
When I was in junior high school in the late eighties, I remember I used to have to take a bus, a subway, and another bus just to get there. I have no idea why my parents registered me in a school in the Northwest part of Toronto. Perhaps it was to get me out of Parkdale, a neighbourhood in the west end which, at the time, was a high-crime area with schools that were more devoted to ESL than accommodating Canadian-born children.
Most of the kids I met at Winona Drive Public School, went on to the high school right nearby, Oakwood Collegiate, a Secondary School located in Toronto’s other Little Italy on St.Clair. My homeroom teacher, who also taught English, was a very patient, encouraging fellow, who was impressed with my reading and writing skills with sufficiency that he recommended me to the advanced enriched program at the prestigious Northern Secondary School in Toronto’s rather affluent Eglinton East and Mount Pleasant Road area.
Sadly, his assessment of my academic skills were based upon my proficiency with the English language and my performance in homeroom. When the first report card came, revealing my marks in Science, Mathematics, French, and all the other subjects I spent the majority of my time not paying attention to, my homeroom teacher quietly withdrew his recommendation. In hindsight, I can see now the flaws of the education system, which seeks a well-rounded student who is competent in all areas, but has no contingencies for somebody who is specialized in only one.
I recall writing a short story that year as an assignment, complete with illustrations, that was so loved by the principal that he asked me if he could keep it in his office as a means of showing the parents of prospective students to the school, just what kind of talent they attracted.
But, as I say, the skill of manipulating the language of my mother tongue was, it seems, the only one sufficient that my benevolent creator deemed necessary to endow me with, for I struggled in nearly all other areas. At Winona, one was encouraged to learn a musical instrument, mainly because the school was more of a supplier of talent to Oakwood Collegiate’s renowned musical program, than it was a vessel for learning.
The head of the music program for Oakwood at the time was Graham Wishart, a respected and venerated man who attracted talent from all over the city of Toronto, and broadened the horizons of young aspiring musicians with trips to far-flung regions of the world to perform, such as the trip they took to China in 1986.
I met Mr.Wishart in my freshman year in high school, but only by accident. I needed to take an easy credit, so I entered the “vocal arts” program, a fancy term for the school choir. Don’t be so quick to laugh. I won an award that year for being the best student in that class, as I was blessed [or cursed] with a late puberty that facilitated a high tenor which at times I could transpose to alto. He was a striking figure, with a mop of white and wild hair, contrasted by large, bushy black eyebrows which presided over eyes that would remain transfixed on the person with whom he was speaking.
Mr.Wishart approached me one time in the music room and asked me what musical instrument I played. I replied that I played no instrument, but that I sang in the choir. He requested my hand for a moment, and after a brief hesitation, I gave it. He turned my hand over in his several times, stroking his finger over my sinewy veins, as he studied it.
“Cello”, he announced. “You have the hands of a cellist.”
I was doubtful, mainly because I had already tried to learn the Cello, and was a terrible student. But I said nothing.
Graham Wishart would later go on to become ensnared in a scandal of sexual assault on the prodigal music geniuses in the program. He invited them up to his cabin in the woods, which students saw as a special honour, but he betrayed that trust and honour by drugging and violating them. For a man of his reputation, it was an incident that shook the very city.
I never wanted to be a musician, any more than I wanted to speak French, do my sums, or dissect frogs. When I was at Winona Junior High, I chose the trombone to learn. But unlike many of the children who had been practicing for years, I knew nothing about the trombone, or the first thing about how to use it.
The music teacher delegated the task of learning this instrument to the other trombone players in the class. It was understandable. When you have thirty children who are already at a competent level of performance in their instruments, the last thing you want to do is spend some one on one time teaching somebody the basics. Unfortunately for the teacher’s theory, it was the last thing that my fellow trombone players wanted to do either.
So what was a fourteen-year-old kid to do, faced with a class every day in which he received no instruction, but was required to attend? I did what any other person would probably would have done in the same situation. I faked it.
I moved the trombone arm up and down, I puffed my cheeks in and out, and I made serious faces. Using my peripheral vision, I would mime the movements of my classmates, and as the months went by, even though I was no more learned in my craft, I had perfected the art of mimicry. I was the best damned fake musician that school had ever seen.
Everything was going quite swimmingly. I was getting the marks I wanted, while the teacher wasn’t forced to bother teaching me anything. And all that’s well may have ended well, if not for a little snag. Winona was to perform a musical concert in a nearby church, and as a part of the orchestra I was asked to perform. To make matters worse, the other trombone players were sick, save for one.
There was no way that I would be able to go up there and fake my way through a public concert with just one real trombone playing. But admitting now to the teacher that I had been perpetuating a fraud for an entire semester did not seem to be an option. Nor did I have the wherewithal to excuse myself from the concert with a sudden case of the German measles.
In the end I decided to do the only thing I thought I could. I showed up with the instrument I didn’t know how to play, sat up on that stage with the orchestra, and did my best to blow into that brass mouthpiece as I mimed the movements of my sole mentor. All the panic I had manifested in my imagination came to nothing. The symphony was so loud that my off-key explosions of trombone flatulence wasn’t noticed by a soul in the audience. I took my bow, and happily retired the instrument to the long list of things I don’t ever want to touch again.
That memory, however, stuck with me throughout the rest of my life. There have been many times when felt like I was back on that stage, pretending to know what I’m doing, always afraid I will be found out as being a fraud, ever fearful that I will be exposed for being anything less than what I claim to be. Alas, though I may wish to play sweet music for your ears, I’m afraid words will have to suffice.