Photograph - Percy Band

A portrait photograph of Percy Band as a young man.

Marriage Certificate - Percy Carruthers Band and Margaret Julia Woodruff

A marriage certificate of Percy Carruthers Band of the city of New York, U.S.A. and Margaret Julia Woodruff of St. Catharines, Ontario, November 25, 1919. The witnesses are C.S. Band and M.S. Walker. The marriage is registered in St. George's Church.

Marriage Certificate Card - Percy Carruthers Band and Margaret Julia Woodruff

A marriage certificate card stating that Percy Carruthers Band and Margaret Julia Woodruff were married in St. Catharines with envelope which has the return address: James Carruthers and Company, Ltd., Grain Exporters, Produce Exchange Building, New York, November 25, 1919.

Metal Bar - P. C. Band, Toronto, Ontario

Metal bar, 2 cm x 6 1/2 cm, with the words "P.C. Band, Toronto, Ontario" engraved on it.

Indenture between Hamilton K. Woodruff and Margaret Julia Band

Indenture (Registrar’s printed Certified Copy) between Hamilton K. Woodruff and Margaret Julia Band. This is in regard to parcels and tracts of land in the townships of Sherbourne (no.367), registered June 14, 1926 and Stanhope (no.784) registered Jan. 28, 1926 in the Provisional County of Haliburton, Nov. 3, 1942.

Indenture between Julia Cleveland Woodruff and Margaret Julia Band

Indenture of Release of Dower between Julia Cleveland Woodruff of St. Catharines (widow of Hamilton K. Woodruff) and Margaret Julia Band of Toronto (wife of Percy K. Band). On Jan.28, 1926 Hamilton K. Woodruff granted and conveyed to Margaret Julia Band 1 acre in the Township of Sherbourne composed of Woodruff Island in St. Nora’s Lake opposite lot no.2 in the 1st concession of Sherborne, except the pine trees on the island. There were also 75 acres in the town of Sherborne composed of St. Margaret’s Island in St. Nora’s Lake. Julia Cleveland did not join in the execution of this conveyance but has agreed to execute this indenture in order to release her dower in said lands. Margaret Julia Band paid $1 to Julia Cleveland Woodruff to complete this transaction, Dec. 1947.

Letter Addressed to Robert D. Band from A.R.W. Jones

Letter addressed to Robert D. Band from A.R.W. Jones of the Personal Trust Department of the Royal Trust Company, Toronto listing the securities to be held by Mr. Band and his sister and brother, Sept. 5, 1961.

Announcement of Birth, Charles Woodruff Band

Announcement of the birth Charles Woodruff Band from Mr. and Mrs. Percy Carruthers Band of Hewlett, Long Island, Nov. 9, 1921.

Lock of Hair - Charles Band

Lock of hair from Charles Band – an envelope within another envelope containing Charles Band’s hair. This is from a haircut for Granny’s anniversary. The writing of the envelope says “Pussy’s hair” Nov. 21, 1922.

Letter to Mrs. Band from Jean Lambe

Letter and envelope to Mrs. Band of Toronto regarding Trooper’s pedigree. The letter is signed by Jean Lambe, Jan. 9, 1958.

Mailing Label to Mrs. P.C. Band from Rogers' Chocolates

Mailing label to Mrs. P.C. Band of Toronto, Ont. from Rogers’ Chocolates of Victoria, British Columbia, n.d.

Letter to Mrs. Percy Band from Donald E. Loker

Letter (2 typed pages) to Mrs. Percy Band from Donald E. Loker, former American History master of the DeVeaux School, Niagara Falls, New York. Mr. Loker is enquiring about Maria and Sarah Woodruff. Samuel DeVeaux was married twice. He married Maria Woodruff, and after her death in 1815, he married her widowed sister, Sarah Woodruff, 1962.

Percy Carruthers Band fonds, 1857-2005, n.d. (non-inclusive)

Percy Carruthers Band was born on November 27, 1892 in Toronto, Ontario to Charles Walter Band, a grain merchant and Jessie Camp Shaw Band. He graduated from Upper Canada College and became a broker. He worked at the Dominion Bank and then at Maple Leaf Milling Company. He was stationed at Port Colborne for a while. Before leaving for the front, he was with Bankers Bond Company of Toronto and is also listed as working with the firm of Bailey, Wood and Cross. Lieutenant Band received a Certificate of Military Qualifications on Dec. 24th, 1914. He received his Certificate of Military Instruction on Nov. 30, 1915. He received these certificates while with the 48th Regiment (Highlanders). He enlisted in 1914 and went overseas in August of 1915 as an officer in the 35th Battalion. By August 26, 1915, he is listed as being with the 23rd Reserve Battalion. A year later, in August of 1916 Lieutenant Band arrived in France and was posted to the 2nd Battalion – “The Second Iron”. In 1916, Band was the victim of shell shock received during a charge. He was wounded in April of 1917 at Vimy Ridge yet he remained on duty. At this time he received a gunshot wound to his right jaw. He earned a promotion to Captain on September 16th, 1917. He was wounded again in November of 1917 at Passchendaele where he suffered a gunshot wound to the ear. For his courage and determination Percy Band received the Military Cross on February 18, 1918. He led his company under difficult circumstances even though he was wounded. He was awarded a bar to the Military Cross for gallantry during a successful attack on two villages on December 2nd, 1918. During this attack he led his company against enemy machine guns. It is said that he displayed exceptional leadership qualities and skill during this time. On the 30th of August in 1918, he made a daring reconnaissance to the front under heavy fire in an attack on Upton Wood. He was also commended on his gallantry during attacks on Cagnicourt and the Canal du Nord in September of 1918. He was awarded the second bar to the Military Cross on February 1, 1919. The award of the Croix de Guerre was conferred on Captain Percy Carruthers Band by the President of the French Republic on December 15th, 1918 for distinguished service rendered during the course of the campaign. His general demobilization took place on April 25, 1919. Percy Band married Margaret Julia Woodruff on November 25, 1919, and they had three children: Charles Woodruff Band (1921), Margaret Elizabeth Band (1924) and Robert DeVeaux Woodruff Band (1927). After the war, Mr. Band was a manager at Geo. Weston Bread and Cakes Limited, St. Catharines. Percy Band was also an avid collector. His collections included antique toys and art. He died suddenly on May 19, 1961. The Toronto Telegram published this about him: “Captain Percy Carruthers Band, M.C. with two Bars, Croix de Guerre with Palm – was an officer whose buoyant spirit and gallantry mirrored the vibrant soul of the Battalion. Blythe of heart, yet endowed with a fine sense of responsibility, he gave inspired leadership of No. 3 Company.”

Spectacle and the one-man band : technology, performing bodies, and imaginary spaces

L’étiquette « homme-orchestre » est apposée à une grande variété de musiciens qui se distinguent en jouant seuls une performance qui est normalement interprétée par plusieurs personnes. La diversité qu’a pu prendre au cours du temps cette forme n’est pas prise en compte par la culture populaire qui propose une image relativement constante de cette figure tel que vue dans les films Mary Poppins (1964) de Walt Disney et One-man Band (2005) de Pixar. Il s’agit d’un seul performeur vêtu d’un costume coloré avec une grosse caisse sur le dos, des cymbales entre les jambes, une guitare ou un autre instrument à cordes dans les mains et un petit instrument à vent fixé assez près de sa bouche pour lui permettre d’alterner le chant et le jeu instrumental. Cette thèse propose une analyse de l’homme-orchestre qui va au-delà de sa simple production musicale en situant le phénomène comme un genre spectaculaire qui transmet un contenu symbolique à travers une relation tripartite entre performance divertissante, spectateur et image. Le contenu symbolique est lié aux idées caractéristiques du Siècle des lumières tels que la liberté, l’individu et une relation avec la technologie. Il est aussi incarné simultanément par les performeurs et par la représentation de l’homme-orchestre dans l’imaginaire collectif. En même temps, chaque performance sert à réaffirmer l’image de l’homme-orchestre, une image qui par répétitions est devenue un lieu commun de la culture, existant au-delà d’un seul performeur ou d’une seule performance. L’aspect visuel de l’homme-orchestre joue un rôle important dans ce processus par une utilisation inattendue du corps, une relation causale entre corps, technologie et production musicale ainsi que par l’utilisation de vêtements colorés et d’accessoires non musicaux tels des marionnettes, des feux d’artifice ou des animaux vivants. Ces éléments spectaculaires divertissent les spectateurs, ce qui se traduit, entre autres, par un gain financier pour le performeur. Le divertissement a une fonction phatique qui facilite la communication du contenu symbolique.