Stratford the People’s Choice

the Patterson gardens will look great in five years

Earlier this week, Tuesday, May 17 we took our first day trip to see Richard III at the Stratford Festival. As usual we left a little after 9 with the first stop to for gas (before the prices went up again). While pumping gas the attendant pointed out that we had a flat tire! Luckily for us my partner is a ‘regular’ at this full-service station & they were able to get the tire fixed quickly. We ended up about 20 minutes behind schedule. 

looking out on the clouds

The sunny day was perfect driving weather. Traffic on the 401 wasn’t too bad – building more highways creates more traffic not less congestion. No major construction slowdowns either. At Cambridge we stopped at a Tims for a pee break & coffee. Continued on the scenic New Dundee Road, through New Dundee, Haysville – a stop in Shakespeare for pies & finally Stratford.

utilitarian ceiling

The next unexpected wrinkle was that our favourite lunch spot, Features, was closed! Windows papered over, signs gone 😦 On to Bentley’s, our other fav spot. I asked our server there about Features & the diner has moved & recently reopened. Whew. Lost time meant we went directly to the new Tom Patterson Theatre, which on May 12 was the recipient of the 2022 People’s Choice Award from the Ontario Association of Architects (OAA).

utilitarian lounge

Over the past years we have watched the transformation from tear down, to levelling & then construction of the new facility. The building is inviting but, to me, lacks drama 🙂 Interesting use of materials, the ripple shape of the entrance creates a sense of flow. Perhaps seeing it on a rather overcast, cool afternoon diminished it pizzazz. 

reproduction of robe from 1953 production of Richard III

The interior is modest &, at this point, lacks character with its metal, stonework, & wood finishes. Nothing ornate about it. It felt like an upscale high-school facility. I was hoping for some chandeliers or wall-sconce lighting ornamentation.  

The performance space had the new car smell 🙂 The seats were plush & comfortable. The spacing was not as cramped as the old theatre which made watching more pleasant. All the drama was on the stage where it belongs.

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Richard III

 

They wouldn’t let me try it on 😦

We were eager to this Festival production of Richard III at the new Tom Patterson Theatre. A fitting choice as Richard was one of the productions featured in the first season of Stratford in 1953. It starred Alec Guinness as Richard. I thoroughly enjoyed the preview production of Ricard iii I saw earlier this week. All I know of Richard is the myth that Shakespeare’s play solidified. A myth that centres around the death of the princes in the tower. From the play one gets the idea that the years of his reign were spent solely in conflict about his right to rule while denying any knowledge off what happed to the princes.

Director Antoni Cimolino has given this  production has an amazing opening scene that gives Richard a stunning entrance. Inventive & intuitive it took my breath away. You’ll have to see it for yourself as I’m not giving it away here. Unfortunately his first monologue ‘Now is the winter’ was marred by a cell phone ringing :-(. 

I wonder that this isn’t considered one of  Shakespeare’s problem plays with the endless assortment of characters – so many one really needs a cheat sheet app to keep track of who is whose sister, wife, window, mother, grandmother, which lord is on which side. At least in this production the women were dressed differently enough one could tell them apart, but the lords & underlings wore such similarly styled & dull colour clothes & hair they were interchangeable. 

Colm Feore is excellent as the sly, manipulative Richard; André Sills is a formidable Buckingham (how long before he does Falstaff?). Lucy Peacock as Elizabeth steals every scene she is in, even with Feore. Her scene with Seana McKenna (Margaret),

 Diana Leblanc (Duchess of something) is a stand out as each truest out-do the other in their hatred of Richard. Another great scene was Richard’s ‘seduction’ of Lady Anne (Jessica B. Hill) was a fine example of gaslighting & victim-blaming ‘it’s your fault I killed your husband – you are so beautiful I had no choice’ 

The finale was puzzling as the cast morphed into modern dress for a funeral. I’m not sure who the funeral was for: Richard? A dynamic production I’d recommend to anyone, even more so to anyone who knows the historical context & can tell a mother from a daughter.

I did try this one on
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The Professor and The Psychedelic Furs

I have Professor Longhair (1918-1980): Mardi Gras in New Orleans, another of the Essential Blue Archive compilation releases. His piano style is described as a mambo-rhumba boogie thing. A legendary performer I felt I should have in my collection. Fun stuff & sound quality is good.

Next on the shelf is this mp3 cd collection of 80’s Brit pop groups that made some headway into the mainstream & others that remained fringe alternative. Starting with The Psychedelic Furs: Forever Now (1980), Mirror Moves (1984), Midnight to Midnight (1987), Made of Rain (2020). Thanks to a couple of movie soundtracks the Furs went from almost-known to sensations.  Slightly Goth-emo songs that progress into major pop hits. Similar to The Cure but not as shoe-gazer our as quirky. Songs of loneliness, love, & even some with political intent. I enjoy the production work. I am enough of a fan to have picked up their ‘reunion’ lp Made of Rain – their first recording in a couple of decades which pretty much picks up where they left off.

More 80’s with the Buggles: Age of Plastic (1980) , Adventures In Modern Recording (1981) – one of the first of many products by Trevor Horn – with excellent hooky pop songs, brilliant engineering & of course the unforgettable Video Killed. Both this lps I had at one time as cassettes. The list of acts Horn produced is endless & includes Art of Noise, Frankie Goes To Hollywood.

Another 80’s combo is Cabaret Voltaire: Red Mecca (1981) – they defined moody Goth with their dense keyboards & mystic lyrics. Electronica & easy to absorb – if you like slightly experimental emo this is a band for you.

One of my favorite 80’s bands was Talk Talk. In this mp3 collection I have The Colour of Spring (1986), Spirit of Eden (1988) – the band started electronic pop but moved away from that with a dense eclectic that moved into what I call chamber rock. Music that wasn’t based on beat-per-minute or radio sensibility. Spirit of Eden is beautiful.

Lastly a real rock group who survived the 80’s The Pretenders’ Packed! (1991) with the expected tough sound. Perhaps not a best-seller but proof that solid, non-emo groups were still alive & well. Hynde’s vocal as compelling, the songs are good if not inspired & there is a great cover of Hendrix’s “May This Be Love” that is worth tracking down. 

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Ankles Crossing The Line 

Ankles Crossing The Line

boys don’t cross ankles

when they sit

only girls cross their ankles

boys can put a foot

on the opposite knee

that is how men sit

you are a man aren’t you

you better start to act like one

how is your belt buckled

only girl have the buckle on the left side

or is it the right side

shirts for boys have buttons on the right side

shirts for girls on the left

or is it the other way

for buckles and buttons

<>

someone always looks

enforces gender appropriate

mannerisms

a code that if broken

meant derision

only girls sit to pee

only girls cross their ankles

when seated 

only girls

can part their hair in the middle

or on the left side

or was it right

I don’t remember now

but in high-school that was vital

<>

I never got any of that straight

because I wasn’t straight

I wonder if there’s a history of gender that explains how things became categorized as being gender specific. I mean things like colours (pink vs blue), actions (standing when a woman enters the room), professions: well okay I do get that one, as many depend on brute strength, but male nurses are suspect, objects (jewelry), scents (Old Spice vs Chanel No. 5). Men wore aftershave, women wore  perfume. I sometimes wear Chanel No. 5.

There are gendered versions of watches, running shoes, shirts, cosmetics etc. Man-sized meals. Real Men don’t eat quiche. Shirley Temple for the ladies, Virgin Caesar for the gents. All of which starts young – toy kitchens aimed at girls, toy tools for boys. Imprinting that never gets questioned. I don’t recall ever asking my mother why all my clothes were blues, blacks & browns – by the time I got to high school I broke free & went for multi-colour & was frequently picked on because of it. 

The desire to look ‘fashionable’ was not masculine. The male uniform was bulky jeans, scruffy shoes, blocky dark plaid shirts & shapeless jacket. If one was on a team a team jacket was permissible. If you weren’t on a team you didn’t count anyway. Boys didn’t dance well at sock hops. Masculinity was always established by violence – or rebel stuff like smoking.

Girls who smoked were sluts, boys who moved were toughs – but that’s another poem. I was a rebel who never smoked 🙂 I was a rebel who wore white shoes, who let his hair grow into a Beatles cut. I once was asked are you a boy or a girl so I guess my even my walk wasn’t masculine enough. Conformity was masculine, nonconformity was suspect.

I’d like to think things have changed but a man wearing a gown to the Oscars created a sensation. The increased notice of trans has made many uncomfortable with the changing clarity we once had thanks to defined, unalterable notions of gender.

My pronouns: it, that. 


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Picture Perfect 117 

Picture Perfect 117

They drove out the museum which was opened  for general pubic except for the area roped off for the banquet for the anniversary. Dan showed his guest pass and made sure his Lifend video flow was turned on as they made their way to the Exhibits Hall. 

There were dioramas for each decade complete with posters, mannequins in circus costumes, & in some cases performers recreating the sideshow acts. Knife thrower, sword swallower; crystal ball reader. The Tut-mania was the most elaborate of the 80’s. Snakes in glass tanks graced either side of its entrance. Behind them were live belly-dancers. It was a weird mix of Aladdin and Cleopatra. There was several people inside being given tour by one of the Museum guides.

“As you can see the centre piece is an approximation of the actual tomb of Tut. All the artifacts were created for our exhibit. There’s no claim that any of them are authentic.”

“So, that’s not real gold?” Someone asked.

“No.” The guide said. “The total weight of golditems and jewelry in his tomb was about 1200 kilograms. Worth over seven million dollars. So no this isn’t real gold.”

The group laughed.

“The mummies are fantastic.” A woman said. “I’ve seen some in Cairo and these look like the real thing.”

“We were painstaking about getting things as accurate as possible. That’s why we were all so disappointed when the Tut show was a flop. It took the wind out of the owners. They didn’t even want to tour the show the next year.”

“Where were they fabricated?” Dan asked.

“Some of the work was done by our own staff.”

Mummies of various sizes were posed as if worshipping Tut. A couple were on their own marble altars.

“These small ones.” The guide explained. “Were children who were sacrificed at the same time. They were sent so Tut would have playmates in his afterlife.”

The word ‘playmates’ jolted Dan. No!

“These are the original mummies fabricated for Tut-mania?” he asked.

“Oh yes. We’ve had them in cold storage. Costumes too. The mummies didn’t all arrive at once at the time. It took a few weeks to get them all.”

“Do you have any idea of how they were made?”

“You want trade secrets?”

“Just curious.”

The guide went to one of the playmate mummies. 

“Rest assured The Happy Hippo couldn’t afford real mummies any more than they could afford real gold. These are wire under-frames wrapped in gauze.” The lifted the arm of the mummy gently. It came loose and a real bone protruded from the unravelling gauze. The gauze was a mix of real gauze & various fabrics.

“That’s Timmy’s t-shirt.” Dan said involuntarily.
“Timmy?” The guide stared at the arm.

“Don’t drop it.” Dan commanded. “Put it gently on the floor.”

“Yes.” 

While the guide was putting the arm down Dan texted Robert Warszawa a top-priority code with his location at the exhibit.

“On my way.” Warszawa replied.

“Get forensic unit.” Dan texted.

“Will do.”

“What did you think you’re doing?” Another of the guides pushed people aside. “Oh it’s you! Not getting enough publicity for your stupid show. Get out of here before I call security.”

“They’re on their way.” Dan said.

“And put that camera down.” The guide turned to Cameron & tried to push him back.

“Too late.’ Cameron said, nodding at one of the news reporters with a camera on the other side of the crowd.

Jennifer stepped into the exhibit & held her hands over the shoulders of another of the mummies. 

“Another one.” She paled with the realization.

“Get out of there!” The first guide pulled her back into the crowd.

Warszawa arrived with Sergeant Coster with him.

“We’ve found them.” Dan said.
“Which them?” Coster asked.

“The remains of some of the children.” He pointed the the display. “Mummified.”

Sergeant Coster kneeled to inspect the arm on the floor. She stood. “That is a human bone. How can you be sure it is one of the children?”

“The fabric.” He pulled up the photo of him & Timmy sitting on the steps. “The same stripes. The same colours.”

“Okay.” she sighed deeply. “We’ll have to close down the exhibit to the public.”

“You can’t …”
“We can & we will.” She said.

“This is some cheap publicity stunt. How do se know you didn’t plant this here.” The guide stared at Dan.

“Ask your security cameras.” Dan pointed to one of them. 

“Everyone please exit the exhibit hall.” Coster & two officers escorted the public from the hall. “The forensics team require all the space they can get.”

“You can’t shut me down!” Winston Chamberlain strode into the hall. “Not now. With what’s going on!”

“Mr. Chamberlain, the Tut exhibit is closed to the public. The rest of the facility will remain open.”

“Just because one of these … props had a bone in it? You don’t even know if it’s a human bone. Or even a real bone.”

“I know it’s a real bone.” Sergeant Coster said.  “The forensic’s team will be here shortly. If it a human isn’t then you can reopen. Is this all of the mummies?”

“No. We left three in storage. There wasn’t enough space to put up the entire array.” Winston said.

“Okay, we don’t know for a fact that these are the remains of any of those children.” Warszawa said. “Mr. James, do you have any proof other than your fuzzy photograph?” Winston made air quotes when he said fuzzy.

“I trust my gut. This is them. Maybe not all of them but some of them.”

The forensic team arrived followed by some TV crews that had been covering the gala.

As they arrived a reported stepped to the entry of the hall.

“Stacy Molefski, here. We are interrupting the broadcast of the Chamberlain Gala with breaking news. Authorities have discovered human remains in one of the museums exhibits. Remains that may be a clues in the recently re-opened cold case of the children who disappeared in the 80’s …. Mr. James. Mr. James?”

Dan reluctantly went over to her.
“What can you tell me about this unexpected discovery?”

“Stacy you know about as much as I do. I can’t comment until we get confirmation for the Forensic team that these are actually human bones.”

“And if they are what can they tell about those missing children.”

“First they’ll need dna testing to ascertain identity. That could take up to two weeks.” Dan said. “It’s not like you see in TV crime shows where they put a drop on the bone, run that result through a computer & up pops photos of the victim.”

“Dan?” Warszawa waved from him to come back to the exhibit.

“As you can see I have official business to take care of.”

“Thanks for your time Mr. James.”

Dan walked over to Warszawa.

“You were right.” Warszawa said. “These are human bones. The examiner believes the size indicates the ones here are children bones. They’ve done a cursory check of the other mummies & there are bones of some sort in all of them.”

“They’ll all be taken to the regional hospital to be X-rayed before they are unwrapped though.” Costner explained. “They want to make sure before disturbing the uh …. remains unnecessarily.”

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Well-Worn Path May 2022

There are two paths through the Ravine the most used is along the east side of the creek. It has been well looked after by the public that uses it. Over the years different lumber, sometime tinder bricks, have shown up to made the soggy area easier to hike. This walk is from the north entrance south to Gerrard E.

view from the top of the Gainsborough Rd entrance
well worn path seen from Gainsborough stairs
lumber for footing
slippery when wet
good balance practice
straight & narrow
short bridge over troubled waters
that sinking feeling
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Procol Harum

By Procol Harum I have as stand-alones their 1st 1967; Shine on Brightly 1968; as mp3: A Salty Dog 1969: Home 1970; Broken Barricades 1971; With the Edmonton Symphony Orchestra 1972; Grand Hotel 1973 (Christine Legrand). Hits compilations: Best of A&M 1972; Chrysalis Years 73-77 1989. And solo works: Robin Trower: Bridge of Sighs 1974: Gary Brooker: No More Fear of Flying 1979. I have had some of their later work but it didn’t resonate enough for me to keep it.

I remember the power of first hearing Whiter Shade of Pale. Keith Reid’s ornate lyrics (very T.S Eliot) were matched by the ornate organ work. It was, & still is, the epitome of prog-rock. I loved the Beardsley cover art which reflected perfectly the structured, decadent music within. Lush without strings, dense without feeling leadened. Classical without being apologetic. Gary Brooker sings as if he wrote these lyrics himself.

Over the albums guitar became more prominent & at times they were as riff heavy as Led Zeppelin. The organ/piano combination inspired many groups including The Band. I remained a fan & was disappointed when the group ‘retired’ after many changes in members. When they regrouped decades later I give them a listen but although the sound was still solid I found in uninspired.

Each album has tracks love. As whole I love Shines On Brightly with is mystic side 2 that takes that mysticism where even the Moody Blues never went. Simple Sister is another favourite, The Devil Came From Kansas, Michelle Legrand (of Swingle Singers) is amazing on Grand Hotel.

The engineering on the lps is amazing – so much so that the Live Edmonton recording suffers. The addition of the orchestra adds nothing to their sound & the spoken portions are nearly impossible to make out. MP3 doesn’t improve the sound quality either. My least favourite of the lps that I have. Procol was adult rock that accidentally was radio friendly.

I also have some of their solo projects. Robin Trower’s Hendrix heavy guitar work dominates his solo albums, to good effect. I love Bridge of Sighs though it does veer into Bad Company territory.  Brooker’s Flying lp is dense, interesting enough, but I can’t name a track on it off the top of my head – something for Harum completest.

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Whispered Vespers

Whispered Vespers

every word

was a secret

no matter how attentive I was

I could not hear

<>

I saw lips move

mouth close to my ear

I feel the warm breath

the urgency

<>

something I was never to repeat

a secret I could keep

because I never heard it

it was safe with me

<>

final words

never to be repeated 

for me to hear

I had my chance

<>

I failed to understand 

but knew I had been spoken to

which was enough

to sustain me

This piece was partially prompted by those scenes in a movie where a dying character last words aren’t heard clearly – the words were to reveal something important – because dying last words always reveal something important – a clue to the killer, directions to the buried treasure. They never utter things like ‘Fuck you’ or ‘More light.’

It’s also about our inability to hear unless it’s delivered in a way we understand easily, in a way we find acceptable. I prefer subtitled movies to ones that are dubbed – I like to hear the actual tone of voice which contains as much information as the words used. I have watched Asian movies, spoke in one laughs with subtitles in another & rather enjoyed creating my own sense of story from the visuals & tone of voice.

It also has become a reflection on what we don’t understand the past, how the physical evidence refuses to be translated into something we can comprehend. I’ve seen a documentary on the Phaistos Disc (from between 1850 B.C. and 1600 B.C & one on the Voynich Manuscript (carbon dated to early 15th century) – both are clear whispers that have, so far, remained, impenetrable to our understanding of language. But, maybe, like the Aztec pictograms they can be unravelled.

These whispered last words are like illusive dream memories that can’t be pieced together. There maybe an image I can recalled but it doesn’t unlock the whole dream but at least I know I’ve been asleep & that I had a dream. 

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Picture Perfect 116 

Picture Perfect 116

Peter followed Dan into the cabin “Who was that?” He asked as Dan opened the door.

“Someone who nows knows the power of the harness. That was hilarious.” Dan flopped on the bed with his hands behind his head.

Peter found a spot on the desk for the flowers.

“For the sweetest kiss.” Peter read the note. “Kiss?”

“Yes – in the parking garage.” Dan laughed as he explained it. “A lingering one mind you but that was all. I only enjoy public sex if there’s a hidden camera somewhere. Or if it had been you, we might have buckled a car hood or two.””

“Thank you, sir.” Peter knelt and removed Dan’s shoes. He undid Dan’s pants and pulled them off. “May I, Sir?” he asked.

“Yes.”

Peter buried his face in Dan’s crotch. Pulling and biting at Dan’s underwear. “Someone didn’t have time for a shower this morning.”

“You should know.”

“Sweaty but clean.” Peter pushed the head of Dan’s cock to just above the underwear waistband and began to lick and suck it. “Mmm.”

“Fuck, that feels so good.” Dan thrust his hips so that his cock was deep in Peter’s throat. 

Peter gagged on the sudden thrust.

“Choke on it.” Dan held Peter so he couldn’t pull away. “You like to choke on me, don’t you?” He loosened his grip on Peter’s head.

“Uh huh, Sir. I was dreaming about that the whole flight.”

“That’s not a harness. It’s a dream catcher.” Dan stood and kissed Peter.

His cell buzzed. It was Jeremy.

Peter unpacked his clothes and dangled things in front of Dan.

“I’m busy at the moment.” Dan attempted to grab the jockstrap Peter held up. “Yes the flowers arrived … I haven’t been avoiding you, just your fan base. I have to go. Yes I’ll be at the the premier this afternoon. Bye.”

He ended the call.

“Mr. Moxham I presume.” Peter said.

“Who else. He has his image to think of. I get that.  Hiding isn’t my style.”

“Aren’t you hiding me from him. My house sitter. My house mate. My coffee delivery boy.”

“I’m just trying to be tactful. Do you mind?”

“It depends on what you mean by mind. No. In fact I kind of find it a bit of a turn on to be your secret mistress. Especially when you’re keeping me a secret from a dashing millionaire playboy who is in turn keeping his own secrets. It’s like being in a soap opera written Escher.”

“At least I won’t panic with you beside me in a harness as my date. I can’t show up anywhere beside Jeremy as his date. Now where we?” Dan pulled Peter to him.

“About to hit the showers after my long exhausting cross country travels.” Peter said. “I can wash your back.”

“I hope they have enough hot water.” Dan dropped his shirt on the bed.

“I hope they have enough towels.” Peter followed Dan into the bathroom.

“If not I can use your jock straps to dry off with.”

<>

Quintex’s special showing of the 100 Years of Chamberlain was at the Cineplex on Trinity Drive. Invitation only. 

When Dan & Peter arrived the lobby was crowded with QTel executives. Baxter introduced him to the crew from the 100 Years. They were given bags of pop corn.

Jeremy as the executive producer of 100 Years said a few words about the production, about how much everyone enjoyed working on it, and how delighted he was to learn something new about the history of Canada. There was applause at the right moments.

He introduced John Kilpatrick who said pretty much the same things about how working with QTel was a great cognation of his history hosting Cold Canada. Then Winston Chamberlain said how was thrilled he was to share the magic the Chamberlains had created for the public over the last one hundred years.

The lights dimmed and the program started. After first few minutes Dan tuned out what he was seeing. If the calliope soundtrack volume was a little lower he might have fallen asleep. He sorted through his memories of the interviews, the pictures he had seen, the reports about death that summer, transient populations that summer, his family’s moves that summer. There had to be some connection he was missing. That everyone were missing. Or was there yet another piece to this puzzle.

His attention was pulled back to the show as the narrator said, “It was during the 80’s that the Carnival went though difficult times.”

He recognized the voice as Winston Chamberlain.

“Thanks to the popularity of video games, video movies, even video arcades – yes one could say Video tried to kill the carnival – attendance dropped off. We tried different themes each year. Some worked, some were unsuccessful but all were creatively satisfying.

‘In the summer of 1984 we toured the Tut-Mania side show.”

As Winston spoke there were home movie images of belly dancers, snakes, and the fake Tut exhibits. A sarcophagus with several mummies arranged around it, artifacts. “We dressed our tour guides as Cleopatra’s handmaidens.”

“That’s her!” Dan exclaimed aloud, then covered his mouth. It was the woman wielding the whip in his Dad’s photos. She was on screen for less than thirty seconds and never appeared again. 

The documentary came an end. It was more or less an advertisement for the Museum. The closing credits were so fast and cluttered he couldn’t see who at Quintex was the main researcher. He’d have to ask Stephanie is she knew.

“What did you think?” Cameron asked him as they left the theatre.

“Archival footage is always fascinating.” Dan said. “I always want more of that.”

“Makes them sound like one big happy family of saints determined to bring entertainment to the deprived people of the Maritimes.” Cameron said.

“What did you expect?” Stephanie asked. “It’s not an expose. We don’t do that sort of thing, anyway.”

“Unless there are children involved.” Dan said.

“Cold Canada is a different thing.” she said. “It digs for facts not conclusions.”

“Then the editors shape the facts to suggest conclusions.” Peter said. 

“At least they like to spread the blame around.” Stephanie said. “Legal won’t let us point directly at one person anyway.”

“Or Winston Chamberlain probably wouldn’t have been so eager to have this profile of the 100 years.” Dan said. “There was no mention of the hand-job maidens.”

“Was it you who said ‘that’s her?’.” Cameron asked. “Sounded like you.”

“Yes. I’m not sure but one of the pictures looks like a woman in one of the family photos I examined for the show. I can’t say for sure it was only on for a few seconds.”

“She’s significant in some why?” Stephanie asked.

“Perhaps.” Dan said. He hadn’t told anyone connected with the show about his Dad’s racy pictures.

“Our research department will have the original footage, so you can check with them for a better and perhaps more extensive look. The shows only use about twenty percent of the materials collected.”

“I’ll do that when we get back to Toronto. Let’s check out the exhibits at the museum.”

“We can check out the hand-job maidens.” Cameron said. 

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Buds of Early May 2022

A look at some of the Spring buds springing up – some were featured last month in Best Buds

https://topoet.ca/2022/04/08/best-buds/

hostas in the front box
dame’s rockets – both pink & white when it blooms
a tulip hidden in the forsythia bush – squirrels planted it
tiger lilies
bleeding heart growing in the composter
rhubarb
poppies
peony – will it bloom this year?
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