William H.A. Willbond MSM, CD


A wonderful so called Art Historian, at our Brand New Canadian War Museum
bought BROWN and MATCHEE, and you can see, it’s a wonderful marvellous scheme
T’was this magnificent, colourful purchase, made by Laura Brandon
The plan I think, caused all the stink, but it wasn’t made at random?

And Mr. Bruce Poulin from the Legion is a marvellous wonderful old guy
he loves all great art and won’t pick apart, this one, where Arone Sharonne dies!
Thank God my tax money isn’t being spent funny-Thank God for the Dithers Party
This negative display will help voting day and shows patronage jobs, they ain’t free

These pictures they pick they just make me sick – I guess we will have to vote Tory
because our museum, is showing sad scenes, that are amateur, un-artsy and gory
Where’s the pictures of our 1 Can Para? – The AB heroes that jumped in on D Day?
Remove Matchee and Brown and don’t F aroun’, place Cpl Topham VC, on display!

AIRBORNE AIRBORNE who are we? We’re the best in the Infantry
AIRBORNE BROTHERS what d’ya say? Remove Brown and Matchee right away!
AIRBORNE AIRBORNE what d’ya say? Let’s stand with our brothers of the KVA[•]
AIRBORNE BROTHERS what d’ya say? The Korean War Exhibit should be a bigger display!

Author’s Note: Inspired by the following article that appeared in the May 9, 2005 edition of the Toronto Sun

War Rages Over ‘Art’

Peter Worthington
By Peter Worthington
THE FUSS over the Canadian War Museum’s (CWM) painting of the torture death of a Somali prisoner by a Canadian paratrooper seems without solution.

Cliff Chadderton, who has done more for veterans over the years than any other, and who heads the 51-member National Council of Veterans Associations, is boycotting the museum and calls the painting a “trashy, insulting tribute” that should be removed.

The CWM’s art historian, Laura Brandon, says the painting will stay: “It’s part of Canada’s military history… warts and all.”

Bruce Poulin of the Legion supports the painting: “I don’t think we need to gloss over anything.”

Veterans of WWII and serving soldiers, especially paratroops, think the painting is out of line in a museum that boasts “ordinary” Canadians in war.

One who wonders at the thinking behind the purchase of this painting is Vince Courtney, who was in the same battalion of the Princess Pats as I was in Korea, is publisher/editor of the internet newsletter www.Koreavetnews@aol.com and writes:

I have a suggestion for a much better painting for the ‘Somalia artist,’ which is replete with as much or more gore, and depicts as much agony, yet assuredly does not glorify war in the least.
This painting would show young, 22-year-old medical Cpl. William Newton rushing from his medical aid bunker at the rear of the Hook.


A heavy mortar bomb has exploded. He has his satchel of bandages, medicine, and gear. He ran out instinctively.

A good thing he did. There, lying on his back but with the toes of both boots pointed at the ground is 19-year-old Cpl. Charles Pond of Ottawa who, a year earlier, was a high school football star.

Newt can’t see Chuck’s wounds because he’s covered in a sea of his own blood, from his boots to his shoulders. Newt feels with his hands, detects that Chuck’s legs have been pulverized by the blast. He works deftly, as quickly as he can to splint both legs together so the jagged bone ends don’t cut through muscle and skin.

Newt is soaked with blood, from fingernails to scalp. He works feverishly, he yells to Sergeant Major Salmon to order a jeep ambulance on the double. He has been none too soon. Chuck faints from loss of blood in the stretcher on the jeep ambulance.

Before he passes out, he whispers to Newt to tell his girlfriend that he loves her.

He recovers days later, close to death. Newt saved just enough blood to keep him from expiring on the spot. He had countless transfusions, many surgeries.


They amputate the left leg at the hip. The right leg has multiple fractures and much tissue damage from shrapnel. Months later, when he is shipped back to Canada, surgeons at Sunnybrook Hospital in Toronto amputate his other leg.

Chuck has never seen, never spoken to William “Newt” Newton since the day of his wound. He did not know who Newt was at the time. Newt is just satisfied that Chuck lived, and he has never tried to contact him, either.

What a picture – a high school football star, awash in his own blood, Bill Newton bloodied from hands to his temples, working feverishly and alone to save him. A horrid picture to be sure: yet it’s a much more pertinent one than the wretched painting of a Somali prisoner being tortured by a soldier.

The same people who exhibit the Somali ‘art’ would likely would be squeamish about a painting of Chuck Pond being treated, perhaps saying it is so gory that the very thought of displaying it is in bad taste in that it needlessly shows the horror of war.

But it shows ‘ordinary’ Canadians in war, more than a gory torture painting does.