Vintage Toronto Ads: Election Central ’68

Originally published on Torontoist on November 6, 2012.


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American presidential candidates, 1968. Left to right: George Wallace (American Independent), Richard Nixon (Republican), Hubert Humphrey (Democratic). Toronto Star, November 5, 1968.

It’s election day south of the border, which means many Torontonians will spend tonight glued to televisions or to social media, awaiting the results of an endless campaign. Among tonight’s options for analysis is CBC, which provided plenty of coverage during a three-way presidential race 44 years ago—even if most of it came from another broadcaster.

Viewers settling in for the evening on November 5, 1968 witnessed the final chapter of a tense race. Democrat Hubert Humphrey’s campaign hadn’t made anyone forget the battles between police and antiwar protestors at the Democratic National Convention in Chicago. Republican Richard Nixon had vowed to the media that they didn’t “have Nixon to kick around anymore” after his defeat in the 1962 California gubernatorial contest. Former Alabama Governor George Wallace, whose pro-segregation platform emphasized law and order, had mounted a strong third-party challenge. When the ballots were counted, Nixon carried 32 states, Humphrey 13, Wallace 5.

In Toronto, CBC television carried NBC’s election feed. To fill the peacock’s commercial breaks, the public broadcaster offered analysis from Washington correspondents Knowlton Nash and Gordon Donaldson. While the Globe and Mailpraised Nash’s solid commentary, the paper felt that NBC anchors David Brinkley and Chet Huntley lacked the “person to person strength” of CBS’s Walter Cronkite.

Star TV critic Patrick Scott preferred ABC’s coverage, citing the concise analysis of anchor Howard K. Smith and the reunion of the “incomparable comedy team” of guest commentators William F. Buckley and Gore Vidal following their combative performance during the Republican National Convention. “If you are going to go with NBC anyway,” Scott observed, “you might as well go with it all the way and spare yourself the tortures of the CBC’s guest commentator, a sort of pauper’s combination of Buckley and Vidal called Tony Howard, whom I can only assume Knowlton Nash found on his doorstep on Hallowe’en.”

Additional material from the November 6, 1968 editions of the Globe and Mail and the Toronto Star.

ADDITIONAL MATERIAL

gm 68-11-06 election coverage

Globe and Mail, November 6, 1968.

ts 68-11-06 analysis of cbc coverage

Toronto Star, November 6, 1968.

Vintage Toronto Ads: Jack of Hearts’ Flying Circus

Originally published on Torontoist on September 20, 2011.

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Toronto Sun, February 28, 1974, depicting Gilda Radner and Victor Garber.

In brief: Jack was a musical extravaganza based on the four Jacks in a deck of cards, and it featured Victor Garber embodying hearts. Another Jack, Star TV critic Jack Miller, praised it as fun, melodic, and unpredictable, “a musical experience that flies in several directions without ever losing either itself or its pace.” We’d back up Miller’s recommendation, but we haven’t seen it.

And now for something completely different…

The first two series of Monty Python’s Flying Circus debuted on CBC as part of the network’s fall 1970 lineup. After 19 episodes, the show lost its place on the schedule in January 1971 to The World We Live In, an American science program whose title could have been a Python skit. Throughout the week after CBC yanked Monty Python, more than 700 people called in to complain, while 150 students staged a demonstration outside the network’s Montreal studios. CBC officials promised to air the remaining seven episodes as soon as they could find a slot—the show eventually returned, becoming a fixture on the network during the first half of the 1970s. In Toronto, the troupe’s popularity solidified during a long run of their film And Now For Something Completely Different at the Roxy on Danforth Avenue and sold-out live performances at the St. Lawrence Centre in June 1973.

One person left unimpressed by the series was a Mr. John Cameron, who wrote to the Sun in February 1974 regarding the show’s prejudicial attitude toward the Scots. As you read Mr. Cameron’s complaint, with proper Python-ese diction and a “Dear Sir” at the start, try to imagine which skit ticked him off so much that he wished to inflict the Spanish Inquisition on the national broadcaster:

How long is the CBC going to be allowed to bring into this country such racist garbage as the English BBC Monty Python show that we are forced to watch every Thursday night, if we want to watch CBC. I would advise everyone to switch channels. The English government is responsible for this anti-Scottish poison and it is their deliberate policy to try to destroy the Scottish character by ridicule, portraying Scots as mean and miserly so that we will be ashamed of our racial origin, and more easily assimilated into the English Empire…The CBC is a government of Canada body, paid for by the taxpayers of Canada and this proves that our Canadian government is nothing more than a stooge for the English government and this country takes its orders from England and is a partner in these criminal activities against the Scottish people.

Mr. Cameron went on to bellyache about the Ontario Human Rights Commission’s hypocrisy in not pursuing action against this slight to the Scots, before concluding that Monty Python was “the most sick, racist show on television, and it proves just how degenerate our Canadian and English government’s policies are. Imperialism still lives.” The Sun’s one-line response? “We think Monty Python is very subversive—as CBC brass thinks too.”

We’re surprised they didn’t say “you’re a looney.”

Additional material from the February 2, 1971, and February 28, 1974, editions of the Toronto Star, and the February 22, 1974, edition of the Toronto Sun.

The Roar of Greasepaint, The Smell of Gunfire

Originally published on Torontoist on April 6, 2011.

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“Hundreds of onlookers thought they were witnessing an actual bank holdup and police-desperado gun battle at Yonge and Grosvenor today as these phoney [sic] officers raced onto the scene as part of the filming of a TV drams.” Photo by Madison Sale. The Telegram, September 10, 1958.

Wednesday morning, downtown Toronto. As a bank robbery unfolds a desperate man, hiding his identity underneath clown makeup, threatens to blow up the financial institution and anyone within it if his demands are not met. Outside the police prepare to swoop in—their every step monitored by a television camera crew filming the scene for an upcoming police drama.

While such a scene wouldn’t faze citizens used to seeing crime shows like Flashpoint and Rookie Blue filmed on Toronto’s streets, the reaction from passers-by was far different during the first decade of local television production. When a CBC crew filmed Power to Destroy at the Bank of Montreal branch at Yonge and Grosvenor Streets (now an A&W) on September 10, 1958, some of those who gawked believed they were witnessing an actual crime scene. As the Telegram reported in that evening’s edition, “for a hectic hour today the corner was the scene of what will probably go down in history as the most confused bank robbery staged in downtown Toronto.”

Based on an incident that happened in Montreal, Power to Destroy was chosen to lead off a new season of CBC’s Sunday night drama showcase General Motors Theatre. The cast included Douglas Rain (the voice of HAL 9000 in 2001: A Space Odyssey) as the clown-faced robber, John Drainie (veteran radio actor and an original co-host of This Hour Has Seven Days), and, as a cop, James Doohan (Scotty from Star Trek). The bank robbery sequence shot on the morning of September 10 was to be mixed in with live studio performances when the program aired 11 days later.

Given how the shoot went, it’s a good thing the robbery wasn’t transmitted live.

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“Despite the generous co-operation of real Metro officers, some of whom are seen here, director Paul Almond had to shoot the scene several times before he was satisfied. Traffic piled up and there was one collision as unknowing onlookers gaped.” Photo by Madison Sale. The Telegram, September 10, 1958.

Despite having genuine Metropolitan Toronto police direct traffic around the intersection of Yonge and Grosvenor, so that actor cops could rush into the bank, the outside world had a habit of interfering. One motorist who stopped to inspect the hubbub outside the bank blocked the way for a fake cop car, causing the actors inside the obstructed vehicle to stop 100 yards from the shoot.

Filming resumed as an ever-increasing crowd of onlookers tried to figure out what was going on. The Telegram reported that “the shooting of the bank robbery scene had such authenticity that a crowd of more than 200 gathered open-mouthed on the street, waiting for the worst to happen.”

The “worst” turned out to be outside drivers and other bystanders:

A woman driver tried to turn the corner and watch the officers in action. Her car ran into the rear of a car driven by another woman. As both argued, a middle-aged woman suddenly screamed at her husband. “I told you not to stand there. He’s inside the bank armed. Get back, Henry, get back.” A drunk wobbled onto the scene and warned all who would listen: “I know the guy that’s in there and he means business. They won’t get him without some shooting.” An elderly man turned to his wife and said “I don’t think he can get out of there with all these officers around. But we’d better move on anyways.”

By this time, bystanders who clued in to what was going on teased anyone walking by who was unaware of the situation—when one woman asked what was up and was told a bank robber had been shot, she replied “heavens, oh heavens.” As the morning wore on, the Telegram noted that the actors playing police officers “were shot over and over again, but their only wounds were sore feet from continuous running outside the Bank of Montreal.” Their fatigue wasn’t helped by incidents like a re-shoot caused by a traffic jam on Yonge Street. When the final scene was shot at noon, “a confused little man, hobbling on a cane, got in the way of the cameras. Befuddled by shouts to move on he tried to move in all directions at once and almost fell in front of two ‘policemen’ sneaking up on a bank window.”

The finished product was reviewed by the Star’s Gordon Sinclair, who felt Power to Destroy “was no world beater but it had some merit.” He praised the way the filmed sequences were spliced into the live drama, but criticized the high volume of background noise in scenes set in the bank and police station.

Additional material from the September 10, 1958 edition of the Telegram and the September 22, 1958 edition of the Toronto Star.

Vintage Toronto Ads: Astral Offers the Best of Two Worlds

Originally published on Torontoist on January 6, 2009.

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Broadcaster, March 1980.

Most of Torontoist’s recent reports on Astral Media have centred on their outdoor advertising unit and its role in the city’s new street furniture. We’ll take a short break from our continuing coverage to look back at what Astral’s television distribution arm was up to in 1980, when it offered programming that included a venerable prank showadventure travel, and a mini-series starring David Niven as a World War II Canadian spymaster.

One client was TVOntario, who aired the Canadian version of Kidsworld, a current affairs show for the junior set. Of the other shows listed, the one that probably received the widest distribution was the compilation of sketches from The Carol Burnett Show.

Astral dates its origin to 1961, when four brothers in Montreal launched Angreen Photo, which quickly landed the photo finishing concession for the Miracle Mart discount department store chain. By the end of the decade the company had expanded into film production and its own chain of photo stores. As for the other components of Astral’s corporate name in 1980, Bellevue was a Montreal photo lab acquired in 1963, while Pathé-Humphries operated film and recording studios in Toronto prior to being purchased circa 1967.

Within a year of today’s ad, Astral’s film arm produced a movie that raked in money for years: Porky’s.

ADDITIONAL MATERIAL

Astral Media eventually faded into history, dissolving into Bell Media in 2013. I tried looking for videos of the TVO version of Kidsworld,  but only found samples of the American edition, which looks like it was shot on a lower budget.

Vintage Toronto Ads: Gala Specials at Duke’s

Originally published on Torontoist on December 8, 2008.

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Toronto Star, October 28, 1948.

2008 was an eventful year for Duke’s Cycle. Its longtime home on Queen Street east of Bathurst was destroyed by fire on February 20th along with several neighbouring businesses. Less than two months later the store was back in business in a nearby storefront on Richmond Street, with hopes of rebuilding on Queen in the future.

A re-opening under happier circumstances occurred 60 years earlier, at a time when the store also carried appliances and home entertainment products. Among the draws for customers at the expanded store was a chance to glimpse transmissions from the region’s first television station to offer a regular broadcast schedule.

Discover the Feeling When You Come to Play

Originally published on Torontoist on July 17, 2008.

If Reba McEntire and Tony Bennett come to Toronto to play, why shouldn’t tourists follow suit?

Two decades ago, Metro Toronto urged tourists to “discover the feeling” while sampling its neighbourhoods and attractions. The focus of the late 1980s television spot that we’ve dug up today is the multitude of leisure activities the city offers. Viewers in markets like Cleveland and Detroit were enticed to check out ballet, fishing, gondola rides, horse racing, boutique shopping, bike taxis near the Gooderham Building, and Jim Clancy leading the Blue Jays to victory over the Indians or Tigers.

The producer’s sure-fire bet to bring in the crowds? Hire a pair of dueling fencers and a fog machine to lend an air of mystery and old-fashioned adventure to Casa Loma.

As for when the headliners came to play, Tony Bennett crooned at a Variety Club of Ontario fundraising gala in February 1988 while Reba McEntire took the stage for two nights at Massey Hall that October.

ADDITIONAL MATERIAL

Here’s an earlier version of the campaign, featuring Rochester native Chuck Mangione instead of Reba.

The lone surviving comment on the piece is typical of trolls with pseudonyms who are oh-so-happy to put down the city. From “Astoria”: “LOL Plezzzzz Toronto is such a boring place and non world class as its wannabe inhabitants claim – keep tryin’ tho!” My retort to this sort of shit: a city is what you make of it when you actually experience it.

I also wrote an article on the print version of this campaign, which originally appeared on Torontoist on August 11, 2009.

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Monthly Detroit, July 1985.

Last year, we featured the television spots used during the latter half of the 1980s to encourage tourists to come to Toronto and “Discover the Feeling!” Today’s ad is an early print version of the campaign used to lure travellers from Motown into driving east on Highway 401. After a year of development by Camp Associates, the new tourism slogan was unveiled in 1984 as a replacement for “Toronto…Affectionately Yours,” which had been used since 1972.

Early reaction to the new slogan was summed up by Star columnist George Gamester: “’Discover the Feeling!’ doesn’t sound like much for $50,000. But then ‘I Love New York’ probably didn’t sound earth-shattering when first proposed, either.”

While people on the street seemed to be happy with the new slogan, describing it as “catchy,” “neat,” and “memorable,” a vocal group from Metro Toronto Council wasn’t. Suburban politicians grumbled that “Metropolitan Toronto” was mentioned in small print and that municipalities like Etobicoke and North York were ignored in favour of the core city. Public representatives with wounded egos made the media know that they were mad as hell that the word “Metro” wasn’t included in the new slogan, even though Camp Associates had discovered that its inclusion confused test audiences outside of the region. According to North York Alderman Betty Sutherland, “If we’re paying for this, I think it should be geared towards Metro Toronto…If you’re coming to visit you’re coming to see more than downtown.” In his characteristically understated style, North York Mayor Mel Lastman claimed that “I never felt more insulted in my life.” He felt the slogan didn’t paint a positive image like Buffalo’s “Talking Proud,” but told visitors to “take a gamble and come to Toronto to see if it’s still a dull city.” Lastman wasn’t crazy about the new logo either, noting that if it appeared on television, it wouldn’t prevent viewers “from going to the bathroom.”

Along with Etobicoke Controller Chris Stockwell (who noted, “I’ve seen better slogans on a used car lot”) and Scarborough Alderman Kurt Christensen, Lastman urged Metro Council to reject the slogan. Among the suggested alternatives were “Metro: Experience the Magic” (suggested by Stockwell) and “You Ought to See Us Now” (rejected by Camp Associates, favoured by Metro Chairman Paul Godfrey). After three hours of debate at the October 23, 1984 meeting of Metro Council, “Toronto—Discover the Feeling!” was approved by a twenty-two to ten vote. Bad feelings lingered on—Christensen failed in attempts to reopen the issue, while Stockwell was irate when only two out of twenty-two pictures in a new tourist brochure showed suburban sites (the Zoo and the Science Centre).

The slogan remained in use for the rest of the decade. Its replacement, “Couldn’t you use a little Toronto?,” was also greeted with underwhelming enthusiasm by Metro Council’s executive committee when it was rolled out in 1989, with Metro Councillor Howard Moscoe proving to be the only member to openly defend the new slogan and its starlit skyline logo.

Additional material from the June 9, 1984, August 25, 1984, and October 24, 1984 editions of the Globe and Mail; and the March 1, 1984, June 9, 1984, October 20, 1984, October 23, 1984, January 1, 1985, and May 3, 1989 editions of the Toronto Star.

Vintage Toronto Ads: Summer Is Such Fun With CBC!

Originally published on Torontoist on June 24, 2008.

Vintage Ad #572: Summer Is Such Fun!
Toronto Life, July 1973.

With summer now officially upon us, some of our fair city’s citizens face an age-old dilemma: stay in the city for the weekend or flee to the cottage. Families who choose the latter are then faced with the prospect of entertaining themselves in the midst of gridlock and curveballs tossed by the weather deities.

Enter CBC’s network of repeater stations to keep family members safe from each other’s throats and help them avoid the indignities suffered by bored pioneer cottagers. Without the modern miracles of radio and television, the parents have retreated into their own worlds, occasionally engaging in a quiet contest to see who can display the sourest facial expression. Their children, deprived of television classics like The Friendly Giant and Mr. Dressup to keep them mellow, give in to their primal urges and engage in an intense hair-pulling match.