YouTube suspends comments on videos of kids

Leon’s Getting Larger and their tours are getting longer

Emo music was never just a phase for Nikola Boticki.

“It was people just saying the things I was feeling,” says the 26-year-old vocalist and guitarist. “Growing up, it’s kind of like, ‘I feel that way but I’m not going to say that out loud,’ so it was nice to hear someone say it.”

Boticki got into the punk subgenre near the end of his angsty high school years and his appreciation only grew while in isolation during the COVID-19 pandemic.

The music inspired him to form his own emo band, Leon’s Getting Larger, with friends Luke Penner (vocals/drums) and Noah St Hilaire (bass).

Watching while we work

For many employees, the idea that their employer might be tracking how long they spend at their keyboard, how often they move their mouse, or whether they are actively working throughout the day feels unsettling. For many employers, however, workplace surveillance is increasingly viewed as another management tool, particularly as hybrid and remote work become more common. The recent news that TD plans to monitor certain employees’ activity during the workday has reignited a conversation that has been quietly growing for several years: where is the line between legitimate oversight and excessive monitoring?

The reality is that workplace surveillance is nothing new. Employers have long monitored attendance, reviewed security camera footage, tracked company vehicles using GPS, audited expense reports, and reviewed internet usage on company-owned devices. What has changed is the sophistication of the technology. Today’s software can record login times, monitor application usage, track keystrokes, capture screenshots, analyze email activity, and even generate reports ranking employees based on their perceived productivity.

This naturally raises an important question. Does increased surveillance actually make people work harder?

The answer is not nearly as straightforward as many organizations hope.

Family hopes police alert will bring missing woman home

The family of Ashley Arason has made a desperate plea for her to come home.

The 41-year-old last had contact with her family on April 6, 2019, which was her 34th birthday.

“I’ve got a place for her,” said her older sister, Pamela Arason, through tears on Thursday. “She has a place to go, a home to come to.”

On Thursday, Winnipeg Police Service renewed the call for help from the public to solve the missing person case.

Livestreamed mental-health meltdown underscores medium’s disturbing decline

On Tuesday evening, a well-known celebrity blogger, best known by the nom de plume Perez Hilton, opened up his TikTok account and began a livestream from his Miami home. What unfolded over the next 30 minutes horrified all who witnessed it — and should force the rest of us to take a very sober look at the ways social media can harm.

The view from here: Phyllis Green. Boob Tree, 1975

Staycation: The Art of Being Here feautres more than 100 Manitoba-related artworks from the Winnipeg Art Gallery-Qaumajuq collection, spanning the past 50 years. These pieces reveal how the places around us are layered with memory, story and lived experience. Over the coming weeks, the Free Press will spotlight works from this eclectic exhibition, each one offering a new way of seeing home. Experience it in person and enjoy some staycation time at the gallery, on view until December.

Phyllis Green. Boob Tree, 1975

(Yarn, wood. Collection of the Winnipeg Art Gallery; Acquired with funds from the Estate of Mr. and Mrs. Bernard Naylor, funds administered by The Winnipeg Foundation, 2014-128. Photo: Ernest Mayer.)

The year 1975 was designated International Women’s Year by the United Nations, and in celebration, the WAG staged the show Images of Women, which explored how women had historically been depicted, an impressive selection but by mostly male artists. Amid pushback from the community, Sharron Zenith Corne and Marian Yeo organized a second exhibition, Woman as Viewer, which challenged those portrayals by only featuring works by women. It was called the first Canadian exhibition of feminist art. American artist Phyllis Green’s Boob Tree, a four-foot-tall crochet sculpture of a cluster of breasts, adorned the exhibit posters, which were so popular they were snatched by passersby! The sculpture is playful and unsettling, re-appropriating the objectification of women’s bodies.