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
EINSTEIN, RITA AND ME
By DAVID R. TOPPER In the early 1960s, when I was an undergraduate student majoring in Physics at Duquesne University in Pittsburgh – there was only one girl in my advanced physics classes. As I learned later, nothing much had changed since the days of Einstein. When he was studying Physics at the Polytechnic in Zurich, the physics classes were all male – except for Mileva Marić, a Serbian who was the first girl in high school ever to take a physics course in the entire Austro-Hungarian Empire. Because Switzerland was the only place where women were admitted to university classes, she was there with Albert in Zurich.
She was very smart, especially in math, and also proficient at the piano. Born with a dislocated hip, Mileva had a slight limp, and the men in the class ignored her – except for one, Albert. They became a couple and eventually married.
Back to me in my university physics classes – where it seems that little had changed for over sixty years. In my advanced classes there was only one girl. Her name was Rita. She mainly stayed to herself. Majoring in Mathematics, she took all the advanced physics courses available, right through the fourth year. In short, in those predominantly male classes, she was an anomaly – alone and ignored by her classmates.
Except me. No, I didn’t date her, yet I didn’t ignore her. During those undergraduate years, I lived at home and took a bus or a trolley to school five days a week, leaving early in the morning. The university is in downtown Pittsburgh. Walking to the campus, I first went to the Physics Department, using it as my base. From there I went to my other classes during the day. There was a small classroom in the Department that was almost always empty, especially in the morning. It could be used for individual studying or small group discussions and such. In the early morning, I was usually the only one there – except for Rita, who used it for studying, too. She often was there, even before me. Usually the conversation started by me saying something like: “Hi Rita, did you get the last problem in mechanics class homework?” Her response was invariably, “Yes.” We would go over it, with her finding my mistakes. We had an amiable relationship that never went beyond our interactions about physics – right up to the end of our university years. As far as I can remember, I don’t think I knew much about her beyond the classroom.
But one event, which I’ll never forget, stands out. It was during our last year of classes in a course on the theory of relativity. For the textbook the prof used a paperback edition of the original papers on the theory. Early in the course, we went through Einstein’s first paper of 1905 – step by step. On this particular day, the prof came in and said he had a problem with the next step in the paper. As we all sat with our books in front of us, he pointed to a certain equation where we ended in the previous class. In the next sentence, Einstein says that such and such follows. The problem for the prof was that he didn’t know how Einstein got that deduction. I looked at it, and didn’t have a clue either.
Just then, Rita’s hand went up. She said she thinks she knows how Einstein got it. The prof asked her to come up to the blackboard and show him. Rita did, and the prof said that she was right. I’m quite sure that – then and there – Rita got an A in that course, if not an A+.
That gives you some idea about Rita and my relationship with her at the time. Not a very significant part of my 4-year undergraduate years – except for this one event in a physics course.
Why then am I bringing this up now, so many years later? Here’s why.
I graduated with my BS degree in the fall of 1964. I then went to graduate school at Case Institute of Technology in Cleveland, majoring in Physics. (It’s now Case-Western Reserve University.)
When I moved there, I lived in a formerly swanky hotel on the edge of the campus, which was purchased by the university as a residence solely for graduate students. They called it The Graduate House. Eleven floors, the top 8 with suites for students, with one floor solely for female students. It was a radical experiment in co-ed living for the time.
My first day there, after getting my room and putting my things in drawers and so forth, it was late in the afternoon – and I was hungry. I had been told when I registered that the dining hall would open the following morning, but for now there was no food. However, on the third floor there were vending machines with sandwiches and such, so I went to find them.
Going down the elevator, exiting at the third floor, and walking down a hall – suddenly I heard my name called. “David, what are you doing here?” Turning around – there was Rita! It was quite a surprise for both of us. This tells you how minimally we interacted before; not even knowing that we both were going to the same graduate school.
I told her that I was majoring in Physics at Case. She, of course, was majoring in Math. After a chat about all this, I said that I was looking for the sandwich machines. She said that there was a diner nearby, and she was going there for dinner with someone else she had just met so I went, too. Thus, Rita and I reunited in Cleveland, now living in the same building.
In a short while, I made friends with a group of people in the Graduate House with diverse majors. Some were in various sciences, others in humanities. It was a lively group, with animated discussions on a range of academic topics, including politics, especially as the Vietnam War became the center of the news in the USA.
Rita was not a part of that group, but I did often see her. Being the eager student that I was, I was up early, getting to the university to study in the library before classes started. Coming to the dining room for breakfast, not long after it opened, I often saw Rita, too – all alone in a far corner. I took my tray and we had breakfast together. Except for that morning ritual, I seldom had any interactions with her.
Thinking about this now, I find the parallel morning rituals (first in Pittsburgh and then in Cleveland) a fascinating serendipitous episode in my life. The difference was that in Cleveland, we were not taking the same courses so we didn’t have to compare solutions to homework. We did talk about our respective courses, and interestingly a parallel appeared. By around mid-term of that first year in graduate school, we both were less than enthusiastic about what we were learning and, accordingly, were both thinking of not carrying on in our respective subjects.
For me it was Quantum Mechanics and the impossibility for us to know reality in itself. Everything was statistical, uncertain and almost esoteric. I found the uncritical attitude toward this world-view to be almost religious in nature. (I only learned later that Einstein felt the same way!)
For Rita, it was the same, despite the different fields. The math now was far beyond basic geometry, algebra and calculus. Topology, Group Theory, Galois’ Theory, and more – all culminating in Gödel’s Theorem, which asserts that all mathematical knowledge is inherently incomplete. It all was too esoteric for her. She knew that she was not going to get a PhD in mathematics.
We commiserated together, with another parallel in our unusual relationship, but with a difference. I still wanted to get my Master’s Degree and somehow still go on to get a job as a professor – that had been my goal in life ever since my first semester at Duquesne. Rita, however, was thinking of dropping out immediately and leaving university life altogether.
For me, this problem was resolved in my second year of Physics at Case, when I took a course taught by Martin Klein. Although he was a physicist in the Department, for many years he no longer was doing research in it. Instead, he was writing papers on the history of the subject – mainly involving Einstein, Boltzmann, Gibbs, Ehrenfest and others. Today those papers are paragons in the field. It was my extremely good luck that the department permitted him to teach such material for the first time.
I loved the course. I was enthralled by the topics – this was the way I wanted to learn physics, through its history. After getting my Master’s in Physics at the end of that year, I moved across campus to the History of Science Department. In another four years I had a PhD in the subject.
Back to early 1965: I tried to talk Rita out of dropping out, but she was adamant. The kicker was this: she really preferred numbers with $$$$ in front of them. Yes, she wanted to be an accountant. She didn’t want to waste any more time here, when she could be home getting her accounting credentials. As I recall, sometime before the spring of that year she went back to Pittsburgh. I’m sure she had an easy time getting her accounting licence and all that went with it. As she was very smart. My guess is that she was an excellent accountant and was very successful in that career.
I have no way of knowing. We didn’t keep in touch (honestly, I don’t know why not) and I can’t even remember her last name. All that I can recall is what I’ve written here. Nonetheless, I find these two interactions between Rita and me an interesting and pleasing tidbit about life and relationships – so much so that I deem it worthy of repeating here.
David R. Topper writes in Winnipeg, Canada. His work has appeared in Mono, Poetic Sun, Discretionary Love, Poetry Pacific, Academy of the Heart & Mind, Altered Reality Mag. and elsewhere.
His poem Seascape with Gulls: My Father’s Last Painting won first prize in the annual poetry contest of CommuterLit Mag – May 12, 2025.
Features
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Bonuses remain an important factor when choosing the best online casinos in Canada. A trusted online casino Canada option should offer clear promotional terms and valuable rewards that enhance the overall gaming experience. The best Canadian online casinos often include a range of offers, such as:
- Welcome Bonuses
Initial rewards for new users after registration and meeting deposit requirements.
- Deposit Match Bonuses
Extra funds added as a percentage of the deposit amount up to a set limit.
- Free Spins
Complimentary spins on selected slot games, giving players additional chances to enjoy popular titles.
- Cashback Offers
A percentage of eligible losses returned during a specific promotional period.
- Reload Bonuses
Additional promotions available for existing users on selected occasions.
- VIP Rewards
Exclusive benefits, bonuses, and loyalty incentives for regular casino users.
Bonus Terms to Know
Before claiming any promotion at the best online casinos Canada, it is important to understand the conditions attached to each offer. Reviewing these details helps users choose an online casino Canada option with fair and transparent bonus rules. Key terms include:
- Wagering Requirement (Rollover)
The number of times bonus funds must be played through before withdrawal (for example, 35x).
- Game Weighting
The contribution different games make toward rollover requirements, with slots often counting at 100% while some table games may contribute less.
- Expiry Window
The time limit available to complete bonus requirements, which may range from a few days to several weeks.
- Max Bet Limit
The maximum stake allowed while using active bonus funds.
- Eligible Games & Deposit Rules
The games that qualify for bonus play and any minimum deposit requirements.
Responsible Gambling
Responsible gambling should always be a priority when using the best online casinos Canada. Real-money gaming should be treated as entertainment, not a source of income. Reliable Canadian online casinos offer tools that help users manage their activity and maintain healthy gambling habits. Key responsible gambling practices include:
- Deposit & Loss Limits: Set spending limits to control your gaming budget.
- Session Timers: Monitor playing time and take regular breaks.
- Self-Exclusion Tools: Temporarily or permanently limit account access when necessary.
- Avoid Chasing Losses: Play within your limits and make informed decisions.
Final Thought
Choosing the best online casinos Canada involves more than searching for the biggest bonuses. Reliable withdrawals, quality game selections, secure payment methods, mobile compatibility, and fair bonus terms all contribute to a better online gaming experience.
Among the reviewed options, Wild Tokyo, Lucky7, Slots Gallery, Boho Casino, and BitStarz stand out as some of the best Canadian online casinos for different preferences. Whether you prefer diverse casino games, rewarding promotions, or flexible payment options, these sites offer different experiences to suit Canadian players in 2026.
Frequently Asked Questions
1. What are the best online casinos Canada players can consider?
Canadian users can consider Wild Tokyo, Lucky7, Slots Gallery, Boho Casino, and BitStarzamong the best online casinos Canada for bonuses, game variety, secure payments, and reliable gaming experiences.
2. Are online casino winnings taxable in Canada?
No, online casino winnings are generally tax-free in Canada for recreational players, as the CRA does not consider gambling proceeds as regular earned income unless pursued as a full-time business.
3. What is the fastest withdrawal method for Canadian players?
Cryptocurrency (Bitcoin, Ethereum, USDT) and e-wallets like MuchBetter offer the fastest cashout speeds, often processing within 0 to 24 hours compared to traditional bank wire transfers.
4. Can I deposit directly using Canadian Dollars (CAD)?
Yes, top online gaming destinations support CAD transactions directly through credit cards, bank transfers, and e-wallets, helping Canadian players avoid unnecessary currency conversion fees.
5. Are mobile casinos popular in Canada?
Yes. Mobile gaming continues to grow, and most leading casino sites provide fully optimized access through smartphones and tablets.
Features
How to read fixed, daily, and progressive jackpot labels at Betscore Casino
Modern casino lobbies feature distinctive jackpot tags designed for easy recognition across various game tiles. Browsing through Bet Score, you will see that the platform uses a consistent system to present fixed, daily, and progressive jackpot displays. This brief guide explains how these labels are typically formatted, offering visual cues so you can confidently interpret each jackpot category. Betscore Casino presents these markers in a clear and recognizable way.
Across the lobby, jackpot labels act as immediate visual indicators that separate one game’s prize structure from another. These tags use bold text, simple icons, and standard placements, which makes scanning for your preferred jackpot type quick and intuitive. While game tiles may share basic design language, the wording on a label—along with visual styling such as meters or timers—lets you know at a glance whether a jackpot is static, day-specific, or incrementally building. Familiarizing yourself with these UI elements helps you compare options in Betscore Casino without clicking through each game panel. Understanding the visual symbolism of these badges saves time and keeps your focus on how casino interfaces communicate essential details about their jackpot mechanics.
Decoding fixed and daily jackpot displays in casino lobbies
When you spot a “Fixed” jackpot label in the lobby, it indicates a set prize amount displayed the same way every time you encounter it. This number stays constant, appearing directly on the game’s tile or badge and often repeating on the game’s detail page, to minimize ambiguity. The layout generally favors a clean, uncluttered presentation, with the static number supported by an icon or highlighted term that reinforces its status as unchanging. In Betscore Casino, these design choices create a straightforward reading experience where the fixed amount sits front-and-center beside the badge, making it easy to identify among multiple game tiles.
For “Daily” jackpot displays, the interface uses visual cues to highlight the time-based nature of the prize. You’ll often see the jackpot label paired with a reference to days or a timer-style icon, sometimes in the form of a calendar symbol or a clearly defined time window. These elements are usually grouped with the label and placed at the top or side of the tile so you can instantly tell that the jackpot is awarded on a daily basis. The combination of wording and visual accompaniments ensures that the daily structure stands out. This consistent tagging makes daily jackpots particularly easy to sort when scanning the available offerings.
How progressive jackpot meters stand apart and quick display checks
Within the lobby, “Progressive” jackpot labels are closely linked with animated or meter-style visual treatments. The jackpot amount is shown as an ever-increasing figure, typically larger or highlighted in a contrasting color, to draw attention to its dynamic nature. Often, the progressive badge sits beside or above this meter, so the relationship between label and rolling number is obvious and direct. In Betscore Casino, this design philosophy visually distinguishes progressive jackpots from fixed or daily options at a glance, creating an immediate sense of anticipation around the changing prize amount each time you browse the lobby.
When identifying jackpot types quickly, three main cues make reading the tags straightforward. Fixed jackpots always feature a stable, non-animated number next to their badge, keeping things simple and clear. Daily jackpots consistently add a day-based timeframe indicator, which could be text or a countdown, usually positioned close to the label for easy association. Progressive jackpots, by contrast, are marked by a running total or animated meter, making them stand out as prize amounts increase. Paying attention to these conventions, you’ll find it much easier to compare options and navigate the jackpot categories provided with confidence and efficiency.
