A Brief History of Canada's Iconic Hudson’s Bay Blanket

Jessica via Flickr // CC BY-NC-ND 2.0
Jessica via Flickr // CC BY-NC-ND 2.0

The Hudson’s Bay Company blanket may appear to be a fairly plain household item, but it’s perhaps the most remarkable blanket in the world. The off-white wool patterned with slender stripes of green, red, yellow, and indigo played a vital role in how modern Canada came to be—and it's still for sale today.

The Hudson’s Bay Company is now a well-known retail group that claims to be the oldest company in North America, and it includes Saks Fifth Avenue and Lord and Taylor among its department stores. But as far back as 1670, the company, then under royal charter from England, operated as a fur trading business, pioneering the exploration and settling of Canada. In many of the farther regions, the Hudson’s Bay Company was the effective government of the vast territory, and was at one point the largest landowner in the world, controlling approximately 15 percent of North America.

And it was the striped Hudson’s Bay Company point blanket that helped pioneer the way.

According to the official company history, blankets had been taken to Hudson Bay as trade goods as far back as 1668. But it was in 1779 that the Company first commissioned the English textile mill of Thomas Empson in Oxfordshire for “30 pair[s] of 3 points to be striped with four colors (red, blue, green, yellow) according to your judgment.”

The durable and warm blanket was prized by the early fur traders, miners, and prospectors. “I have in my possession,” wrote one such explorer, “one of a pair of blankets which I purchased in your store 30 years ago this month … packed north all through the mountains and received some of the roughest usage that any fabric could possibly survive. I could not truthfully estimate how many tons of river gravel was dumped onto it and washed in our attempts to find gold.”

But more importantly, the striped blanket proved highly popular with the native inhabitants of Canada. Easier to sew than bison and seal skins, and much quicker to dry, the blankets provided superb insulation during the harsh winter months. Often the blankets were converted into winter coats, known as “capotes.” As fur trade increased, it was the striped blanket that often paved the way for the early relationships between the company adventurers and the native tribes, and it was often traded for beaver pelts.


Steelbeard1 via Wikimedia Commons // CC0 1.0

As well as the traditional stripes, the iconic blanket was also known for its “points”: a series of thin black lines located just above the lower stripes. These “points” were not, as is sometimes commonly believed, an indicator of how many pelts the blanket was worth in trade, but an easy-to-read measurement of how large the blanket was. When folded, the lines, or “points” would be displayed, easily indicating the exact size of the blanket. The term stemmed from the French empointer (to make threaded stitches on the cloth). According to the company’s specifics:

A full point measured 4 – 5.5 in.; a half point measured half that length. The standard measurements for a pair of 1 point blankets was: 2 ft. 8 in. wide by 8 ft. in length; with a weight of 3 lb. 1 oz. each. Points ranged from 1 to 6, increasing by halves depending upon the size and weight of the blanket.

As the lucrative fur trade expanded into Canada, with an increasing number of trading posts, forts, and settlements, the highly prized point blanket became a primary trading commodity. Demand was so great that production back in England was expanded to the A.W. Hainsworth Company in Yorkshire toward the end of the 18th century. Their wool was known for being well-made and had been used in everything from billiard tables to the felt on piano hammers. Still made there today, Hainsworth is so prestigious, it was worn by both Prince William and Harry at the 2011 royal wedding.

By the 19th century, the Hudson’s Bay Company had evolved into a vast mercantile retail empire, often transforming their frontier trading posts into general stores, catering to—as their official history put it—“one that shopped for pleasure and not with skins.” Today the company is one of the oldest existing in the world, and still bears the distinctive colored stripes on some versions of its logo.

Despite its iconic status, the blanket is not without controversy. Disturbing claims have accused British administrators in North America of using the Hudson’s Bay blanket to spread smallpox among the native tribes as the British Empire expanded further into Canada. General Sir Jeffrey Amherst, commander of the British forces in North America during the Seven Years War, suggested in a letter to one of his colonels that the deadly pox might be introduced to the local population, and the colonel’s reply put forward the horrific idea that it could be conveyed in blankets. But according to their official history, “Hudson’s Bay Company had nothing to do with the story of the use of smallpox as biological warfare.” Complicating matters even further, while there was an outbreak of smallpox in native communities the following spring, the disease was already present in those areas before Amherst’s letters, so it’s unknown if he actually went through with the plan or merely mentioned it.

These days, the distinctive stripes can be found on everything from iPhone cases to golf balls to beach chairs. But the blanket itself is still for sale, looking much as it did when the original orders were placed in London over 230 years ago, paving the way for the birth of modern Canada.

The Time Baby Ruth Sued Babe Ruth

Allsport/Hulton Archive/Getty Images
Allsport/Hulton Archive/Getty Images

In 1920, the Curtiss Candy Company introduced the Baby Ruth candy bar, causing a certain baseball player with a very similar name to take notice. Babe Ruth was having a monstrous year—his 54 home runs in the 1920 season were more than any other team in the American League. If you were going to misappropriate someone’s name for a candy bar, Ruth’s was a logical choice.

Sensing opportunity, the Great Bambino struck back by creating his own Babe Ruth Home Run Bar. Curtiss quickly sued Ruth’s company for trademark infringement. But what happened next was surprising: When the Sultan of Swat accused the company of using his name, Curtiss feigned shock. Its bar was named after “Baby” Ruth Cleveland, daughter of President Grover Cleveland.

For years, this has been the oft-repeated explanation, but the argument makes no sense. Cleveland had been out of office for more than two decades and dead for 12 years when the bar debuted. “Baby” Ruth herself had died of diphtheria in 1904, at just 12 years old. Although the country’s most famous baseball star would seem much more likely to have a namesake candy than a former president's departed child, the courts sided with Curtiss.

When Ruth learned of the verdict, he bellowed, “Well, I ain’t eatin’ your damned candy bar anymore!” Somehow, the Baby Ruth bar survived without his support.

What Is the Wilhelm Scream?

iStock
iStock

What do Star Wars, The Lord of the Rings, Pirates of the Caribbean, Harold and Kumar Go to White Castle, Toy Story, Reservoir Dogs, Titanic, Anchorman, 22 Jump Street, and more than 200 other films and TV shows have in common? Not much besides the one and only Wilhelm Scream.

The Wilhelm Scream is the holy grail of movie geek sound effects—a throwaway sound bite with inauspicious beginnings that was turned into the best movie in-joke ever when it was revived in the 1970s.

Just what is it? Chances are you’ve heard it before but never really noticed it. The Wilhelm Scream is a stock sound effect that has been used in both the biggest blockbusters and the lowest low-budget movies and television shows for over 60 years, and is usually heard when someone onscreen is shot or falls from a great height.

First used in the 1951 Gary Cooper western Distant Drums, the distinctive yelp began in a scene in which a group of soldiers wade through a swamp, and one of them lets out a piercing scream as an alligator drags him underwater.

As is the case with many movie sound effects, the scream was recorded later in a sound booth with the simple direction to make it sound like “a man getting bit by an alligator, and he screams.” Six screams were performed in one take, and the fifth scream on the recording became the iconic Wilhelm (the others were used for additional screams in other parts of the movie).

Following its debut in 1951, the effect became a regular part of the Warner Bros. sound library and was continually used by the studio’s filmmakers in their movies. Eventually, in the early 1970s, a group of budding sound designers at USC’s film school—including future Academy Award-winning sound designer Ben Burtt—recognized that the unique scream kept popping up in numerous films they were watching. They nicknamed it the “Wilhelm Scream” after a character in the first movie they all recognized it from, a 1963 western called The Charge at Feather River, in which a character named Private Wilhelm lets out the pained scream after being shot in the leg by an arrow.

As a joke, the students began slipping the effect into the student films they were working on at the time. After he graduated, Burtt was tapped by fellow USC alum George Lucas to do the sound design on a little film he was making called Star Wars. As a nod to his friends, Burtt put the original sound effect from the Warner Bros. library into the movie, most noticeably when a Stormtrooper is shot by Luke Skywalker and falls into a chasm on the Death Star. Burtt would go on to use the Wilhelm Scream in various scenes in every Star Wars and Indiana Jones movie, causing fans and filmmakers to take notice.

Directors like Peter Jackson and Quentin Tarantino, as well as countless other sound designers, sought out the sound and put it in their movies as a humorous nod to Burtt. They wanted to be in on the joke too, and the Wilhelm Scream began showing up everywhere, making it an unofficial badge of honor. It's become bigger than just a sound effect, and the name “Wilhelm Scream” has been used for everything from a band name, to a beer, to a song title, and more.

But whose voice does the scream itself belong to? Burtt himself did copious amounts of research, as the identity of the screamer was unknown for decades. He eventually found a Warner Bros. call sheet from Distant Drums that listed actors who were scheduled to record additional dialogue after the film was completed. One of the names, and the most likely candidate as the Wilhelm screamer, was an actor and musician named Sheb Wooley, who appeared in classics like High Noon, Giant, and the TV show Rawhide. You may also know him as the musician who sang the popular 1958 novelty song “Purple People Eater.”

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