Dora Pleet (née Lazarovitch) is the sister of Canadian poet Irving Layton.
Dora Pleet (née Lazarovitch) is the sister of Canadian poet Irving Layton.
The Students' Undergraduate Society of Sir George Williams (SUS) was created in 1936. On January 25, 1966, the Association proposed a new constitution in which it changed its name to Students' Association of Sir George Williams University (SA). In April 1966, the University Board of Governors approved this constitution and a new executive was formed. In October 1971, the Students' Association was put under trusteeship by the University Board of Governors after a series of management difficulties. At the end of November 1971, the Board of Trustees organized a referendum to decide about the future of the association. The majority of students voted for a continuation of the Students’ Association. In March 1972, the Board of Trustees presented a new constitution which was ratified by referendum. On April 13, 1972, the Board of Governors approved the new constitution, but changed the name of the association for “Day Students’ Association of Sir George Williams University” (DSA). Loyola College and Sir George Williams University merge together in 1974 to form Concordia University. The Day Students’ Association continued operation until the creation of the Concordia University Student Association (CUSA), which took over the activities of all the day and evening student associations of Sir George and Loyola in 1979.
Founded in Montreal on February 23, 1840 by Father Patrick Phelan, the Saint Patrick's Total Abstinence and Benevolent Society claimed to be the first Roman Catholic temperance society in North America. Members pledged to abstain from intoxicating drinks, registered by name, and paid monthly dues. Within one year the Society had 3,000 pledged members. After one year, members were entitled to the Society's death benefits plan which gave money to the family of the deceased, usually the widow. If there was no family, the Society would organize and pay for the burial.
Thomas D'Arcy McGee was born in Carlingford, Ireland April 13, 1825. He was the fifth child of James McGee and Dorcas Catherine Morgan. He received his early education in County Wexford, Ireland. In 1842 he moved to the U.S. He stayed briefly with an aunt in Rhode Island, and then moved to Boston where he edited the newspaper The Pilot. In 1845 he returned to Ireland and edited the Irish nationalist paper Nation. In Ireland, McGee was linked to the Rebellion of 1848 and was forced to flee to the U.S. For the next nine years he edited newspapers. He founded and edited the New York Nation (1848-1850). McGee then founded the American Celt which he based successively in Boston (1850), Buffalo (1852), and New York (1853). In the spring of 1857 he was invited to Montreal by prominent members of the Irish Catholic community. He moved to Montreal in 1857 and for two years edited the paper New Era (1857-1858). He studied law at McGill University, graduating in 1861.
McGee's political thought was influenced by his experience with the Irish nationalists' cause. McGee called for a new nationality in Canada, which meant the federation of British North America, a transcontinental railway, settlement in the West, and a distinctive literature. In November of 1858 at a St. Patrick's Society meeting McGee was nominated to represent the riding of Montreal West in the upcoming election. McGee won. McGee allied himself with George Brown's Reform party. When Brown's government failed in the elections of 1861, McGee shifted his alliance toward the Conservatives.
D'Arcy McGee was married to Mary Theresa Caffrey in Ireland on July 13, 1847. The couple had five daughters - Martha Dorcas, Euphrasia (Fasa), Rose, Agnes (Peggy), a fifth (name unknown), and one son, Thomas Patrick Bede. Only Agnes and Euphrasia outlived their father. Thomas D'Arcy McGee was assassinated April 7, 1868.
St. Patrick's Society of Montreal was founded on March 17, 1834 to care for Irish immigrants and to defend the local Irish-Canadian community's interests. The first president was John Donnellan. The creation of the Society in Montreal was followed by the Société Saint-Jean-Baptiste (June 1834), the St. Andrew’s Society (February 1835), the St. George’s Society (April 1835) and the German Society (April 1835). The St.Patrick’s Society was non-sectarian until 1856 when a new constitution was adopted and it became wholly Catholic while the Protestant members formed the Irish Protestant Benevolent Society. The Society was incorporated in 1863. The constitution was changed in 1973 to accept women as members of the Society. The St. Patrick's Society is a charitable, social, and educational organization. It has the following specific aims: to promote and foster Irish tradition; to aid whenever possible persons of Irish birth or origin, and particularly, Irish immigrants; and to speak, when necessary, on behalf of the Irish Canadian community.
The Society was based at different locations until 1867 when it moved to the newly completed St. Patrick's Hall on Square Victoria. In September of 1872 a fire destroyed the Hall. The Society is now based out of St. Patrick Square at 6767 Cote St. Luc Road.
The Society had a prominent role in the building of St. Patrick's Church, which opened in 1847, and in the creation of the Côte-des-Neiges Cemetery, which opened in 1885. The Society promoted the creation of St. Mary's Hospital, St. Patrick's Orphanage, English Catholic Charities, St. Patrick Square, and the Father Dowd Home for the Elderly. For the Society, the annual ball and luncheon held in March are social and fundraising events. The proceeds are donated to local Irish charities and used for scholarships and grants. The Society also organized the St. Patrick's Day Parade from 1834-1916. In 1928 a group known as the United Irish Societies of Montreal was formed and it now sponsors the city's annual St. Patrick's Parade.
Since 1988 the Society has published NUACHT (news), a quarterly newsletter that updates readers on the local Irish community and news from Ireland.
Brian McKenna was born in Montreal August 8, 1945. McKenna is married to journalist Anne Lagacé Dowson.
Brian McKenna first lived in downtown Montreal and started elementary school at a French school of the Congregation of Notre-Dame. His family moved to the Montreal suburb of Valois, and later to Beaconsfield. While a student at St. Thomas High School in Pointe-Claire, McKenna worked as sports editor of the high school paper, the St. Thomas News. He graduated in 1963, and was accepted in the second year of the Honours English program at Loyola College. He joined both the debating society and the college weekly paper, the Loyola News, first as a reporter, then desk editor and subsequently news editor. McKenna took over as editor-in-chief in autumn 1966. He received his first degree in 1967, a Bachelor of Arts in English literature. He was hired as a summer reporter at the Montreal Star to cover the Expo 67 World's Fair. In autumn 1967 he returned to studies and to work as editor of the Loyola News. He graduated in 1968 with a degree in communication arts.
Brian McKenna worked as journalist, author, film-maker, producer, and contributor to numerous local and national radio and television shows. In 1968, he became a full-time reporter at the Montreal Star. From 1969 to 1971 he was parliamentary correspondent in Ottawa. McKenna resigned from the Montreal Star in 1973, and became story editor for the Canadian Broadcasting Corporation's Montreal local TV news and current affairs show The City at 6. At that time, he also became the Quebec correspondent for the CBC's national radio current affairs show As It Happens. In 1975 McKenna joined the current affairs program The Fifth Estate as founding producer, and remained there until 1988. In addition, between 1972 and 1995, he independently produced a number of films. In the fall of 1980 McKenna Purcell Productions Inc. was formed and subsequently McKenna's services were contracted through the company. In 1989, he was named the Max Bell Fellowship visiting professor at the University of Regina School of Journalism, where he taught documentary film-making. The production company Wartime Productions Inc. was incorporated in 1989 by Brian McKenna and Susan Purcell. Brian McKenna also worked on various projects with his brother Terence McKenna.
Brian McKenna wrote for Saturday Night, Weekend Magazine, the Literary Review of Canada, Cité libre, and The Last Post and did book reviews for the Montreal Gazette and the Toronto Star. He co-authored a biography of Montreal mayor Jean Drapeau. He contributed the profiles of Montreal mayors Camilien Houde and Jean Drapeau to The Canadian Encyclopedia.
Throughout his career, Brian McKenna received numerous honours, awards, and prizes. In 1968, he was named Grand Old Man of Loyola News, and honoured as Man of the Year at the annual student awards ceremony. In 1973 he won an ACTRA award for television writing and directing The City at 6 film documentary Settling Accounts. He also won the Anik Award for reporting. He won two Gemini awards for And Then You Die. He received five Gemini Awards for The Valour and the Horror, a Canadian military history film series done in both English and French. He also received four ACTRA awards, including one for His Worship Jean Drapeau, three ribbons from the American Film Festival, two Golden Sheaf awards from the Yorkton Film Festival, a medal at the New York Film Festival, a Chris plaque at the Columbus Film Festival, and a Wilderness Award and an Anik award for The Killing Ground which he co-wrote with Terence McKenna.
Jack Tietolman was born December 25, 1909, and died in Montreal February 24, 1995. He married Deborah Costom with whom he had six children. He had a career of over 40 years' duration in broadcasting. In 1934, he created the General Broadcasting Company. He opened the French-language radio station CKVL in 1946. He was president and principal shareholder of Radio Futura Limited, Verdun Radio Centre Inc., Radiomonde Limitée, Radio and Television Sales Inc., Verdun Import Sales Corporation and other companies; most were related to the promotion of radio stations.
Active in community affairs, Jack Tietolman was a director of Notre-Dame Hospital, the Douglas Hospital, the Montreal YMCA, the Montreal YMHA, and the Canadian Cancer Society. He was a director of the Jewish Hospital of Hope, and president of the Montreal West End Lodge of B'nai Brith. He was a member of the Canadian Council of Christians and Jews, the Montreal Board of Trade, the Canadian Chamber of Commerce, and the Quebec Chamber of Commerce. Among other awards, he received L'Ordre de mérite de la culture française and the Outstanding Citizen Award from the Montreal Citizenship Council.
Véhicule Art Inc. was legally founded in March 1972 and the gallery opened at 61 Ste.Catherine St. West in the central core of Montréal on October 13, 1972. The first alternate space in the city, it was the creation of thirteen founding members who wanted a "non-profit, non-political centre directed by and for artists." The gallery was intended "to provide a space for the community in which to encounter art and art ideas through as many forms as these processes involve." This would hopefully, "rejuvenate public interest in the visual arts in Montréal, stimulating public consciousness and developing its interest."
Véhicule was conceived as both an exhibition space for visual artists and a locale for performance, video, film, dance, music, and poetry readings. As well, the founders stressed its essential role as an education and information centre with discussion groups, guest lectures, resource and documentation libraries as well as a liaison programme with public schools and universities within the city. Such aims were intended "to fill a gap in the community."
With some financial support from federal granting agencies, Véhicule embarked on its highly ambitious gallery programming and public information activities. The establishment of a press in 1973, at the back of the gallery, led to the production of artists' books, exhibition catalogues, newsletters, posters and poetry publications. Such Véhicule Press works reflected the multi-disciplinary atmosphere of Véhicule as various members of the group collaborated on specific projects. In addition, a slide bank and video collection were begun, adding to its informational resources.
In the early years, Véhicule's primary preoccupation was to bring to public attention the work of experimental local artists and in particular, their involvement with international trends. The opening exhibition of thirty-two works by twenty Montréal artists, chosen by nine Véhicule members, exemplified not only the concern for the new in the city but the spirit of a collectivity through the jury system. Although only four women artists participated in this show, two months later an exhibition of artwork by thirty-five young Montréal women was presented.
While Véhicule stated it espoused no single ideology, its orientation toward experimental aesthetic attitudes explains its strong support of anti-object art, with its particular emphasis on installation, performance and multi-media projects. During 1972 and 1973, about sixty events and exhibitions were presented, with three hundred participants, almost all from Montréal. A year later, approximately one half of the artists and performers were from outside of the local community. This shift reflected Véhicule's growing concern for becoming a vital part of a larger art milieu. The number of exhibitions and events remained quite constant through the 1970's, reaffirming the energy and ambition of its programming.
By 1975, Véhicule had gained official recognition by the inclusion of its members in two exhibitions organized by Montréal's Musée d'art contemporain. Public galleries outside Montréal also showed the works of Véhicule artists. Véhicule Press had expanded to form a cooperative printing company. The membership more than doubled and the gallery became involved in important exchanges with other alternative art centres in Canada, the United States, and Europe. Its programme of school visits, exhibitions of art students' work from local art schools and universities, as well as public events like the Kite Show (1973) and projects for the 1976 Olympics suggest Véhicule's determination to become an integral part of Montréal's cultural community.
As the membership expanded and the various disciplines represented at Véhicule became more consolidated, individual directions emerged. Véhicule Press developed a more extensive and ambitious publishing programme and became autonomous in 1977 when it moved to Chinatown. Dance and poetry readings increasingly became an essential part of Véhicule's activities. Gallery events and exhibitions were consistently reviewed in local newspapers and its public profile flourished. Video Véhicule, begun in 1976, established the gallery's importance as one of Canada's most active centres for the medium. During the late years of the 1970's video events dominated the gallery's programming and the large proportion of international artists at Véhicule attested to its solid reputation.
Despite these accomplishments, internal conflicts arose concerning the direction of Véhicule's programming and its administration. There was also increased polarization between the various disciplines involved with Véhicule. The original premise of a cohesive artists' collective had dramatically changed. In the summer of 1979, Véhicule moved to a larger space at 307 Ste. Catherine St. West and renamed Le Musée d'art vivant Véhicule.
During the final years, administrative and programming problems continued to plague the group. Memberships fell dramatically but became more restrictive. The separation of Video Véhicule (renamed Prime Video) from the umbrella organization was an example of the fallout from internal discord and conflicting ideologies within the cooperative. The art community which had supported Véhicule for almost a decade now believed that the alternate centre was neither responding to nor reflecting the needs of Montréal artists. That there were three generations of Véhicule artists in one decade demonstrates the shifts in the gallery's orientation and focus. As had happened often in the history of Montréal's art community, a coalition such as Véhicule eventually outlived its original mandate and purpose. As well, the city itself had become more responsive to new tendencies in art. Despite various stop-gap measures to renew interest in Véhicule, the last events took place in June 1982 and it was quietly disbanded in 1983. An era in Montréal's cultural history was over.
Optica Art Gallery was officially founded in January 1972 by William E. Ewing in response to pressure from artists who convinced him of the need for a centre for the public exhibition of photography. The gallery was initially called les Galeries photographiques du Centaur; it was housed in the Centaur Theatre in Old Montreal. Its mandate was the exhibition of contemporary art.
After renovations in 1974, the gallery changed its name to Optica. Although the gallery originally featured only photographic exhibitions, it was not long before the gallery welcomed, with the Camerart exhibition (December 1974-January 1975), other forms of art. It would now consecrate half of its activities to photography, and the other half to other currents in art.
During the 1976-1977 season, internal policy changes meant that the gallery opened its doors to conceptual art, performance, painting, and sculpture. In 1977, the gallery added to its name A Centre for Contemporary Art. At the same time, its programming was modified and an experimental cinema section was added.
The centre is managed by a board of directors, most of whose 15 members come from the cultural milieu. They are encouraged to take an active part in the gallery's activities and to get involved in the associations to which the gallery belongs, including the Regroupement des centres d'artistes autogérés du Québec and la Société des Musées Québécois.
The gallery is subsidized by the Canada Council, the Conseil des arts et des lettres du Québec, and le Conseil des arts de Montréal.
Alexander Robertson was born in 1907 in Thorburn, Nova Scotia. He married Angela Julie Baccanale of Montreal in 1943. They had four children: Jennie, James, Anthony, and Alexandra. He died September 10, 1986 in Montreal.
At age 18 he travelled to Vancouver, where he graduated from business college. Through the 1930s he worked as expediter, foreman, and service and production manager, first in Halifax, and from 1935 in Montreal. In 1941, he enlisted in the naval reserve at HMCS Donnacona Montreal RCNVR and left the next year for the regular Navy as a Petty Officer Writer, stationed at Stadacona, Halifax. In 1943 he was drafted on a destroyer leading a convoy to Ireland. After the war he returned to Truro, Nova Scotia. He moved to Montreal in 1949, and worked in the textile industry. He worked in the payroll department of Royal Victoria Hospital from 1967. He retired in 1972 and then did two more years of volunteer work in the hospital's credit union. After that he devoted most of his time to his hobbies.
As a child he had piano and violin lessons, and as a teenager he played banjo and organized an orchestra that played at school dances and socials. During the time he was in the Navy, Alex became interested in jazz and started what was to become a major collection of jazz recordings. His research in Montreal newspapers led to a chronology of musical performances, including jazz, in Montreal between 1913 and 1970. For four decades he researched the record industry, specializing in American jazz recorded in Canada. He compiled the Canadian Compo Numericals, the Apex 8000 Numerical, the Canadian Gennett Series 9000 with the history of the Starr-Gennett recording company, and the Rare Canadian Aurora Label from Victor Masters. It and the Gennet series discographies were published in Record Research . By compiling the company discographies he was able to determine the origin of the recordings in his collection, distinguishing those recorded in the studio in Montreal from those pressed from master tapes recorded in the United States. Thus he identified well known American musicians who recorded in Montreal using pseudonyms. The Discophile Society called Alex Robertson a discographical scientist.
The Board of Governors is the senior governing body of Concordia University and is responsible for establishing the legal and administrative framework of the university. In 1973, the initial composition of the Board of Governors was the product of the revision and amendment of the Sir George Williams University (SGWU) charter to include representatives of both SGWU and Loyola College in the context of their merger for creating a new university. On August 10th 1973, the Corporation of SGWU adopted Special By-Law “C” which enacted a change of name to CONCORDIA UNIVERSITY– UNIVERSITÉ CONCORDIA. By-Law “D” was also adopted, which established the governing and administrative structure of the new university. The meeting was adjourned. A new meeting was convened the same day at which corporation and board members resigned and elections were held for new members of the Corporation and of the Board of Governors, in conformity with the revised new structure. During the election which followed, Dr. John W. O’Brien was appointed Rector and Vice-Chancellor and Father Patrick G. Malone was appointed Vice-Rector and Principal of Loyola Campus. At its next meeting, on September 6th 1973, the Board of Governors approved the membership of six associated committees and the constitution of the University Senate. The new university received its legal and official establishment from the Quebec Government only a year later, in August 1974. Meanwhile, the meeting minutes of the Board of Governors and its associated committees were, most of the time, identified as those of “SGWU (to be known as Concordia University)”.
Alan Douglas Palmer was born in Montreal May 18, 1913, and died March 28, 1971. He started his journalistic career in the 1920s, covering sports for the Canadian Press agency and a number of suburban weeklies. In World War II he served with the Canadian Army for five years, ending his military service as a reporter for The Maple Leaf, the army newspaper. After the war he joined the Montreal Herald as a police reporter before becoming one of its featured columnists with Man About Town. His beat was Montreal when it was known for its tolerance for after-hours joie de vivre. In 1949 he went to Florida to cover the police beat for the Key West Citizen, as well as to report on the Keys for Associated Press and the Florida Daily Newspaper Association. In 1952 he returned to the Montreal Herald as a police reporter, as well as covering the booming night club beat in a daily column called Cabaret Circuit. When the Montreal Herald stopped publishing in 1957 he moved to The Gazette, where he covered the police beat. He had a special interest in the case of Louis Bercowitz, an individual with alleged underworld ties who was in prison for manslaughter. Al Palmer wrote a widely-read column about Montreal called Our Town. He wrote two books, Montreal Confidential and a novel called Sugar-Puss.
Meilan Lam was born in Vancouver in 1950. She began to work as a film-maker in 1971 at the National Film Board of Canada, specializing in animation and other technical skills on over 80 productions. Her credits include Atmos (1980), The National Scream (1980), Four Centuries: The Firearm in Canada (1982), Victoria Bridge: The 8th Wonder (1988), The Road Taken (1996), Under the Willow Tree (1997), and Moving Pictures (2000). She was director and researcher for the 1998 documentary film Show Girls:Celebrating Montreal's Legendary Black Jazz Scene (French version: Les Girls).
Clyde Leonard Duncan was born on November 23, 1912 in Guelph, Ontario and died in Montreal on March 6, 1973. Born into a family of musicians, as a child he studied piano and music theory, then took up banjo and guitar and played in a high school band. He also studied accounting. Around 1933-1934 he moved to Montreal to join his brother Lloyd and played banjo and then bass in Myron Sutton's Canadian Ambassadors. From then on the bass was his main instrument. He was a member of the musicians' association, the Canadian Clef Club, where he served as vice-president (1935-1938) and later secretary (1940). He worked with Herb Johnson at the Roseland Ballroom in the late 1930s. In 1940 he joined the Army, and played for Army District No. 4 Band in Montreal before serving at the front in Europe. When he was discharged in 1945 he began working for CP Rail. The next year he moved to Val d'Or with his family and joined the Howard Gegear quintet at the Morocco Club. He worked full-time as a musician until 1951 when, for financial reasons, he moved with his family to Chibougamau. For the next 17 years he worked full-time as an accountant and part-time as a musician; he also gave private piano lessons and was active in the community. In 1968 he stopped working as a musician because of poor health. In 1972 he retired from accounting and returned with his family to the Pointe Saint-Charles district of Montreal.
Giovanni Roco Johnny Reno was born in Montreal May 11, 1917. His parents were from Sicily. He learned to play clarinet at age nine and had private lessons with Joseph Fiori. At 14, he taught himself to play alto and tenor saxophone. By 16, while still in school, he began playing in dance halls in Montreal's St. Henri district. His full-time career started at the Montreal Press Club in 1938 with pianist Al Buckwald. During the 1940s he led his own bands and worked with Jimmy Jones at Rockhead's Paradise (1944-1945) and with Lloyd Duncan at Café St-Michel. He was also the lead alto saxophonist for various big bands, including those conducted by Bix Bélair, Maynard Ferguson, Russ Meredith, and Stan Wood. From 1952 to 1963 he led quartets which played at Café Montmartre. For a year and a half, he worked with Marcel Doré in a show he presented at the Casa Loma night club.He then played in different clubs sporadically before he began working for Joe Christie, accompanying dancers at Chez Paree 1973-1974. Reno also worked as a music copyist, music teacher, studio musician, and composer.
Gordon Kenneth Fleming was born in Winnipeg on August 3, 1931. He began to perform professionally in vaudeville theatre in Winnipeg at the age of five, and went on to have a career as a professional musician. He played on radio and television and was well known as a jazz accordionist. In 1949 he moved to Montreal and played at clubs such as Bellevue Casino, the Esquire, Downbeat, and El Morocco, often with name acts such as Lena Horne, Nat King Cole, Cab Calloway, and Billy Eckstein. Gordie Fleming won the Canadian Jazz Poll four years in a row (1952-1955), among other honours. He recorded a wide variety of musical forms for the London, RCA and other labels and wrote scores for films by the National Film Board and for Columbia/Screen Gems. He moved to Toronto in 1977 and performed at such jazz clubs as Bourbon Street and George's Spaghetti House. He died in Toronto August 31, 2002. He was married to singer Joanne Lalonde for 47 years; they had seven children.
Myron Pierman Mynie Sutton was born October 9, 1903 in Niagara Falls, Ontario, and died there June 17, 1982. He began piano lessons at age nine with a church organist, and he began clarinet lessons when he was 17. He later took up alto saxophone. While attending Stamford Collegiate he played piano at dances, and at 18 he joined St. Anne's Symphonic Band, playing clarinet. At age 19 he organized a school band and joined a quartet in Niagara Falls, N.Y. He quit school in Grade 12 and played in pianist Joe Stewart's dance band from 1924 to 1926. He was also a member of the Birds of Paradise, a nine-piece band led by Eugene Primus. He declined trombonist J. C. Higginbotham's invitation to accompany him in New York City around 1927, preferring to join tuba player Lester Vactor's Royal Ambassadors, a 10-piece band working in Buffalo, until they disbanded in 1931. Back in Canada in 1931 he and pianist John Walden formed a six-piece band, the Canadian Ambassadors, which was based in Guelph, Ontario. In 1933 the band moved to Montreal. During the next six years, Sutton led the band through a series of short-term engagements in different cities.
He wrote many arrangements and at least one original composition, Moanin' at the Montmartre, for the Canadian Ambassadors. The Canadian Ambassadors disbanded in 1939. Between 1933 and 1941, he frequently lead small bands, usually quintets drawn from the Canadian Ambassadors. He registered two songs for copyright in the United States, To See You Smile and Dreams Seldom Come True. He was a member of the Canadian Clef Club, a musicians' association. In 1941, with the intention of quitting music, he gave away his clarinet and moved back to Niagara Falls to take care of his mother. He worked as a welder at Abex Industries from 1943 until he retired in 1973. Soon after returning to Niagara Falls he was asked to put together a band for a dance, and continued to lead the 10-piece group part-time until 1945. Thereafter he worked with several pick-up bands, including a quartet called the Casuals. He gave private saxophone lessons. He served more than 30 years on the executive board of the Niagara Region Musicians' Association, where he became a life member in 1967. He founded the Canadian Brotherhood Club of Niagara Falls in 1945 and served as president until his death. In May 1977 he was honoured by the Niagara Promotions Association for outstanding community service as a musician. He continued performing until two weeks before his death.
Robert Bob Redmond was a saxophonist and clarinetist. Born in 1923 in Verdun, Quebec, he resides in Alexandria, Ontario. He was self-taught and began a professional career in 1941 with the Al King Orchestra in Montreal's Auditorium Ballroom. He played with the Stardusters and the Johnny Holmes Orchestra before joining the Canadian Army at age 18 in 1942 where he also worked as a musician, performing in Canada and Europe during World War II. In 1946 he returned to civilian life in Montreal and a job with the Johnny Holmes Orchestra. Between 1947 and 1950 he played with the Johnny Gilbert dance band and the Ray Dawe Orchestra. When Montreal nightclubs began to close he began work in a textile distributing company which he eventually purchased and operated for 30 years. He worked part-time in music with the Escorts, the Bob Hopkins Orchestra, and later his own orchestra.
The Jazz Association of Montreal Inc. was founded in 1988 as a member-based, non-profit organization to aid and benefit jazz music in the city of Montreal. Its objectives were:
(1) To foster appreciation of jazz as an art form by making known jazz activities presented in the Montreal region and by producing educational and cultural programs;
(2) To encourage the development of young talent; to promote education in the field of jazz music; and
(3) To promote awareness of the aesthetics of jazz and its uniqueness in our culture.
The association, also known as Jazz Montreal, became inactive after 1997.
Lawrence Sabbath was born in Montreal May 25, 1915, and died in Montreal June 29, 1993. He studied arts at Queen's University and law at McGill University. He was a drama and visual arts critic for The Montreal Star 1957-1979, The Montreal Gazette1979- 1987, and for other newspapers and magazines including the Toronto Star, the New York Times, Saturday Night, and Vie des arts. He was the first anglophone theatre critic to develop a consistent pattern of coverage for French-language theatre, to bring its achievements to readers outside Quebec, and to draw to the attention of Quebecers the accomplishments of francophone companies and performers outside Quebec. He was the first critic to recognize the enormous talent of playwright Michel Tremblay, whose first works were criticized for their use of Quebec vernacular. Lawrence Sabbath also gave talks on art and drama on television and radio, and gave courses in university and high schools. He was awarded a médaille d'or by the Université de Montréal in 1960 in recognition of his accomplishments. In 1990 he received the Imperial Oil Award for Excellence in Arts Journalism.
Bill Vazan was born in Toronto in 1933. As an artist located in Montreal, for many years he worked with photography and video as well as doing sculpture, primarily with rocks. Vazan's work can be seen in galleries around the world. He was one of the artists involved in Corridart dans la rue Sherbrooke (1976).
Aislin is the pseudonym Terry Mosher uses as the editorial cartoonist for the Montreal Gazette. He was born in Ottawa in 1942 and attended school in Montreal, Toronto, and Quebec City. He graduated from Montreal's École des Beaux-Arts in 1967. He worked for the Montreal Star following graduation and moved to the Gazette in 1972.
Aislin's work has been syndicated throughout Canada and he has freelanced for such publications as the New York Times, Time magazine, Punch, and Harper's. He has published some 30 books, either collections of his own works or books that he illustrated. He has won two National Newspaper Awards and prizes from the International Salon of Caricature. In 1985 he became the youngest person ever to be inducted into the Canadian News Hall of Fame. In 1997-98, Montreal's McCord Museum hosted a joint exhibition of the best caricatures of Aislin and Serge Chapleau, the editorial page cartoonist for Montreal's La Presse.
Aubes 3935 was founded in November 1981 by Annie Molin Vasseur who managed the gallery until its closure on March 25, 1990. The gallery specialized in art books, and, among other things, it organized a national (1984) and an international (1986) contest for Canadian art books. The gallery later expanded to exhibit contemporary art (painting, drawing, sculpture, installation art, etc.) by artists from Quebec, the rest of Canada, Europe, and the United States.
François Brault, born in Montreal December 7, 1941, directed some 30 documentary films on liturgical art in Quebec for the National Film Board of Canada.
Organized in the wake of the Loyola College and Sir George Williams University merger in September 1974, the Office of the Treasurer of Concordia University assumed the responsibilities for general accounting, accounts payable, accounts receivable (Student Accounts), payroll, insurance, and operating budget. However, for some years, controlling of the capital budget was the responsibility of the University physical resources management area.
The main premises of the Office of the Treasurer have been on the Sir George Williams (SGW) campus but there was also an office mainly for Student Accounts on the Loyola campus until 1992.
Between 1974 and 1995, the Office of the Treasurer was under the direction of the Assistant Vice-Rector and Treasurer who was part of the portfolio of the Vice-Rector Administration and Finance until 1985 and then under the Vice-Rector Institutional Relations and Finance. In November 1995, part of a reorganization of the senior administration, the position of Vice-Rector Institutional Relations and Finance was split in two, creating the position of Chief Financial Officer (CFO), reporting directly to the Rector, in order that the CFO could be charged exclusively with the management of the University’s financial affairs. With this administrative reorganization, the Office of the Treasurer was renamed Financial Services. Payroll was also moved under Human Resources at the same period.
In 1974, the first Assistant Vice-Rector and Treasurer was William (Bill) M. Reay – who had been before the merger, the Treasurer of Sir George Williams University. He stayed in office at Concordia until the end of 1981. He was followed by Wilfred (Fred) G. McManus until August 1988. Jean-Paul Lauly was then the Concordia Treasurer until the arrival of the first University Chief Financial Officer, Larry English, in July 1996.
The Société du 5 avril was founded April 5, 1990 when seven artistic enterprises, all tenants of the building at 4060 St. Laurent Blvd., were threated with eviction by the building's owners who had decided to sell their spaces as part of a condominium development. The hastily formed group included Articule, DARE-dare, Dazibao, La Centrale, Main Film, Skol and Vox Populi and was incorporated on June 6, 1990 under the name Société du 5 avril. Its purpose was to develop a centre for non-profit groups. The Société's mandate was to purchase, adapt and manage a centre for self-managed organizations in the visual and media arts. It aimed to provide greater visibility for its members as well as adequate permanent spaces; the Société would also allow its members the benefits of purchasing their supplies in bulk.
The members were forced to vacate their premises at 4060 St. Laurent before May 1, 1991, and the Société quickly ordered an initial pre-feasibility study which recommended a temporary relocation. DARE-dare, Dazibao, La Centrale and Skol moved to rented quarters at 279 Sherbrooke St. West; the other three organizations moved elsewhere. Next, the Société undertook a feasibility study regarding acquisition and development of a permanent building. The first phase of the study, a presentation on the parameters of the project, was completed in October 1993. The second stage began with a study of the technical aspects of the project. Meanwhile, the Société du 5 avril chose the building which best suited the members' needs. It was a former foundry situated at 735-745 Ottawa Street in the up-and-coming Faubourg des Récollets adjacent to Montreal's Old Quarter. An architect's report on the building concluded the second phase of the feasibility study; the three-volume document was deposited in the spring of 1995.
However, the Ottawa Street project was not realized. After some reconsideration, several members of the Société moved to spaces in the building at 460 St. Catherine Street West. The Société du 5 avril officially wrapped up its operations on February 28, 1997.
Frank Michael Sheldon was born in England in 1918. He graduated from Oxford University with a B.A. and an M.A. in History. In 1938 he began teaching English in Roumania. In 1940 he married Maire Claire (Mimi) Moisescu in Bucharest. He worked for British Army Intelligence during World War II. Decommissioned in 1945, he worked for the British Embassy in Belgium 1945-1947, and then British European Airways 1947-1948. He emigrated to Canada in 1948. He worked briefly for the Bank of Montreal and the Canadian Broadcasting Corporation before joining Bell Canada's public relations office. In the 1960s he worked for the pharmaceutical company Smith Kline & French and in 1967 he became executive assistant to the principal of Bishop's University. In 1969 he joined Concordia University founding institution Sir George Williams College as assistant to the principal. Following the 1974 merger of SGW with Loyola College to form Concordia University, Michael Sheldon became executive assistant to the Rector of Concordia, where he remained until his retirement in 1985.
Sheldon published four novels: The Guilded Rule (1963), The Unmelting Pot (1965), The Personnel Man (1966), and Death of a Leader (1971). He also wrote numerous articles and short stories that were published in Canadian magazines, and a number of radio plays.
Michael Sheldon and his wife had three children: Christopher Charles, born in 1943, Sheila Janine, born 1948, and Anthony Michael, born 1950. Mimi Moisescu Sheldon died in 1985. In 1987 Michael Sheldon married Lotte Marcus. They moved to Victoria in 1996. Lotte died in 1998, and Michael Sheldon died in 2001.
Jean Doc Préfontaine was born in Montreal September 21, 1926 to a musical family. His father, a biologist, played classical piano, and his mother sang opera; an aunt played piano and harp. While attending boarding school in Joliette, he began playing clarinet and flute. He later taught himself to play alto and tenor saxophone. After receiving an Arts degree from the Université de Montréal, he studied medicine for three years. From 1955 to 1963 he served in the Canadian Army, playing bassoon in various bands. In 1965-1966 he interned in psychology, including music therapy, at the War Veterans Hospital in Ste-Anne-de-Bellevue, Quebec. Between 1954 and 1967 he worked frequently as a musician and band leader in and around Montreal. In 1967 he founded Le Quatuor de Jazz du Québec (also known as Quatuor de Nouveau Jazz Libre du Québec, Jazz Libre du Québec, and Jazz Libre). As a member of the quartet, he performed in the musical revues Peuple à genoux, L'Osstidcho (1968), and L'Osstidchomeurt (1969), and worked with Robert Charlebois in concerts and recordings. He was a member of L'Infonie for a few concerts and recordings. With Jazz Libre, he helped organize La Colonie artistique de Val-David (1970), La Ferme du Jazz Libre du Québec (also known as Le Petit Québec Libre) in Ste-Anne-de-la-Rochelle, Quebec, and a coffee house called L'Amorce where Jazz Libre performed regularly. When Jazz Libre disbanded in 1974, he left full-time work as a musician. He became involved in teaching and social and cultural animation projects. He wrote and performed the music for the play L'Aube d'un rêve by Denis Wilford (1975). He moved to the Gaspé region in 1977 and continued teaching. Jean Préfontaine died on June 24, 2008 in New Carlisle, in Gaspésie.
John Joseph Curran, judge and writer, was a prominent member of the Irish community of Montreal. Born in Montreal February 22, 1842, Curran was one of eleven children of Charles C. and Sarah Kennedy Curran of County Down, Ireland. Curran attended Collège Ste-Marie and Ottawa University. He graduated from McGill Law School in 1862 and was appointed to the Bar Association in 1863. In 1865 Curran married Mary Elizabeth Brennan, with whom he had seven children. He was named Q.C. in 1882, and in 1885 he became a judge for the Superior Court of Quebec. In 1881 Manhattan College awarded him an honorary LL.D.
Between 1882-1895 Curran won three consecutive elections to become the Conservative Member of Parliament for Montreal Centre. In 1894-1895 he was Solicitor General.
Curran wrote on the history of St. Patrick's Church, St. Patrick's Orphanage (founded by his father), as well as on the life of his friend Father Patrick Dowd.
Judge Curran's obituary in The Montreal Gazette on October 2, 1909 described John Joseph Curran as a good citizen, a model churchman, an ardent patriot, and an impartial judge who was respected for high character by men of all shades of opinion.
Lucien Desmarais (he sometimes signed his name Des Marais and sometimes DesMarais) was born in St-Césaire, Quebec, September 4, 1925. In 1954 he married Angéline Choquette, with whom he had two children, Marie-Claire and Paul. He died in Montreal November 16, 1988. He obtained a diploma in general studies from Collège St-André in St-Césaire in 1944. From then until 1946 he studied at the École des Beaux-Arts of Montreal. From 1946 to 1948 he took courses at the Université de Montréal, in art history under Maurice Gagnon and then on the history of French-Canadian civilization with J.M. Gauvreau. In 1956 he took specialized courses in weaving and tapestry-making at the École du meuble of Montreal.
He began his career in 1946 as a decorator and as a designer of hand-woven fabric. From 1953 to 1954 he worked for the Centrale d'artisanat du Québec and the Quebec Office for Crafts and Small Industries, where he was in charge of display and craft exhibits. From 1955 to 1956 he was an assistant set designer for six National Film Board of Canada feature films. He also worked in theatre as a properties assistant and as an assistant set decorator. Beginning in 1958, he oriented his production toward the creation of hand-woven fabrics for high-fashion apparel, draperies, carpets, and upholstery. A pioneer and advocate of hand-woven fabrics for Canadian fashion, he collaborated with Montreal couturiers Marielle Fleury, Michel Robichaud, Diane Paré, Irène Chiasson, Jacques de Montjoye, Jean-Raoul Fouré, Denyse Delrue, and Anne-Marie Perron. His work was presented in collections of Canadian fashion in Montreal, Quebec City, Paris, London, Milan, and Brussels. He participated in numerous craft exhibitions in Quebec and abroad.
From 1951 to 1961 he was secretary and public relations officer for the Association professionnelle des artisans du Québec. In 1972 he founded the Association des artisans de la ceinture fléchée du Québec and, in 1977, he founded the Biennale de la nouvelle tapisserie du Québec (BNTQ. From 1982 to 1983 he was a member of the board of directors of the Fil d'Ariane, a sheltered workshop where handicapped adults could make tapestries. In 1983, he was an advisor for the Grand Prix des métiers d'art ( = the Grand Prize for Handicrafts). In 1986 he founded the Centre d'arts textiles anciens et modernes ( = the Centre for Ancient and Modern Textile Arts).
In 1960 he received a bursary from the Quebec Office for Crafts and Small Industries. In 1961 he received the first prize for weaving at the crafts exhibition of the artisans du Québec. In 1962 he received the grand prize for weaving at the Canadian National Exhibition in Toronto. In 1967 he received a Canada Council grant. He was the Quebec delegate at the Wurzburg Canadian Festival in Grand Rapids, Michigan in 1965, and in 1968 he represented the Canadian Guild of Crafts at the world congress of the World Crafts Council in Lima, Peru. In 1978 he was a Canadian delegate to the World Crafts Council congress in Kyoto, Japan. In 1981 and 1983 he was a BNTQ delegate at the International Biennial of Lausanne. In 1984 he was made a member of the Order of Canada.
He gave numerous speeches, and taught weaving and tapestry-making at the Canadian Guild of Crafts in Montreal, at the CÉGEP St-Laurent, at Algonquin College, Ottawa, at the Pointe-Claire Arts Centre, and at his studio. He was an occasional invited teacher for the Ontario Ministry of Education, the Prince Edward Island Crafts Council, the University of New Brunswick, and other institutions in Quebec. He authored articles for a number of magazines, and his book Le tissage debasse-lissewas published by les Éditions Formart in 1972.