Connect with us

Entertainment

Alice Munro's daughter reveals sexual abuse by stepfather, says mother stayed silent

Published

on

Alice Munro's daughter reveals sexual abuse by stepfather, says mother stayed silent

Canadian author Alice Munro established a celebrated and award-winning career with her short stories. However, more than a month after Munro’s death, her estranged daughter says that the writer failed to acknowledge one key narrative: Her second husband was a child sex abuser.

Andrea Robin Skinner, one of Munro’s three daughters with ex-husband James Munro, revealed in an opinion column for the Toronto Star published Sunday that she was sexually abused by her stepfather, Gerald Fremlin. Skinner also alleged that her mother stayed quiet and remained married to Fremlin, despite knowing about the abuse.

“She was adamant that whatever had happened was between me and my stepfather. It had nothing to do with her,” Skinner wrote.

In the column, Skinner said that Fremlin assaulted her when she was 9 years old in 1976, the same year Munro married the geographer. Skinner said the abuse occurred at the author’s home in Clinton, Ontario, when her mother was out and she was left alone with Fremlin.

When Skinner returned to her mother’s Clinton home every summer as a child, Fremlin made “lewd jokes, exposed himself during car rides, told me about the little girls in the neighbourhood he liked and described my mother’s sexual needs” when they were alone, she wrote.

Advertisement

“At the time, I didn’t know this was abuse.”

Fremlin allegedly also had exposed himself to a friend’s 14-year-old daughter, but he denied those allegations. When she was 25, Skinner wrote a letter to her mother detailing the abuse she had experienced. Munro was not sympathetic, Skinner said. After briefly leaving Fremlin, Munro told Skinner of her husband’s “friendships” with other children and said she “had been betrayed.”

“When I tried to tell her how her husband’s abuse had hurt me, she was incredulous,” Skinner wrote.

After her revelation, Skinner said, Fremlin allegedly threatened her if she sought help from police, wrote letters to her family and blamed her for the abuse, describing her as a “homewrecker.” Despite the threats, Munro reunited with Fremlin, Skinner said.

Skinner said she finally brought her complaint to police when she was 38. Fremlin was charged in 2005 with “indecently assaulting” her in the summer of 1976. He pleaded guilty that same year and was sentenced to two years of probation, she said. He died in 2013.

Advertisement

Skinner, who sought therapy so she could move forward from her abuse, said she went no-contact with her mother after the birth of her twins, and never reconciled with her.

In 2013, Munro won the Nobel Prize in literature. The achievement followed decades of works, including “Lives of Girls and Women,” “What Is Remembered” and “Dear Life,” that garnered Munro praise from literary contemporaries including John Updike and Joyce Carol Oates. Skinner said she wanted her story of abuse to “become part of the stories people tell about my mother.”

“I never wanted to see another interview, biography or event that didn’t wrestle with the reality of what had happened to me, and with the fact that my mother, confronted with the truth of what had happened, chose to stay with, and protect, my abuser,” she wrote. “Unfortunately, that’s not what happened. My mother’s fame meant the silence continued.”

Skinner said she had informed several members of her family, including her siblings and her father, about the abuse. Now 57, Skinner said the “healing continues.” She wrote about her work with an organization that supports survivors of childhood sexual abuse.

Munro died May 13 at her home in Port Hope, Ontario. A cause of death was not revealed at the time. She was 92. Skinner wrote that she grieved the loss of her mother, and that “was an important part of my healing.”

Advertisement

Entertainment

Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

Published

on

Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.

Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.

In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.

As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.

“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.

Advertisement

He is seeking $35 million in damages.

Representatives for Live Nation were not immediately available for comment.

The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.

Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”

Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.

Advertisement

Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.

Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”

In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.

Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”

Advertisement
Continue Reading

Movie Reviews

‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

Published

on

‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

Continue Reading

Entertainment

Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

Published

on

Dataland, the world’s first museum of AI arts, sets opening date and first exhibition

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

Advertisement

An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

Advertisement

Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”

Advertisement
Continue Reading
Advertisement

Trending