A Protestant Pastor will get up and recite a paragraph, and then talk for forty-five minutes. We sing the songs. We sing the Gloria. We do the great Amen, holy, holy.
It is Revelations. Dion: I was talking to someone yesterday about the Assumption. I was talking to a kid , from a church that teaches the rapture. Show me. As of today Dion DiMucci is an eighty year old rock and roll legend that helped create the foundation of all the popular music that has evolved over the past sixty years.
I had the privilege of being able to conduct two different interviews with Dion, one in and one in I broke the first interview into two parts because we went into two different subjects. First we talked about his new blues album and the influence of music on culture and society and then we talked about religion which will be interview 2. I combed the Southern radio stations late at night to find this kind of music. These songs have been in my head for like fifty years, and in my guitar.
For me to show up at the Brooklyn Fox with Allen Freed and immitate somebody Black, like doing a Mick Jagger thing, it would have been like black face. I went in and I did it in two days. I did eight songs one day, four songs the next. I just did the songs that I grew up to. The first time I listened to it was when I went for a walk after dinner one night and put it in my portable CD player. After a while I was just listening and got so into it that I forgot who I was listening to.
They flow in a natural uncontrived way, as if you wrote them. Everything that I do comes out of that kind of ground, fertile ground. I added it. I sent him a couple of additional tunes that I did, because I went in and did a few more.
It has a kind of John Lee Hooker thing. I grew up with him. Blueswax: Yeah, I remember when Ruby Baby came out. You were going in an entirely new direction. This stuff is what I grew up to. I mean I probably was always into it, but I remember around ten years old I heard a Hank Williams song. It was playing in the back room of this little apartment my mother and father had. There was a radio in the back room and I heard Honky Tonk Blues, and that was like the first record that I said, what is that?
I said, what the Hell is that? Then I heard Jambalaya, and I got a guitar. My uncle bought me a guitar for eight dollars. It was a Gibson. Somebody saw a picture of me playing it. They said, oh I saw you when you were a kid, you had a toy guitar. I said, what toy guitar? If I had that guitar now, I could sell it for fifteen grand. I forget what the model is, but it says, The Gibson, on the head of it. You get that sound out of it, but when I heard Honky Tonk Blues, it threw me on the road, I was hooked.
I would go up to Lou Cheketies store, on Fordham Road. I was knocked out. I said wow. Then he finally got my phone number and used to call me when they came in. I would run up and get them. I had a collection of about over seventy-five songs, when I was about thirteen. Donatello, took a liking to me New York Times.
Blueswax: The thing is you were buying and listening to Hank Williams records while he was still alive. When the cops came around they would hide me in the kitchen and the Armondo Brothers who owned that night club, gave me twenty dollars. I mean I would get tips, but he would hand me a twenty dollar bill, and that was like more than half the rent that my mother was arguing with my father about every day. We were paying thirty-six dollars a month rent. Dion: Exactly. It seemed absurd.
He was trying to recruit people, because we were going to charter the plane. Of course, the more people you got on the plane the less it would cost. Dion: No! You want to know what did it! The pilot flew the plane right into the ground.
You have to be level to keep that thing flying. Dion: I was five years into a career that was kind of a whirlwind, and I was kind of woodshedding at the time, and listening to different stuff myself. Dylan was down there at the time. It almost seemed more like I embraced it as like an artist. I know now that I did, but it was a little frustrating, because of the adulation and the high profile that you have with hit records and being a star, which I was at the top of my profession.
So some frustrations come with that, but I was like really into the music. I would hang out in the Village. I got a place in the Village and I would hang out with Tim Hardin, and learned how to finger pick. They just think you made a record. How do you see it today? Dion: With all the drugs and the sex revolution, and all that kind of stuff? It was so surface. But I was saying, you know, I never learned this in the Bronx. I never learned what John Paul taught about the theology of the body, because Christ came in the flesh, and how sacred and the beauty of life, and how to see a woman, and what covenant is, self donation.
So the way I see it is that the music was fabulous. The expression. There were so many good things, but like I said, it was like an honest cry of desperation. I think deep down it was on the wrong premise. How do you see it?
I think that it was very mixed, because some of the masks that people were wearing, maybe in the fifties…, or they were trying to rip those down. All of a sudden I go, what happened? How did this happen? Where did this come from? It was out of the Blue to me, because I was used to doing acoustic message oriented music. To me it was out of the blue, but it was right in step with the times.
Dion: The funny part about it. I did an album with Phil Spector, and I went from that album to doing an album with Michael Omartian, and Steve Barry, and it sounded like two different people, but if I sang songs off both those albums, it would just be like Dion music.
I tried different stuff. So I sang over what some of them were doing. Some of them I had a hand in creating some of the stuff. Especially the early stuff. I did it all. When you look a little closer, the way that I define it or explain it, is that the Blues is the naked cry of the human heart, apart from God. People are searching for union with God. Who am I? All this kind of stuff, but the Blues is a beautiful art form.
You could use it to sell hamburgers or cars, or to cry out in sorrow, or joy. You could express yourself totally within the Blues. What do you think?
It was always spiritual, even when it dealt with the mundane and ordinary aspects of life. Many Blues artists also play Gospel, and some songs even have interchangeable lyrics depending on the context. Sometimes Blues artists would begin the concert with a Gospel song, which was explained to me as giving one to the Lord. It was like the first fruits, or tithe, and through it the entire concert was dedicated to the Lord. I was talking to my priest the other day, and I said, what do you think of this music?
I approach it like an art form to capture it, with integrity. To be authentic in it, and not approach it with any agenda. Because we all get the blues. Although that will help.
I think that the higher reality of it is that everyone is looking to get there, get that connection. For some reason I guess when I first heard this kind of music, it did something to me. I wrote a song called, Born To Cry, when I was about sixteen.
They end their concert with it on a couple of videos. What inspired me to write it was that I was in a synagogue, so I heard a guy cantoring. You know going, criiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiie….. So I wrote this song called Born To Cryyyyyyyyyyyyyyyyyyy, doing like a cantor. What I was seeing.
When I look back on it I go, wow, where was I? Dion: Yeah, even back then you feel that pull, that urging to either fight it, or embrace it. Both prove there is a God. Which I did, I had about five Gospel albums out. Dion: Music tided me over, in a lot of cases, where was just like a prayer.
It pulled me forward and upward. It soothed my soul. Why did you use an acoustic guitar on all the songs, and no electric?
I just brought a couple of guitars to the studio, and I ended up doing all the songs with those particular guitars. You know what it is about an acoustic instrument?
An acoustic guitar makes your whole body resonate. To do some of these songs, I think that the acoustic guitar works better for them. I play a telecaster when I do my shows. You should come play here next summer. Blueswax: Yeah.
I love listening to him. Remember Ogilvie, Swindell, Chuck Smith and all those guys. It was a real blessing the way that Chuck taught, and still does. Blueswax: A lot of the musicians had a lot of influence as well. Blueswax: I remember Kelly Willard.
Did you know Tom Stipe? He used to lead the Saturday Night concerts at Calvary Chapel. Dion: Yeah, but not well. You really stepped into it when you asked me what does it mean in my life. You can see how passionate I am about it. I just love the church, and I love the people in it. Life is tough sometimes. Blueswax: Hey!
Dion: A lot of artists, they die, never coming to the knowledge of the truth, or they die never appropriating, or understanding their own message. Turn up the amps. Blueswax: I think that all the drugs, ideas, art, music and politics finally culminated in a tremendous interest in religion that the Jesus movement was part of.
It was a religious revolution that swept us both up. Dion: We were all hungry, but you and I really came into the banquet. Blueswax: When I look back on that time period I see searching and hunger, but I also see a lot of attempts to fill the void. Take Woodstock as an example. It was thoroughly documented, and the film is a record of the peak of all that energy. I like to watch the movie every so many years, because each time I see it, I look at it differently. I see something brand new, especially when I watch it with my kids.
I begin to see how this transition period, where we become adults includes our searching for spiritual answers. So we have a record of this search, for the baby boomer generation, with all these people in the film searching.
They were looking for answers. Dion: I have kind of a like a very joyous feeling down inside me, that I could participate in passing on, or pointing to the guys who blessed my life so much. Just listening to their songs, like Hank Williams. I never met a lot of them, I just listened to their records, you know? They were the masters, and the foundation for a lot of the music that we listened to, and they grabbed it right out of the air.
In them both, the roots of Black music are traced back to their source in Africa. Many of the riffs that we associate with Blues or Gospel are in actuality ancient folk melodies.
The lyrics and song structures have evolved, but they are still identifiable in the villages that they originated from. Dion: Something very strange happened to me, just this week. I gave a girl all the lyrics that I sang, because I hand wrote them to remember, and I said could you print these up for me.
She said, like look at Crossroads. What are you singing? Some of them I just blew up the lyrics on a copier, like from the Robert Johnson album. Especially with Crossroads. The song is usually sung as a cry of pain. The same emotion is expressed, but the direction is changed. It would make a good song to play during an alter call, where people are coming forward to give their lives to God.
I just thought of myself playing crossroads. I never thought anything more of it. Maybe it comes out a certain way, because of who we are. Just like the way that things come out when you write.
Blueswax: You made the song yours. It was natural to do what you did. It just flowed out of your spirit. So you go into a studio and you do it.
Blueswax: Are there any of the new artists that you listen to that are part of the new music out there? Dion: I do listen to Sheryl Crow. I used to stay up with the young groups. All the two guitars, bass and drum groups. Like revisiting, and taking a trip through my life, and seeing all the music that influenced me.
I always very much a Bob Dylan fan. I thought that he was a great writer. Little Steven used to play in my band, we go way back. You know what I mean? Like a lot of Jazz artists that I listen to. Somebody that was expressing something. It could be all kinds of people and all different approaches, but there was a person behind the music. Like Merle Haggard and Joan Baez, even though they were so different, I knew somebody was saying something there. Maybe singer songwriters, because of the sixties.
I mean, even though they were like grandchildren to me. I began marketing my images as digital files for sale through a stock photography site called Picfair. In the summer of when I was working as a youth minister at HPNC when summer camp came around a few of the high school students from the church went and I was their chaperone and counselor.
I was the cabin counselor that was in charge and responsible for everyone. My group was well behaved and followed the rules, but the South Central teens violated every rule in some way or another, so I was exasperated. An ex-Montrealer in Ottawa recently wrote a book on mid-century life in the neighbourhood, but it is self-published and I have yet to get my hands on a copy. It would appear that the origin of the strange second-storey courtyard on Queen Mary Road is not the only mystery about Snowdon.
Do you live in Snowdon? Did you grow up there? Share your stories! More posts by Christopher DeWolf. Once again an interesting find. Really weird how any business would isntall themselves there. I ain,t from Snowdon but just thinking about it now make me realise how you are right. He and his wife of 43 years, Jill Foote, have four children and nine grandchildren. Contributions are most welcome. Read it if you can. The only way to get it is through him,so email him and send him a cheque.
My father was transfered to Montreal in My wife lived on Beaconsfield Ave. Margie and Bill moved to Fla. Pete, Fla. A fantastic summer job. I was pretty well in shape for football when I return to school in the Fall. I could go on for a few more pages,as well as mention another names, and still barely scratch the surface. Perhaps more for another time. Cheers, John Rourke. There was a streetcar,later a bus line that ran down a corridor between Cote St.
Luc Road and Queen Mary Road. I rented a studio apartment at the QMR end of it in A crazy woman with a parrot lived next door.
It had 3 floors. Around they dug up the entrenchment that was to become the Decarie Expressway. The test at the time was to convince Val that your pimply face was all of 16 years of age. It was hardly a test as 12 year olds with cues bigger than they were was common. Val later opened Rosebowl Lanes on Cavendish.
The old place also had bowling alleys. Manny was supposedly in possession of only one leg although the specimen was never exhibited. I was barred once from the establishment for being drunk and bending a metal coatrack. I remember taunting a meatcutter at the front door knowing it was highly unlikely that he could leap over the counter.
The Snowden Tavern was also on Decarie Blvd. Rather long. Paul gave me a tour of the cavernous basement of this art deco edifice and I was amazed at how huge the place was. Miss Snowden restaurant was almost next door where Jewish ladies ordered diet Tab with lemon. Further north on Decarie was Blue Bonnets Racetrack horses and a wooden streetcar trestle.
I can still vision the Cott Beverage sign by the Decarie underpass. Still further north on Decarie were the drive-in curb service reataurants. Also Piazza Tomasso where Uncle Tom did his magic tricks and Ruby Foos where you could have your picture taken and have it appear on match covers.
This was a watering hole for the 3 martini business types during the day and at night a gathering place for mostly Jewsish folks who wanted to see and be seen. Still further north was the Garland 17? I can still hear the mechanical laughing lady with a turban. Certainly we experienced certain neighbourhood sites, and entertainment and commercial establishments in the very same way.
For us Jews, however, we felt especially warmed and protected by a common culture bolstered by our synagogues, our Y, our schools, our bakeries, and our eating establishments. What for a non Jewish person may have passed for a novel and quaint eating experience, a Jewish deli represented for us a warming and radiant link and continuity with our common and communal past. Although a fair percentage of Jews living in Snowdon in the post war s were Holocaust survivors having lived through horrific times, it was a tribute to Jewish verve that all that really counted was to become a mover and shaker, be it in business or in the professions, or anywhere else.
Forward looking was in the air. I doubt that that get-up-and-go impetus and vitality still exists. A pity. I grew up in Snowdon from until much to my dismay my parents moved to St. I knew every single store and most of the owners as well.
I went to Iona Avenue School and it had to close for the Jewish Holidays because 99 percent of the students were Jewish. I still visit Montreal and always go to Snowdon and visit Snowdon Deli. March Shari Hill. I lived in Snowdown from Queen-Mary felt like such a busy, cosmopolitan street. The side-streets were quiet and tree-lined, with large, evenly spaced apartment buildings. The slope of Mont-Royal was oddly comforting, if slightly aggravating. It felt like I was at the hub of the global community.
To order: This is all so fascinating to me! I am a doctoral student conducting research on Holocaust survivors who rebuilt their lives in Canada,and their relationships to the organized and lay Jewish communities.
If anybody survivor or Canadian-born Jew could share their recollections of this period with me, please email me at adgoldberg clarku. I grew up in Snowdon from till I knew most of the people A. What a great time we all had. I went to St. I moved to the states in and joined the U. Air Force. Although I personally left in , I loved my time in Snowdon — spent much time at MacDonald Park as a child playing on the swings and mondey bars in summer and tobogganing and skating in the winter.
As an adolescent, I spent much time there getting into mischief. Cherry cokes and french fries, listening to the juke box for hours you remember those little ones that were at every table.
I also remember go-carting on the second floor of some building on the corner of Decarie and QMR. Going through Internet I encounter your website, which call my attention and I would like to comment as follows: 1. Going though all the comments I have detected that Shari Hill, daughter of Mrs.
Anna G. Hill place a comment also, back in March 9, and I would love to be able get in contact with her again as we do not have any contact since If possible kindly give my e-mail. Thank you in advance. November Sissi Valadas. There was a grocery store on QMR where I bought beer with my friend Margaret one Friday night — we were slightly underage at the time. He was hilarious!
There was a teen clothing shop on QM as well that had very cool clothes as I recall. Great trip down memory lane! This is so much fun reading comments about a place and a time that is still dear to my heart.
I am still getting requests for copies…. What has been so rewarding for me is hearing from people who have their own stories to share. Bill Conrod jillbillc sympatico. Reading these comments has been rewarding. I spent a good part of my youth in Snowdon from about to when I joined the army. I made most of my spending money by doing one of three things 1. For awhile I even cleaned stalls at Blue Bonnets. Today at 69 I tried to find someone to shovel my snow in my driveway and could find not a youth to do so.
And of course the commercial snow removers will only take on large job I went to Hampstead school,Monklands and Westhill until I joined the army in I miss the good years in Snowdon. I wrote several short articles for the Conrod book about Snowdon. Please contact me if you have pictures of the area. You can see my works at Classmates. Fine Art America. One pleasant evening when I was about aged 6 I was with my father on Queen Mary, for some reason.
When I arrived home, Dad was already there. He just stared back blankly at me. He was a good father. He was always kind, generous and loving toward me. That poem comes from the match book at the New Snowdon Tavern. Still have the matches somewhere. I had to ask my father what that meant. I think in those days the authorities were worried about the spread of TB from spit. School-age boys used to get on the streetcar and sit in the back, where they sometimes succeeded in dislodging the trolley from the wire.
The conductor would come storming back and throw the boys off the tram — it was quite exciting. In the winter, some of the streetcars sported snowploughs on the front. The rest of the year the grills on the front were called cow-catchers, though I never saw any cows scooped up.
The seats of the yellow streetcars were woven rattan material. The green streetcars had a motorman at the front and a conductor at the back and there were leather straps to hold onto if you had to stand and were tall enough to reach them. On the 29 route to Outremont, the streamlined cream and red cars had leather seats and wonderful suspension systems that swayed as the car made turns.
I thought they were cool. My family lived in Snowden on Lacombe Ave at the corner of Westbury from and Great times. I attended Iona and stopped in at the Black and White everyday to buy my sweets from Mr. Recently I have been thinking about Joe, the wonderful old crossing guard at Queen Mary and Westbury. Brandon N. Brian Harden. Daniel Benson.
Cremaster Jedi. Efim Pyshnograev. Julian DeHerrera. Gregory 'Gro' D'Elia. Stephen Cirelli. Windy Timmy. LA Alfonso. Jeff Rowe. Austin Lucht. For downloadable walking guides, see  The circular walk to St Bees Head and Birkhams quarry featured in the May booklet of the best coastal walks in UK published by the Daily Telegraph newspaper; it being one of only two walks covered in the north west of England.
It is an mile km  unofficial and mostly unsignposted long-distance footpath in Northern England. At St Bees the start is marked by the "Wainwright Wall" which explains the walk and its history. A new interpretation board and the steel banner were installed in summer by St Bees Parish Council and the Wainwright Society.
I added the following to my photos yesterday but had an email from a Flickr member today, letting me know that my everyone's? Just a few hours ago, I posted a new thread in the Help Forum. I really prefer not to post there, but just had to after I happened to come across a website today that was displaying a lot of my photos for FREE downloading and in all sizes.
My images are ALL copyright protected. Apparently, they were ALSO displaying download links for all available display sizes for people's photos that on Flickr are NOT set to be downloadable by visitors. We're looking into it. Amazingly fast action by a staff member, which is hugely appreciated! Twelve days ago, on 2 May , I was incredibly fortunate to be able to witness about 30?
On this particular day, five of us went to see this. There had been a couple of possible chances for me to get out there, but these had fallen through. Then, out of the blue, friend Dorothy phoned me, asking if I had been able to get to the lek yet. She said that if I hadn't been, her husband Stephen would be willing to drive me there! This was such a wonderful surprise, though anyone who really knows this couple already knows what amazingly kind and generous people they are.
I was so happy to get this unexpected chance and the three of us had a great morning, in good weather and in good company. Two young men also went, making their own way there. Delightful guys, highly respectful of not only the Grouse, but also of us, constantly moving form their seats to allow us to get our turn, and vice versa. Having been out there last year, on 13 April , I knew of this problem and had bought a three-step step ladder a few weeks ago, just in case I was able to go sometime this spring.
This made so much difference, thank goodness, especially as I was really tired after staying up all night in order to leave at a very unearthly hour of the morning. So glad we had a nice, sunny day - the day I went a year ago, the weather was overcast and not good for photos. This year, I got to see the Grouse in beautiful sunrise light, too. Of course, the 'problem' of clumps of tall grass was exactly the same this year, lol, keeping the birds somewhat hidden, but every once in a while, a bird would come out into the open.
Most of the time, they were quite distant, but we were very lucky that several did give us a closer view. Such magnificent birds, with their yellow 'eyebrows', purple patch below the side of the neck on the males, and glorious feather pattern. Their dance display to attract the females is so fascinating to watch.
Just after we got back to our cars, another car came along the road and stopped to talk with us. It turned out that this gentleman was indirectly connected to the lek. He voiced his huge concern at how many people had been out there this spring, feeling that this was not good for the Grouse.
He said that hopefully no more people would be going, so that the Grouse would be undisturbed in their mating. We agreed with him and thought that maybe people should not be allowed to visit every year, but perhaps every two or three years. I will pass on his words and great concern to our Naturalist leader who organizes these visits. After we left the lek, we travelled a few nearby backroads, hoping to see a Western Meadowlark.
We saw 10! It had been so funny, while we sat in the blind at the lek, a Meadowlark was somewhere nearby and sang for us for about four hours! When we at last emerged into the sunlight, there was no sign of it anywhere. We did manage to get a few distant shots of two or three of them.
Thank you so much, Stephen and Dorothy, for offering to take me - so very kind and thoughtful of you, as always! The stop for having our sandwiches was great and the muffins you brought along with you ended the morning very nicely. If you have time, the following minute YouTube video by the Alberta Conservation Association is very good for showing the action of these birds.
There are several still shots first and then the video starts. Pretty amazing! The birds remind me of a child's wind-up toy :. I came across an excellent brochure pdf file about Sharp-tailed Grouse on the Internet and will use some of the information from it, instead of using my own words to describe what goes on at a lek. I had seen females of this species before, on Christmas Bird Counts, but not a male and not at breeding time.
Most activity on the lek occurs in the early morning just before sunrise and for a few hours afterwards. The most dominant males court females with low cooing sounds and by strutting around them with inflated air sacs on their neck and fanned tail feathers. It is nearly a winner-take-all form of competition, as only a few of the males are selected as mates by the females.
Leks are found in areas with dry open ground, where dancing activity keeps the vegetation well-trampled. Leks are used over several weeks beginning in late March and are often used for years, even decades. They are an important part of sharp-tailed grouse life, and the loss of suitable lek habitat can be a limiting factor for sharp-tailed grouse in Alberta.
Male sharp-tailed grouse gather on the lek in late March. In April the females arrive, sparking increased displaying by the males. Peak attendance by females on the lek occurs between mid to late April in much of Alberta. Once they have selected a male, hens breed once and then seek out a place to nest, usually in late April to early May.
Leks are an integral part of the lifecycle of prairie grouse. Active leks should never be approached, as any disturbance to the birds may disrupt breeding activities and result in the abandonment of the lek. The locations of active and historical leks are of great interest to grouse biologists. Suppression of natural fire in parkland and boreal areas reduces the amount of open grassland available to sharp-tailed grouse. Sharp-tailed grouse were an important food source for native North Americans and they continue to be a popular game bird for hunters today.
While exact population numbers are not known, there is a feeling that sharp-tailed grouse have decreased significantly in numbers over the past 40 years. This trend is supported by lek counts, hunter surveys, aerial counts and Breeding Bird Survey data. Declining numbers are the result of a reduction in the quality and quantity of sharp-tailed grouse habitat, particularly the loss of quality nesting and brood-rearing habitat.
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