A Blueshirt believer shows his love for the visiting team at Montreal’s Forum on the Saturday night of February 4, 1989, when Guy Lafleur’s Rangers were in town to take on the local Canadiens. Stephane Richer (below, right) opened the scoring for Montreal in the first period, beating Bob Froese in the New York net. Lafleur put a pair of his own past Patrick Roy in the second period, though it wasn’t enough: Montreal prevailed 7-5 on the night. Bill McCreary was the referee; that’s him on the chase in the background.
(Images: Bernard Brault, Fonds La Presse, BAnQ Vieux-Montréal)
Fin: Guy Lafleur (on the right) on the ice at the Montreal Forum in the late 1970s alongside his long-time left winger, Steve Shutt. Quebec is honouring Lafleur with a national funeral this morning at Montreal’s downtown Marie-Reine-du-Monde Cathedral. (Image: Antoine Desilets, BAnQ Vieux-Montréal)
Sure Shot: Guy Lafleur scores the first goal of the game at the Montreal Forum on Saturday, October 27, 1979, beating Detroit Red Wings’ goaltender Jim Rutherford. Pierre Larouche looks on; he registered an assist on the goal, along with Larry Robinson. Montreal won the game by a score of 3-2. (Image: Armand Trottier, Fonds La Presse, BAnQ Vieux-Montréal)
“It’s what I wanted to do,” Guy Lafleur was saying in 1979 as his first LP made its way to market. Montreal’s Canadiens were coming off their fourth consecutive Stanley Cup championship that fall, so what better time, really, for their superstar winger to be releasing his debut disco/instructional album?
“It was a lot of fun to make,” said Lafleur, who was 28 that year. Lafleur! came in French and English versions, with six tracks on each, featuring the man himself offering rudimentary tips to a pulsing background laid down by the Montreal trio Toulouse. Or as Mike Rutsey, a Canadian Press writer put it:
Lafleur, whose vaunted slapshot will from now on ring to the chorus of shaboom, shaboom, has boiled the game he loves into four key ingredients — skating, checking, shooting, and scoring — and packaged it to the shuffa-shuffa disco beat.
“You can listen to it, enjoy it, and exercise,” Lafleur himself touted, “and everything on the record goes well with the music. The music is the big thing. It’s different and it’s a new method of teaching kids how to play hockey.”
I’ll take the French track-titles over the English: give me “Vas-Y” and “Y’a Rien Pour M’Arrêter,” you can keep “Face-Off” and “Power Play.” You can sample the whole (French) shuffa-shuffa for yourself here.
The vinyl was only part of the package: also included was an instructional booklet and a poster featuring a handsome, half-dressed Lafleur. For all that, pre-Christmas sales may not have been been quite what the hockey player and his people were hoping for. According to a Gazette column from November of ’79, a prominent Montreal record store reported that the 50 to 75 copies of Lafleur! that had been snapped up in the early days of its release had it lagging behind Bob Dylan’s latest (non-disco and only semi-instructional) offering, Slow Train Coming, which was selling by the thousands.
Class Time: Guy Lafleur signs autographs at Montreal’s École Victor-Rousselot in December of 1979. Earlier that week, Lafleur had scored his NHL-leading 22nd goal of the season against the Rangers in New York.
(Images: Pierre McCann, La Presse, BAnQ Vieux-Montréal)
On the Saturday that the Quebec Nordiques originally drafted Guy Lafleur, Thurso’s own 21-year-old Turbo scored the 22nd goal of his rookie season, the winning one in a 6-5 Montreal Canadiens victory over the Los Angeles Kings. The Nordiques were only dreaming, of course, that day in February of 1972, when 12 teams from the upstart WHA laid wishful claim to more than 1000 players from other leagues in North America and around the world. The Los Angeles Sharks took Montreal’s Ken Dryden while the team from Ohio, the Dayton Aeros, tabbed Bobby Orr. Along with Lafleur, the Nordiques’ fantasy team included his Canadiens’ teammates Jacques Lemaire and Pierre Bouchard, along with Toronto’s Paul Henderson.
By the time Lafleur did finally join the Nordiques, signing as a free agent in the summer of 1989, he was 37 and Quebec had migrated to the NHL. Having unretired the previous year to play for the New York Rangers, Lafleur turned down a lucrative offer from the Los Angeles Kings in favour of Quebec, where he’d played for the QJHML Remparts in his pre-NHL days, from 1969 through 1971.
Lafleur played two seasons for the Nordiques before he stowed his skates for a second time in 1991, playing against the Canadiens on ten occasions, registering two goals and three assists. The photograph here dates to Saturday, January 5, 1991, when Patrick Roy shut out Quebec 3-0 as Montreal got goals from Stephan Lebeau, Stephane Richer, and Russ Courtnall.
(Top image: Bernard Brault, La Presse, BAnQ Vieux-Montréal)
Lean In: Guy Lafleur scored 560 regular-season goals in his NHL career, and another 58 in the playoffs. In 1976-77, he scored 60 and in five other campaigns he scored 50 or more. And then there was his final year in junior, 1970-71, when he skated for the QJHL Quebec Remparts: he scored 130 goals in 62 games that season. The shot he’s loosing here was one he took at the Forum on Thursday, February 9, 1984. Lafleur scored a hat trick on Vancouver goaltender John Garrett before the night was out, though Montreal fell 7-6 to the visiting Canucks. (Image: Denis Courville, La Presse)
Minus Ten: Montreal’s Gazette is reporting this morning that Guy Lafleur has died at the age of 70. A colossus of the Canadiens cosmos, he played 14 seasons for Montreal before he retired in 1985. He made a return with the New York Rangers, with whom he skated for another season, and played a further two for the Quebec Nordiques. He won five Stanley Cup championships with Montreal, along with a cluster of individual awards: three Art Ross trophies, 2 Harts, a Conn Smythe.
“I’m an artist, a hockey fan, and a (fading) hockey player.” That’s how Anthony Jenkins describes himself these days. If you press him a bit on the artistry, he might add that, for all the painting that he does up near Orangeville, Ontario, where he lives, he doesn’t necessarily think of himself as a painter. “I’m kind of more of a drawer who paints,” he told me recently.
If his style seems familiar, it might be that you’re a regular Globe and Mail reader. For 39 years, Jenkins was on staff at the Toronto newspaper as an award-winning editorial cartoonist, illustrator, and sometime writer.
The scope and charm of his post-Globe oeuvre is on display at his website, over this way. For hockey fans, that’s also the best place to get to know and marvel at Jenkins’ collection of portraits of NHL Hall-of-Famers for which he uses working table hockey games for a canvas.
“My ‘Game Face’ series of paintings are intended as a homage to the idols of my youth,” he says of the ongoing anthology that he started in about 15 years ago. Subjects to date have included Guy Lafleur and Gump Worsley, Tim Horton, Wendel Clark, and Auston Matthews. His preferred canvas might be the old Eagle table-hockey game from the 1960s, but he also frequently works with Stiga games, which are Swedish-made. As far as he can determine, Stiga is the only manufacturer still producing table-hockey rinks on any scale.
Several of Jenkins’ hockey portraits have featured in gallery shows, including in 2019 at a hockey-minded exhibition at the Michael Gibson Gallery in London, Ontario, that also included etchings by Peter Doig, the photographs of DianaThorneycroft, and paintings by former Hockey in Night Canada broadcaster Brian McFarlane.
Some of those same works of Jenkins’ are available for sale (see, again, his website); he’s also glad, he says, to take on commissions, whether the subject excelled on NHL ice or is someone you know (aor are) who laces up to chase late-night beer-league pucks.
Earlier this year, Anthony Jenkins was good enough to collaborate on a Puckstruck Q+A. Our conversation, edited and condensed, is reflected in these answers to my questions.
On his background, in hockey and art:
I grew up in Toronto, Scarborough, played hockey as a young boy. I wasn’t particularly good. My first team was Baby Bunny Nuts — sounds pretty ferocious, doesn’t it? They were a firm that had hot-nut machines in grocery stores … so I played for Baby Bunny Nuts for a year.
I always wanted to be an artist and ended up being a cartoonist and later on, an artist. I dropped away from playing hockey and picked it up again as an adult. I’ve played pick-up hockey for years since.
Leafly: Jenkins’ own Auston Matthews.
On matching hockey portraits with hockey games:
The hockey game thing — I guess a friend of mine was painting on various kinds of toys and games, and one of them was a little tiny, almost palm-of-your-hand-sized, hockey game.
And so it dawned on me — I was familiar with the big hockey games, because I played them as avidly as a boy, and even in university. I thought, if you stand this upright, it’s a natural frame — I’m going to paint something on there.
I’m a face guy — I love painting faces — so I thought I’ll paint a hockey player on there. And then I found out: not so easy. Because your canvas has got slots and spikes sticking out of it, with mobile players. So it was more of a challenge to get an interesting pose that the slots didn’t interfere with. And that’s where the most work is, laying that out, designing how you’re going to paint it. Then once you do that, on goes the portrait.
I’d say I’ve done 30, at least. Mostly I just do them and then try and show them and sell them. Sometimes people call me and I’ll do commissions of their favourite guy: can you do a Gump Worsley? Absolutely. They’re a quirky thing, because, you know, most people wouldn’t put him on the living-room wall … it’s more of a man-cave thing. Some people can take them or leave them, but the people who like them, like them a lot. I like them a lot.
On materials and methods:
As far as I’m aware, Stiga is the only company still making table hockey games. I grew up in the as a kid in the ’60s, so I knew that the old Eagle games with the flat metal players. I’ve still got a few of them up on my bookcase, just as a memory. You can still get them on eBay, but they’re really hard to find, and they’re expensive.
The Gretzky games are from the ’80s, so the next generation, and they’re a little bit easier to find. I like them in that they’re big and solid, and they’re very white, so they’re the easiest for me to paint on. The Rocket one I painted, that’s the kind of game I had as a kid. I’ve done a couple of those, and they’re really quite nice.
Hull Yes: The Golden Brett in his St. Louis heyday.
What I do is I tape the rods up, inside, using hockey tape, so they can’t slip out. Otherwise a three-foot game becomes a six-foot game.
So they’re all taped in place. And the players come off and then I just start painting over top. I’ll paint out the area I need in white — I’m getting rid of lines and circles — and then I do a line drawing in grease pencil, because you’re drawing on plastic and a grease pencil works best. And then I paint over top of that. And then one thing I’m proud of doing is, I don’t just want to paint the player on the game, I want to integrate him, so I paint a lot of the lines and circles and ice insignia back into the image, so it looks like he’s kind of emerging from the game.
I paint in acrylic, which dries more quickly. It’s quite bright, too. And the idea is, what I trying to do, I’m not trying to reproduce a photograph. So the skin colour isn’t pink, and (say) the Leafs’ blue jersey is not just blue, I’ll get in some turquoise and some pink, and other shades. So, just visually, it’s interesting as well. I mean, it is a painting. It’s more than hockey memorabilia: it’s art.
Putting actual paint on the surface, it takes maybe 12 or 15 hours. Then you’ve got to factor in, I’ve got to go online and find the game, get it, then an hour or two (or more) just kind of plotting the layout, which is the hardest part.
It’s not necessarily the most creative part, but it’s the most important part. I mean, when I first started doing it, I thought, this is great. Then I’d paint a player onto the game and there’d be one of the game-rods sticking out of his eyeball, so I’ve just wasted 15 hours. I learned: planning is key.
Flower Arrangement: Guy Lafleur in bloom.
On Gump and JC:
The commissions have largely been of Toronto Maple Leafs. At first, I did strictly Hall of Famers I revered as a boy, Howe, Rocket, people like that, Tim Horton. And then later on, when the commissions came in, they were often people who’d end up in the Hall, like Yzerman. And then sometimes the oddball, like Gump. He was a character beyond hockey, of course.
It was polarizing. I had one show, in Etobicoke, I had two or three paintings there, including the Jesus one. And very quickly, the gallery curator said, We’ve got to take it down, we’ve got some complaints. I asked why, and it was, well, it’s blasphemous, mocking Christ. Well, no, I wasn’t. But it came down.
And then within a year, I was showing the same painting in Collingwood. They had a contest and I was up there and it turns out I won it. The judges said that they liked the physical application of paint, but they also liked the idea and the sheer bravery. So they got it. It’s a satire, or a sympathy, with suffering Leaf fans, not at all mocking anything.
There are painters … I’m kind of more of a drawer who paints. Painters, they start off with a pink blob, and then they refine the details, refine the details, until all of a sudden it looks like me or you. I do a drawing and then kind of paint it out and paint down until it doesn’t look like a drawing, it looks like a painting. So I’m kind of doing it in reverse. It works for me.
The Chosen: Awarded to players on Canadian NHL teams accumulating the most three-star selection over the course of a season, the Molson Cup has a history going back to the early 1970s. Montreal’s Canadiens still award it — Carey Price won it for the ninth time last season, 2019-20 — but do any of the other teams? I could be wrong, but I don’t think that they do. Here: the titlists for 1981-82. Clockwise from top left, they are: Dale Hawerchuk (Winnipeg), Michel Larocque (Toronto), Guy Lafleur (Montreal), Pat Riggin (Calgary), Wayne Gretzky (Edmonton), and Richard Brodeur (Vancouver).
Castle On Cabot Square: An architectural rendering of the Forum’s 1960s-era renovation.
It was 25 years ago, on a Monday of this date in 1996, that Montreal’s Canadiens took a final turn on the ice of the famous Forum. They beat the Dallas Stars by a score of 4-1, for the record, though the game itself was truly the undercard for the pre- and post-game ceremonies by which Canadiens bade farewell to the arena that was their home for 72 years and some 3,500 games. A crowd of former Canadiens was on hand that night, including 20 Hall-of-Famers. Guy Lafleur and Jean Béliveau were on hand for the game’s ceremonial opening face-off, and when Maurice Richard joined them at centre ice, the crowd stood and cheered for ten glorious minutes.
I was there that night, high up at the north end, Section 601, with the overflow press, near where they used to keep the ghosts. I won’t say that I was there under false pretenses, though it’s true that I may have stretched those same pretenses to accommodate my powerful need to witness and distill the history unfolding … I mean, Émile Bouchard was out there on the ice, for Gump Worsley’s sake — and of course Gump was there, too. Both Butches Bouchard, in fact, father and son!! Mahovliches, major and minor! Lach and Reardon and Moore, Henri Richard, Savard and Lapointe, Ferguson, Shutt, Dryden, Cournoyer! It was unbelievable.
I was freelancing for The Financial Post in those years, reporting for the paper’s arts section from several non-fiscal sectors — that is, I wrote book and movie reviews, travel features. The Post didn’t need me covering a hockey game, even a historic one, but I was able to convince my editor that the auction on the day after that Forum finale was enough of a business story to demand my presence. The Canadiens didn’t mind accommodating me — or if they did, they didn’t mention it. (The feature I filed is here.)
Ezra Soiferman was at the Forum that night, too, and he was toiling harder than I was. It may be that we passed one another in the halls as the old arena’s time as the home of the Habs expired; it’s possible. A Montreal filmmaker and photographer, he attended the game as a guest of Forum anthem-singer André Ouellet.
Soiferman took some 250 images as he wandered the arena that night. It wasn’t until 2016 that he collected some of them into a book, which he published privately to commemorate the 20th anniversary of Canadiens’ departure for the Molson (now Bell) Centre. Other than the cover image, below, and a photo of a Guy Lafleur greeting Ouellet, there’s nary a hockey player in it: this particular album is filled with last glimpses of fans and ushers, custodians and purveyors of chiens chauds, security guards, corridors, stairwells, seats, doorways, escalators, grey girders, and — yes — urinals. It’s an odd, honest, altogether charming chronicle of a venerable old arena on one night at the end of an era.
As It Happened: On the ice in 1957, Maurice Richard scored his 500th NHL goal with a slapshot, from 15 feet out, but by the time he and Chicago goaltender Glenn Hall were immortalized in wax in 1965, the Rocket had migrated into Hall’s crease.
The building was in a bedlam the moment the red light flashed. The crowd stood up, clapping hands and roaring acclaim. Programs were showered don on the ice. The Rocket’s teammates on the bench dropped sticks and gloves and stood up an applauded. The organ played “Il A Gagne Ses Epaulettes.” The Rocket himself leaped high in the air and landed on Jean Béliveau, who had fed him the pass that set up the goal.
* Dink Carroll, The Gazette, October 21, 1957
It was on a Saturday of this date in 1957 that Maurice Richard became the first player in NHL history to score 500 goals. The Chicago Black Hawks were in at the Montreal Forum that night, and the rink was packed with 14, 405 fans, as the biggest — and most expectant — crowd of the young season awaited the Rocket’s record-breaking goal.
Fifteen minutes and 52 seconds into the first period was when Dickie Moore passed to Béliveau’s at the side of the Chicago net and he found Richard in the slot, about 15 feet out. The Rocket beat Chicago goaltender Glenn Hall with a slapshot; Carroll said it whizzed. Once the bedlam subsided, Montreal went on to beat Chicago 3-1.
“That mark of 500 threatens to stand up as long as the Babe’s record of 60 home runs in a single season,” Carroll would venture in his Gazettedispatch. Ruth’s monument was, by then, 30 years old, and had another four years to run before Roger Maris got around to hitting his 61. Carroll was just a little off: Gordie Howe scored his 500th NHL in March of 1962, just over six months after Maris did his record-breaking deed.
Still, Richard was first, and for that — and because he was the Rocket, and this was Montreal — one of his rewards was to be immortalized in wax. This was later, 1965, when Tussaud’s Ville Marie Wax Museum opened at the downtown corner of Ste. Catherine West and Drummond, 12 blocks or so from the Forum. Glenn Hall was rewarded, too, as a supporting actor, though for him it may have felt more like penance, all the more so if he ever saw the display, above, as it would later appear to paying customers.
Richard himself dropped by the Museum before it opened to check himself out. He’d donated the uniform and skates his doppelganger; I don’t know where Hall’s gear came from. Fashioned in London from photographs by Josephine Tussaud, a descendant of the original Madame, waxy Richard got some final adjustments before meeting the public. Joining him and Hall in the museum were scenes featuring an array of the faux and famous, including Abraham Lincoln (at his assassination), Jesus (partaking of the Last Supper), Joan of Arc (at the stake), and Brigitte Bardot (just out of the shower).
Model Citizen: Another, modern-day waxen Richard, this one from the Musée Grévin Montréal, in the Centre Eaton in the city’s downtown, wherein an ersatz Guy Lafleur, Mario Lemieux, and Sidney Crosby keep company with Jacques Cartier, Céline Dion, and David Bowie.