Monday, March 01, 2010


A moral tale of endurance in Depression-era Manitoba
by Ben Metcalfe



This story is about a fan dancer, a bush pilot, a Mountie, my father, my brother, George Lloyd, Jimmy McGuire, Fats Hamilton, the Uptown Theatre in Winnipeg, Charlie Chaplin and myself.

That is about everyone. Unless you want me to count the dog team. They were certainly in it and part of it, although I can’t speak for them, and I don’t know anyone who can at this late moment in time.

But it all began with the fan dancer. That’s for sure.

Now, there have been four professional dancers in my life of any account qua dancer. One, of course was my beautiful Aunt Vera Dudley of the Ziegfield Follies; another was Carioca, a belly dancer who performed a the Dugout, an esoteric bar in the basement of the Metropole Hotel in Cairo during the Second World War until the British arrested her as a spy; another was Margot Fonteyn, with whom I appeared as a super in The Sadlers Wells production of The Snow Queen at the Orpheum in 1957, thanks to Hugh Pickett; but before them all came the fan dancer.

Her name was Fey Baker, and she was the first, and if the trend continues, the last fan dancer in my life.

Fey was not, of course, the only fan dancer in the world at the time. It was, after all, The Depression, which had not even been capitalized as yet, or accorded the definite article, and was known simply as “a depression.” Fan dancing was a very big then, like miniature golf courses, flag pole sitting and roller skating across the continent in the summer time. Sally Rand was at her peak, and very soon to be immortalized at the Chicago World’s Fair where she would give new hope to every working girl who was not working. There were, consequently, lots of fan dancers.



Fey Baker, I suspect, was one of those girls who had been unable to get a job at Woolworth’s or dealing off the arm in a greasy spoon, although the only evidence I have for her neophytism is the fact that she traveled with her mother as her chaperone. It just did not seem reasonable to my 13-year-old mind that a real fan dancer would travel with her mother, let alone have a chaperone. I could have been wrong.

Chaperoned or not, though, she created a sensation in the clerkishly respectable little inner suburb of River Heights when she turned up as the star turn during the intermission between the double bill at the garishly new Uptown Theater.

It was somehow aptly innovative of The Uptown, that while the cheaper movie houses in the shabbier corners of Winnipeg were giving away china to get you in. The Uptown should give you a fan dancer, so to speak.




True, you did get to keep the china, but you had to see at least 48 movies to acquire a full set, whereas you could take in a full set of Fey Baker at one sitting.

Naturally, my friends, George Lloyd, Jimmy McGuire and Fats Hamilton, and my brother Robert and I, all devout if sudden aficionados of the dance, were anxious to see Miss Baker.

Naturally is putting it mildly. Considering that we were all suffering the angst of early puberty, a condition well known pathologically for its virility, virulence and voraciousness, not to mention its lack of discrimination and discretion, we were, let us face it, openly crazed with lust.

The only naked woman any of us had seen in our lives were our respective mothers, and that when we were only three at most. The chance of seeing a strange woman, especially a woman of Miss Baker’s proportions when (by all public accounts) she was stark naked, albeit tactically obscures here and there now and again by one or another of her fans, drove us into a frenzy of collective fantasies of such recherché and rococo variety as only a Seventeenth Century Florentine jade could invent ad libitum.

We were determined to see Fey Baker if she were the last thing we would see on earth. We were already going rapidly blind with desire. There was, of course, a problem. One was permitted to attend the movies only for the Saturday matinee’s wholesome fare of Tom Mix, Ken Maynard, Andy Clyde and Johnny Weismuller, whereas Fey Baker appeared only in the evening séances.

The price had something to do with it in that time - a dime vis-a-vis a quarter – but the main consideration, especially in my father’s view, was that the movies were bad enough morally in the daytime without compounding our turpitude by going to them after dark, with all the night-time’s concomitant evils.

My mother lived for the movies, but my father preferred church, which was a combination of opposites out of which they concocted the perfect compromise: my mother went to church with him on Sundays, and my father went to the movies with her on Wednesdays. I suppose it was a measure of their respective devotion that, while my mother never showed a sign of repentance or conversion in all her life, my father did succumb, over the years to the charms of Charlie Chaplin.



Indeed, even by this time, Charlie Chaplin had become for my father the epitome of all secular virtue. What with the depression on earth and war in the wind, not every prospect pleased my father, but God was still in his heaven, and only man was vile, with the exception of Charlie Chaplin.

Imagine our delight, then, to learn that Charlie Chaplin’s new film, City Lights, was going to be shown at The Uptown during the week when Fey Baker would do her own stark naked thing with the fans!

Instantly, with the perception of young hawks, we discerned the slightest, hair-wide fissure in my father’s most fundamental principle, and forthwith we began a campaign to breach it wide enough to let two pubescent voluptuaries pass through. Our wedge into his resolve was the thought, perfectly plausible at the time, that unless we saw Charlie Chaplin’s new film now, at night, we would never see it in our entire lifetime.

From this distance in time, and in the taunting light of my own failures later to see through the blandishments and deceptions of my own children, I do not mean to gloat when I say that my father swallowed our rationale hook, line and sinker. I beg his forgiveness now, but we were uncommonly proud of our guile at the time. The prospect of his sons never seeing Charlie Chaplin’s film was too much for him to bear, and he cracked.

And as soon as he cracked, George Lloyd, Jimmy McGuire and Fats Hamilton had but to convey the news to their own Dads, and they were as broken reeds before a withering blast of boyish pleas for justice and equity in our block.

I can still hear Fats Hamilton’s old man musing along the lines that, if Joseph Bennet Betcalfe would make an exception in this case, James Hamilton sure as hell might, too.

And so it was settled. We all went to see Charlie Chaplin and Fey Baker in City Lights on the opening Monday night: my brother and I, George Lloyd, Jimmy McGuire and Fats Hamilton.

And all our fathers.

And we all agreed it was a hell of a fine movie. My own father enjoyed it so much that he went to see it again with my mother on her regular Wednesday night out.

As for the fan dancer, her name never came up, except when the gang was in a committee of the whole the following days in the school washroom, hallways, lobbies, playgrounds, street corners, garages, tree forts, empty box cars, woodsheds, public libraries and anywhere else we could get up a quorum, which was usually any two of us, or one if necessary.

From one meeting to the next, it was moved, seconded and carried that Miss Baker had revealed more and more and more of her most intimate body to our committee than she had shown advertently or inadvertently to anyone.

Within a matter of days, in fact, it became clear to us all that she might as well have left her mother the chaperone at home, for all the good she did, and her fans to boot, for all they concealed of her flesh. Very soon, then, we realized that she had singled us out in the front row, where we had persuaded our fathers that we could see City Lights better, and had been making desperately lewd attempts to get us to go home with her after the show.

If one of us forgot momentarily some particular suggestive gesture on her part, or some interesting detail of her body, like a hair or an unusual coloration of the flesh in some out-of-the-way crevice, another would remind him of it without the slightest disjunction of continuity either in theory or in practice.’

The Uptown held her over for two weeks, but although she left town, we held her over as long as we could in our committee meetings until something better turned up, which it did not.

And then the big story broke…

The first I knew of it was from my father mumbling, “Well what do you know about that? “ and shaking his head reflectively as he passed The Winnipeg Tribune to my mother over their after-supper cup of tea.

“Hmmmmmppphhh,” said my mother, after reading the headline and passing the paper back to my father. My mother never read more than the headlines, and then only at my father’s suggestion. Usually, he would read the entire edition, from the front page disasters to the back page horoscopes, then fold it up and put it down with the comment that there was nothing in the paper again. My mother knew that he was keeping an eye out for the Four Horsemen of the Apocalypse and would let her know in plenty of time it they should turn up at Portage & main. Meanwhile, she relaxed, or worried about whether Clark Gable was suited to Carol Lombard.

This unusually sanguine attitude of my father to a piece of news did, however, arouse my own curiosity, and I turned my attention from my homework to the front page where the main headline screamed out in black letters the size of boxcars:

FAN DANCER & BUSH PILOT
DOWN IN NORTHERN BLIZZARD

Yes, it was none other than our own Fey Baker, who had gone north from her Winnipeg engagements to entertain the miners in the then-new frontier mining town of Flin Flon.

On the flight back, the plane had disappeared, and was long overdue.

Now, whereas the Fey Baker fantasy had been held over, as I say, by our committee as long as it was feasible, it had been receding and becoming vaguely blurred and generalized quite naturally before the onslaught of the Stanley Cup play-offs and the careers of the brothers Conacher, etcetera.

The news of Miss Baker’s plight jolted us back to fantasy.

Without much delay, our committee met the next day in every possible nook and cranny of school and neighborhood to review this revitalizing turn of events, to concoct and embellish new scenarios and to take turns to play the role of bush pilot, whose luck we could not entirely believe.

The fact that the fan dancer and her escort were lost in a mean temperature of some fifty below zero did not chill our imagination. Indeed, our imagination was too preoccupied even to think if about providing Miss Baker with anything warmer than her fans. How she endured, I have no idea.

A fan dancer lost in the wilderness with a bush pilot! How can you impossibly improve on a story like that?

Well you cold send a Mountie out to look for them with a team of sleigh dogs, couldn’t you?

You certainly could, and they certainly did, and the ensuing tension was even more exquisitely unbearable.

Hitler was taking over Germany from Field Marshall Hindenburg. Mussolini was preparing to seize the entire Mediterranean Sea, Britain was going off the gold standard, Dillinger was shooting up the United States, Roosevelt was launching his New Deal, the Liberal Party of Canada had been given a well-earned rest from power by the conservative Janitorial Party, and Japan was moving into China.

But not as far as our committee was concerned. For us there was only one current event: Topic A.

Unaccustomed as we were to reading more than the funnies and the hockey scores, we were now unconscionably interested in the front pages of the daily press insofar as they informed us the progress of the search for the fan dancer and her bush pilot and, as was bound to happen, the Mountie, too. Because, soon, enough, all three were lost, and apart from everything else, this created complications in our committee.

We did not quite know, in our mid-western simplicity, how you handle this kind of ménage à trois. If we had even heard of a ménage à trois.

The best we could come up with was that the bush pilot and the Mountie would simply have to take turns being in love with the fan dancer, while the fan dancer would simply have to be in love with whomever stayed in the cabin (we eventually built them a cabin, but Miss Baker still naked) while the other one went out to hunt for food and chop firewood.

There was a certain reluctance for a long time, too, for many of us to become the Mountie. Not that we had anything against Mounties at the time. It was just that we had all got so comfortable in the role of the bush pilot.



Meanwhile, the search went on. And, eventually, of course, the most publically exposed ménage à trois in Canadian history was found and brought back to civilization, where, as they returned, there was a great deal of public speculation as to whether Fey Baker would marry the bush pilot or the Mountie,

It was written into the manners and the mores of that place and time that no girl, fan dancer or not, could spend so long in the bush with two men without marrying one of them very soon.

My mother, who was a follower of such things as Rose Marie in real life, figured it would be the Mountie who got the girl. But my father pointed out that it would have to be the bush pilot, because the Mountie was under marrying age according to the prevailing stringencies of the Force. And there the matter ended as far as my parents were concerned

As for our committee, we continued to raise the matter for speculation some time after it had dropped by society as a whole.

We dallied, briefly, over the rumor that the sleigh dogs had suffered badly in the event, having been eaten by the Mountie the bush pilot and maybe even the fan dancer, too, just to keep up their strength in the rigors of the Manitoba winter. But this was never established incontrovertibly, though it has a plausible enough ring to it.

Life eventually resumed its everyday course. George Lloyd became and anti-submarine bomber pilot in the RCAF, and survived to retire and play golf; Jimmy McGuire was shot down and killed over the North Sea as an air gunner with the RCAF; Fats Hamilton has been trying to console his parents for the loss of his brother Jim, with the Seaforth Highlanders; all our Dads are gone, of course. The Uptown Theater is now a bowling alley; and you know what happened to Charlie Chaplin, apropos which I must confess to the shades of those Dads that we did, in the event, get a number of other chances to see City Lights, although we had no way of predicting Television then. And, anyway, I have since figured that we are quits, seeing as how we helped them get to see the fan dancer, too.

Maybe the bush pilot and the Mountie are still around and will come forward to sue me, and they are most welcome. There’s a couple of things I would like to ask them.

As for the fan dancer, I never heard of her again, but I can say fondly and sincerely now, as Jimmy Durante might have said, “Good night, Miss Baker, wherever you are.”

And with Browning, “How did we love you? Let me count the ways. “

First published in the January 1980 Vancouver Magazine


Behind Lady Fey

The photograph that appeared in the January 1980 issue of Vancouver Magazine which was used to illustrate one of my favourite pieces ever written by anybody (in this case by my friend, E. Bennet Metcalfe) has an interesting story on how it came about.

In the late 70s and early 80s Vancouver Magazine was a Mecca for the best editorial illustrators of the city and the country. These were Marv Newland, Brent Boates, Ian McLeod, Ian Bateson, Barb Wood, Bernie Lyon and more that I cannot remember.

In my presence (probably an editorial gaffe as I should not have been privy to the conversation) art director Rick Staehling proposed Metcalfe’s piece should be illustrated while the editor, Malcolm Parry argued for a photograph. Lucky for me Parry prevailed and I was assigned to shoot it.

I chose a gay review club on West Pender Street called BJ’s because they had an old fashioned type stage and a spotlight. As my subject I chose my blood sucking friend Inga V who was an experienced dancer with and sans fans. Plus she had the added talent of being a makeup artist and stylist. I don't remember where we obtained the feathers. They probably had them in the costume department of BJ's.

I have always been proud of my ability to shoot well-exposed and sharp photographs. For the first time (and last) I saw myself focusing and then unfocusing my lens a tad, to get and old-photograph blurred look. I helped this along by using a slow shutter which might have been 1/15 second or slower.

Sunday, February 28, 2010

This is a guest blog by my granddaughter Rebecca Stewart, 12.

I have always had a great passion for fashion. I find that fashion is like art, your clothes are the canvas, and the accessories are the paint which is the finishing touch for a great piece of art.



This first picture is one my favorite pictures because it reminds me of the picture of Gemma Ward in my Teen Vogue handbook that I keep in my brown pleather tote. The scarf I am wearing is a white printed scarf by Old Navy.



I would choose flats over tennis shoes any day because you feel pretty in them but there is no need to worry about foot problems, which stilettos will cause. I love the neutral metallic color of my Aldo statement flats.

One of my favorite things to do on a rainy afternoon is to bake. Though baking is entertaining, it can be messy as well, so my solution was to find a cute and useful apron, to protect my black clothes from flour dust.



You wouldn’t believe that this blue satin-like dress is actually one of my grandmother's old night shifts she used to wear a long time ago. I just love the icy blue color.



As you can tell I quite enjoy wearing scarves. This one I’m wearing is a floral printed scarf from Old Navy.



These days I have been wearing my turquoise Olympic sweater because the Vancouver Olympic Games are happening as I write. You might not see it but there is an inukshuk on the front of it.



I adore this painting (by Jim Cummins) of my mum, it looks like her. So I decided to wear this Twilight shirt because my mum is a real twi-hard.



This floral dress is one I got in Los Cabos Mexico. I felt it was appropriate to do my hair in a messy updo, to show the dresses halter straps. Behind me is a painting (Jim McKenzie) featuring my Aunt Ale and my mother on a ferry boat in Active Pass.




This shirt was given to me by friend Mina and I like the colors. That’s me in the background a long time ago.



This last photo is not that special but I still thought it would be nice to have it here because it includes my sister Lauren. I am playing the piano while wearing a very baggy button up shirt so I cinched it with a studded blue belt.

Saturday, February 27, 2010

The following column by my friend Ben Metcalfe (1919-2003) appeared in the January, 1980 issue of Vancouver Magazine. The wonderful illustration was pointillistically drawn by my friend Ian Bateson (who is very much alive).



Everyone knows that Edward Lear was queer for runcible things, like hats and spoons and cats, but does anyone know what runcible is? I doubt it very much.

The only possible exception could be myself. At least I have tried to find out, not alone for the sake of disinterested scholarship, although scholars are welcome to the pickings, but because I have a runcible cat.

Since Lear implanted it there in the late Nineteenth Century, the word runcible has been entrenched in facetious English usage; if rarely called upon, always available. Yet no one, not even the fastidious H.W. Fowler, nor his successor Sir Ernest Gowens, nor the great Oxford Dictionary itself, has dared to explore it, define it, or at least venture, if ever so roughly, when and how it could be used.

Except that it became suddenly my own ineluctable portion to enquire into its mysteries root and branch, I, too, might have continued mutely to acquiesce in its existence without knowledge of its meaning.

Which, thinking on it, is not precisely true, for it is the very pith of runcible that one knows its meaning without necessarily knowing that one knows it – something, in other words, that can be learned, not taught. Else how, for instance, should I have perceived without instruction that I have a runcible cat? Yet I did.

It was perhaps his contrast with the other one, who is definitely an unruncible cat, if that is the proper word for a cat that is not runcible, although I shall be coming to that problem shortly.

Certainly, everything else being equal, if you happened upon a runcible and an unruncible cat in the same moment, you would know immediately which was which. I know that I would, although I would not go so far as to say the same for hats and spoons.

Our runcible cat’s name is Mr. Smith. At any rate, that is what we call him. If T.S. Eliot was right about cats, and I daresay he was, Mr. Smith has two other names: his real name and the name he calls himself. Mr. Smith, however, is the only name I can vouch for; and he does answer to it in his way.

Our unruncible cat’s name is Hui Neng, after the Sixth Patriarch of he Ch’an Sect (638-713), the famous Dhyana Master of the Tang Dynasty, which has nothing whatsoever to do with his unruncibility but only with the fact that I was given him by an equally unruncible shopkeeper in Chinatown. He, too – I mean Hui Neng – probably has two other names, both secret, and once had a fourth, Candy, given him by his previous proprietor but rejected by myself as utterly inappropriate.

Now, in this short space, I have already extended the word runcible into two derivative forms; i.e. unruncible and unruncibiliy, both admittedly too loose for comfort, so it is imperative that we look into Lear’s original word lest we wallow in misconstruction.

The word runcible itself is apparently an adjective of sorts, though with subtly plausible affinities to an unused (because unknown?) verb, which may or not be runce, or even runc, and, whatever it is, may or may not be transitive; it is of no consequence.

It may be best at this point, too, that I remark that I am merely a writer, neither a grammarian, nor an etymologist, nor a linguist, but merely a writer.

Be that as it may, the deepest one can dig with satisfaction into the roots of the word runcible in the Oxford, or any other dictionary of the English language is runci.

Before runci, one gets runca, as in runcation, meaning the act of weeding; and words like runch (a kind of weed); runchie (another word for weeds, used generally by rurigeneous, that is country folk); and after runci, runcle ( a kind of beet). All of which take us nowhere, and leaves cats, if not hats and spoons, far behind.

So back to runci…

The first possibility is runcinate, an adjective signifying a surface that is saw-toothed, with lobes curving towards its base, deriving from the Latin runcina, meaning plane, but apparently often mistaken for a saw.

This characteristic might well occur in spoons, I suppose and (although God know how) also in hats. But while it is more or less true that a cat’s tongue is more or less runcinate, it does not seem quite enough to justify calling the whole cat runcinate, let alone runcible. For would not that make all cats runcible? And is it not the whole point that all cats are not runcible?

Hui Neng would certainly testify to that. And I imagine that Lear would agree. So much for runcinate.

The second, and last, possibility is runcival, meaning several and mutually unrelated things, but interesting at first sound because, if one were to imagine a Spaniard enunciating runcival, one would certainly hear him say runcible, for Spanish-speaking peoples, especially Castillians [sic], cannot, or at any rate do no, sav V, but turn it into B, as in Biba Zapata!

Would that Edward Lear had been even remotely Spanish, and at least half our quest would be done. He was, of course, not.

Neither is it recorded anywhere that he was afflicted by one of those charming impediments not unusual in the speech of the English educated classes, the most common of which turned the R into a W, as in Wichard, or Wonald, or Wuth. Or wuncible? But, of course, that wouldn’t do; and in any case he was, again, not.

Perhaps, where there is plenty of room for speculation, runcival, or rouncival as it was commonly spelled after its first appearance in the Sixteenth Century, wormed its way into Lear’s yeasty mind, fermented there and gave off a more esoteric form.

It is a curious enough word in its own right, thought to derive from the place name, Roncevalles (bramble valley), a tiny, lovely place in the Pyrenees not far from Pamplona. And, while today it means only a large variety of garden pea, it was once used to denote giganticism, robustiousness, a heavy fall or crash, a form of alliterative verse, a witch, and was perhaps the best of all possible nouns for a woman of large build and boisterous or loose manners. Curious indeed, and precisely the word for Judy LaMarsh, but not for our Mr. Smith. And least of all for Hui Neng.

Yet Mr. Smith is undeniably runcible in the precise way that Edward Lear unquestionably meant the word to signify, whether or not it seethed up out of his awareness of runcival.



How so, if he is not pea-like, alliterative or witchy, and not even rarely falls heavily about the place like a big, boisterous woman (although he is big); how so is Mr. Smith or any cat runcible?

It is not because of the word, of that much we can be sure.

Cats do not fit themselves to ready-made words, not runcible cats, that is. As the line comes before the meaning in calligraphy, so does the runcible cat appear before the word.

People and most others – Hui Neng, for example make themselves look like available words; such as beautiful, slim, clever, rich, adorable and popular. Not so a runcible cat.

For a runcible cat there is no word, wherefore he is runcible. It is as simple as that. Or as the scholars say, Q.E.D.

Edward Lear, however, knowing that people need words whether or not they understand their meaning, and being the greatest wordsmith of us all, smithied us a word that clearly means everything and nothing at once.

And he employed it with such aptness as left nothing to doubt. As in…

His body is perfectly spherical,
He weareth a runcible hat.
Or…
They dined on mince and slices of
Quince,
Which they ate with a runcible spoon…
Or…
He has gone to fish, for his aunt
Jobiska’s
Runcible Cat with crimson whiskers!

Runcible is as runcible does, of course, notwithstanding the fact that no one knows what it does, and that probably goes for hats and spoons as much as it does for cats, although I do not claim to speak for hats and spoons in this case. Only cats.

Friday, February 26, 2010



I fell for the first Canadian I ever met. I married Rosemary Healey in Mexico City in 1968. I knew nothing of Canada.

She told me of a man called Pierre Trudeau who was the Canadian Prime Minister and she played me records of Gilles Vigneault. I wasn’t fazed by the first ( I did not understand Rosemary’s hero-worship of the man) nor was I impressed by the singing of the second. My mother had harped for many years about an “ugly French Canadian patois”. The few Canadians I had been exposed to had been the rowdy French kind in Acapulco and Veracruz. My mother had told me, “They are French Canadian,” as an explanation for their loud behaviour.

Then my Yorkshire friend (and godfather of my eldest daughter) Andrew Taylor brought a record album that had a deadpan and depressing looking man on the cover. He sang a melancholic song called Suzanne and an even more depressing So Long Marianne. On another day he insisted on playing a record by a woman called Joni Mitchell. I was into Joan Baez and Carole King. I was not interested.

I did not find Canadians in the least exciting with the exception of my lovely wife. I was much too busy admiring her shapely legs and feeling how lucky I was. I was impressed on how she planned to go to the hospital to have our first daughter on a Friday so as to go back to work as soon as possible the next week. When my friends asked my about my wife I would invariably say she is of a “hardy Canadian stock”. Very soon Rosemary wore the financial pants of our family.

One day (before we got married) I took her to lunch to a cocina economica (a cheap Mexican home-style restaurant with a fixed daily menu) and I was shocked to see her use a toothpick. I had to explain to her that this would be considered uncouth by most of my friends and my mother. She never ever used a toothpick again.

When we finally decided to move up to Vancouver with our two Mexican-born daughters I remember distinctly that my youngest daughter’s godfather, Raul Guerrero Montemayor, a polyglot who had been educated in Switzerland, told me, “I am sure you will do well in Canada but don’t forget that the fact that Canadians are mostly white does not necessarily make them civilized.” He used the more encompassing Spanish term “educado” which includes culture, manners and education.

It was in Vancouver that through my early introduction to CBC Radio I found that the correct pronunciation was not New-Found-Land but Newfun-Land. I was hooked to the CBC then.



For many of my years here (well into the early 90s) I felt like a tourist in a beautiful city (in spite of its architecture I would tell my visitors from down south). I did become a Canadian citizen but having been born and raised in Argentina and then in Mexico made it difficult to experience the kind of exuberant feeling displayed these last weeks during our very own Olympics.

Time has warmed me to Leonard Cohen and Joni Mitchell and I am proud that Trudeau was a Canadian statesman. I enjoyed his deft manipulation of language. But more than anything I admired Trudeau’s intelligence and class. Rosemary was right all the time.

Of late I have been thinking a lot about class and good taste. I cringe at many of the Olympic shenanigans reported by the much too gushy Vancouver Sun. I prefer the understated and not complete (at least not 100%) acceptance of the 2010 Winter Olympics when I listen to Rick Cluff’s Early Edition on CBC Radio 1. I have been listening to him daily as I take my Rosemary to her Sprott-Shaw computer classes downtown at 8 A.M.

It was on Monday, listening to the banter between Rick Cluff and Steve Armitage, that I was finally feeling awfully proud about being Canadian. Here are two men with beautiful voices (rare in contemporary radio) discussing with wit, class and intelligence the possible final medal count for Canadians. I lightly object to Cluff’s description and insistence on the term “veteran sportscaster” to define Steve Armitage. I don’t think Armitage needs any such definitions. He is simply a superb sports journalist and not at all like the male, hockey shouter/sportscasters of “our” NBC/CTV Olympic network.

We Canadians may be understated. We may be reluctant to brag and we may be defined by others as being colourless, bland and boring. I am beginning to understand that fallacy.

But I see that my initial opinion upon listening to that Leonard Cohen album back in Mexico may have been a bit much too sophisticated for this now reformed unsophisticated Latin. Canadians grow on you in the same way that Canada has grown on me.

For many years I boasted that I had never ever seen a single complete episode of the Beachcombers. I have always been quick to opine that I loathe TV. Part of the reason is that there is a lot of good television if you look for it and I have always been afraid of TV addiction.



CBC once assigned me to go to Gibson’s Landing to photograph the Beachcombers’ cast. I talked to one of the producers on the phone and made it a point to brag on my ignorance about the show. “I know who Bruno Gerussi is because I have seen him in Super-Valu and McCain’s Pizza TV ads. But clue me in on the others in the cast.” I was truly stupid and ignorant and rude! The man (I don’t remember if it was Marc Strange, Philip Keatley or Hugh Beard) told me on the phone, “I’ll meet you at Molly’s Reach.” I remember saying, “Molly’s Beach?” I had not yet learned to mask my supposed superiority!

Yesterday I attempted to figure out the subtlety of Canadian hockey figuring that the slower version (as compared to the men's) Canadian female team might help. It didn’t and I am still in the dark on this Canadian game. During one of the ads (this was during the Canadian/US final) I channel surfed one up from channel 9 to channel 10 which was showing an old Beachcombers. This episode involved the determination that a cow was simply meat and that he (Jackson Davies) could dispatch the animal with no problem. Within seconds there was Bruno Gerussi, Pat Johns and Robert Clothier on the scene bringing me back memories of my day at the Reach. I knew who they were because I had photographed them. In one short interval, where Jackson Davies talks to the cow and ends up shooting at a tin can instead was pure and good TV. They were five or six minutes that somehow justified all the bad stuff surrounding it in other channels. It was understated and it went straight to my heart.



I think I am beginning to understand what it is to be Canadian and I am feeling very proud to be one. My wife, would be too polite (and much too classy) to point out how wrong I have been since I first met her in 1968. I am sure that if I had been the one with the toothpick she would have found a more polite and kind way to let me now about my transgression.

In the CBC TV and Radio group picture which I took around 1980 or 81 that’s (from left to right) Phil Reimer, Bill Good Jr. and Steve Armitage on the front row. I took the picture of Bruno Gerussi for a CBC open house. I have many portraits of Jackson Davies. I could not possibly go wrong with that man. This one is but one of the pictures. And I made Leonard Cohen laugh (by telling him to not even smile) so I could erase for ever that cover of his in Songs of Leonard Cohen.

Thursday, February 25, 2010



When we Left for Mexico City from Buenos Aires in 1955 my grandmother gave me a small can of aluminum/silver paint and told me to put our initials on the heavy wooden trunks that had been in our family since the 1920s. For her trunk I was to put the initials DIG which stood for Dolores de Irureta Goyena. Through the years and after many moves the trunks are all gone but one. The one that remains still has my unsteady hand letters DIG and it is that trunk that I have been investigating these days. As we say in Spanish, “Cuando el diablo no tiene nada que hacer con el rabo espanta moscas.” This translates to, “When the devil is idle, with his tails he swats flies.” I have been idle with a persistent cough and rheumatism in my elbows and hands.

Yesterday I found the April envelope with the pictures of the Edwardian or early 20s Latin woman. Today I found the startingly modern (the crop and the angle) photograph of a mysterious undraped woman with her cat.

I am beginning to suspect that my grandfather Don Tirso de Irureta Goyena, a famous man of letters, a defender of the Spanish language and a prosperous lawyer who bought one of the first motorcars in Manila, might have also have had a hidden talent. Could he have been a good amateur photographer? I suspect he might have had an assistant in this venture as he had a Japanese driver. What other tasks did the man have besides driving my grandfather to work?

Why didn’t my grandmother throw these pictures away? At the time, in the late 1910s, they would have been scandalous. This envelope, with the pictures of the woman with the cat had the name Gani y el Gato (Gani and the cat). Who might have Gani been? I guess it will remain a mystery as those who were around at the time are all dead.

I wonder what tomorrow will bring as I examine the contents of my grandmother’s trunk.

Wednesday, February 24, 2010







I found these pictures in an envelope in one of the old chests that used to belong to my grandmother. I have no idea who the woman is nor do I know who took the pictures. One of the pictures looks like an early colour photograph that may have been printed in the early 1920s. I was shocked to find the nudes. I never revealed to my grandmother when she was alive that I was interested in photography. We always talked about art. Both of us painted. She taught me to use pastels. She often told me that the Manila family pictures had been taken by a Japanese photographer. Most of those photographs have a stamp in the back. The ones in the envelope titled April, have no markings that could give me an indication of their provenance.





I have done my best to scan these pictures and make them as clear as I can. It is such a shame that there is nobody alive who can tell me who the lovely Latin looking woman is. Could her name be April?

More from the past

Tuesday, February 23, 2010



I am not letting the cat out of the blog bag by placing this picture of Rebecca here. A week ago I called her up and asked her if she would like to pose for me in some fashion shots. She was to pick the clothes and then write about them in her very own fashion blog. She liked the idea and immediately said she would do it.

I had a job today to photograph 10 lawyers (a large Canadian tax law firm) today and not having a studio anymore I told my contact at the firm that I was prepared to show up at their office with a portable backdrop. I thought it would be a good idea to try out the setup at home and use Rebecca as my subject. I came up with the idea of the fashion shots and I was going to use a neutral gray backdrop. The idea was to make sure it would work well. I did not do this as I explain belos. But all went well at the tax law firm.



We have lived in our Athlone Street house since 1986 and except for our garden which has appeared in gardening magazines (including the American publication, Better Homes & Gardens) and has been on countless tours (bus loads from different garden clubs, city tours and the last Ballet BC Garden Tour) the house itself has rarely appeared in any of my photos. I decided that I would do Rebecca’s fashion pictures taking advantage of our home which is an eclectic mix of stuff from all over the world. I would take (and did take) pictures of Rebecca using my medium format camera with colour transparency film. The pictures are taken. Now I must wait for Rebecca to write about them.

The pictures here are two Fuji b+w instant prints that will surely look all that much better in colour.