A Maple Leaf Gardens Gallery

Based on a gallery post originally published on Torontoist on November 30, 2011, with new material mixed in.

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Maple Leaf Gardens, 1969. Photo by Bob Olsen. Toronto Star Photo Archive, Toronto Public Library, tspa_0098050f.

“Where pucks once flew 15 feet or more on the ice, shoppers will stare at a 15-foot wall of cheese.”

That’s how this story originally began, published on the day Loblaws opened its Maple Leaf Gardens location. The arena on the upper level (still officially called, as of 2019, the Peter Gilgan Athletic Centre) was still a few months away from opening. The occasion was a good excuse to take a stroll through the building’s history and the diversity of activities it had witnessed.

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The Globe, February 13, 1931.

In a timeframe that would be almost unheard of today, the request for a building permit was made in February 1931. The arena was open 10 months later. Also note the simultaneous request to the city to build an arena in Spadina Crescent, which was never constructed (the site is now U of T’s Daniels Faculty).

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Sketch of Maple Leaf Gardens, The Telegram, March 5, 1931.

Construction of Maple Leaf Gardens began in July 1931 and proceeded rapidly in order to be ready for the 1931/32 hockey season. Over 1,200 labourers, 750,000 bricks, and 77,500 bags of concrete were required to build the arena.

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Opening night ceremonies at Maple Leaf Gardens, Mail and Empire, November 13, 1931.

Over 13,000 people attended opening night on November 12, 1931. Maple Leaf Gardens President J.P. Bickell hoped that the arena would “be regarded as a civic institution, rather than a commercial venture, because its object is to foster and promote the healthy recreation of the people of this British and sport-loving city.” Unfortunately, the Maple Leafs lost to the Chicago Black Hawks 2-1.

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From W.A. Hewitt’s “Sporting Views and Reviews” column, Toronto Star, November 13, 1931:

The new Maple Leaf gardens proved a revelation to the hockey public last night. Everybody expressed amazement and pleasure at its spaciousness, its tremendous capacity, its comfort, its beautiful colour scheme, and its adaptability for hockey and all other indoor sports, with the spectators right on top of the play.

The crowd–a record one for hockey in Canada–was splendidly handled. No confusion, no crowding or rushing, everything done in the most orderly and systematic manner. The opening ceremonies were elaborate and a little lengthy, but that was excusable when one considers the importance of the occasion. They don’t open million-and-a-half arenas every night in the week.

Hewitt’s son, Foster, became a Gardens legend over his decades of broadcasting games on radio and television.

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Wrestling match, Whipper Billy Watson versus Dick Hutton, Maple Leaf gardens, July 5, 1956. City of Toronto Archives, Fonds 1257, Series 1057, Item 7520.

Seven days after the first hockey game, pro wrestling made its debut at the Gardens. A crowd of over 15,000 watched Jim Londos defeat Gino Garibaldi on November 19, 1931. The match was promoted by the Queensbury Athletic Club, who had recently hired Frank Tunney as its secretary. Within a decade Tunney took over the promotion and would be responsible for most of the venue’s wrestling cards until his death in 1983. One of his most popular draws was East York native Whipper Billy Watson, seen here defending a world title against Dick Hutton in 1956.

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Irvine “Ace” Bailey of the Toronto Maple Leafs Hockey Club in his office, 1960s. City of Toronto Archives, Fonds 1257, Series 1057, Item 2370.

Among those who kept offices in the Gardens was Irvine “Ace” Bailey, who was one of the Maple Leafs’ top forwards until he was nearly killed by a vicious hit from Boston Bruin Eddie Shore in December 1933. Though unable to resume his playing career, Bailey went on serve two stints as the University of Toronto’s hockey coach and worked as a timekeeper at the Gardens until 1984.

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Skater jumps through ring of fire at Toronto War Savings Committee youth rally, Maple Leaf Gardens, February 13, 1941. City of Toronto Archives, Fonds 1257, Series 1057, Iten 7068.

What lengths did organizers go to grab the attention of those attending the numerous war rallies at the Gardens during the Second World War? How about a skater jumping through a flaming hoop?

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Communist leader Tim Buck (front left) and others, Communist Labour and Total War Committee meeting, Maple Leaf Gardens, October 13, 1942. City of Toronto Archives, Fonds 1257, Series 1057, Item 7099.

Over 9,000 people attended a rally held on October 13, 1942 to support lifting the ban on the Communist Party that had been imposed under the War Measures Act two years earlier. Leader Tim Buck urged full support for the war effort to destroy the Axis powers, including conscription. Assorted labour leaders and politicians across party lines were also on stage to oppose the ban, including Ontario Premier Mitch Hepburn. One wonders if Hepburn’s motives were to further embarass Prime Minister Mackenzie King as much as helping the Communists break the ban and boosting war morale.

The ban wasn’t lifted, so the Communists reorganized as the Labour-Progressive Party the following year.

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Recruiting station at wartime rally, Maple Leaf Gardens, June 1, 1941. City of Toronto Archives, Fonds 1257, Series 1057, Item 7033.

The Gardens were used for numerous events supporting the war effort, from fundraisers to recruiting stations like this one. Even though he was in his mid-40s, Conn Smythe signed up for military service during the Second World War, eventually leading a sportsmen’s battalion and publicly criticizing the federal government’s handling of the war. Injuries sustained while caught in a German attack in July 1944 caused Smythe pain for the rest of his life. increasing his irascibility.

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Toronto Youth for Christ rally, Maple Leaf Gardens, circa 1946. City of Toronto Archives, Fonds 1257, Series 1057, Item 7111.

Religious rallies were a popular draw, such as this one for Toronto Youth for Christ in 1946. Faiths ranging from Roman Catholics to Jehovah’s Witnesses held mass meetings inside the arena. This photo also provides great views of the ceiling clock and the portrait of King George VI that Conn Smythe proudly displayed.

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Mayor Robert H. Saunders and Charles Templeton at Toronto Youth for Christ rally, Maple Leaf Gardens, 1946. City of Toronto Archives, Fonds 1257, Series 1057, Item 7114.

Mayor Robert Saunders talks to Charles Templeton (then in the evangelist phase of his life) during the Toronto Youth for Christ rally held on June 15, 1946. Over 16,000 people attended the event. “The pageant was as colourful as a professional revue and more gripping than the hundreds of athletic contests which have been fought out before hoarse throated thousands in the Gardens,” the Star reported. “With colourful, authentic costumes, fanfares from trumpets, excellent staging and colourful, effective lighting the story of religious leaders throughout the ages was unfolded.” Among the other speakers was Billy Graham.

Templeton, who was associated with the Avenue Road Church of the Nazarene (now the site of the Hare Krishna temple), gradually lost his faith, declared himself agnostic, became a journalist, ran for the leadership of the provincial Liberals, edited Maclean’s, and generally lived a busy, interesting life.

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Bingo players, Maple Leaf Gardens, 1940s. City of Toronto Archives, Fonds 1257, Series 1057, Item 7368.

On occasion, Maple Leaf Gardens became the biggest bingo hall in the city. I think they called O67…

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Lou Brody at Maple Leaf Gardens, between 1940 and 1960. City of Toronto Archives, Fonds 1257, Series 1057, Item 2439A.

Cleaning the ice surface, pre-Zamboni.

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Badminton played on skates in Maple Leaf Gardens ice show, 1950s. City of Toronto Archives, Fonds 1257, Series 1057, Item 6709.

Ice badminton, anyone?

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Liberace at Maple Leaf Gardens, May 8, 1954. City of Toronto Archives, Fonds 1257, Series 1057, Item 3404.

As longtime Gardens publicity director Stan Obodiac described this photo in his book Maple Leaf Gardens: Fifty Years of History (Toronto: Van Nostrand Reinhold, 1981), “Liberace exchanged his glittering suit for a straw hat in a 1954 country number.” While this particular number wasn’t mentioned , the Star reported in its May 10, 1954 review of the pianist’s show that “every time he ran off to make a change of costume or pull some cute gag, middle-aged women, who looked as though normally they’d be the soul of domestic decorum, got up and rushed after him.”

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Stanley Holloway putting on makeup, Old Vic Company’s production of A Midsummer Night’s Dream, Maple Leaf Gardens, December 1954. City of Toronto Archives, Fonds 1257, Series 1057, Iten 7342.

Veteran British actor Stanley Holloway applies his makeup between cigarette puffs before a performance of A Midsummer Night’s Dream by a touring company from the Old Vic in London. Globe and Mail drama critic Herbert Whittaker was disappointed with Holloway’s performance as Bottom. “I expected this prime exponent of earthy humour to be rougher, more simple,” Whittaker wrote in his December 15, 1954 review. “This Bottom is surprisingly modern, betraying his music hall antecedents without whipping us with uproarious burlesque. But he found himself not eclipsed but rather aided when he donned the monster head of an ass which the Ironsides have provided, and which is almost the hit of the production.” Also starring were Moira Shearer (The Red Shoes) as Titania and Patrick Macnee (The Avengers) as Demetrius.

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Maple Leaf Gardens refreshement stand, April 12, 1955. City of Toronto Archives, Fonds 1257, Series 1057, Item 7422.

Time for a refreshment break. Based on the date, my guess is that this photo was taken prior to the fourth game in the Eastern qualifying series for the Memorial Cup between the Toronto Marlboros and the Quebec Frontenacs.

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Globe and Mail, April 13, 1955.

The Marlies won the game 3-1, and went on to win both the series and the Memorial Cup. The roster was full of future Maple Leafs stars, including Bob Baun, Billy Harris, and Bob Pulford, along with future Leafs coach Mike Nykoluk.

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Crowds on new escalators, Maple Leaf Gardens, 1955. City of Toronto Archives, Fonds 1257, Series 1057, Item 7446.

Obodiac claimed that Maple Leaf Gardens was the first North American arena to be equipped with escalators.

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Performer in Maple Leaf Gardens’ Ice Capades rehearsing Peter Pan with journalist, 1950s. City of Toronto Archives, Fonds 1257, Series 1057, Item 6776.

Long before journalists earned the wrath of Harold Ballard, reporting from the Gardens had its share of dangers, For one, you could have conducted an airborne interview with Peter Pan before a 1950s edition of the Ice Capades.

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Performer in Maple Leaf Gardens’ Ice Capades with broken leg, with members of Toronto Maple Leafs hockey club, between 1958 and 1962. City of Toronto Archives, Fonds 1257, Series 1057, Item 6757.

It appears this injured Ice Capades performer’s recovery from a broken leg was assisted by Maple Leafs Tim Horton, Carl Brewer, and Bert Olmstead.

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Bill Haley and the Comets, Maple Leaf Gardens, April 30, 1956. City of Toronto Archives, Fonds 1257, Series 1057, Item 7213.

In what was considered the arena’s first rock n’ roll show, Bill Haley and his Comets headlined a 12-act bill on April 30, 1956 that also included Bo Diddley, LaVern Baker, Big Joe Turner, the Drifters, the Platters, and Frankie Lymon. “Like natives at a voodoo ritual,” the Star reported the following day, “the crowd writhed and reeled until their pent-up emotions burst the dam of reason and the clambered on to the stage and into the aisles to dance.” The following years, the Gardens was one of three Canadian stops Elvis Presley made on his only tour outside of the USA.

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Perry Como and Conn Smythe with “Timmy” in Como’s dressing room for Easter Seals show, “Timmy’s Easter Parade of Star,” Maple Leaf gardens, April 14, 1957. City of Toronto Archives, Fonds 1257, Series 1057, Item 7314.

A benefit concert for Easter Seals was an annual staple of the Gardens schedule beginning in the 1950s. Preparing for the 1957 edition are crooner Perry Como, “Timmy” Paul Gamble, and Conn Smythe. While Perry and Paul take the photo session in stride, Conn looks a little spooked. While researching this gallery, we discovered this wasn’t an unusual expression for Mr. Smythe.

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Likely from the same photo session, with Whipper Billy Watson and another youth subbing in for Perry Como. City of Toronto Archives, Fonds 1257, Series 1057, Item 7318.

As for the concert, the April 15, 1957 edition of the Globe and Mail observed that “it was the front rows to which Como and every star before him played. Bright-eyed children with crippled legs were the most fortunate: many there had crippled bodies as well as bodies, but they too obviously enjoyed every minute and hopped up and down with ecstatic delight.”

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Toronto Star, April 13, 1957. Click on image for larger version.

Other performers ranged from wrestler Whipper Billy Watson to the stars of CBC’s variety series Cross Canada Hit Parade and Country Hoedown.

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Prime Minister Louis St. Laurent and his wife Jeanne at Liberal party rally, Maple Leaf Gardens, June 7, 1957. City of Toronto Archives, Fonds 1257, Series 1057, Item 4213.

The federal Liberal election rally on June 7, 1957 was a political disaster, as a teenage heckler attempting to climb onstage fell backwards and hit his head on the concrete floor. The overall Liberal campaign that year was a dud.

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Cliff Richard and the Shadows at the Biggest Show of Stars for 1960, January 25, 1960. City of Toronto Archives, Fonds 1257, Series 1057, Item 7220.

Cliff Richard and the Shadows were among the acts featured in the January 1960 edition of the “Biggest Show of Stars” package tour.

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Toronto Star, January 26, 1960.

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The Isley Brothers, Biggest Show of Stars, January 25, 1960. City of Toronto Archives, Fonds 1257, Series 1057, Item 7252.

Other acts on the bill included the Isley Brothers and Clyde McPhatter.

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Audience at the Biggest Show of Stars for 1960, January 25, 1960. City of Toronto Archives, Fonds 1257, Series 1057, Item 7245.

A row of screaming fans at the January 1960 edition of the “Biggest Show of Stars.” Testing the limits of their vocal chords would serve them well, especially if any of them went on to see the Beatles at the Gardens four years later.

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Toronto Maple Leafs versus Chicago Black Hawks, between 1958 and 1964. City of Toronto Archives, Fonds 1257, Series 1057, Item 7529.

Ageless goalie Johnny Bower guards the net for the Maple Leafs against Chicago Black Hawks forwards Ron Murphy (10) and Eric Nesterenko (15).

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Toronto Maple Leafs versus Boston Bruins, between 1961 and 1963. City of Toronto Archives, Fonds 1257, Series 1057, Item 7527.

In this early 1960s match against the Bruins, the Leafs’ Bob Pulford (20) has his stick primed while team captain George Armstrong attempts to help. Among the Bruins trying to prevent a Leaf goal are Pat Stapleton (4), Ed Westfall (18), and Leo Boivin (20).

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Two men in Maple Leafs Gardens dressing room, pointing to painted Toronto Maple Leafs sign, 1950s. City of Toronto Archives, Fonds 1257, Series 1057, Item 7447.

A clubhouse motto erected by Conn Smythe to inspire the Maple Leafs. The City of Toronto Archives does not identify the two gentlemen pointing at the inspirational words, but we think they may be forward Sid Smith and goalie Harry Lumley.

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Sonny Fox with Harold Ballard at Maple Leafs Gardens, 1950s. City of Toronto Archives, Fonds 1257, Series 1057, Item 3038.

Harold Ballard’s association with Maple Leaf Gardens began during the 1930s when the future Maple Leafs owner was involved with a number of local amateur hockey teams. This picture, featuring Ballard with American television personality Sonny Fox, was taken long before hockey fans began uttering his name with contempt.

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Dave “Tiger” Williams signing an autograph for Greg Crombie, 1978. City of Toronto Archives, Fonds 1257, Series 1057, Item 8857.

This photo appears to have been left on the cutting room floor when I prepared the original post, probably to make the gallery a nice, neat total of 28 images.

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Greg Crombie at Maple Leaf Gardens with King Clancy, 1978. City of Toronto Archives, Fonds 1257, Series 1057, Item 8859.

Francis “King” Clancy was the sunny face of the Maple Leafs, whether it was as a player in 1930s or a team executive from the 1950s until his death in 1986. In his biography of Harold Ballard, sportswriter William Houston compared Clancy to a leprechaun. “Clancy usually has a big smile, a twinkle in his eye to go along with his high-pitched voice. He has an amiable personality and offends no one…He is full of stories from his hockey past and can be a delightful companion.”

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One of the last chances the public had to stroll around Maple Leaf Gardens before its conversion into its present form occured during Nuit Blanche in October 2008. While there were art installation on the arena floor, the real magic that evening was hearing visitors tell stories about their experiences in the building. There were also plenty of reminders that the Leafs had left behind after vacating the premises, such as this Mercury ad.

Vintage Toronto Ads: The Original Blue Jays Advertisers

Originally published as a gallery post on Torontoist on March 25, 2015.

“One of the most pleasant tasks for me as we are entering the 1977 baseball season,” wrote commissioner Bowie Kuhn in his introductory letter to Blue Jays fans, “ is to welcome all of you to the Major League Baseball family. Major League Baseball is exceedingly proud to include Toronto, one of the great cities of the world, within its ranks.”

Great way to stroke the egos of Torontonians aching to be seen as residents of a world-class city, eh?

Accompanying Kuhn’s letter in the inaugural Toronto Blue Jays Scorebook Magazinewas one from American League President Lee MacPhail:

Now the youthful Blue Jays are off and flying on their own and it will be an exciting experience watching the development of this team. Your outstanding ownership and management will be working constantly toward building the contending baseball team that all Blue Jay fans will be proud of. Enjoy this first season of Major League Baseball at CNE Stadium. It will be fun. And the years ahead will be increasingly enjoyable.

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CBC sent 26 people to cover the Blue Jays’ inaugural spring training in Dunedin, Florida. The network’s plans included an hour-long special to introduce the team, along with feature segments on The National and 90 Minutes Live. To mark its 25th anniversary that fall CBLT rebranded itself as “CBC Toronto,” a move which the Globe and Mail declared was “an admission of defeat in a campaign that’s gone on for years, to give CBLT an identity as a Toronto local station, not just a network outlet.”

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Around 100 members of the Toronto media attended spring training, including CFRB’s trio of sports reporters. Blue Jays manager Roy Hartsfield didn’t mind the distraction. “I’d much rather have it this way,” he told the Globe and Mail, “then the other way with no reporters at all.”

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CKFH, whose primary format in 1977 was country music, served as the Blue Jays’ original flagship radio station. Sixteen other stations, including one in Buffalo, signed on to carry games. Calling the games was a Hall of Fame duo: Tom Cheek on play-by-play and Hall of Fame pitcher Early Wynn on colour. Before joining the Jays, Cheek spent three seasons as an alternate radio announcer for the Montreal Expos. Wynn lasted through 1980, and was replaced the following year by Jerry Howarth. Apart from a few years in the late 1990s and early 2000s when CHUM held the rights, CFKH and its successor CJCL (Fan 590) has remained the team’s radio home.

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Pizza Pizza’s signature phone number still wasn’t in place a decade after its original location at Parliament and Wellesley opened in 1967. Before becoming ubiquitous, Pizza Pizza earned praise for its pies. In a taste test of eight pizzerias conducted by the Star in June 1971, Pizza Pizza came in second: “Pizza Pizza raises its standing with style. The pie arrives in a box that’s zippered into an insulated black bag. The deliveryman uncased it with words like ‘Here is your delicious Pizza Pizza. Enjoy it in good health.’ Their motto, ‘When you think of pizza, think of pizza twice,’ is also catchy. It is expensive with “the works”—a dollar more than any of the others. It was also the largest by several inches and easily the best-looking entrant.”

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George’s Spaghetti House was a fixture of the Toronto jazz scene for decades. Founded by Doug Cole in 1956, its booker was multi-instrumentalist Moe Koffman. Bourbon Street was a sister club which operated during the 1970s and 1980s. Playing at George’s this week in 1977 was trumpeter Sam Noto. Worn out from playing assembly line style gigs in Las Vegas during the first half of the 1970s, Noto relocated his family to Toronto. “Not only does he rank it as the jazz centre of North America,” Frank Rasky wrote in the Star, “but it’s the city that has enabled him to double his income, so that he now earns $44,000 a year. So it’s little wonder that his jazz creations sound so jubilant.”

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With its proximity to Exhibition Stadium, Ontario Place may have seemed like an excellent spot for families to prepare for the game ahead or unwind after the final out.

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Foster Pontiac Buick was among the local car dealers who advertised in the debut scorebook. One of the earliest dealerships to establish itself in postwar Scarborough, Foster switched its affiliation from General Motors to Kia around 2009. After over 60 years at Sheppard and Warden, the dealership moved to Markham Road in 2015.

We’d also like to note the recent passing of outfielder Gary Woods, who was part of the Blue Jays’ opening day lineup on April 7, 1977. Woods talked to the Star about the first season several years later:

I remember the snow on the field and I remember Doug Ault [who hit the franchise’s first home run just before Woods stepped up to the plate] and I remember the excitement in the city. I was a young ballplayer very excited to be part of a building experience. It was a really neat feeling. But of course we played like an expansion team and I played like a guy who wasn’t quite ready for the major leagues.

All images taken from Toronto Blue Jays Scorebook Magazine Volume 1, Number 17 (1977). Additional material from the March 21, 1977 and September 15, 1977 editions of the Globe and Mail, and the June 5, 1971, April 2, 1977, and October 8, 1985 editions of the Toronto Star.

ADDITIONAL MATERIAL

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A full ad for Ontario Place, which notes there were 10 restaurants to choose from. No mention of little Grozki.

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The “internationally famous” seafood platter from Fishermans Wharf was a staple of Toronto tourism magazines for decades. What visitor couldn’t resist a massive plate of overpriced crustaceans and other delights from the deep garnished with a lemon wedge?

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Globe and Mail, December 23, 1972.

When Fishermans Wharf opened in late 1972, it was featured in Mary Walpole’s advertorial dining column in the Globe and Mail. I’m curious to find out (whenever time’s available) to see if Walpole’s claim is true that the restaurant hired the city’s first female maitre d’.

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Globe and Mail, February 24, 1973.

Walpole regularly featured Fishermans Wharf in her column during its early years. Over the course of its early months, she updated readers on the construction of the restaurant’s oyster bar and touted its luxury liner qualities.

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Globe and Mail, December 17, 1977.

The only newspaper ad I found for Fishermans Wharf from 1977, spotlighting its New Years celebration. There’s that platter again!

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Globe and Mail, January 7, 1978.

At this time, Walpole continued to tout its ship-like qualities, but fails to mention the maitre d’ or chef Niki – perhaps both had set sail by this point.

A callout on social media didn’t produce any recollections from anyone who might have eaten there. The restaurant survived into the 21st century, ending its days on the south end of Church Street.

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Star Week, June 5, 1971.

The Star‘s random pizza test that placed Pizza Pizza in second place. Its current incarnation is one of the last things that I would enjoy in good health. Besides Pizza Pizza, Vesusvio’s is still turning out pies in The Junction.

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Globe and Mail, March 21, 1977.

A note on CBLT’s coverage of the Jays’ first training camp.

Changesbowietoronto

Originally published on Torontoist on January 11, 2016.

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Toronto Star, May 2, 1978.

In the days to come, much will be made of how David Bowie influenced other artists. But appreciating such talent takes time, and, especially for someone who confounded mainstream culture when he gained fame in North America during his “Ziggy Stardust” phase, Bowie was initially viewed with a mix of bemusement and disgust by Toronto’s press. As our city’s familiarity with Bowie grew, the fandom that appreciated his many creative aspects and personas resulted in hot tickets for three concert tours here that stopped here during the 1970s, and captured Bowie at the height of his fame.

“The new decadence is not only ugly, it lacks class,” screamed the headline of a 1972 Globe and Mail article criticizing the growth of adult movies and glam rock. “In the seamy wake of Alice Cooper,” the paper observed, “have come drag rock groups with names like Queen and the New York Dolls and singers like David Bowie who, in his lipstick and hot pants and Jane Fonda haircut, is taking a new step in decadence.”

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One of the earliest ads we found mentioning Bowie, featuring a giveaway of his 1970 album The Man Who Sold The World at a carpet store. Toronto Star, December 30, 1972.

Profiling several glam rockers for the Star the following year, Peter Goddard felt Bowie tempered some of the shock value of his orange hair and declarations of bisexuality through the strength of the songs on The Rise and Fall of Ziggy Stardust and the Spiders from Mars. “By not allowing their audiences to clearly identify their sexual distinctions,” Goddard noted, “the new performers have the freedom to be more bizarre and hence more effective showmen.” Asked about playing glam rockers like Bowie, CHUM-FM program director Bob Laine observed that “we never try to analyze who they are, but just what their music is. There has always been this kind of sheer shock value in the entertainment industry. Only now it’s receiving a greater amount of expression.”

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Toronto Star, June 17, 1974.

Bowie’s first major Toronto appearance was a pair of shows at the O’Keefe Centre (now the Sony Centre for the Performing Arts) on June 16, 1974. These performances rounded out a glam-rock-filled weekend in the city, including concerts by the New York Dolls and Kiss (described by the Globe and Mail’s Robert Martin as “a totally plastic band”) at Massey Hall. With no promotion, all 6,400 tickets to Bowie’s shows sold out a month in advance. The stage was filled with elaborate sets inspired by the artwork of Bowie’s album Diamond Dogs, along with touches like a cantilevered chair which positioned him over the front row while singing into a telephone during “Space Oddity.” During “Big Brother,” Bowie sang “from the top of what looked like a space capsule,” Martin observed. “It then opened up into a mirrored room with floor-to-ceiling black lights and a huge hand that folded out into a staircase.”

The audience was decked out for the occasion. “A couple of confusing gender strolled through the crowd, one dressed in a short, frilly pink slip, the other’s mouth smeared with frosted lip gloss.” Goddard noted in the Star. “One girl, otherwise normally dressed, was wearing an enormous pair of bat’s wings. And elsewhere among the jeans and T-shirts you could see lilac lipstick, tangerine eyes, hair dyed Bowie’s rusty-red colour, and the familiar Bowie lightning bolt zigzag painted on people’s faces.”

Some fans probably sensed Bowie’s persona was shifting. Having retired Ziggy Stardust in late 1973, the show’s theme was Orwellian. Bowie’s costume, described as “a powder-blue modified zoot suit,” foreshadowed the scaled-down nature of the latter half of the tour, when he adopted a more soulful presence.

When Bowie next appeared in Toronto, he’d changed personas again. Around 19,000 filled Maple Leaf Gardens on February 26, 1976 to see Bowie in “Thin White Duke” mode. The show began with the presentation of Luis Bunuel and Salvador Dali’s 1929 surrealist film Un Chien Andalou, then continued with a bare stage lit with amber and white lights. Critics felt the spare setting made Bowie look vulnerable, yet separated from the audience by an invisible barrier. “The music was the most sensual part of the night,” Goddard noted. “And it seemed to be the part that made the most direct connection with the audience…Bowie, somehow, seemed removed, as if he was watching it all from a self-imposed distance.” Martin felt the minimal setting was a letdown compared to the inventive theatricality displayed two years earlier: “The king of glitter rock appeared without his makeup and showed that there is precious little behind it.” Bowie may have started to feel removed from himself; by year’s end, he moved to Berlin to restore his health after a period of heavy cocaine use.

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Globe and Mail, February 27, 1976.

Bowie’s last Toronto show of the 1970s saw a crush of fans eager to enter Maple Leaf Gardens nearly push an incognito Lindsay Kemp (Bowie’s mime teacher, who was in town performing Salome at Toronto Workshop Productions) into a popcorn cart. Once inside, those attending the May 1, 1978 show saw a solid two hour performance. Showing a warmer side to the audience than in previous appearances, his set was described by the Globe and Mail’s Stephen Godfrey as “good, old, born-in-trunk professionalism.” Wearing a long green windbreaker and baggy pants, Bowie “looked like a fragile fisherman,” Godfrey noted. “But the looks are part of the one character that Bowie cannot abandon—that of a vulnerable-looking cadaver—but sings and acts with a confidence and bite that make the looks a mystery. As a culmination of his characters over the years, it couldn’t be bettered.”

Bowie returned to Toronto over the years, opening his infamous Glass Spider Tour here in March 1987. The multimedia David Bowie is exhibition made its North American debut at the Art Gallery of Ontario in fall 2013, showcasing the artist’s archive. One thing he refused to do for the exhibition was discuss his legacy, a matter now left to cultural observers and fans inspired by his music.

Additional material from the October 14, 1972, June 17, 1974, February 27, 1976, and May 1, 1978 editions of the Globe and Mail; and the April 7, 1973, June 17, 1974, and February 27, 1976 editions of the Toronto Star.

Vintage Toronto Ads: Columbia House

Originally published on Torontoist on August 12, 2015.

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Maclean’s, February 16, 1957.

The bait was hard to resist: up to a dozen albums for a penny. Sure, there was a “small” shipping and handling fee. And buy x-number of albums at full price over x-number of years. And mail back reply cards if the monthly featured selection didn’t appeal to you. And endure legal notices in case you didn’t pay up. And, if you cared to dig deeper, support the no or reduced royalties on those bargain albums paid to performers and publishers. And, if you wanted to dump the albums, discover used music stores that refused to accept them, citing inferior pressing quality.

But a dozen albums for a penny! Even with the additional costs factored in, Columbia House and its competitors were an affordable way to build a music collection, especially back-catalogue items you might not have rushed down to the local bricks-and-mortar store to buy. You could kill hours browsing microscopic print to make the right picks.

At their peak in the mid-1990s, record clubs across North America raked in $1.5 billion annually. At the end of the 1990s, Columbia House Canada held the second largest market share among Canadian music retailers, behind bricks-and-mortar retailer HMV. Their power over sales was such that many large chains boycotted the 1996 Juno Awards when Columbia House was named an official sponsor.

Then the Internet came along. The only surprise over this week’s announcement that the American remnants of Columbia House has filed for Chapter 11 is that any trace of the former giant still existed.

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Toronto Star, October 17, 1955.

Columbia House’s half-century presence in Toronto began when the Columbia Record Club launched on both sides of the border in 1955. It was promoted via ads through local retailers ranging from Eaton’s to Sniderman’s Music Hall (the College Street forerunner of Sam the Record Man). The original offer was a choice of one free record from a list of 12. After that, you had to buy four LPs at list price over the next year, with a free record tossed in for every two you bought. The offer was adjusted over time: by 1968, the deal was eight free records if you bought nine over the next year.

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Globe and Mail, October 15, 1955.

The company experienced pains after purchasing the rival Capitol Record Club of Canada in 1974. “Quite frankly,” Columbia House Canada VP/GM Richard Gurian told the Star, “we didn’t do such a great job in taking over” after discovering how many bad accounts were inherited. Moving its computer services from its Don Mills office to the headquarters in Terre Haute, Indiana created customer invoice problems.

One result: for the rest of the 1970s, Columbia House provoked the highest number of complaints about a single firm received by the Star’s Star Probe consumer-help column. Most aggravating was the steady stream of increasingly threatening notices to pay up in cases where items didn’t arrive or requests to close properly paid accounts were ignored. As Star Probe columnist Rod Goodman put it, “It is a shame that the law allows firms to throw legal notices at customers without making even a token effort to determine the facts.” Readers frequently vowed never to deal with direct marketers ever again.

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Maclean’s, February 1968.

Goodman published an example of the form letters complainants received. This one was the first stage in prodding a delinquent customer, utilizing an obnoxious “friendly” approach:

Have you ever tried wishing away your troubles? They just don’t go away. The only way troubles will disappear is by doing something about them. In our case, I mean yours and mine, our troubles could disappear if you would only pay your bill. We would both be relieved of a big burden. Especially since the time is rapidly approaching when I must make a decision whether or not to turn your account over to a collection agency. Send your payment today and breathe a sigh of relief.

That letter may have been signed by “Douglas Mitchell,” the fake name Columbia House used for its friendliest reminder. Not as nice was “Frank Pearson,” who asked if you forgot the bill before demanding payment. If nothing was resolved, “Clark Weatherbee” threatened legal action or harassment from a collection agency. These names helped Columbia House staff determine account status whenever a frazzled customer called in. “Suppose everyone wrote to me and I wasn’t here,” Gladys Perry, Columbia House Canada’s manager of fulfillment, told the Globe and Mail in 1982. “Imagine all the frustration that would build up. And what if I were to leave the company?”

Sometimes the form letter went too far. One Weatherbee form used in the early 1980s advised clients that “we are now fully aware of your extremely poor credit risk status.” While Parry dismissed complaints about that wording, noting that those who supposedly owed Columbia House did “not necessarily have a poor credit rating in the whole community,” lawyers took the company to task. The wording was removed.

Perhaps employees were fatigued by legitimate deadbeats, who made up to 35 per cent of their customer base. Some went far to get their cheap albums: a North York couple was charged in February 2000 for defrauding Columbia House out of $20,000 over the previous year. Under different names (yet using the same address), the couple submitted 28 handwritten and over 1,000 online club applications, yielding a bounty of 900 CDs.

Columbia House soldiered on even when rival BMG Music Service launched with a Boxing Day advertising blitz in 1994. BMG’s promise of no further obligations past the promotional offer was an immediate hit, drawing 300,000 members in 10 months. Both services, and their offshoots, fought it out in mailers, ads, and online until BMG pulled the plug on its Mississauga facility in early 2000. As online shopping cut into its base, Columbia House was sold to a succession of new owners. The end for its Canadian operation came in December 2010, when Direct Brands closed its east Scarborough office.

Additional material from the August 16, 2008 edition of Billboard; the October 15, 1955, April 15, 1982, and August 26, 1998 editions of the Globe and Mail; the March 1968 edition of Maclean’s; and the October 12, 1976, March 24, 1977, April 10, 1979, and December 10, 2010 editions of the Toronto Star.

Vintage Toronto Ads: Oscar Peterson

Originally published on Torontoist on June 17, 2015.

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Toronto Star, November 5, 1945.

In July 1945, Globe and Mail record reviewer Dillon O’Leary (in his tongue-twistingly-titled column “Hot Platter Patter”) declared that 20-year-old jazz pianist Oscar Peterson’s second single “My Blue Heaven/Louise” was disappointing “but his ideas still show lots of promise.” That promise was fulfilled: over the next 60 years, Peterson earned fame and honours worldwide.

Reviews of his early visits to Toronto, such as this one by the Globe and Mail’s Kay Sanford during a brief appearance at the Royal York Hotel in November 1945, glowed:

This personable young coloured man with the gifted fingers chased the ivories through a varied program and the blues to the lilting Polonaise in a style that left his audience with their mouths agape and pleading “Don’t stop now.” Yes, sir, that man is solid dynamite. But Oscar is a versatile lad who doesn’t just stick to the hot stuff. His long, graceful fingers caressed the piano in a flow of classics as well as chopping a faster tempo to more popular boogie numbers, offering tuneful evidence of the amazing gift which is his.

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Globe and Mail, March 7, 1946.

Peterson made his Massey Hall debut on March 7, 1946. “Peterson has technique, imagination and terrific drive, combined with that relaxed self-possession which allows a musician to give his best at all times,” O’Leary observed in his review. The crowd responded enthusiastically, applauding loudly following Peterson’s rendition of Duke Ellington’s “C Jam Blues” and demanding encores at the end of the night.

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Globe and Mail, August 13, 1960.

Though born in Montreal, Peterson was later based in the Toronto area. One of his most ambitious local projects was the establishment of the Advanced School of Contemporary Music (ASCM) in 1960. Founded by Peterson, the rest of his performance trio (bassist Ray Brown and drummer Ed Thigpen) and clarinetist/composer Phil Nimmons, the school was established to allow professional jazz musicians to mentor emerging talent from across North America. Originally launched in the basement of Peterson’s suburban home, it soon moved downtown to 21 Park Road. The school initially offered courses lasting up to 17 weeks (later shortened to four), which the teachers soon found cut into their touring time. “When we set up the school,” Peterson told the Star in January 1964 after it suspended operations, “it was supposed to be a bit of a holiday activity on our days off. It never worked that way.” Despite the school’s demise, Peterson continued to teach, leading to a term as chancellor of York University. ASCM’s legacy will be honoured this week with the installation of a Toronto Legacy Program plaque on its site on June 18, the same day the Toronto Jazz Festival marks the 90th anniversary of Peterson’s birth.

While Peterson appeared in print ads and television commercials for products ranging from whisky to Coffee-mate, he also lent his presence to public service announcements regarding human rights issues. One such ad, “Together We Are Ontario,” featured Peterson and fellow jazz performers like Guido Basso and Moe Koffman promoting racial harmony in the province. The importance of such work to Peterson is reflected in his autobiography A Jazz Odyssey: on the dedication page, besides mentions of his parents and musical impresario Norman Granz, he gives a shout-out to former Ontario attorney general Roy McMurtry, “who decisively assisted my efforts to persuade TV companies to feature more ethnics in their sponsorship programs.”

Additional material from Oscar Peterson: A Musical Biography by Alex Barris (Toronto: HarperCollins, 2002); A Jazz Odyssey: The Life of Oscar Peterson by Oscar Peterson (New York: Continuum, 2002); the July 21, 1945, November 27, 1945, March 8, 1946, and September 10, 1960 editions of the Globe and Mail; and the January 6, 1964 edition of the Toronto Star.

The Ultimate Legal Entertainment Experience of The Electric Circus (and the story of 99 Queen East)

Originally published on Torontoist on February 18, 2015.

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The Telegram, December 21, 1968.

For Torontonians of a certain age, the phrase “Electric Circus” conjures up the 1990s dance show on Citytv and MuchMusic. Its name paid homage to the dance club that Citytv replaced at 99 Queen Street East when the station launched in 1972. The original Electric Circus arrived in town with great hype, and ended as a newspaper auction ad.

“I believe in Toronto,” Stan Freeman, Electric Circus co-owner, declared when he announced the club in May 1968. “It’s one of the grooviest cities in the world for rock, and I’m investing $300,000 in that belief.” Along with business partner Jerry Brandt, Freeman, a Torontonian who once worked for Clairtone, promised a venue over twice the size of his flagship club in New York City’s East Village. The original’s mix of circus performers, electronic music, experimental theatre, light shows, and live bands would be imported, all for a then-stiff $4 cover charge.

The site, whose past tenants ranged from an ornamental ironworks to a Simpsons used-furniture depot, would see its 38,000 square feet of floor space reimagined into a realm designed for the groovy hipsters. Split into seven rooms, it included a strobe-lit dance hall, chambers lined with foam rubber, a boutique, and a restaurant. Unlike the NYC location, the light shows would be programmed via computer.

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Left: Toronto Star, January 25, 1969. Right: Toronto Life, April 1969.

Trouble plagued the project from the start. Construction costs doubled as the concept evolved and the city demanded numerous safeguards. The opening date, intended for July, was delayed for months. When the Electric Circus finally opened for a VIP-only fundraiser for the Save the Children Fund on December 20, 1968, it was far from complete. Despite staff putting in 24-hour shifts, little was truly ready for guests like John Craig Eaton, Peter Munk, and Marshall McLuhan to enjoy the full freak-out experience. Plaster dripped and wires were exposed. Carpenters hammered away. Welders sprayed sparks onto the floor. Drinks were served in paper cups because the bar glasses had been stolen. The light show was still in test mode. Amid the chaos, floor staff ran around in lab coats and sweatshirts with “HELP!” written on the back. “C’mon, honey,” one tuxedo-clad guest told his wife. “This is terrible! They can’t have a party in here!” Perhaps prime minister Pierre Trudeau was relieved when he declined his invitation.

The press found reasons for optimism. “If you’ve been mouthing McLuhanisms for the past couple of years without really knowing what things like ‘media barrage’ and ‘total environment’ mean,” the Globe and Mail observed, “you can experience them in their most intense form at the Electric Circus.” The Star’s Jack Batten predicted it would be a “groovy experience” when properly running.

The club closed for a month to complete renovations. Over 2,000 people, many armed with free passes from CKFH radio, lined up when it reopened on January 23, 1969. While the pulsating liquid patterns and strobe lights impressed patrons, many wondered what the hype was about. As one partier observed, “everything else you can do at home.”

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Toronto Star, March 11, 1969.

What you actually could do at the Electric Circus, according to Star art columnist Gail Dexter, boiled down to four things: dance, eat, go nude (a practice encouraged among female patrons), and hide in a “womb room” outfitted with flashing lights. It was also utilized by the Ontario College of Art for its annual Beaux Art Ball—in the spirit of the era, its 1969 edition was named after a catchphrase from the TV series Laugh-In (“Look it up in your Funk and Wagnall”).

As 1969 wore on, the club’s troubles mounted. A Sunday night live concert series was discontinued due to performers being late or, in the case of Ten Years After, failing to show up at all. Crowds dwindled to 80 people on weeknights. Tradesmen registered liens as they waited for payment. Creditors were offered shares in the New York club. By 1970, new management contemplated providing an atmosphere that was less plastic and more conducive to young people enjoying live music. “They shouldn’t go to Massey Hall,” manager Bob Cohen told the Globe and Mail in May 1970. “I’ll make them feel at home. I’ll give them a community. I’ve got rid of most of the environmental junk we had, and I’m trying to make the Circus a place just to relax and listen to the music and groove with the other freaks.”

Pandering to draw “freaks” failed, and the Electric Circus’s groovy goods were auctioned off. Less than two years later, over $1 million of renovations transformed the site into Citytv’s first home. The station took advantage of the wiring system the club left behind, while the light-show gondola became Moses Znaimer’s office. The old club’s address is currently occupied by The Carbon Bar.

Additional material from the May 18, 1968, December 21, 1968, January 24, 1969, March 12, 1969, November 6, 1969, and May 16, 1970 editions of the Globe and Mail; and the July 27, 1968, October 19, 1968, December 20, 1968, December 21, 1968, March 1, 1969, March 11, 1969, and April 26, 1969 editions of the Toronto Star.

ADDITIONAL MATERIAL

I wrote about the history of 99 Queen East in the following article for The Grid’s Ghost City series, which was originally published in April 2013.

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The Globe, October 28, 1922.

Anyone purchasing their heating needs at the Nipissing Coal and Wood Yard in the mid-1870s never imagined that a century later 99 Queen Street East would fuel people’s quest for controversy and entertainment. By the end of the Victorian era the yard was cleared away and replaced by a building which would house a series of industrial business ranging from wrought iron fencing to laundry machines.

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Toronto Star, November 14, 1935.

When Star Electric Fixtures moved in during the winter of 1934, it promised consumers the “most up-to-date showrooms in the Dominion of Canada.” They weren’t at the forefront for long, as a two-alarm blaze destroyed the business on Boxing Day 1935. Though a feared building collapse was avoided, firefighters contended with dense smoke and freezing temperatures which turned their streams into sheets of ice. A year of legal sparring between Star Electric and its insurers saw the company’s president refuse to answer certain questions about the incident.

After the damage was cleared, Simpson’s moved in to run a “trade-in” store specializing in used furniture. Following the department store giant’s departure in 1944, other furniture businesses occupied the premises before it was vacated during the mid-1960s.

In early 1968 Jerry Brandt and Stan Freeman, owners of the hip Electric Circus disco in New York City, announced Toronto would host the second in a planned series venues across North America designed to attract an audience in the 14-to-25 demographic. For a stiff $4 cover charge, patrons would be dazzled by a 1,500 capacity main dance floor with live and recorded music, circus acts, and light show, while side rooms offered dining, shopping, and foam rubber walls. Freeman chose 99 Queen Street East because he “liked the sound of the address.” The venue, which was intended to be alcohol- and drug-free, was billed as the “Ultimate Legal Entertainment Experience.”

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Toronto Star, December 21, 1968. Click on image for larger version.

The Electric Circus was immediately plagued with problems. Renovation issues delayed opening by six months. Constant design changes and safeguards demanded by the city caused the cost to balloon to over $500,000. When it finally opened for a Save the Children Fund benefit on December 20, 1968, attendees were underwhelmed by the unfinished space—one complained to the Globe and Mail that “they should pay us to come in here.” When the Star’s Jack Batten arrived at 10 p.m., he found “several hundred beautifully dressed people” looking “desperate and mad” as the space was “a shambles of exposed wired, dripping plaster, rough wood floors and a dozen hammering carpenters.” Light show technicians were still in test mode, while welders provided their own sparkling display. Drinks were served in paper cups after the bar glasses were stolen. Despite the hiccups Batten predicted the Electric Circus would “be a groovy experience” once it was properly running.

Finishing work closed the Electric Circus for a month. When it reopened on January 23, 1969, 2,000 people lined up. Only the strobe lights and pulsating liquid patterns impressed the crowd, many of whom had received free passes from radio station CKFH. Otherwise, as one patron put it, “everything else you can do at home.” A Sunday night concert series featuring headliners like Procol Harum and Sam and Dave was quickly curtailed, though local acts and groups like Creedence Clearwater Revival and Alice Cooper continued to grace its stage. Weeknights drew as few as 80 bodies. Construction workers registered liens against the club. While attempts were made to make the club seem less soulless, and events like the Ontario College of Art’s Beaux Arts Ball were held there, by August 1970 its items were up for auction.

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The full article on the OCA’s Beaux Arts Ball, Toronto Star, March 11, 1969.

In March 1972, over $1 million of renovations began to transform the space into Toronto’s newest television station. Managing director Moses Znaimer claimed the light show gondola as his office. The heavy duty wiring system the Electric Circus left behind was a blessing for the tightly-budgeted station “Somebody up there likes us,” Znaimer told the Star.

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Toronto Star, June 10, 1972.

When Citytv debuted at 7:30 p.m. on September 28, 1972, a large cardboard poster on Znaimer’s office wall beaming “SEXY TELEVISION BEGINS SEPT. 28” crashed to the ground. “Was the Great Producer in the Sky trying to tell Znaimer that he disapproved of City’s raunchy programming policies?” joked Star columnist Alexander Ross. Sex that fueled the station’s early success thanks to the Friday night Baby Blue Movie. Despite frequent police morality squad visits regarding the airing of soft core flicks, mail praising the show flowed in. Several letters claimed the techniques demonstrated onscreen saved their marriages. By March 1973, the show drew 60 percent of the midnight audience.

Besides Citytv, the building housed one of the station’s first spinoffs, MuchMusic. Both stations honoured 99 Queen East’s heritage when, a year after they moved to 299 Queen West, a new dance show launched in 1988 bore the name Electric Circus.

Meanwhile, the old building became a mixed-use space which lost its historic address when it was integrated into the Queen Richmond Centre at 111 Queen Street East. Disney used the studio to train dancers for its cruise ships. The Grid looked into the space while it was up for rent in September 2011, noting that the location would soon be in high demand due to imminent construction in the parking lot across the street. The parking lot is still there. While the exterior offers no hint of the current tenant, a peak through the window reveals plenty of scaffolding inside.

Additional material from the December 27, 1935 edition of the Globe, the May 18, 1968, December 21, 1968, January 24, 1969, March 12, 1969 of the Globe and Mail, the September 30, 2011 edition of The Grid, the December 27, 1935 edition of the Mail and Empire, and the January 30, 1934, July 27, 1968, December 21, 1968, April 26, 1969, March 18, 1972, September 29, 1972, March 20, 1973, and May 3, 1975 editions of the Toronto Star.

Lou Reed’s Walk on the Wild Side, in Toronto

Originally published on Torontoist on October 28, 2013.

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Toronto Star, June 10, 1967.

“You’ll never see the LP on the pop charts. It’s doubtful whether you’ll ever hear much of it on the radio,” warned Toronto Star rock columnist Ralph Thomas when The Velvet Underground & Nico was released in 1967. While the airwaves might not have been ready for the album’s most uncompromising tracks about drugs and deviancy, Thomas praised it for creativity, singling out singer/guitarist Lou Reed for his “Dylanesque style.”

Reed, who died Sunday morning at age 71, went on to become one of rock’s most influential figures. His more memorable songs inspired many musical careers, but some of his more difficult works amounted to prickly f-yous to fans, journalists, and record labels (we dare you to sit through all four sides of 1975’s Metal Machine Music). His first solo gigs in Toronto, in 1973, fit this pattern.

Following two local appearances with the Velvet Underground—a performance of Andy Warhol’s Exploding Plastic Inevitable roadshow at Hamilton’s McMaster University in November 1966 and a spot at the Toronto Pop Festival at Varsity Stadium in June 1969—Reed made his Toronto solo debut at Massey Hall on April 9, 1973. It was not one of the auditorium’s finest moments. Ticketholders were locked out while problems with Reed’s equipment were remedied. The show started about 90 minutes late, to the detriment of opening act Genesis. The differences between each act’s following heightened tensions which, as Genesis guitarist Steve Hackett recalled years later, “deteriorated into a punch-up between the Lou Reed fans who were on downers, and the Genesis fans who were more into Earl Grey tea.” Booing ensued.

The headliner’s subdued set failed to excite the 2,250 concertgoers. “Dressed in black leather, and looking wan and tired, he seemed to be only going through the motions,” observed the Star’s Peter Goddard. “And even the motions weren’t particularly interesting.” The Globe and Mail’s Robert Martin felt the bluesy style Reed applied to songs like “Heroin” reflected the relaxed tone he sensed in the singer’s most recent album, Transformer. “Reed does to song lyrics what Warhol did to art; he records the seemingly artless debris of New York’s demi-monde and presents it without comment,” Martin reflected. “His lyrics are as ambivalent as is his own sexuality.” Soon after the show, Reed fired his backing band.

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Toronto Star, November 9, 1973.

Reed returned to Massey Hall on November 29, 1973, to promote his album Berlin. His new touring group included two veterans of the Toronto music scene, drummer Whitey Glan and bassist Prakash John. Tales of Reed’s previous appearance may have affected attendance, as only 1,000 people showed up. Those who did enjoyed a solid, hard-driving set that mixed Velvet Underground staples, new material, and Reed’s recent hit, “Walk on the Wild Side.” Reed, according to Martin, appeared “both hard and sensuous, a street punk in leather, and chains, but softened by his frequently coy and effeminate gestures.” Goddard compared Reed’s appearance to Joel Grey’s sexless MC in Cabaret and, while not entirely satisfied with the performance, felt it gave a better sense of what Reed was capable of.

Goddard’s fear that the low turnout would discourage Reed from returning to Toronto proved groundless. Reed—joined by surprise guests Alice Cooper and King Crimson guitarist Robert Fripp—played Massey Hall the following October and would perform here many times over the remainder of his career.

Additional material from the April 21, 1973, and November 30, 1973 editions of the Globe and Mail; the August 4, 2011 edition of the Guardian; and the June 10, 1967, April 10, 1973, and November 30, 1973 editions of the Toronto Star.

ADDITIONAL MATERIAL

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Globe and Mail, November 14, 1966.

While the Globe and Mail ran a picture but no article regarding the November 12, 1966 appearance of the Exploding Plastic Inevitable show in Hamilton, the Star did the opposite. For some reason, Nico’s name was spelled ENTIRELY IN CAPS throughout Gail Dexter’s review. A sampling:

The films are simple enough–The Underground and Edie [Sedgwick] and NICO and lots of black leather projected on a huge screen to intense rhythmic noise. The action builds to a sado-masochistic climax and then The Underground comes on stage.

The group plays with a persistent heavy beat so loud that the floor of the new gym vibrates, and they play for two hours with lights, films, and optical patterns flashing behind them. Songs like “Heroin” (it’s my life and it’s my wife) to which Gerard simulates a fix, and “Death Song for Hell’s Angels” (shiny, shiny, shiny leather, whiplash girl-child in the dark) through which the dancer flagellates himself.

But NICO is the star. She’s tall and blond and beautiful in a remote northern way. She played herself in Fellini’s Dolce Vita and now she sings with the Underground; and, in her singing, she projects a tragic awareness that becomes almost painful. Her final number, “If I’m late, will you wait for me?” holds the audience enthralled for a half-hour.

And that was one of the problems: The audience, about 800 students, just sat there stunned for three hours. They were supposed to dance but the gym is so big that only a few couples were sufficiently exhibitionist to try–but they went wild. A one-time McMaster student, Charlotte Kennedy, just ran up on the stage and started dancing with Gerard. He flashed lights on her and cavorted for the cameramen.

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Globe and Mail, November 30, 1973.

The Globe and Mail‘s review for Reed’s second, less-disastrous Massey Hall show of 1973. Berlin was also placed on Martin’s list of potential Christmas gifts, published on December 8:

Lou Reed, who characterized the life of New York City’s demimonde as a member of the Velvet Underground, has moved to Berlin, where angst is part of the real vocabulary. It’s a concept album about a relationship in the city of the bear that ends in the suicide of the lady, Caroline. It’s a chilling tale told in school of Andy Warhol simplicity that borders on the banal. But Reed’s flat, disinterested vocals lift the story out of melodrama into a horror story of world weariness.

Other albums in that guide? The Rolling Stones’s Goat’s Head Soup (“The disc was recorded in Jamaica. I think the sun got to them.”), John Lennon’s Mind Games (“His best album since Imagine”), Ringo Starr’s Ringo (“As a singer, Ringo makes a great drummer”), Elton John’s Goodbye Yellow Brick Road (“One of the most beautiful records produced this year”), Linda Ronstadt’s Don’t Cry Now (“If you give [this album] to a male, he may never get past the front cover photograph”), The Band’s Moondog Matinee (“The results are so funky as to be virtually skunky”), and Neil Young’s Time Fades Away (“Neil Young writes like a 27-year-old going on 60”).