Welp, coulda bin 10 years on, come ta think. Pretty little thing, she was. Born on Nathan’s farm up yonder. Her folks jest up and disappeared. They say it was round noon they found her. Jest layin there in the tall grass out near the lane. That’s why they decided on callin it, High Noon Lane. Seemed appropriate to most folks. Me, I’d a called it Nathan’s Green.
Well hell! Why d’yah think? Dumb City folk don’t know a lane from a pile a grass.
©Jen Goldie 3/20/2019
Crimson’s Creative Challenge #19 “High Noon Lane”
Born February 9, 1936 Saint John, New Brunswick, Canada
Died March 6, 2013 Ballinafad, Ontario, Canada
Charles Thomas “Stompin’ Tom” Connors, OC, singer, songwriter, guitarist, fiddler (born 9 February 1936 in Saint John, NB; died 6 March 2013 in Ballinafad, ON). One of the most iconic figures in Canadian music, Stompin’ Tom Connors was a working-class, salt-of-the-earth troubadour and perhaps the most overtly nationalist songwriter Canada has ever produced. His traditional country songs about Canadian people and places — such as “Bud the Spud,” “Sudbury Saturday Night” and “Big Joe Mufferaw” — were humorous, patriotic and widely popular, and reflected his extensive travels throughout the country. He was a passionate activist for Canadian music and culture, going so far as to return six Juno Awards in protest of what he saw as the organization’s favouring of expatriate Canadians over those with only domestic success. He received Lifetime Achievement Awards from the East Coast Music Awards, the Toronto Musician’s Union and SOCAN. He was made an Officer of the Order of Canada and inducted into Canada’s Walk of Fame.
Tom Connors had as hard a childhood as one could have, experiencing poverty, homelessness, hunger, and the rigours of the child welfare system. In his very early childhood he and his mother begged on the streets of New Brunswick, and when she was jailed, the young Tom was incarcerated with her. Eventually he was placed in an orphanage and foster care before being adopted by a family in Skinners Pond, Prince Edward Island.
Connors wrote his first song, “Reversing Falls Darling,” at age 11. At 15 he began playing the guitar. The country music of Wilf Carter and Hank Snow had a profound influence on him and his music. He left his adopted home at age 15 and hitchhiked his way across Canada, working for 13 years at various jobs and occasionally spending a night in jail for vagrancy. This period, during which he saw a great deal of the country and experienced the seamy side of life, informed his musical persona as a rough-hewn, sincere, grassroots songwriter.
Connors began singing professionally in 1964 at the Maple Leaf Hotel in Timmins, Ontario. He initially performed in exchange for a beer but remained there for 14 months, eventually earning $35 per week. He was also heard locally on CKGB radio. In the absence of amplification at the Maple Leaf and other bars where he performed in Ontario, Connors pounded the floor with his booted foot to establish the rhythm of his songs (partly sung and partly recited) above the noise of the crowd. He was first referred to as “Stompin’ Tom” when he was introduced before a performance at the King George Tavern in Peterborough, Ontario, on Centennial Day, 1 July 1967. To avoid damaging the stages, he would place a sheet of plywood under his boot. This “stompin’ board” became as much part of his image as did the black Stetson hat he habitually wore.
Connors sang with a piercing edge that reflected the grittiness of life on the road and his hard-won life experience.
Stompin’ Tom Connors performs in a 1974 handout photo. The toe-tapping footwear that helped earn Stompin’ Tom Connors his notable nickname were as authentically Canadian as his heartfelt homegrown tunes. The famed boots were from Boulet, the first company to produce cowboy boots in Canada.THE CANADIAN PRESS/HO-CBC
His successes came mainly on country and university radio stations. However, he received the Juno Award in 1971 for best male country singer and became something of a cult figure, due in large part to his popularity as a live performer; he toured exhaustively throughout Canada, and his record-setting 25-night run at Toronto’s Horseshoe Tavern became legendary.
Connors won the Juno Award for best male country singer every year from 1971–75, and his LP To It and At It (1972) received a Juno in 1974 for Country Album of the Year. In 1978, however, he returned the awards in protest of Junos given to expatriate Canadians. He subsequently retired and launched a personal, one-year boycott of radio and other media to protest their lack of support for identifiably Canadian material.
Connors did not return to performance until 1988, when he released Fiddle and Song. The album, which introduced the fiddle style he had developed during his retirement, included the popular “Canada Day, Up Canada Way,” “Lady KD Lang” (see k.d. lang), and “I Am the Wind.” It was followed in 1990 by a triumphant 70-city tour of Canada, culminating in two concerts at Massey Hall. That year also saw the release of the greatest hits compilation, A Proud Canadian (1990), which was the first of Connors’s albums to go gold, and eventually platinum in Canada. Capitol Records also reissued many of Connors’s earlier albums and in 1991 released a new recording, More of the Stompin’ Tom Phenomenon.
A hard drinker and heavy smoker, Connors died of kidney failure at the age of 77 on 6 March 2013. The National Arts Centre (NAC) in Ottawa lowered its flag to half-mast in tribute to Connors’s contribution to the artistic life of the country. On 7 March, New Democrat MPs paid tribute to Connors by performing “Bud the Spud” in the foyer of the House of Commons. A memorial service was held at the Peterborough Memorial Centre in Peterborough, the birthplace of his nickname, on 13 March 2013.
He sang of maple trees, wheat fields growing tall, the Leamington tomato, New Brunswick’s famed reversing falls. In Canada, as he sang, we get to see them all.
James Naismith – a Canadian and “The Father of Basketball”
1861-1939 Canadian physical education teacher
The Canadian-born physical education instructor James Naismith made an indelible mark on sports history when he invented the game of basketball in Springfield, Massachusetts, in December 1891. With a soccer ball, two peach baskets, a ladder, and ten written rules, Naismith created the sport within two weeks, after he was asked to come up with an indoor game to keep students active during the severe New England winter. Word about “basket ball,” as it was originally called, spread quickly, and by 1900 the game had gained popularity at universities across the country. Although Naismith had played the game only a handful of times, he lived to see his brainchild become an international sport, making its Olympic debut in 1936, three years before his death.
The eldest son of Scottish immigrant John Naismith and his Scottish-Canadian wife, Margaret, James Naismith was born on November 6, 1861, near Almonte, Ontario, Canada. One of three children, eight-year-old Naismith moved with his family to a milling community in Grand Calumet, where his father took work as a sawhand. Loss was a theme of his early childhood, as he was orphaned at age ten, when his parents succumbed to typhoid fever within three weeks of each other. Naismith and his siblings then lived in the Upper Canadian village of Bennie’s Corners with their maternal grandmother. When she died only two years later, an uncle, Peter Young, took over care of the Naismith children.
Young Naismith, whose athletic strength surpassed his early academic performance, attended Bennie’s Corners’ one-room schoolhouse. He attended Almonte High School initially for only two years, and dropped out, but four years later he returned and eventually graduated. Before and after school he worked on the Young family farm, and passed his free time playing sports with friends. In the winter, he and his peers enjoyed snowshoeing, Ice hockey, skating, and tobogganing; in summer, they swam in the Indian and Mississippi Rivers.
In 1883 Naismith entered McGill University in Montreal, Quebec, where he applied himself to his studies and became a strong student. To keep fit, he participated in football, rugby, lacrosse, and gymnastics. Completing a Bachelor of Arts degree in Philosophy and Hebrew, he graduated in the top ten in his class in 1887, and went on to study at McGill’s theological school, Presbyterian College. Although he was a good theological student and won scholarships for his achievements, Naismith aggravated his professors by continuing to participate in sports. The theologians disapproved particularly of lacrosse, which some even referred to as “legalized murder.” Yet Naismith held to his belief that one could pursue both an athletic and a spiritual life.
Living in Montreal, Naismith became acquainted with the Young Men’s Christian Association (Y.M.C.A.), which had been founded in London around 1800 and established branches in Montreal and Boston in 1851. At the Montreal Y.M.C.A., Naismith approached the administrators with a desire to become an instructor who combined spirituality and athletics in a program for young athletes. The general secretary, D. A. Budge, told Naismith about an international training school in Springfield, Massachusetts, which trained Y.M.C.A. youth leaders. After obtaining his diploma from McGill’s Presbyterian College of Theology, and becoming an unordained minister, Naismith departed for Massachusetts in the late summer of 1890.
In the winter of 1891, during his second year with the Springfield Y.M.C.A., Naismith found himself in charge of the indoor physical education program. His students consisted primarily of bored, troublemaking youths and of mature men who had begun to tire of the indoor sports options. Realizing that interest in the indoor program was beginning to wane, the head physical education instructor, Luther Gulick, charged Naismith and his co-trainees with the task of developing new indoor games. Gulick gave the trainees two weeks to come up with their new games, and to submit proposals for them. Naismith rose to the challenge.
To create a new sport, Naismith looked for inspiration to outdoor sports like soccer, lacrosse, and football, and attempted to modify them to suit an indoor format. But since the game would be played on a hardwood floor, sports involving excessive running, tackling, and rough-housing were out of the question. Brainstorming for other ideas, Naismith recalled a childhood game called “duck on the rock,” which involved throwing balls into empty boxes or baskets. Realizing that the baskets or boxes, placed at opposite ends of a court, would make good goals, he adopted them for his new game. To pose more of a challenge to players, and to emphasize skill instead of force as a key to winning, Naismith decided to raise the goals above the players’ heads.
With the help of a janitor, Naismith found two empty peach baskets that were about 15 inches in diameter around the top. With a hammer and nails, he secured them to the rails of two lower balconies on opposite ends of the gymnasium, about ten feet above the floor. (In these early days, the basket retained its bottom, and a step ladder was placed next to the basket for retrieval of the ball.) He was then ready to try out his new game with his students, who at the time did not realize they were making, sports history. On that day in December 1891, they were players in the first-ever game of basketball. The new sport was an instant hit.
Before Naismith died at age seventy-eight in 1939, he witnessed basketball’s acceptance as an official international sport at the 1936 Olympic Games in Berlin. Although he generally shied away from public acknowledgement, Naismith accepted an invitation to the Games’ inaugural ceremony, and agreed to throw the ball for the Games’ first-ever basketball match.
Naismith never sought fame or fortune for his invention of the popular sport, and it was not until after his death that this accomplished figure—who over his lifetime received degrees in philosophy, religion, physical education, and medicine—achieved true recognition for his contribution to sports history. In 1941 he was posthumously elected to the American Academy of Physical Education, and in 1959 Naismith, his name now synonymous with the Father of Basketball, was enshrined as the first member of the Naismith Memorial Basketball Hall of Fame.
“Naismith, James.” Notable Sports Figures. . Retrieved March 07, 2019 from Encyclopedia.com: https://www.encyclopedia.com/sports/encyclopedias-almanacs-transcripts-and-maps/naismith-james
The invention of basketball was not an accident. It was developed to meet a need. Those boys simply would not play ‘Drop the Handkerchief.’
I am sure that no man can derive more pleasure from money or power than I do from seeing a pair of basketball goals in some out of the way place.
Be strong in body, clean in mind, lofty in ideals.
She was Yar! Her men were proud and her Captain was her lover. Together they conquered the sea.©J.E.Goldie
As usual I have followed the story with some videos of her glorious past.
The following information was gathered from The Nova Scotia Archives
From the day Bluenose was launched on 26 March 1921 in Lunenburg, Nova Scotia, the Grand Banks fishing schooner has been a vessel larger-than-life, its sails cut and sewn with the fabric of legend, its crew a breed of rugged, hardy, seafaring men. Much was expected then from both vessel and crew — and much has been delivered in the eight decades since launch day.
Then as now, the press knew a good story when they saw one; no sooner had Bluenose won its first International Fishermen’s Race in October 1921 than local and international newspapers seized upon the excitement of victory. They immediately understood that this was no ordinary fishing vessel, and that the potential for marketing and exploiting the schooner was endless.
Over the years, Bluenose has been a symbol for many things. In the 1920s, it represented Nova Scotia’s prominence in the fishing industry and international trade. Its unmistakable grace, elegance of design and efficiency under sail were advertisements for the architect, William J. Roué, and for the superb workmanship of Nova Scotia shipwrights. The captain, Angus Walters, and his crew were world-famous, admired for their spirit of adventure, their courage, and for their resourcefulness in the face of unrelenting danger at sea.
In the hard times of the 1930s,
Bluenose reinvented itself. With all the dazzle of a carnival queen, the schooner became a showboat, trading on its fame and visibility, available for public cruises — and for any advertising opportunity that sailed by. In 1933 it represented Canada at the ‘Century of Progress’ World’s Fair in Chicago, and in 1935 it sailed to the Silver Jubilee of King George V in England. Everywhere Bluenose went the press followed, culminating in the last Fishermen’s International Races, revived in 1938 off Boston and Gloucester, Massachusetts, where it was once again victorious.
Like a ghost ship, in 1963 Bluenose returned. A replica schooner endorsed by Angus Walters and William Roué, Bluenose II was built in Lunenburg by Smith & Rhuland in yet another marketing venture. This time it was financed by Oland Brewery, built specifically to advertise their products — while at the same time promoting Nova Scotia’s maritime heritage, tourist appeal and business potential. In 1971 the schooner was gifted to the Government of Nova Scotia. In the years since then its role as floating ambassador for the province has been consistent.
Looking back, not much has really changed in the eighty-plus years since Bluenose was launched in 1921. Both vessels have always represented a fixed time, place and way of life — specifically, the great Age of Sail in Nova Scotia and the traditional seafaring existence of a maritime people. Both vessels have also been marketed and promoted by corporate interests — The Halifax Herald, Oland Brewery, the Government of Nova Scotia — for purposes far beyond the primary role of the first Bluenose as a gritty little salt-bank schooner.
They say there’s a dead Chinese man for every mile of the track.
Building the Canadian Pacific Railway
Canada needed a railway that would stretch from one side of the country to the other. Andrew Onderdonk, a New York engineer, was given the contract to build the portion of the railway from Port Moody to Eagle Pass, near Revelstoke, British Columbia. The land in this area was mountainous, making the work difficult and dangerous. Workers were in short supply. Between 1881 and 1884, as many as 17 000 Chinese men came to B.C. to work as labourers on the Canadian Pacific Railway. The Chinese workers worked for $1.00 a day, and from this $1.00 the workers had to still pay for their food and their camping and cooking gear. White workers did not have to pay for these things even though they were paid more money ($1.50-$2.50 per day). As well as being paid less, Chinese workers were given the most back-breaking and dangerous work to do. They cleared and graded the railway’s roadbed. They blasted tunnels through the rock. There were accidents, fires and disasters. Landslides and dynamite blasts killed many. There was no proper medical care and many Chinese workers depended on herbal cures to help them.
The Chinese railway workers lived in camps, sleeping in tents or boxcars. They did their own cooking over open outdoor fires. They mainly ate a diet of rice and dried salmon, washed down with tea. With their low salaries they could not afford fresh fruit and vegetables, so many of the men suffered from scurvy (a painful disease caused by a diet without vitamin C). The camps were crowded. Diet and living conditions were poor. Many got sick. In the winter it was very cold and the open fires were the only way of keeping warm. Whenever the workers put down more tracks, the camps had to be moved further down the line. When it was time to move camp, the Chinese workers would take down their tents, pack their belongings and move everything to the next camp, often hiking over 40 kilometres.
Gérard Dicks Pellerin a-1640xl pc065135 10-02-04
When the Canadian Pacific Railway was completed in 1885, the railway workers needed to find new jobs. Several thousand Chinese workers returned to China after the railway was completed. Many more could not afford the cost of the ticket. Many stayed in British Columbia, especially in Victoria and Vancouver. Some settled in the small towns along the railway line. Some Chinese people became gardeners, grocers, cooks or servants in wealthy White households.
Moving east, the Chinese mostly settled in towns and cities, opening laundries and restaurants or cafés. These businesses didn’t need much money, the knowledge of English or special training. Some workers found mining jobs in what is now Alberta, others worked as cooks on farms and cattle ranches. These jobs were seasonal and so they had to return to cities like Calgary, Edmonton, Lethbridge and Red Deer for the winter.
Some Canadians thought that the Chinese would take jobs away from them. Others had wrong or exaggerated ideas about the way the Chinese lived. They were accused of being dirty and disease carriers because of their crowded living conditions. Chinese workers were paid less than white workers because many people believed that the Chinese needed less to live on. They thought that the Chinese were content to live with less and would settle for food that lacked variety and quality. Because most early Chinese immigrants were men, people assumed they had no families to support. Many Chinese were called names and were victims of physical assault. Chinese could not even be buried in public cemeteries with non-Chinese.
Head taxes and exclusion act
While Europeans were being offered free land to come to Canada, in 1885, the Canadian government created a “head tax” to limit the number of Chinese coming to the country. This meant that any Chinese person wanting to come to Canada had to pay $50.00 to the government. This made it harder for Chinese workers to come to Canada and for those already here to bring their wives and children over from China. It was a lonely life for the men living for many years away from their wives and families. Many never saw their families again. Because of the way they were treated, some men chose not to bring their families to Canada. They did not want them to suffer the same treatment that they had experienced.
One man reaches up towards the large wooden log—big enough to crush him—and braces himself against the trestle. Another man stands high on top, directing the log with just a rope, pulling it up to build the next tie on a railroad. This scene would have been common across the country as workers built the Canadian Pacific railway from coast to coast in the 1800s. Now, these men, cast in bronze, stand near the Rogers Centre in Toronto, as a permanent reminder of the thousands of workers—many of them Chinese labourers, overworked and underpaid—who died building that railroad.
It’s Rail Safety Week and April 28 is the annual Workers Day of Mourning, and so it’s a particularly relevant time to look at the lives and deaths of the Chinese railroad labourers, who worked in dangerous conditions and died in large numbers. Estimates of how many Chinese workers died building the railroad vary widely. The grim saying, immortalized in an iconic Heritage Minute (below) is that one Chinese worker died for every mile of track laid. The Canadian Encyclopedia, published by Historica Canada, which also makes Heritage Minutes, uses the estimate “at least 600” dead in its articles. The memorial puts the number at over 4,000.
Even those who survived building the railroad often couldn’t afford to return to China or bring their families to Canada. They were left without jobs in hostile territory. The railroad workers memorial notes that it also memorializes these men, saying, “With no means of going back to China when their labour was no longer needed, thousands drifted in near destitution along the completed track. All of them remained nameless in the history of Canada.”
On June 22, 2006 Prime Minster Stephen Harper gave a full apology for the Chinese head tax and for the ban on Chinese immigration from 1923–1947, calling them “malicious measures aimed solely at the Chinese.”
They were mighty. They helped unite our country from sea to sea. Today we have THE CANADIAN linking us together as one.
Emily Pauline Johnson 1861-1913
In 1895 Canadian Magazine declared, “Pauline is the most popular figure in Canadian Literature.”
Johnson was notable for her poems and performances that celebrated her First Nations heritage; her father was a Mohawk chief of mixed ancestry, and her mother an English immigrant. One such poem is the frequently anthologized “The Song My Paddle Sings”.
During the 1880s, Pauline Johnson wrote and performed in amateur theatre productions. She enjoyed the Canadian outdoors, where she traveled by canoe. In 1883 she published her first full-length poem, “My Little Jean,” in the New York Gems of Poetry. She began to increase the pace of her writing and publishing afterward.
Johnson built her reputation as a Canadian writer, regularly publishing in periodicals such as Globe, The Week, and Saturday Night. In the late 1880s and early 1890s, she published nearly every month, mostly in Saturday Night.Johnson was one of a group of Canadian authors contributing to a distinct national literature. The inclusion of two of her poems in W.D. Lighthall’s anthology, Songs of the Great Dominion (1889), signaled her recognition and Theodore Watts-Dunton noted her for praise in his review of the book; he quoted her entire poem “In the Shadows” and called her “the most interesting poetess now living.” In her early works, Johnson wrote mostly about Canadian life, landscapes, and love in a post-Romantic mode, reflective of literary interests shared with her mother rather than her Mohawk heritage.
She was educated mainly at home, studying both English literature and Mohawk oral history and legend.
After her father’s death in 1884, Johnson began writing to help support her family. She published several poems in journals, which she signed as both “E. Pauline Johnson” and her adopted name, “Tekahionwake.”
In 1892 she was invited to give a poetry reading for the Young Men’s Liberal Club of Toronto. Based on the success of that reading, she began a series of performances across Canada. Johnson developed a dual persona for her performances, wearing the costume of a Native princess for the first half and an English drawing-room gown for the second. She toured widely for 17 years, gaining international recognition with primarily non-Native audiences.
Johnson’s poetry often uses the tone and structure of English poetry to convey Native legends and beliefs, with a dramatic intensity well-matched to the stage. Her first collection of poetry, The White Wampum (1895), includes both poems and tales. Two more collections of poetry followed, as well as three fiction collections.
Poor health caused Johnson to retire from touring, and she settled in Vancouver in 1909. She died of breast cancer in 1913, and her ashes were buried in Vancouver’s Stanley Park.
On 11 March 2008, City Opera Vancouver announced its commission of Pauline, a chamber opera to star the dramatic mezzo Judith Forst. The composer is Christos Hatzis, with libretto by Margaret Atwood. The work was planned for premiere in early 2011. The first opera to be written about Pauline Johnson, it is set in Vancouver in March 1913, in the last week of her life.
In 1895 Canadian Magazine declared, “Pauline is the most popular figure in Canadian Literature.”
A thin wet sky, that yellows at the rim,
And meets with sun-lost lip the marsh’s brim.
The pools low lying, dank with moss and mould,
Glint through their mildews like large cups of gold.
Among the wild rice in the still lagoon,
In monotone the lizard shrills his tune.
The wild goose, homing, seeks a sheltering,
Where rushes grow, and oozing lichens cling.
Late cranes with heavy wing, and lazy flight,
Sail up the silence with the nearing night.
And like a spirit, swathed in some soft veil,
Steals twilight and its shadows o’er the swale.
Hushed lie the sedges, and the vapours creep,
Thick, grey and humid, while the marshes sleep.
A meadow brown; across the yonder edge
A zigzag fence is ambling; here a wedge
Of underbush has cleft its course in twain,
Till where beyond it staggers up again;
The long, grey rails stretch in a broken line
Their ragged length of rough, split forest pine,
And in their zigzag tottering have reeled
In drunken efforts to enclose the field,
Which carries on its breast, September born,
A patch of rustling, yellow, Indian corn.
Beyond its shrivelled tassels, perched upon
The topmost rail, sits Joe, the settler’s son,
A little semi-savage boy of nine.
Now dozing in the warmth of Nature’s wine,
His face the sun has tampered with, and wrought,
By heated kisses, mischief, and has brought
Some vagrant freckles, while from here and there
A few wild locks of vagabond brown hair
Escape the old straw hat the sun looks through,
And blinks to meet his Irish eyes of blue.
Barefooted, innocent of coat or vest,
His grey checked shirt unbuttoned at his chest,
Both hardy hands within their usual nest—
His breeches pockets — so, he waits to rest
His little fingers, somewhat tired and worn,
That all day long were husking Indian corn.
His drowsy lids snap at some trivial sound,
With lazy yawns he slips towards the ground,
Then with an idle whistle lifts his load
And shambles home along the country road
That stretches on fringed out with stumps and weeds,
And finally unto the backwoods leads,
Where forests wait with giant trunk and bough
The axe of pioneer, the settler’s plough.
E.Pauline Johnson – “Tekahionwake.”
May 26, 1912 – Mar 5, 1980 (age 67)
Jay Silverheels (born Harold Preston Smith, May 26, 1912 – March 5, 1980) was a Mohawk actor and athlete. He was well known for his role as Tonto, the faithful Indian companion of the Lone Ranger in the long-running American western television series The Lone Ranger.
Life for Jay Smith Silverheels – that is the name he legally adopted later – began on the Six Nations Indian Reserve in Ontario on May 26, 1912, according to his family records. It is not unusual for actors to change their birthdays and the Screen Actors Guild and other sources say he was born in 1919. He was a superb athlete and it was his running style that led his uncle to nickname the young Harold “Silverheels.” As a young man, he was also one of the finest boxers and a top lacrosse player on the reserve. Had fate not intervened, Harold Smith may have gone on to be one of Canada`s greatest athletes.
Jay Silverheels went on to work in more than 30 movies and became a star of television just as it exploded across North American in the early 1950s. His role as Tonto, the ever-present sidekick to the Lone Ranger is the role he is most associated with. The success of the early series led back to the big screen for two Lone Ranger films in 1956 and 1958.
Active in sports all of his life his most important contribution to film may be the founding of Indian Actors Workshop, which he started in 1963, personally getting involved in helping other aspiring actors to get their start in Hollywood.
In 1993, more than a decade after his death, Jay Silverheels was inducted into the Western Performers Hall of Fame at the National Cowboy & Western Heritage Museum in Oklahoma City, Oklahoma.
He was a young man who was determined to escape what he believed would be a dead-end life on the Six Nations Reserve in Oshweken, Ontario. He left behind seven brothers and two sisters, with the dream of making a life as a professional boxer and lacrosse player in Buffalo, New York. In the midst, of a successful lacrosse career in the late 1930s, the handsome Silverheels was told he could make it in movies by comedian Joe E. Brown. Silverheels moved to Hollywood, bussing tables by day and studying Shakespeare at night in his tiny apartment.
But as the years went by, Silverheels never got to use any of the Shakespearean monologues he memorized. He was continuously cast as an “Indian” extra in Western movies, which led to speaking parts and finally the coveted role of Tonto, in the first Western series to be shot for TV, “The Lone Ranger.” While Silverheels had mixed feelings about the character he played, it was a steady job, he was newly married, and the part would eventually lead to something even better, he rationalized. But after Silverheels’s five-year stint on the hit series, he found himself forever typecast as the “stoic Indian.” Playing the “Indian warrior” or “squaw” were the sort of limited roles all Indigenous actors faced. Silverheels helped train the next generation of crews and actors, but was partially paralyzed in 1975 by a series of strokes that would eventually kill him in 1980. It was an especially unjust illness, hitting just as Silverheels was finally beginning to get large parts in films like Santee that allowed the public, and Silverheels himself, to see what a fine actor he truly was.
-“Me do, kemo sabe.” Historica Canada-
The Huffpost – by Dawn Moore
Jay understood Tonto’s relationship to the Lone Ranger was one of mutual respect and
brotherhood. Sometimes what was necessary put Tonto’s life in danger; sometimes John Reid’s. He also understood the tremendous power he had as a role model to Native peoples, and he led by example.
If one wants to look for negative stereotypes, they are easily found. Certainly, in the insensitive decades during which the scripts for The Lone Ranger were written, it is bitingly evident. However, endless tributes from Native Americans about the lessons of tolerance and pride of heritage prove that Jay Silverheels made a difference. By conducting his life with a strong grace and profound nobility, he walked the walk.
August 15th, 1925 – December 23, 2007
Oscar Emmanuel Peterson, CC CQ OOnt was a Canadian jazz pianist and composer. He was called the “Maharaja of the keyboard” by Duke Ellington, but simply “O.P.” by his friends. He released over 200 recordings, won eight Grammy Awards, and received numerous other awards and honours. He is considered one of the greatest jazz pianists, and played thousands of concerts worldwide in a career lasting more than 60 years.
SCANNED FROM THE TORONTO STAR LIBRARY *U42 GRAPHIC Oscar Peterson. Photo by Patti Gower/Toronto Star, 1991 Patti Gower/star file photo Canadian jazz great Oscar Peterson is one of many absent from a Black History Month display in Scarborough. Only American entertainers and artists are featured. (20040209, page A17); PATTI GOWER TORONTO STAR FILE PHOTO Oscar Peterson’s musical legacy was celebrated at a Carnegie Hall tribute concert in June, featuring an all-star lineup of jazz musicians. (20071226, page A21)
Oscar Emmanuel Peterson, CC, CQ, OOnt, jazz pianist, composer, educator (born 15 August 1925 in Montréal, QC; died 23 December 2007 in Mississauga, ON). One of Canada’s most honoured musicians, Oscar Peterson was widely regarded as one of the greatest jazz pianists of all time. A highly accomplished soloist renowned for his remarkable speed and dexterity, meticulous and ornate technique, and dazzling, swinging style, he earned the nicknames “the brown bomber of boogie-woogie” and “master of swing.” A prolific recording artist, he typically released several albums a year from the 1950s until his death. He also appeared on more than 200 albums by other artists, including Ella Fitzgerald, Dizzy Gillespie, Billie Holiday and Louis Armstrong, who called him “the man with four hands.” Inevitably, his sensitivity in these supporting roles, as well as his acclaimed compositions such as Canadiana Suite and “Hymn to Freedom,” were overshadowed by his stunning virtuosity as a soloist. Also a noted jazz educator and advocate for racial equality, Peterson won a Juno Awardand eight Grammy Awards, including one for lifetime achievement. The first recipient of the Governor General’s Performing Arts Award for Lifetime Achievement, he was inducted into the Canadian Music Hall of Fame and the International Jazz Hall of Fame. He was also made an Officer and then Companion of the Order of Canada, and an Officer in the Order of Arts and Letters in France, among many other honours.
Canada’s First Jazz Star
Peterson made his first recordings for RCA Victor in March 1945. These early releases, notably “I Got Rhythm” and “The Sheik of Araby,” reveal the predilection for boogie-woogie that earned him the nickname “the brown bomber of boogie-woogie.” They also revealed, in nascent form, the extraordinary piano technique that would characterize his playing throughout his career. Peterson made sixteen 78s (32 songs in total) for RCA Victor between 1945 and 1949, the last of which suggest the influence of bebop. These songs were compiled on CD by BMG France in 1994 and repackaged by BMG Canada in 1996 as The Complete Young Oscar Peterson (1945–1949).
-The Canadian Encyclopedia-
Born October 31st, 1950 and laid to rest May 4th, 1994
John was not only a brilliant comedian, he was a warm and wonderful human being. I had the opportunity to meet him on several occasions. Everyone in his vacinity was important to him. SCTV brought John to the world’s attention and I was fortunate enough to be a witness. As a performer I had the opportunity to become a regular on the set during the filming of SCTV, appearing as an ongoing Extra. The entire cast was brilliant and no one could have foreseen or believe just how successful it would become. Here we have a Television Show with an opening showing television sets being thrown out of windows. As usual I have copied some biographical material and some wonderful videos of the SVTV Series. John? Thanks this has been fun! ©J.E.Goldie or to you John, just Jen xo
John Candy, actor (b at Toronto, Ont 31 Oct 1950; d at Durango, Mexico 4 Mar 1994), a gifted screen comedian who got his start doing stage work and acting in commercials and low-budget Canadian films in Toronto before moving to Chicago to join the Second City improvisational troupe in 1972. Soon afterwards he returned to Canada to take his place as a regular in Toronto’s Second City company, eventually becoming one of the key players on its spin-off television show, “SCTV.” There he created and played regular characters Johnny LaRue, Doctor Tongue and, along with fellow castmember Eugene Levy, one half of the accordion-playing Schmenge brothers.
Roles in major films soon followed, with the rotund Candy often cast as a lovable slob or loser with a heart of gold, as in Splash(1984). His later films as a supporting player included Spaceballs, Planes, Trains and Automobiles (both 1987) and Home Alone (1990). As his popularity grew, he was increasingly cast in the lead in films such as Uncle Buck (1989), Only the Lonely (1991) and Cool Runnings (1993). In spite of living in Los Angeles, Candy was known for his profound attachment to Canada, which at one point manifested itself with his acquisition of the Toronto Argonauts football team in 1991, along with partners Wayne Gretzky and Bruce McNall. In 1992 Candy cancelled his appearance as host of the Genie Awards after the CBC promoted the show with a campaign that joked about his size. He died of a heart attack while shooting a film in Mexico in 1994. -The Canadian Encyclopedia-
During the 1970s, John Candy appeared in a number of television and big screen projects including ‘Dr. Zonk and the Zunkins’, ’90 Minutes Live’, ‘Coming Up Rosie’, ‘Second City TV’, ‘Tunnel Vision’, ‘The Clown Murders’, ‘The Silent Partner’ and ‘Lost and Found’. After this, in the 1980s, he was associated with the TV projects ‘Big City Comedy’, ‘SCTV Network 90’, ‘The New Show’, ‘The Canadian Conspiracy’, ‘The Last Polka’ and ‘Camp Candy’.
During this time, the actor also got featured in many films, such as ‘The Blues Brothers’, ‘It Came from Hollywood’, ‘National Lampoon’s Vacation’, ‘Splash’, ‘Summer Rental’, ‘Armed and Dangerous’, ‘Planes, Trains and Automobiles’ and ‘Uncle Buck’, to name a few. Then in the year 1990, Candy appeared in an episode of ‘The Dave Thomas Comedy Show’ and also acted in the movies ‘Masters of Menace’ and ‘Home Alone’.
In 1991, he was cast in the films ‘Nothing But Trouble’, ‘Career Opportunities’, ‘Only the Lonely’, ‘Delirious’ and ‘JFK’. Soon after this, the Canadian artiste made his appearances in the movies ‘Once Upon a Crime’, ‘Boris and Natasha: The Movie’, ‘Rookie of the Year’ and ‘Cool Runnings’. In 1994, he did the TV flick ‘Hostage for a Day’. That year, his movie ‘Wagons East!’ was also released posthumously. -Famous People-
Cya John. 😊❤😂❤ Thanks for the Memories………
He was a shooting star that burned out in the wink of a eye, yet left such brightness in his wake. ©J.E.Goldie 2/16/2019