Features
How Norman Stein, a long-time teacher in Winnipeg Jewish schools transitioned into an enventful career in the music business
By BERNIE BELLAN
In May 2021 I began what was supposed to have been a two-part story about the life of a man, Norman Stein, who left an indelible impression on so many Jewish students during his teaching career in the Jewish school system, which began in the 1950s and ended in 1967.
But – I’ve long been a procrastinator; it’s taken me over two years to return to Stein’s story.
Now 91, Stein left Winnipeg many years ago, but he still recalls his years teaching here – at the Talmud Torah, Joseph Wolinsky Collegiate, and the Rosh Pina Hebrew School, with great fondness.
When I published that initial story about Stein’s teaching career, which I began by delving into his childhood growing up first on Pritchard Avenue, later on Redwood, and finally on St. Anthony, I attempted to transcribe a line in Yiddish that I had recorded Stein as saying, but I mangled that line.
Here again is the anecdote Stein related about one time when he had wandered off on a Friday evening into the Ukrainian Labour Temple on the corner of Burrows and McGregor:
“Anyway, one Erev Shabbes – I was three or four, I snuck into the theatre and the manager asked me who I was looking for?
“I told him I was looking for my mommy. He said, ‘You just sit here’, and the next thing I know I’m watching the Priscilla Lane sisters playing tennis in their white shorts. I remembered that.
“The manager called me out and said, ‘Your mother’s here now.’ And I wondered, how could that be? because my mother doesn’t even know I’m here. I go out and there’s my mother and Mrs. Rubinfield, who ran a grocery store a few doors down, and had a pay phone – which they avoided using on Shabbes – but they called the police and the police asked, ‘Is there a favourite place he likes to go?’ and my mother said I like to go to the movies, so the police said: Maybe he went to the Labour Temple.’”
As Stein explained what happened next, when he was confronted outside the Labour Temple by his mother, Mrs. Rubinfield, and a “Bobby” who was with them, in addition to being scolded for wandering into the movie theatre, the Bobby added: “And you didn’t even pay”, to which, Stein said he answered (and remember, this is a four-year-old) – and this is the line I got completely wrong: “M’tur nisht trugen kein gelt oif Shabbes” – “You mustn’t carry any money on Shabbes.”
It may have taken me 26 months for me to correct that adulteration of the Yiddish language, but when I contacted Stein again recently to ask him whether he’d be willing to continue with the story of his Winnipeg years, the first thing he told me is how miserably I had failed in trying to transcribe that line.
Despite that very grave error, however, Stein did tell me that he quite enjoyed the May 2021 interview piece. I told him that piece also evoked a very strong and warm response from many of his former students and that many of them had told me they were very much looking forward to the sequel.
I ended the first part of my story about Stein by noting that, in 1966, he was involved in a very serious car accident when his car was rear ended by a truck. He said, “That’s a period I don’t remember well… I was in a coma for some time. I was a nervous wreck. My doctor suggested I go to some place relaxing, so I went to Hollywood.”
Thus began the next chapter of Norman Stein’s life, which we now take up here:
Stein was working for RCA Records in the A&R (artists & repertoire) department. One day a young, barefoot Black girl came in with a demo tape. She said her name was Natalie Cole (daughter of Nat King Cole).
Stein asked her why she didn’t take her demo tape to Capitol Records, since that’s where Nat King Cole had a recording contract? “She said she didn’t want to be attached to his apron strings,” Stein explained.
Apparently though, Natalie Cole was upset with Stein “and she stormed out of there.” I asked Stein whether there were any other memorable moments from his time in California, and he mentioned that he was still in the United States during the time of the Six-Day War in June 1967.
“The Israeli Philharmonic was touring in the States at the time and I did some PR for them. There was a celebratory concert at the Hollywood Bowl and the guest artist was Jack Benny.”
While he was still in California, Rabbi Witty, who was the then-principal of the Talmud Torah and Joseph Wolinsky Collegiate had phoned Stein and had asked him whether he would be prepared to resume teaching the humanities courses that he had taught to students in Grades 7-12 at JWC for years, including courses in the history of music and the history of art, philosophy, and library science.
I remember taking Stein’s course on the history of art. Part of the course was devoted to a study of architecture. Stein recalled how enthusiastic so many of the students in my particular class were when he gave us an assignment to “take photographs of sites in Winnipeg that would be comparable to some in Ancient Greece by the way they photographed.”
Stein did resume teaching those courses in the fall of 1967, but when he asked to take a leave of absence to attend various music conventions, Tamara Wiseman, who was the vice-principal of the Talmud Torah at the time thought that “it wasn’t fair to the students that I had to leave town to go to conventions to pursue a career in music,” and without even being given a chance to say good bye to his students, Stein was told that he should just “leave.”
I said to Stein that I had heard from someone by the name of John Einarson, who is arguably Manitoba’s foremost music historian – and who gave a brilliant presentation during a recent Jewish Heritage Centre event titled “The Soundtracks of our Lives” about Jewish musicians in Winnipeg through the years, that Einarson had worked for Stein at a time when Stein was selling records out of the back of Strain’s Camera Store on Portage Avenue.
I asked Stein whether he began doing that around the time his teaching career ended (in 1967)?
“We couldn’t get into Polo Park (because Polo Park wouldn’t allow a record store at that time) so we opened in the back of Strain’s (which was owned by the late Manny Wiseman. One of Manny Wiseman’s sons, Bob, went on to become one of the founding members of Blue Rodeo.)
“People were only going up to the camera department and we rarely got anyone coming into our section,” Stein observed.
In 1969, Stein made the move that was eventually to lead to a 10-year period when he achieved his greatest recognition in Winnipeg – with the opening of the famed Opus 69 record store.
“There was space above Clifford’s Ladies Wear “(at 412 Portage Avenue, the corner of Kennedy and Portage), Stein continued. (Cliffords was owned by Johnny Pollock. One of Pollocks’ sons, Harold, went on to become a renowned classical guitarist.)
Thus began Opus 69. Around the same time Stein became host of a nightly program on CKY FM called “Now Flower.” Randy Moffat was the owner of CKY at the time and he was so impressed with the program – and the number of different recordings that Stein was able to play that CKY “even put a console in Opus 69 with live broadcasting by a DJ between noon and 6 pm.”
I remarked that I remember well that second floor location for Opus 69 and how popular it was.
Stein suggested “that small location became the most popular record store in Winnipeg.”
In a 2016 article for the Free Press, John Einarson wrote about the huge impression Opus 69 made on music fans in Winnipeg when it first opened: “Once Opus 69 opened in the spring of 1969 on Kennedy Street just south of Portage, above an optometrist’s shop, it became my destination for music. Opus 69 specialized almost exclusively in rock music and had the most extensive selection in the city, including imported recordings, as well as listening stations to sample before you purchased.
“I remember the first time my friend and I did that, never having used headphones before,” recalls Grant Edwards.“We were busy yelling to each other until one of the workers asked us to please stop yelling as no one else in the store was listening to headphones.”
Unfortunately, while owner Norman Stein had great taste in records, his business acumen was wanting, and when Opus 69 moved to the more spacious ground-floor store on Kennedy north of Portage in the early ’70s it was under new ownership. However, it continued to boast a wide selection and knowledgeable staff.”
Around the same time that Stein was running Opus 69 he also had a company called “Campus Records Distributors,” which sold records to university bookstores across Canada. Campus Records was eventually bought by Deutsche Grammaphone.
As John Einarson noted, “Opus 69 moved to a new location on Kennedy Street (across from what used to be the Town and Country), but by the early 1970s Norman Stein was no longer the owner.” (He told me, during our interview, that he didn’t want to get into what happened with the business. Suffice to say that, by 1979, Opus was in receivership. Stein had long been out of the picture when that happened.)
Stein said that he remained in Winnipeg with his ailing mother until she passed, in 1980. Shortly thereafter, he moved to Vancouver. He did talk about his career in Vancouver, but I said to him that I preferred to keep the focus on Winnipeg.
Before our conversation ended though, Stein said he wanted to tell me one more story from his childhood – when he was about four. The story had to do with the quaint Jewish custom of “shlogn kapores,” during which on Erev Yom Kippur a chicken (or a rooster) is waved over one’s head and one’s sins are transferred to said chicken or rooster.
Here’s how Stein described how the ritual was practiced in his home – and what happened one year: “You have a tablecloth over a table, you take the live rooster and swing it around your head and say certain prayers from a Siddur (prayer book). When you do that you put the live rooster under the table, then you take it to the shochet for Yom Tov.
“Well, this rooster kept pecking at my wrists and hurting me but I was holding on tight, so I threw the rooster under the table. When I pulled it out, it had a limp neck. It was dead. I bawled my head off because it meant the rooster could not have absorbed all my sins. My mother was upset because she didn’t have a tarnigol (Hebrew for rooster) for Yom Tov.”
I asked: “Because it wasn’t slaughtered properly?”
Stein replied: “How could it be slaughtered? I choked it to death. It had an overdose of sins!”
I said to him that so many of his former students offered reminiscences, both in our newspaper and in the Facebook group “1950s and 60s Winnipeg Jewish Students”, about his having been their teacher, that I wondered whether he would be amenable to hearing from former students.
I mentioned to him that one of the contributors to that Facebook group was David Steinberg. I asked Stein whether he had ever had Steinberg as a student? That led him to tell this story:
“When I was teaching in the Rosh Pina Hebrew School the synagogue youth group had socials and David performed his jokes on stage. As I was teaching him, he knew, as an opportunist, that I had some connections with Chicago. He wanted to go to Second City – the famous comedy thing. He could not get in, but he could if he was a yeshiva student. So I wrote a letter to the yeshiva on his behalf and he got accepted into the Hebrew Theological College (from where Stein had also graduated) and, after that the Rosh Yeshiva said to me: ’So where is your David Steinberg?’ He disappeared after a while and Second City had rented in the Jewish community centre across the street from the yeshiva. I never saw him again until one year – it was around 1970, I went to Greenwich Village and saw a poster for a folk music group. At the bottom it said ‘opening act: David Steinberg.’
“A door opened and who comes out but David Steinberg? I said ‘Dudi?’ and he said, ‘Uh, your face is a little familiar…Oh yes, Norman, here’s my business card and we’ll have coffee in my private apartment ….and I never went to his apartment.”
I asked Stein whethe he would be amenable to my putting his phone number into this article so that former students could get in touch with him.
Although each time I’ve phoned Stein, we’ve had very pleasant conversations, I’m not sure whether he would have the stamina to engage in phone convesations on a regular basis with former students. Still, if he’s tired or preoccupied doing something else, I’m sure he would let anyone know. And, even though he says he has trouble remembering things, I certainly didn’t find that to be the case. Stein did say that he wouldn’t have any objection to my putting his phone number into this article, so here it is: 1-604-269-0961. Remember, he’s in Vancouver, so bear in mind the time zone that he’s in if you do plan on calling him.
Features
Every Rick Owens Sneaker You Should Know: A Complete Ranking
I’ve spent an embarrassing amount of time thinking about Rick Owens sneakers. Comparing soles in browser tabs at 2 AM, reading forum debates about leather quality across seasons. But it’s turned me into the person friends text when they want to know which pair to buy first — so at least it’s a useful obsession.
The thing about Rick Owens eu clothing is that sneakers are secretly the gateway. People see the draped jackets on the runway and assume that’s where Rick starts. For most of us, it starts with a pair of shoes that looked unlike anything else on the shelf. Here’s my ranking of every major silhouette.
Ramones: The Gateway That Started It All
If Rick Owens sneakers have a mascot, it’s the Ramones. Named after the punk band — these are Rick’s take on the classic high-top. Chunky rubber sole, waxed cotton laces, a toe cap that sits more forward than a typical Converse shape. The most recognizable silhouette in the entire lineup.
I recommend these as a first purchase to everyone. Easiest to style, most forgiving in proportion, and they age beautifully. Mainline leather runs $700–900. DRKSHDW canvas sits closer to $400–500 and works just as well daily.
Geobaskets: The Statement Maker
Take the Ramones, crank the volume up, and you get Geobaskets. Higher shaft, thicker sole, more visual weight. The proportions are deliberately aggressive — they look like they belong in a sci-fi film, and that’s the point.
Geobaskets are not a beginner shoe. The shaft height changes how your pants sit. They demand confidence. But if you’ve already got a couple of pieces from the Rick Owens collection and want to commit harder — this is the move. Leather pairs run $1,000+ and they’re worth it to the right person.
Abstract: The Low-Top That Actually Works
Rick’s low-top game was uneven until the Abstracts landed. These take the Ramones DNA — the sole shape, the toe box — and drop it to ankle height. Clean, sharp, unexpectedly versatile. I wear mine with cropped trousers in summer and they look as intentional as any designer shoe I own.
The Abstract solved a real problem: what do you wear when it’s too hot for Geobaskets but you still want that Rick silhouette? This. Browse the EU store during warmer months and you’ll see these sell fast.
Megalaced Runner: Where Rick Meets Athletic
When Rick started putting out runner-style sneakers, purists lost their minds. But the Megalaced Runner works because it doesn’t pretend to be a performance shoe. It takes the runner shape and twists it — exaggerated sole, dramatic lacing, materials that belong on a runway, not a track. The pick for someone who lives in sneakers but wants to graduate beyond Nike into something with more design weight.
Fogachine: The Platform Statement
The Fogachine is for people who’ve seen every other Rick sneaker and thought — “not enough.” The stacked platform sole is massive, borderline architectural. Closer to wearable sculpture than traditional footwear. I’ve tried them on and they’re surprisingly comfortable, but they require a very specific wardrobe commitment. If your closet is already deep into Rick Owens, they’re a natural endpoint.
Sizing and Mainline vs DRKSHDW
Rick Owens sneakers run about a full size large. A US 10 in Nike translates to roughly a 43 in Rick, maybe 42 depending on the model. Ramones and Geobaskets are the most generous. If you’re ordering from the official Rick Owens EU site, their size charts are reliable.
Every model comes in two tiers. Mainline is premium leather, made in Italy. DRKSHDW is the diffusion line — canvas, waxed cotton, denim — same silhouette, roughly half the cost. What nobody tells beginners: DRKSHDW is not a downgrade. Canvas Ramones develop a worn-in character that leather doesn’t replicate. If you shop Rick Owens online and see DRKSHDW — you’re not settling, you’re choosing.
Which One Should You Buy First?
Ramones. Always Ramones. DRKSHDW to start smart, mainline leather to start with a grail. Every other model builds on what the Ramones established. Once you own a pair, everything else in the Rick Owens EU clothing catalog makes more sense.
After that, the path is personal. Geobaskets for drama. Abstracts for warm weather. Megalaced Runners if you live in sneakers. Fogachines if you want to tower. Once you put on your first pair, regular sneakers start looking flat — that’s what twenty years of perfecting a sole shape does.
Features
Big Numbers, Small Print: Why Simpler Promotions Often Deliver More
Few things catch the eye more than a giant red sign advertising a 50% discount on a popular product. Just seeing it makes shoppers feel they’ve struck gold. However, experienced shoppers aren’t easily convinced, having seen many impressive offers shrink to next to nothing by the time they reach the checkout. The headline-grabbing number is rarely the full story.
Most of the gap between the advertised saving and the one found at the till comes down to the small print. Conditions, thresholds and expiry dates can all chip away at the discount. That’s why a modest promotion can sometimes offer better value for money, even if it doesn’t look as appealing on the poster.
Why Bigger Doesn’t Always Mean Better
Large discounts, cashback promises and bonus rewards are expressly designed to stand out. They are bright, bold and hard to ignore. Still, the advertised value doesn’t always translate into the same real-world benefit. A promotion is only worth what the customer can use, and the conditions behind it, not the headline figure, determine that.
Imagine two clothing stores on the same floor of a mall. One is offering a 30% discount on purchases over $200. The other offers 10% off everything with no underlying conditions. A shopper looking for a $60 pair of jeans will get a guaranteed $6 off at the second store, and nothing at the first. In this case, the smaller offer gives the customer greater value.
This doesn’t mean a smaller promotion is always best. A person spending $300 in a shop will get the better savings at the first store. When studying competing offers, the real question is which deal best fits the customer’s spending intent in that moment.
The Fine Print Behind Everyday Offers
Conditions are a part of modern-day promotions. Common conditions include minimum spending levels, limits on qualifying products and specific redemption windows. Others tie rewards to loyalty program membership or require extra steps before the reward unlocks.
Reward schemes are a clear example. A coffee chain might award loyalty points for every order, which customers can redeem for a free coffee on a future visit. A grocery store might add store credit onto a shopper’s loyalty card but tie it to a 30-day validity period. Both offers hold genuine value, but only if customers return.
Neither offer is unreasonable, as businesses need to manage costs while encouraging customers to return. But sometimes, having the extra condition makes customers pause and question what an offer is really worth.
Where Simpler Rewards Pull Ahead
When a promotion has few conditions, it holds an advantage over others because it is easy to understand. A straightforward discount or a free item with no extra steps before redemption leaves little room for confusion. Shoppers know what they are getting, and the reward’s value is clear.
This differs from an offer that requires shoppers to make two separate purchases, complete a mail-in form and then wait six weeks for a rebate cheque. The rebate reward might be bigger, but many people never get far enough to claim it because the steps are too confusing or too long-winded. When the offer isn’t claimed, the advertised value means nothing.
The same distinction is visible across digital entertainment. An online casino offering free spins, for example, often includes clauses such as wagering requirements. This means that any winnings that come from these free spins can only be withdrawn once their total value has been bet through a set number of times. Yet some casinos understand that an offer with no wagering requirements is a good promotion that carries real weight among players.
Even so, these promotions are often not free of all conditions. Many casino offers are restricted by caps on winnings, short validity periods and a limit on which games can be played.
Same Principle, Different Industries
Travel companies also follow a similar promotional pattern. A cheap city break in Vancouver or a discounted cottage stay may appear only on certain dates or may include a non-refundable clause. Blackout periods are also common, meaning the discount can’t be used during busy times.
Subscription services often go down a slightly different route, with a low introductory price that increases after a few months. Many tie the reduced price to contract length, meaning a longer contract comes with a lower introductory price. Bundling services is another way to reduce prices. However, the value only exists when the customer actually uses all of the services they buy.
Video games work similarly, with in-game currency and other bonuses available to players in exchange for a set number of daily logins or for completing certain challenges within the game. While the industries vary, the underlying concept remains consistent. Rewards are available, but the value depends on what the customer needs to do to get them.
Why Businesses Build Complicated Offers
Consumers often blame companies and come to the belief that promotions are designed to trip shoppers up. However, the truth is more practical.
Promotions also need to benefit the business. Minimum spend thresholds and loyalty point accrual encourage customers to fill their baskets before checkout or give them a reason to return. Similarly, limited-time offers prompt immediate action by creating a sense of urgency. These are normal marketing tactics, and when implemented correctly, they deliver real benefits to both parties.
When a program is well designed, customers can earn consistent rewards over time rather than relying on a large upfront discount. If the business can balance its offers with clear explanations of the conditions behind them, customers are far less likely to be caught out.
How to Weigh Up an Offer Beyond the Headline
A simple way to judge a promotion’s value is to ask a few basic questions. What is the advertised saving or reward? Does it have any additional spending requirements to unlock? Are there any time limits for claiming the reward? And does the shopper meet the eligibility requirements in the first place?
Then it’s important to look at what the offer actually is and whether it is something that will be used. An offer that pushes a customer to buy something they never normally buy doesn’t really represent a saving.
An offer on a music streaming service is only useful for someone who listens to music. For someone who doesn’t even listen to music, the deal has no value, even at a reduced cost.
Reading Past the Headline
Big discounts and rewards can be highly beneficial, but only when customers understand the difference between the advertised value and what they’ll actually receive. A 30% discount that goes unused is worth nothing, while a 10% discount that applies to every purchase can offer real savings.
Although simple promotions tend to offer greater clarity surrounding conditions, more complex promotions can still be beneficial, provided they align with the customer’s existing plans or spending habits. However good the offer may seem, it is essential to weigh the value against the cost of obtaining it.
Features
Arabs in the coalition – yes or no?
By MARTY GREEN The Jewish People are facing a moment of decision today which will define who we are for generations to come. Should we, or should we not, form a coalition government with the Arab parties?
There was a moment in our recent history where we faced a parallel question…or, if not in our actual history, at least in the historical narrative which defines us. I am talking about Leon Uris’s masterwork, “Exodus”. I read it as a teenager, and I can’t imagine that there are many Jews my age whose worldview was not fundamentally influenced by that story.
Our protagonist, Ari Ben Canaan, grew up close to the Arab village of Abu Yesha, where he became close friends with the mukhtar‘s son, Taha. Now, twenty years later, on the eve of the War of Independence, Taha’s father is gone and the young man is now the village leader. Arab irregulars have made themselves at home in the village, and are preparing there for the coming assault on Gan Dafna. Ari goes to see his old friend to ask for cooperation. (I am paraphrasing here:)
“You said we would always be friends.”|
“Times have changed. I am an Arab.”
“You are first of all a human being.”
“What do you expect me to do?”
“If you don’t rein in the irregulars we will have to attack Abu Yesha.”
“Is that what you want to do?”
“What do you expect me to do?”
The two are at an impasse. Then Taha speaks: “You said we were brothers, didn’t you? Well, if that is true, if you really meant it, then give me Jordana. Yes, give me your sister to be my wife; to bear my children…”
Ari’s fist shot out, sending Taha sprawling to a corner. He leaps up and instinctively grabs his knife and raises it towards Ari…
Now, let us pause in the telling, because I remember how I felt when I read this as a teenager. And I feel very differently when I read it today. Who was in the wrong? Was Taha in the wrong for demanding Jordana as a sign of brotherhood? Or was Ari wrong for responding with outrage?
I am all but certain that the answer to those questions is glaringly obvious to everyone who is reading here. And I am further all but certain that half of you choose Answer A and half of you choose Answer B.
Because that is exactly how the Jewish People appear to be divided on the question of whether or not to form a coaltion with the Arab parties who hold the balance of power. And the decision we make will have consequences just as far-reaching as the (fictional) decision made in the spur of the moment 80 years ago in the village of Abu Yesha.
Ari stood there dumbfounded by what he had done, unable to find the words to explain. But Taha understood perfectly well.
“Never mind”, he spoke. “You’ve told me everything I need to know. Now get out of my house, zhid!”
(It happens that the only copy of Exodus in my possession is an old samizdat version from the Soviet Union, kindly given to me many years ago by an elderly Russian immigrant. I couldn’t resist the chance to offer Taha’s final words using that particularly expressive insult from the Russian original. It also explains why my quoted passages are inexact, having passed from English to Russian and back again.)
And what is my point with all of this? It is the question of whether we should offer the Arab parties a place in the coalition government. From reading the online discussions, it is quite clear to me that we are just as divided on this question as we are on the Exodus question…should we or shouldn’t we. And each opposing side is equally vehement in the certainty that they are right.
What I can tell you for sure, is that if we make the choice which I fear, it will be just as it was between Ari and Taha. |If we manage to cobble together a coalition of parties that have nothing in common except a determination to keep 20% of our population out of the seats of power, we will have told the Arabs everything they need to know. I can only hope against hope that Eisenkot has the courage to do the right thing.
Ed. note: If you don’t remember this scene from the movie, that’s because it was only in the book.
