expo 67 lounge

The Katimavik Ashtray

noreply@blogger.com (Unknown) — Fri, 12 May 2017 12:20:00 +0000

The 'Katimavik' was a 1000-ton structure, with a hollow steel frame.

One of the things I love about Expo 67 anniversary years is the amount of unearthed information and never-seen-before archives that comes to light.

In the early days of this blog, I wrote about one of my favorite Expo 67 anecdotes: the fact that the Canadian pavilion's Katimavik was, in fact, inspired by an ashtray.

A recent cbc.ca article spoke to Caroline Robbie, daughter of Rod Robbie, one of the architects that worked on the Canada pavilion. Her father's firm Ashworth Robbie Vaughan and Williams won the bid for the pavilion's design; after many late nights, and (ahem) lots of cigarettes... From the article:

Robbie and his partners were smoking up a storm one night as they grappled with ways to create a visually impressive vantage point for the pavilion without impeding the flow of foot traffic on the ground below.

The overflowing, four-sided ashtray with its sloping, upside-down pyramid design suddenly caught their eye.

"They started looking at the form of this ashtray on the table, and it was perfect," Caroline says. "It would touch the ground as little as possible and therefore not impede the flow of people around it, but it would also offer the greatest amount of vantage point for those who work their way through the pavilion and up to the top."

"You could look out all the way around that pyramid all over the grounds."

A Canadian pavilion hostess next to a scale model.

Caroline Robbie still has the infamous ashtray, tucked away in a box full of her late father's belongings.

Ladies and gentlemen, without further ado... THE ashtray:

"Do you have a light?"

And, finally, from the NFB, what it was like inside the Katimavik:

images: (1) Yvon Desjardins, via Facebook
(2) Gabriel Jacob, via Facebook
(3) Caroline Robbie, via cbc.ca
video: excerpt of 'The Canadian Pavilion', NFB

Dippity-do

noreply@blogger.com (Unknown) — Wed, 15 Mar 2017 16:18:00 +0000

Introduced in 1965, Dippity-do hair gel was initially marketed towards women, as a setting lotion for rollers. In the days before hand-held hair dryers, setting hair on curlers was commonplace. Well into the 1970's, women relied on time-consuming roller-sets for their 'dos...

A classic flip with setting diagram, late 1960's.

Regular Dippity-do was translucent pink, while "extra-hold" was green.

The regular label read:

"After shampooing – apply to damp hair – comb through, set. Or apply to each strand as you roll. Between shampoo styling – apply each stand of dry hair as you roll; or use to smooth wild hairs, flatten bangs, etc. The Gillette Company, Personal Care Division, Chicago, Ill 60654 Made in U.S.A."

The extra-hold label read:

"This fresh, cool gel makes winding faster, easier. Hair feels clean… has body. Sets last longer. After shampooing – apply to damp hair – comb through, then set. Or – apply to each strand as you roll. Remember – a little Dippity-do gives you a lot of hold. Between shampoos – apply directly to dry hair, strand by strand as you roll. For Styling – use a tiny bit on fingertips to smooth “wild” hairs, flatten bangs, hold flip-ups, etc. The Gillette Company, Toni Division, Chicago, Ill 60654 Made in the U.S.A."

A German print ad for Dippity-do, 1960's.

It was only later on that gel gained popularity with men, reaching its apogée in the 1980's. To this day, the words "hair gel" conjure up, for many, images of spiky, wet-look hairstyles.

Below, a 1968 commercial for Dippity-do. Warning: the jingle will stay stuck in your head all day!

images: (1) photo by Jens Mortensen, via realsimple.com
(2) jenbutneverjenn.com
(3) thecarnabetianarmy.tumblr.com

McCord Museum's Fashioning Expo 67

noreply@blogger.com (Unknown) — Fri, 24 Feb 2017 17:27:00 +0000

Expo 67 was Montreal's moment of glory—arguably, one of the city's single greatest events. Expo's impact and legacy are undeniable; it's social, cultural and economical impact are recognized both locally and internationally.

While much emphasis has been put on Expo 67's extraordinary engineering, construction and architecture, less has been said about fashion. Until now.

Back in 2015, I was contacted by Cynthia Cooper, head of collections and research, and curator of costume and textiles for the McCord Museum. She had been following Expo Lounge for some time, with a keen interest in the posts dedicated to fashion. She was working on an exhibit for Expo 67's 50th anniversary, which was to be an hommage to Expo and fashion... not just the hostess uniforms, but Montreal as a dynamic fashion city. I met with her in October of that year and a collaboration began.

Fast forward to 2017, and the exhibit is ready to come come to life: Fashioning Expo 67 will run from March 17th to October 1, with a sneak-peek event during Montreal's Nuit Blanche on March 4th.

A description of the exhibition, from the McCord Museum website:

Embracing visual image, display, and spectacle to promote its optimistic and forward-looking world view, Expo 67 was a watershed moment for Montreal. Its modern mix of art, architecture, technology and design conveyed a message of openness and creativity that resonated with the Canadian fashion milieu. Young designers and manufacturers alike seized the opportunity to participate in multiple projects such as futuristic fashion magazine spreads shot on the site, locally designed uniforms for hostesses, and live fashion shows with roller skating models, and take advantage of this exceptional showcase to shine on a world stage.

The exhibition Fashioning Expo 67 invites visitors to enter the world of Expo 67 and experience the effervescence of Montreal’s fashion moment. The exhibition will feature over 60 outfits —hostess uniforms from various pavilions, branded clothing by Quebec designers— and products from every sector of Canadian fashion, including hats, gloves, umbrellas, purses, jewellery, and even fur.

The different sections of the exhibition will also display drawings, photographs, archival footage, and documents. In addition, there will be videos of interviews that the Museum conducted with several designers from the era.

The uniform of the Telephone Pavilion hostesses, designed by Michel Robichaud.

Three Expo 67 hostesses: Danielle Touchette, Jean Murin and Lyse Michaud.

images courtesy of the McCord Museum

The CIBC at Expo 67

noreply@blogger.com (Unknown) — Fri, 09 Dec 2016 15:28:00 +0000

The Canadian Imperial Bank of Commerce opened on May 15, 1867 in Toronto. By 1967, both the CIBC and Canada were celebrating their centenaries.

The CIBC had an on-site branch at Expo 67. It was located on Île Sainte-Hélène, next to an Expo-Services kiosk, and a stone's throw away from Cosmos Walk. In the days before ATM machines, the branch served as many as 10,000 clients a day.

The staff, which exceeded 100, were trained to handle a variety of transactions and currencies. Hostesses who cashed traveller's cheques had the most hectic job. They stood at the front of the branch with trays of envelopes containing the cash equivalent of a $20 US traveller's cheque. In one day, they could cash as many as 4,500 cheques.

And speaking of ATM machines, the CIBC was the first Canadian bank to introduce a 24-hour cash dispenser, but that would only be in 1969...

images: (1) unknown source
(2-3-4) cibc.com

Flower Power Patio Set

noreply@blogger.com (Unknown) — Mon, 13 Jun 2016 10:43:00 +0000

Check out this ultra-groovy, flower power patio furniture from Eatons. When I was a kid, my grandparents had a swing just like this...

image source unknown

Bobino, Filmed at Expo 67

noreply@blogger.com (Unknown) — Sun, 05 Jun 2016 15:49:00 +0000

Bobino was the french equivalent of Mr. Dressup.

It was broadcast on Radio-Canada from 1957 to 1985. Like Mr. Dressup, the show featured interaction between its host and a puppet. Instead of Ernie Coombs' fatherly figure, Guy Sanche's "Bobino" was the older brother to his puppet counterpart, "Bobinette".

The Bobinette puppet was voiced by Paule Bayard until 1973, when Christine Lamer took over. And while Mr. Dressup had occasional puppet visitors (such as Alligator Al and Aunt Bird), Bobino's supporting characters never appeared on screen; they interacted with the cast by visual or audible cues.

On June 23, 1967, a special edition of Bobino was broadcast. Filmed on location at Expo 67, the episode accurately conveys Expo's overall ambiance. Bobino and his sister ride several rides, including the panoramic Sky Ride, as well as several kids' rides at La Ronde.

Below is the complete episode. Enjoy!

image source: lapresse.ca
video source: youtube.com/user/retroquebec

My Top 5 Star Trek Episodes

noreply@blogger.com (Unknown) — Sun, 29 May 2016 20:37:00 +0000

Star Trek aired on NBC from September 8, 1966 to June 3, 1969.

In its initial run, Star Trek's ratings were low, and it was cancelled after 3 seasons (a total of 79 episodes). It was only several years later in broadcast syndication that the series became a hit, achieving the cult classic status it has today.

When I was a kid, reruns played Sunday mornings at 10am on CBC. I have fond memories of watching it with my mother, a bona fide trekkie.

It was difficult to narrow down, but here are my top 5 favorite episodes:

5. The Enterprise Incident

Synopsis: An undercover mission to steal a Romulan cloaking device takes the Enterprise into the Romulan neutral zone. Kirk and Spock beam over to a Romulan ship under the guise of Kirk being insane and commanding the Enterprise into the neutral zone on his own personal accord. Kirk is imprisoned while Spock catches the interest of the Romulan commander.

Why I love it: The espionnage mission, the feisty female Romulan commander, Spock getting romantic... The scenes between Spock and the commander are excellent: the intimate dinner, the subdued and almost cerebral eroticism... This episode is considered one of Star Trek's best.

Highlights: • Kirk's overly-dramatic lash out at Spock • The commander's swanky quarters and bizarre food • Her outfit when she "transforms [herself] into a woman" • Spock's hilariously long-winded "Romulan Right of Statement"

4. What Are Little Girls Made Of?

Synopsis: Nurse Christine Chapel is reunited with her fiancé Dr. Roger Korby, a brilliant scientist who has "perfected" the ability to create android copies of human beings. Korby hopes to replace humanity with these superior, emotionless androids in the interest of removing dangerous emotions from society. Kirk does not agree with this.

Why I love it: This episode is classic vintage sci-fi camp. I've always loved Nurse Chapel, and this is one of the only Star Trek episodes where she is a central character. I love the underlying debate of the android storyline: Would a society stripped of all emotion actually be better...?

Highlights: • Andrea and her criss-cross costume • The spinning "android duplicator" • Captain Kirk's obscenely shaped stalactite • When Ruk gets hit by a phaser beam

3. Is there In Truth No Beauty?

Synopsis: A beautiful woman escorts an alien ambassador so hideously ugly that the sight of him can drive a human insane. When the Enterprise is thrown off-course by a madman, Spock must mind-meld with the alien to bring them home.

Why I love it: I've always loved bottle Star Trek episodes, and this particular one is bursting with color and style. The idea of Kollos the ambassador as a noncorporeal being is intriguing. I also love the irony that Miranda, a woman considered so beautiful, turns out to be blind—literally and figuratively.

Highlights: • Kollos: the light effects used to create him and the visor needed to look at him • The dinner, where Kirk and McCoy drool over Miranda • Her "sensor web" dress • The Enterprise being propelled through the (pink) "galactic barrier"

2. The Doomsday Machine

Synopsis: The Enterprise discovers a weapon capable of destroying entire planets, and a commodore whose crew was killed by the machine jeopardizes the crew on a crazed mission of revenge.

Why I love it: Bold and suspenseful, this is one of the episodes I vividly remember as a kid. Kirk and Spock have an intricate rapport during this episode, even though they are on seperate ships most of the time. The moment where the un-hinged Commodore Decker is relieved of command is greatly satisfying.

Highlights: • The Doomsday Machine itself (and music that makes it seem so threatening) • The love-to-hate Commodore Decker • The ineffective phasers bouncing off the planet-killer's "neutronium" hull • Kirk's plea to be beamed aboard the Enterprise (and him barely making it back)

1. The Tholian Web

Synopsis: When the Enterprise investigates the disappearance of another starship, the crew loses Kirk in a dimensional interphase and must deal with a hostile alien race while trying to recover him.

Why I love it: To me, this is one of the most visually appealing episodes. Though most of Star Trek's adventures take place on "Class-M" planets, this was the only episode to use spacesuits—and that, despite the show's budget constraints. Kirk is presumed dead most of the episode, and it's interesting to see how the crew go on without their captain (including Spock and McCoy's conflict, and Uhura's meltdown). The use of the first-person perspective and unique camera effects adds to the episode's allure.

Highlights: • The Tholian ships spinning their forcefield "web" • Those campy spacesuits! • Tholian commander Loskene • Kirk's ghostly apparitions • Chekov going mad

images:
(1 and 7) montage by author
(2) io9.gizmodo.com
(3) memory-beta.wikia.com
(4) tos.trekcore.com
(5) trekmovie.com
(6) flickr.com/photos/birdofthegalaxy

episode synopses:
adapted from 'jammersreviews.com' and 'memory-alpha.wikia.com'

Order Form for the Expo 67 Memorial Album

noreply@blogger.com (Unknown) — Mon, 23 May 2016 14:29:00 +0000

"A vast panorama of Man and His World"...

One of the most magnificent books on Expo 67 ever made has to be the hefty Official Memorial Album. Packed with photos and beautifully-written articles, the book remains, to this day, a sought-after addition to any Expo 67 afficionado's collection. I've seen bidding wars on eBay, with the final price going for well-over 100$...

At the time of its release, the album could be pre-ordered for 20$, which included shipping (it's over 8 lbs — I weighed it!). The 6¢ postage-paid order card pictured here invited interested parties to reserve their copy, without sending money, with 10 days after delivery for returns.

Interesting to note, the book was published in 1968, and the card here states October 15th as its release date...

"The bedside book for those who visited Expo, and those who envy them!"

image source unknown

1970 Toronto Time Capsule House

noreply@blogger.com (Unknown) — Fri, 20 May 2016 17:33:00 +0000

The gorgeous main hallway with stunning staircase.

When my grandparents immigrated to Canada in the early 1950's, two of my grandfather's siblings were already here: a brother in Montreal, and a sister in Toronto. This Toronto sister had a daughter, and the daughter got married in 1950.

In the late 1960's, the couple acquired a Volkswagen dealership. In 1970, they had a gorgeous 2-level home built in the prestigious Thornhill neighborhood of Markham (just north of Toronto).

Fast-forward 46 years and the impeccably cared-for house has been sold. Pretty much untouched décor-wise, the house is pure vintage eye candy: carpet, wallpaper and chandeliers galore!

A powder room, just off the main foyer.

The formal dining room.

The master bedroom...

... with adjoining "makeup area"

... and ensuite bathroom!

Sumptuous bedrooms... 5 in total.

One of the bedrooms was made into an office (worthy of Don Draper...!)

I remember staying at the house on a family trip to Toronto when I was a kid. I was fascinated: it was the late 1980's, and the décor already felt like it was from another era... Yet it was all strangely familiar to me: like my grandmother's house, but on a much grander scale.

Check out the orange shag carpet going up the basement bar! Imagine the parties!

I was completely in awe of the groovy basement bar and swanky indoor pool. The 1960's sound system had a reel-to-reel tape deck!

And, oh, the pool... Imagine my childhood delight of being able to go swimming in the dead of winter! I remember the pool area having changing rooms and a sauna. I even remember sun-tanning lamps, which I was warned not to try.

Uncle Joe explained to me that the pool had to be built first, into the foundation, before the rest of the house was built over it...

The indoor pool.

images: markuswinkler.ca

Expo 67 Clock from Main and Local

noreply@blogger.com (Unknown) — Sun, 14 Sep 2014 15:05:00 +0000

What time is it? Expo-o'clock!

From Main and Local, check out this hand-crafted work of art, meant to "[take] you back in time to the glory days of Montreal."

Laser cut, eco-friendly bamboo is sanded and oiled for a slick, polished finish, while the mirrored acrylic lining pays hommage to the original translucent covering of Buckminster Fuller's 1967 dome.

Available here in 2 colors. And for once, the battery is included...

images: mainandlocal.com

Michèle Richard, Expo Hostess

noreply@blogger.com (Unknown) — Thu, 12 Dec 2013 19:54:00 +0000

Another rare shot of my beloved Michèle Richard, dressed in the official Expo 67 hostess uniform, designed by Québecois couturier, Michel Robichaud...

image: personal collection

The Ethiopian Pavilion

noreply@blogger.com (Unknown) — Thu, 12 Dec 2013 04:59:00 +0000

The Ethiopian pavilion at Expo 67 was a striking 90-foot, tent-like structure, located on Île Notre-Dame near the pavilion of Morocco. The pavilion shone during the day and glowed softly at night, its shape recalling ceremonial umbrellas of the priests of the ancient Ethiopian city of Axum. A golden lion (the symbol of Ethiopia) topped the scarlet tent, while 12 lion heads anchored its points. Soaring white towers reminiscent of those that marked ancient tomb palaces flanked the entrance.

Upon entering, visitors were led directly to the second level 'Lion Coffee Shop', where hostesses served famed Ethiopian coffee and other specialties. The interior roofing of the pavilion was covered with paintings on canvas that illustrated the history and legends of Ethiopia.

The coffee shop looked down on the main exhibit area, which included a replica of the Church of St. George at Lalibella; its interior contained ancient crowns, jewels, manuscripts, and other treasures.

Another area showed ancient Ethiopian artifacts and tools, some as old as 500,000 years. Other exhibits included modern examples of filigree gold and silver work, seen on military and religious capes, swords, and shields. Animals and birds native to Ethiopia were displayed. Slides showed scenes of Ethiopia.

A 26-minute film entitled 'Man in Ethiopia' was shown continuously in the 'Queen of Sheba' theatre.

The Emperor of Ethiopia, Haile Selassie, presented the city of Montreal with 2 lion cubs, named 'David' and 'Bess'. They took up residence in a cage near the pavilion on May 18, 1967, and were very popular with Expo visitors...

images: (1) Bill Dutfield
(2) unknown source
(3) expo67.ncf.ca
(4) worldsfaircommunity.org
(5) alamedainfo.com

Mary Richards' Bachelorette Pad

noreply@blogger.com (Unknown) — Sun, 24 Feb 2013 18:41:00 +0000

During the first 5 seasons of The Mary Tyler Moore Show, main character Mary Richards lived in an attic apartment in an old Queen-Anne style Victorian house in Minneapolis, Minnesota.

While the show itself was filmed in Hollywood, the exterior shots used were of a real 3-floor, 9000-square-foot house located at 2104 Kenwood Parkway, Minneapolis. In the real house, the space occupied the behind the window that was "Mary's apartment" was actually an unfinished attic area. As on the show, the real house had been divided into apartments for a time, but renovations in recent years have returned it to a single-family dwelling. (Click here to see more on the house today.)

Mary Tyler Moore during the filming of the show's opening credits. Interesting to note, Ms. Moore never actually entered the real house.

When fans discovered its location, the Kenwood Parkway house quickly became a popular tourist destination. According to Mary Tyler Moore herself, the woman who lived in the house at the time was "overwhelmed by the people showing up and asking if Mary was around". More than a decade after The Mary Tyler Moore Show ended, the house was still attracting up to 30 tour buses a day...

A behind-the-scenes studio shot (top), a floorplan of Mary's pad (bottom).

Mary's apartment was conceived as a large 1-room studio, with a small kitchenette and a walk-through closet area leading to the bathroom. She rented the place for $130 a month.

The set's Victorian moldings, Palladian window, and vaulted and beamed ceiling.

The architectual details on the set were in keeping with the Victorian style of the real house: elaborate moldings, a brick chimney rising through the space, an ornate Franklin stove, etc. The window on the real house was closely measured and photographed in order to reproduce it as faithfully as possible on set. The only architectual element out of place in a real attic space would have been the sunken living room.

Mary's eclectic décor mixed various thrift shop finds. I love the shag carpeting...!

Mary's character was a single, working girl. She was smart and had a good eye for decorating, but she also would have been on a tight budget.

Her furnishings were an eclectic mix of investment pieces, like her brown velvet hide-a-bed, and thrift store finds: wall-mounted jewelry racks, empty glass bottles, second-hand dishes, wicker pieces... and let's not forget the iconic "M" that graced the wall beside her front door...!

Mary Richards made sleeping on a hide-a-bed seem so exciting...!

It was the set designers' attention to detail that made Mary's apartment so special, defining the Mary Richards character nearly as much as Mary Tyler Moore's acting. As in real life, Mary's interior changed over time, reflecting the character's evolution, as well as shifting tastes and styles.

Mary's tiny kitchen (left) wood-burning stove (center), and walk-in closet (right).

When Mary Richards moved to a new, high-rise apartment at the beginning of the show's 6th season, much of her furniture followed her. The set designers reused and reupholstered Mary's furnishings, as Mary would have done in real life. Some pieces survived from very first episode of the series to the very last.

Mary's tiny kitchenette. A stained glass screen could be lowered for privacy.

Mary Richards' apartment on The Mary Tyler Moore Show is arguably one of the most famous rooms ever built in America, setting a standard that sitcom set designers try to meet to this day. In 1995, Entertainment Weekly deemed Mary's apartment "TV's most famous bachelorette pad"...

images: (1) bobcanada92.blogspot.ca
(2-6-7-8-9-10-11) hookedonhouses.net
(3-4) thewalkupblog.com

Eaton's Preview of Expo 67

noreply@blogger.com (Unknown) — Sat, 22 Dec 2012 20:18:00 +0000

Founded in 1869 by Timothy Eaton, the 'T. Eaton Co. Limited' was once Canada's largest department store. The first Eaton's catalogue appeared in 1884 — 34 pages with no pictures, and nothing more than the item’s name and price.

Canada's population was mostly rural at the time, so catalogue and mail order retailing was ideal: it offered isolated settlements a selection of products that were otherwise unattainable. Needless to say, the arrival of the latest Eaton's catalogue in these communities was a major event...!

As Eaton's grew, so did the catalogue, and it would become a Canadian cultural icon found in almost every household in its heyday.

For their fall and winter 1966 edition, Eaton's presented an "exciting preview" of Expo 67. On backgrounds of artists' conceptions, an array of coats, clothing, luggage and cameras were shown, with the suggestion: "Plan to visit Expo 67".

Oddly, I don't know why Eaton's didn't wait for the spring 1967 catalogue for their preview. Most of the clothing shown would have been way too hot for a typical summertime Expo jaunt... (Rabbit fur, anyone?)

Nevertheless, the layout is pure 60's fashion and Expo 67 eye candy. And, judging by the images below, we see that "Jade green" and "Camel" were hot colors for fall 1966...!

"Far left: Two-piece walking suit in soft wool diagonal. Long demi-fitted jacket has a detachable fur collar of bleached and tipped racoon. Flap pockets with one fake pocket on right side. Rayon satin lining and interlining. Slim skirt with back leat is fully rayon lined. Jade green only. Misses sizes 8, 10, 12, 14, 16.

Near left: Sleek two piece dress in wool double-knit to stand out in any crowd. Straight and simple — with a rolled bias collar ending in flip ties. Top has long back zipper; skirt has side zipper. Jade Green or Winterberry Red. Misses' 10 to 18."

Expo 67 preview: (top) "Altlantic provinces ship building exhibit"
(bottom) "Quebec's glass pavilion built over water"

"Far right: Sophisticated demi-fitted coat of wool diagonal has horizontal welt stitching and wrist length set-in sleeves. Ornamental fabric trim conceals two-button closing. Slash pockets. Rayon satin lining, interlining and chamois. Jade green only. Misses 8 to 16.

Near right: Fashion-bound two-piece suit in printed wool double-knit. Demi-fitted jacket with pointed collar and five button closing has set-in sleeves. Body of jacket and slim skirt are Rayon lined. Jade green print only. Misses' 10 to 18.

Fur felt velours fedora, grosgrain ribbon trim. Up to 22½-in. headsize. Jade green."

Expo 67 preview: (top) "Western Canada's symbolic exhibit"
(bottom) "The Ontario pavilion at Expo 67"

"Kodak Brownie Fiesta outfit

1. The family fun camera. All you need to start taking good pictures — in one low-priced outfit. Take black-and-white or colour prints, or colour slides with economical 127 film. Two batteries; one 4-shot Flashcube; one roll 12-shot black-and-white film. With gadget bag.

Anscomatic Super 8 zoom camera

2. Trouble free cartridge loading... shoot 50 feet without reloading. Fast f/1.7 zoom lens takes you right in where the action is. Electric motor drive. Built-in CdS electric eye exposure meter. Reflex through-the-lens viewing; with one Kodak Super 8 colour film cartridge. With pistol grip."

Expo 67 preview: (top) "Community and Health pavilion"
(bottom) "Air Canada's cantilevered pavilion"

"Youthful chic in a fun fur

Dyed rabbit in a striking imitation of lynx. Double-breasted with sparkling buttons. Rayon satin lining, underlining, inside pocket, ties. Optional simulated leather belt. Beige with white. Misses' sizes 10, 12, 14, 16.

Streamlined fashion classic

Coat of wool and camel hair. Saddle stitching trims the tailored lapels, envelope pockets, front closing, the shoulder seams and the optional tie belt. Rayon satin lining, interlining, chamois. Camel only. Misses' sizes 10, 12, 14, 16, 18."

Expo 67 preview: (top) "Main entrance gate to Exhibition"
(bottom) "A permanent display — the Montreal Aquarium"

"Pick your Skyway luggage here and be on your wonderful way!

1 to 5. True-to-life buffalo hide? No. Koroseal vinyl, so forget all about stains and scratches. No more fussing with keys either. Just set and remember combination locks. (Use your lucky number.) Lift-O-Matic hinges; secure tongue and groove closures; inside, cushy, quilted linings; removable pockets. Busy bag re-lined in plastic; petite case fitted with mirror, brush, comb, toothbrush. Ready to go? Try and stop you! Topaz Gold; Dresden Blue; Cardinal Red."

Expo 67 preview: (top) "Government of Canada exhibit"
(bottom) "Classically designed Swiss pavilion"

"Detachable collar tops suede

Exciting newcomer to the fall and winter fashion scene! An elegant coat of soft suede leather (sheepskin), with a detachable shawl collar of striking, natural lynx. Styled with three-button closing, three-way belt, horizontal flap pockets, set-in sleeves. Rayon satin lining, interlining. Comes in sable (medium brown) only. Misses' sizes 10, 12, 14, 16, 18."

Expo 67 preview: "Fountain and sculpture designed by Gerald Gladstone"

"1. The dress. Fully rayon lined. Detachable checked hip belt, long back zipper. Beige mix or Red. Misses' sizes 10, 12, 14, 16.
2. The Skirt. Pleated tattersail skirt, side zipper. Colour as shown. Misses' sizes 10, 12, 14, 16."

Expo 67 preview: "The British pavilion designed by Sir Basil Spence"

"Thank you for buying from EATON'S" — The order envelope that came with the catalogue featured the Expo 67 symbol.  

images: personal collection

'St-Hubert Plaza' Ad, 1969

noreply@blogger.com (Unknown) — Sun, 18 Nov 2012 15:08:00 +0000

Loving this vintage Plaza St-Hubert ad from 1969...

"So easy to get to... from uptown or downtown!"

The Brewers of Canada Pavilion

noreply@blogger.com (Unknown) — Sun, 30 Sep 2012 17:31:00 +0000

Comprising of more than 50 members, The Brewers Association of Canada presented an elegant pavilion at Expo 67, located on Île-Sainte-Hélène between the pavilions of China and Vermont.

Constructed of concrete, wood and glass, the complex was made up of 3 circular buildings, recalling the curves of a beer barrel. In them were housed the 3 main sections of the pavilion: the 'La Brasserie' restaurant and terraced beer garden in the first, a historical exhibit and miniature theater in the second, kitchen and service installations in the third.

Beer was the drink of choice in the air-conditioned, 400-seat restaurant, and there were 67 kinds to choose from. The menu featured an imaginative cross-Canada selection of dishes based on recipes using beer instead of wine: Saskatchewan beef (boeuf bourguignon, but made with beer), Quebec tourtière with an aromatic touch of beer, Yukon salmon trout in beer sauce, beer-infused Manitoba pork chops, Acadian ham, Alberta steaks, etc...

In the historical section, beer drinkers from prehistoric times to modern day were discussed, including ancient beer-drinking cultures such as Greeks and Romans, Gauls and Teutons. Visitors were explained the art of beer-brewing: how barley could be blended with wheat, how ale could be flavored with ginger or hops, etc. The exhibits all sought to show the good life in Canada, relating the story of Canadian beer to that of Expo 67's overall theme 'Man and his World'.

For children, a circular, 200-seat puppet theatre featured daily performances by the world-famous Canadian Puppet Theatre. Some 50 puppets presented a story called 'Fun Fantasy', a humorous tour of Canada. The 15-minute bilingual show was performed continuously from 10am to 9:30pm.

Every visitor to the pavilion was offered a free souvenir book in English or French, featuring unusual entertainment ideas and food recipes using beer.

Am I the only one to find the inclusion of children's activities in a pavilion that was essentially a large Brasserie a bit... awkward?

The official Expo 67 guide book promised that a visit to the Brewers pavilion would provide "relaxation and enjoyment for the whole family". This evidently meant keeping children occupied while parents were at the bar.

'The Children's Theatre', 1968

It gets even better in 1968.

The following year for Man and His World, the pavilion was altogether re-baptized 'The Children's Theatre'. Upon reading the mindful description (above), one would hardly know that the pavilion's original vocation was that of a beer garden...!

According to the guide, children could "cultivate [their] personality and self confidence" through live theatre. All while Mummy and Daddy cultivated theirs through, *ahem*, the wonders of beer...!

images: (1) expo67.ncf.ca
(2) personal collection (The Expo 67 Memorial Album)
(3 and 4) personal collection (Man and His World 1968 guide)

"Montreal Women Are Wonderful"

noreply@blogger.com (Unknown) — Sat, 11 Aug 2012 18:45:00 +0000

"Easter parade is every day along St. Catherine street, with its steady stream of mad hats and multi-hued hair to bewitch — or bewilder — male eyes."

A November, 1961 article appearing in Weekend Magazine; the first in a series that featured artists' impressions of Canadian women... Enjoy:

Montreal Women Are Wonderful
Paintings by Bruce Johnson

"You can see girls any place but in Montreal you see women." That was artist Bruce Johnson's reaction when he first arrived. Two years in the city have not dampened his enthusiasm. His face still lights up at the very Mention of the subject.

He should know. He is a keen practicioner of that old male custom of standing on the corner — purely in the interests of art — and watching all the girls go by. These paintings are the result of many long, happy hours doing just that.

"The first thing I noticed", he says, "was the individuality of the Montreal woman." It is not just her clothes, he decided, although her appearance leaves no doubt about her fashion consciousness. She follows fashion but is not ruled by it. Her costume may be years old but it fits beautifully as well as flattering her figure.

It is the French influence that is mainly responsible for setting the Montreal woman apart. Johnson agrees, "but the effects seem to rub off on many English-speaking women as well."

There is something different about the way a Montreal woman looks at a man: "She is not coquettish — just more aware." And it is much more rewarding to smile at her, because more often than not you get a smile in return, instead of a cold stare. "Much more enticing," he says.

Being a young man, Johnson devotes most of his attention to the younger woman. But older examples of Montreal womanhood do not escape his eye. His view of them appears here as well — in the first of a WEEKEND series of artists' impressions of Canadian women.

"Leisurely lunch is irresistible when your waitress in a tiny French café treats you as though you were her only customer."

"Fresh faces almost hidden by hoods, nuns take a quiet stroll in the shadow of Mount Royal."

"The real warmth of the French-Canadian woman — her understanding and compassion — shows in the plum rosy faces you see in old Bonsecours Market."

"Sweeping majectically across Sherbrooke street, her chauffeur-led poodle in her wake, is one of the formidable figures who form the backbone of Montreal's English society."

"Coffee bars along Stanley street are second homes to the Beatnick crop. Their pale-lipped, dusky-eyed faces world-weary in the smoky gloom, they huddle for hours over endless cups of bitter espresso."

image source: flickr.com

The Story Behind the Expo 67 Theme Song

noreply@blogger.com (Unknown) — Sat, 04 Aug 2012 21:24:00 +0000

In my years as an Expo 67 aficionado, I've always wondered why there were 2 different "official" Expo theme songs: one by Donald Lautrec and one by (my beloved) Michèle Richard.

Written by Stéphane Venne in the months leading up to Expo, "Un jour, un jour" ("Hey Friend, Say Friend" in English) was in fact the winning submission in a contest organized by the Expo 67 Corporation and Ms. Jacqueline Vézina, then-head of the "Festival du Disque", ancestor of the current "Gala de L'ADISQ".

During an Expo-related event last winter, Stéphane Venne himself discussed the competition, as well as the Donald Lautrec/Michèle Richard duality.

"I was 25 years old at the time," remembered Venne, "I had been writing songs for 10 years. I learned to write much like a young hockey player learns to play: by practice. So by 1966, I knew what I was doing. But I was still relatively anonymous."

That year, he received a letter with a participation form for the Expo 67 theme song contest from his songwriter's guild. Venne said he'd never forget the day he got his idea:

"At one point in 1966, the 'La Presse' newspaper published an artist's conception of Expo 67 on its front page. It was a prettied-up image, à la Walt Disney, meant to give readers an impression of what the Expo site would be like. [...] The image was huge: from one edge of the page to another". It was then that inspiration struck: "The islands, the water, the colors, at once in the city and just outside the city. The shapes, the dream, the future"...

Stéphane Venne submitted his song during the last hour of the last day of the contest deadline, slipping it under the door at 5 minutes to 5pm. This was before the advent of cassette tapes, so the songs were submitted as musical partitions: musical notes and lyrics on paper. Jacqueline Vézina had hired professional singers with accompanying pianists to perform the submissions before judges. One of these pianists was Paul Baillargeon, a fellow who worked with lyricist Pierre Letourneau, a good friend of Stéphane's.

When "Un jour, un jour" won out over the other 2,200 submissions, Letourneau knew immediately through Baillargeon and called Stéphane to tell him. It was still a secret as the official announcement had not been made. "A few days before the official announcement, I knew," Venne admitted.

Donald Lautrec vs. Michèle Richard

A grand gala was organized by Radio-Canada to announce the winning theme song. Venne recalled the details:

"The director of this show, Maurice Dubois, had the habit of hiring Michèle Richard for all sorts of occasions and all sorts of reasons. I was not happy about this. I had a friend, [singer] Donald Lautrec, whose manager, Yvan Dufresne, I knew well. I called Dufresne a few days before the gala to confide in him: 'Yvan, I won the Expo song, the show is Sunday and you find that it would be fun if...' He understood immediately. The problem was: 'What do we do?' And the answer was: 'We work quickly, through the night, hiring musicians without telling them why, recording and manufacturing the records at full speed, so that they are in stores Monday morning after the Radio-Canada show...'"

This is how Donald Lautrec came to record the song, even though the Expo Corporation and Radio-Canada had chosen Michèle Richard...

On a side note, Montreal Mayor Jean Drapeau was reportedly unhappy that Stéphane Venne's original lyrics made no mention of "Montreal" or "Expo 67". One of the major differences in Michèle Richard's recording versus Donald Lautrec's was the inclusion of an intro and outro where she sang: "Expo, Expo, à Montréal... Expo, Expo de '67... Expoooooo à Montréaaaaal!"

No need to ask which one I like best. And you, Expo Lounge visitor? Which version do you prefer...?

images: expo67.ncf.ca

The Stéphane Venne quotes were culled from a written French transcript sent to me by Yves Jasmin, translated and edited for clarity by yours truly.

Retro Recipe: Coconut Queen Party Cake

noreply@blogger.com (Unknown) — Sat, 21 Jul 2012 18:42:00 +0000

From the cookbook "Here Are The Cakes America Loves", 1950:

Coconut Queen Party Cake with Marshmallow Frosting

Cake:

• 2¾ cups cake flour, sifted

• 4 teaspoons baking powder

• ½ teaspoon salt

• ¾ cup shortening

• 1½ cups sugar

• 4 egg whites

• 1½ teaspoons vanilla extract

• 1 cup milk

Sift together dry ingredients and set aside. Cream shortening thoroughly. Gradually add the sugar, mixing continuously. Add egg whites, one at a time, beating well after each addition. Add sifted dry ingredients alternately with the milk, beating until smooth after each addition.

Pour into 2 well-greased 9-inch cake pans. Bake at 350°F for about 35 minutes. Cool layers slightly and remove from pans. Cool completely.

Frosting:

• 2 egg whites

• 1½ cups sugar

• 6 tablespoons water

• 6 large marshmallows, quartered

• 1 teaspoon vanilla extract

• ¼ teaspoon baking powder

In the top of a double boiler, combine first 4 ingredients. Cook over rapidly boiling water, beating with a rotary egg beater about 10 minutes, or until mixture stands in peaks. Remove top of double boiler from heat.

Add the vanilla extract and baking powder and beat about 5 minutes, or until frosting is thick and of good spreading consistency.

Sprinkle 1 cup of grated coconut over top and sides. If desired, tint coconut by placing it with 2 drops of liquid food coloring in a covered pint jar. Shake until coconut is evenly tinted.

source: adapted from midcenturymenu.com.

"Habillé pour la modernité"

noreply@blogger.com (Unknown) — Sun, 24 Jun 2012 16:05:00 +0000

Founded in 1921, the McCord Museum is a public research and teaching museum here in Montreal, dedicated to the preservation and appreciation of Canadian history.

The museum is known for its extensive historical costume and textile collection, which includes over 18,000 clothing and accessory pieces, many of which were created by some of Montreal's most legendary fashion designers. Among the plethora of antique dresses, parasols, hats, fans and footwear, the museum also counts a collection of Expo 67 hostess uniforms.

The Montréal Fashion Bureau ("Mode Montréal") sat down with Cynthia Cooper, head of collections and research, and curator of costume and textiles for the McCord Museum. Herself dressed hostess-esque, Ms. Cooper gives us a look into our beloved Expo girls, "dressed for modernity"...

Check out the video, above...!

Michel Robichaud mixed modernity and folklore for the Indians of Canada costume.

The British uniform included a fabulous union jack purse. (McCord Collection)

The brown and aqua Quebec ensemble, with space-aged hat. (McCord Collection)

A U.S. raincoat like the one I acquired. (I think mine is displayed better...)

images: (1-3-5) screen captures, montages by author

(2-4) mccord-museum.qc.ca, montages by author

Mike Wallace

noreply@blogger.com (Unknown) — Sat, 05 May 2012 01:08:00 +0000

"I'm Mike Wallace, and this is 60 Minutes..."

Mike Wallace was born Myron Leon Wallace on May 9, 1918, in Brookline Massachussets.

Wallace began his acting and announcing career in 1939, after studying broadcasting at the University of Michigan. Throughout the 1940's, he performed in various different radio show genres – quiz shows, talk shows, commercials, serials, and news reading. It was in 1951, at age 33, that Mike Wallace moved to New York City and began what would become a 6-decade television career.

Mike Wallace and Buff Cobb on the set of "Mike & Buff", 1951.

Mike Wallace's first foray into interviewing was during the husband-and-wife talk show "Mike and Buff", which aired weekday afternoons on CBS. Co-hosted with then-wife Buff Cobb, Wallace conducted live interviews with celebrities and passers-by in various New York locations. The talk show (and their marriage) ended in 1954.

Other early television work included announcing and game show hosting for programs such as "What's in a Word?", as well as acting in shows such as the "Stand by for Crime" police drama and the "Studio One" anthology series. In 1954, Wallace even had a brief stint on Broadway, acting in the play "Reclining Figure", directed by Abe Burrows.

During this time, Mike Wallace also did television commercials for a variety of products, including Procter & Gamble's "Golden Fluffo" brand shortening, and Philip Morris cigarettes...

Promotional shots for "The Mike Wallace Interview", 1957.

In 1956, the vehicle that brought Mike Wallace's unique interviewing style to prominence was created. "Night Beat" was a live, late night hour talk show where Wallace grilled celebrity guests on controversial topics, developing a hard edge that was lacking in television at the time. Armed with solid research and provocative questions, Wallace made guests squirm. Using only a black backdrop and harsh lighting (with cigarette smoke for atmosphere), the interviews were framed in tight close-ups, revealing the sweat elicited by Wallace's grilling.

Only airing locally, "Night Beat" later developed into the nationally televised prime-time program "The Mike Wallace Interview" which ran until 1960.

60 Minutes

"Tick, tick, tick, tick, tick..."

"The Mike Wallace Interview" may have made him a star, but "60 Minutes" is what made Mike Wallace a legend.

On September 24, 1968, "60 Minutes" debuted on CBS. Initially, the show was aired bi-weekly on Tuesday evenings at 10pm, with Mike Wallace and Harry Reasoner as the show's only 2 hosts. The contrast was intentional: Wallace as the abrasive, crusading detective-type opposite Reasoner's mild-mannered, analytical persona.

"60 Minutes" quickly became known for its in-depth investigations and hard-hitting exposés, thanks in part to Mike Wallace's tough journalistic style. As the show progressed, he perfected his trademark "ambush" interview technique: after secretly filming scam artists and wrong-doers in action, Wallace confronted them without warning in parking lots, hallways, wherever a comment (or a stricken expression) might be harvested.

Mike Wallace's ability to uncover corruption, greed and deceit generally garnered him praise – and numerous awards – but some critics deemed his methods unfair, underhanded and too sensational.

Ambushes aside, Mike Wallace was also known for his high-profile interviews, sitting down with some of the most iconic figures of the 20th century. A brilliant interviewer, Wallace always did his homework, delivering his questions with a smooth combination of toughness and grace...

Mike Wallace and Harry Reasoner in 1968.

Growing up, Sunday nights were marked in our house by "60 Minutes". The handsome, baritone-voiced Mike Wallace was always my favorite, especially when he nabbed the "bad guys" in those iconic ambush interviews...!

Even though the subject matter was often too 'adult' for me to follow (and I never understood Andy Rooney), the tick-ticking of the "60 Minutes" stopwatch has always been, to me, as comforting as a glass of warm milk...

Below is an excerpt of the first ever "60 Minutes" from 1968, where Harry Reasoner introduces it as a "kind of a magazine for television"...

images: (1) cbsnews.com
(2) mtv.com
(3) wikipedia
(4) entertainment.time.com
(5) unknown source

The "Carrefour International"

noreply@blogger.com (Unknown) — Fri, 13 Apr 2012 18:53:00 +0000

Most national pavilions at Expo 67 had integrated gift shops and restaurants to satisfy the visitor's desire for folkloric souvenirs and exotic foods.

For those that didn't want to face the hours of queuing required to enter said pavilions, another area at Expo offered a one-stop international shopping and dining experience: the "Carrefour International".

Located at the northern tip of the La Ronde amusement area, the Carrefour International was a vast plaza of shops and restaurants, operated by many of the same countries as those found in the rest of Expo 67.

The complex was a series of triangular units with walls of plywood skin and pyramidal roofs; the visual emphasis was on pictorial graphics and lighting. Courtyards, fountains and trees dotted the entire area.

The Carrefour was comprised of 40 small shops and boutiques, some 400 square feet each. Sit-down restaurants included a Bavarian Beer Garden (seating 750), an English pub (seating 175), a Swiss fondue restaurant (seating 170), a Czechoslovakian restaurant (seating 150), a Dutch restaurant (seating 100), and a Hawaiian theatre-restaurant with Polynesian food and entertainment.

8 snack bars and 7 food shops specializing in foreign items completed the Carrefour's gastronomic offerings.

One of the prominent features of the International Carrefour was an elaborately decorated antique carrousel, already over 100 years old by 1967. Built in Belgium, it had been completely restored to its original splendor, though the original steam power had been replaced by electricity. Visual and sound effects ensured that the old time charm of steam operation was preserved.

From Expo Inside Out, a shopper's guide to Carrefour International:

"The easiest and best place to shop is in Carrefour International on Ile Ronde - amidst the restaurants, merry go round, post-office and bank. The best boutiques are:

Morocco ★★★★★
– excellent leather: hassocks, shoes, purses, wallets – rugs – brass.
Iranian Handicrafts ★★★★★
– carpets – fur hats – mitts – jewelry – linens. All at very reasonable prices.
Tunisia ★★★
– Leather shoes – perfume – silver jewelry.
Cuba ★★★
– Cigars – humidors – straw bags.
Africa ★★★
– Skins - beads – wood carvings.
Yugoslavia ★★★
– Suede Coats – shoes – linens.
The following boutiques have a few interesting items: Germany ★★ has knives, dolls, and stuffed animals but most of these items can be bought in department stores in Montreal, anytime. U.S.S.R. ★★ has wooden toys and dishes and amber. The Swiss Fondue Pot ★★: after enjoying Swiss Fondue in the restaurant, you can buy fondue pots and cheese to take home. Swiss candy is also on sale. And Thailand ★★ has a selection of jewelry and silver."

The video below shows footage of this "Swiss Fondue Pot" restaurant located in the Carrefour. Legend has it that the popularity of cheese fondue in 60's Quebec is directly related to its presence at Expo. The video's narrator even states that chocolate fondue was a dessert specially created for Expo 67...!

images: (1) Dixon Slide Collection
(2 and 4) expo67.ncf.ca
(3) personal collection, from the Man and His World 1968 guide
With special thanks to DC Hillier for his retouching skills on photo 1.

Klaus Bürgle

noreply@blogger.com (Unknown) — Sun, 18 Mar 2012 20:06:00 +0000

100-storey residential towers, jet powered commuter trains, 1968.

The graphic artist Klaus Bürgle was born in Stuttgart, Germany in 1926.

Bürgle studied at the the Stuttgart State Academy of Art and Design from 1948 to 1951. After a 1-year stint working at a graphic design firm, he decided to go freelance. It was in 1953 that he began illustrating for science and technology magazines such as Das Neue Universum ("The New Universe").

Throughout the 1950's and 60's, Klauss Bürgle created countless covers and interior illustrations for a wide variety of popular science books and magazines, as well as working on scientific-themed television shows. While space exploration was certainly his favorite subject, many of his works show futuristic cities and transport.

Much like Star Trek or Expo 67 itself, I've always loved how the "future" was depicted in the past...!

"Air station" connected to rail system with parking for thousands of cars, 1955.

Interchange with seperate levels for cars and public transit, 1965.

Multi-storey expressway with overhead monorails, 1959. (I love the cars...!)

A fully automated rapid transit system carrying both people and cars, 1969.

Remote-controlled high-speed tube trains, above and below ground, 1967.

Polar-region air terminal, 1953.

images: retro-futurismus.de

Betsy McCall at Expo 67

noreply@blogger.com (Unknown) — Sun, 04 Mar 2012 14:30:00 +0000

In 1951, McCall's women's magazine introduced a paper doll called Betsy McCall; a spunky little girl with a pug nose, brown eyes and a brown bob.

An instant hit, the editors of McCall's had rightly guessed that mothers would be even more inclined to buy their magazine if it contained a nice little extra for their daughters. Each month, little girls across America begged their mothers for the very latest Betsy. Additionally, for a small fee (25¢ in 1967) paper dolls printed on cardboard could be ordered by mail.

Appearing in most issues of the magazine from 1951 to 1995, each Betsy McCall installment came with a set of paper dolls and clothing, as well as a fun little story meant to inspire children as they played. Sometimes Betsy would be helping Mom around the house, working in the yard, or celebrating a holiday.

In August of 1967, Betsy and her family visited Expo 67. She wrote to her cousin Linda of her Expo adventures:

"All five of us have been touring the fair - the twins in a pushcart like zillions of other babies," wrote Betsy. "It's hard for me to describe the buildings very well because they are like nothing you've ever seen, so I'm sending snapshots Daddy took."

"We rode on the monorail, which is a railroad in the air; it slips through the United States pavilion and comes out the other side - Daddy says it's like a squiggly worm going through an ENOURMOUS apple..."

original image source: thebleudoor.com

Montreal's "Men in Yellow"

noreply@blogger.com (Unknown) — Sat, 25 Feb 2012 16:59:00 +0000

To the millions of visitors anticipated at Expo 67, the city of Montreal wanted to show itself as modern, dazzling and cosmopolitan. And a modern and dazzling city could not be dirty. Enter the "Men in Yellow".

Dressed in yellow suits, Montreal's litter-pickers assured that city streets were clear of paper, litter and other light refuse from the months of March to December. Armed with a pincer-stick, broom and shovel, the eagle-eyed men scoured the city's streets mounted on special carrier-tricycles.

The tricycles were acquired in 1962, and by 1964, Montreal's Roads Department counted 80 of them divided amongst 5 sectors: north, south, east, west and center. Scooter-mounted supervisors linked by radio to the complaints department ensured that any urgency was quickly dealt with...

images (1) centredepaix.org

(2-3) personal collection (Montreal '64 magazine)