good faith” and been conscientious about attending negotiations with the APPCW’s representatives. The letter appears on the museum’s web site.

“At no time did we threaten to void our contract with the Builders’ Guild (APPCW), as was reported, nor have we ever failed to attend negotiations. We believe that we have bargained in good faith with the members of the APPCW and, to the best of our ability, we have met members’ demands,” the letter begins.

Some critics, however, have accused the museum’s Board of Governors of “whitewashing” and some have even suggested the letter is a form of sabotage.

“I think they might be using that letter to bait the APPCW,” said Gareth Shepherd, Park Police Officer and President of the Federation of Canine Security Workers (FCSW).

“We’ve seen this kind of thing happen and it can turn very ugly,” he said.

Construction of the main building of the Park Museum ceased on September 14, when talks between the APPCW and the museum’s Board of Governors broke down. In the letter, the museum’s Board of Governors appears to blame APPCW members’ “demands” for the current impasse, something which Shepherd says is common tactical error.

“More often than not, it backfires,” he says. “[Their] use of the word ‘demand’ is the first indication that they are trying to sway public opinion with the letter, rather than just using it to inform future patrons of the delay. Their hope appears to be that donors and future patrons will place the blame for the delay and for escalating costs on these ‘demands’ rather than on both parties’ inability to come to an agreement.”

The full letter appears here.

Click on Noreen’s book below to get your copy now!

lovely-to-look-at-front-cover

New eBook edition cover

Margaret Atwood tweets Noreen

Join TMD on Facebook

Join TMD on Facebook

Click below to see what others say about us

CATCH UP HERE!

November 2025
M T W T F S S
 12
3456789
10111213141516
17181920212223
24252627282930