One to One Fitness

Getting stronger results in numerous health benefits. Tired of not getting results? 40+years exp. One to One Fitness is so not your regular gym.

Pass through a heritage leaded-glass doorway into the studio. Gaze out the French doors or inhale the fresh air of the garden - if you can spare the energy. Owner and personal trainer Sherry Ulaszonek takes classes outside when the weather's right and whether you're indoors or out, Sherry's small groups and individual sessions give exercisers of all fitness levels the opportunity to excel. Whether

02/05/2026

Happy Birthday Geno Powerlifting Biancheri
Sending wishes for a super day and amazing year!!! Xxo

04/27/2025

09/11/2024

Finally a cruise I would consider if it included Jesse Roper!

Growing up, my siblings and I heard my dad talk every day about his long lost magic Gretsch guitar.

That orange 1957 6120 was the guitar he’d saved up for as a kid. It was his best, and oldest, musical friend, and a guitar which seemed to write hit songs on its own. It also turned out to be a good luck charm.

After all, with it, Dad had risen from smalltown obscurity to conquer the world not just once, but twice, with both the Guess Who and Bachman-Turner Overdrive. But since its theft from a hotel room in early 1977, everything started to go wrong - not just professionally, but personally, too. More than anything else in the world, Dad needed that magic guitar back.

And yet, every effort to find it failed - not just for years, but for decades. Almost five decades, in fact.

And then, one day in late 2021, I got one of the most shocking emails of my life. An amateur internet sleuth wrote me, claiming he had a lead on the whereabouts of Dad’s long lost magic guitar. It was just a clue, but it was enough to start a cascade of recovery attempts complicated by Covid travel restrictions, mystery surrounding the owner, and Dad’s recent cancer diagnosis.

We began filming every step of this story nearly from the beginning, and pulled in a team to help us turn the story into a documentary. We are now pleased to announce that this documentary, “Takin’ Care of Business”, will be shown this year at the prestigious Toronto International Film Festival.

A big thank you to the documentary team, Dad, my wife Koko, and TIFF for making this all happen!

@takincareofbusinessfilm
@randybachman
@cherrycola.music
@tiff_net
@theranchproductions
@tylermeasom
@rkrim
@samurai_dan_smith
@iammikaai
@croshalgroup
@aircanada
#tcb #tiff #fatherandson #lostguitar

08/28/2024

Wow such a cool story about Randy Bachman’s stolen magical guitar and its dramatic return after 5 decades. Can’t wait to see the documentary

Growing up, my siblings and I heard my dad talk every day about his long lost magic Gretsch guitar. That orange 1957 6120 was the guitar he’d saved up for as a kid. It was his best, and oldest, musical friend, and a guitar which seemed to write hit songs on its own. It also turned out to be a good luck charm. After all, with it, Dad had risen from smalltown obscurity to conquer the world not just once, but twice, with both the Guess Who and Bachman-Turner Overdrive. But since its theft from a hotel room in early 1977, everything started to go wrong - not just professionally, but personally, too. More than anything else in the world, Dad needed that magic guitar back. And yet, every effort to find it failed - not just for years, but for decades. Almost five decades, in fact. And then, one day in late 2021, I got one of the most shocking emails of my life. An amateur internet sleuth wrote me, claiming he had a lead on the whereabouts of Dad’s long lost magic guitar. It was just a clue, but it was enough to start a cascade of recovery attempts complicated by Covid travel restrictions, mystery surrounding the owner, and Dad’s recent cancer diagnosis. We began filming every step of this story nearly from the beginning, and pulled in a team to help us turn the story into a documentary. We are now pleased to announce that this documentary, “Takin’ Care of Business”, will be shown this year at the prestigious Toronto International Film Festival. A big thank you to the documentary team, Dad, my wife Koko, and TIFF for making this all happen! @takincareofbusinessfilm @randybachman @cherrycola.music @tiff_net @theranchproductions @tylermeasom @rkrim @samurai_dan_smith @iammikaai @croshalgroup @aircanada #tcb #tiff #fatherandson #lostguitar

04/30/2024

Congratulations to Tom Wilson and his adaptation of his book Beautiful Scars!

Globe and Mail visit Beautiful Scars (The Musical)
REVIEW by Brad Wheeler
“Tom Wilson’s Beautiful Scars shines a light on identity, deceptions, decolonization and an unsettled psyche”

Tom, the lead character in the big bear hug of a musical that opened on Friday at Hamilton’s Theatre Aquarius, talks about never having felt at home – that he’d always felt like a spaceship had dropped him in the wrong yard as a child. He’s not incorrect, metaphorically.
Tom is Tom Wilson, co-creator (with Shaun Smyth) of Beautiful Scars. If you don’t know his story by now, it is not for Wilson’s lack of trying. He’s a Juno-winning folk-rock songwriter/musician and artist from Hamilton who was nearly 60 years old before he discovered his hidden Mohawk heritage. Since then he’s written a soulful memoir (Beautiful Scars: Steeltown Secrets, Mohawk Skywalkers and the Road Home), presented a symphony (Mohawk Symphony) and taken part in a full-length TVO documentary (Beautiful Scars).
Wilson’s tale is about identity, deceptions, decolonization and, above all, an unsettled psyche. The premiere of the theatrical adaptation of his memoir – with friends, fans and family in the audience – was as homecoming as it gets.
Wilson was in attendance. Capably portraying him on stage was Métis actor Sheldon Elter, who first gained notice in 2003 at the Edmonton Fringe festival with his one-man show, Métis Mutt. As Tom, he’s all tuque, flannel and longing, holding a box of mementos. Beautiful Scars has him sorting through his past and trying to make sense of it.
His guide is Bear, a spirit animal, for lack of a better term. Played charismatically by Jeremy Proulx, funky Bear is the play’s comic presence.
There’s nothing funny about Tom’s parents. They are a couple “battered by life.” The father, George (played by Brandon McGibbon), is a blind war veteran. The mother, Bunny (played by Kristi Hansen), is a sad, cigarette-smoking figure who dreams of escape. Much older than the parents of his schoolmates, they show their age “like the walls of a hotel room.”
Bunny wears wigs, but pretends she does not. It is an open secret, and it is harmless. Her bigger secret, about Tom’s heritage and birth mother – he didn’t know he was adopted but heard whispers – is devastating.
The story is told through flashbacks and, obviously, through music. Most of the songs are pulled from Wilson’s back catalogue of material he wrote or co-wrote either for his 1990s rock band Junkhouse, his Americana trio Blackie & the Roadie Kings or his psychedelic-folk solo project, Lee Harvey Osmond. A handful of tunes were written especially for the musical.
Tom, we learn, was introduced to music at a young age from the so-called “cousin Janie,” who brought him records by Bob Dylan, Ian & Sylvia and Gordon Lightfoot. (The mere mention of the late Lightfoot brought cheers from the audience.) Tom’s first guitar, stolen from Waddington’s music store in Hamilton, was his “magic carpet.”
Bear says he’d been with Tom all these years, “riding shotgun on the crazy train.” Wilson, in real life, did not skimp on the “drugs” part of the s*x, drugs and rock ‘n’ roll of his youth. The Junkhouse hit Out of My Head represents that part of his life in the musical.
The show’s songs (which includes the hard-won wisdom of Beautiful Scars from the 2017 album Kings and Kings) are not catchy by the standards of musical theatre, but neither are they emotionally manipulative, as the music of that genre tends to be.
Wilson’s son, musician Thompson Wilson, makes his stage debut playing the young version of his father. Despite his lack of experience, he exhibited a bright, animated voice of the theatre-kid kind.
The staging was eye-popping and earthy, with Tom Wilson’s artwork a big part of the set. (An exhibit of his colourful pieces runs concurrently at Beckett Fine Art in Hamilton.)
While Beautiful Scars is a crowd-pleaser, the second act lagged a bit in energy. Still, emotionally, the plot comes to its head: Tom gets his birth story – his truth – finally. For others, it is uncomfortable truth about colonialism and indigeneity denied. Tom’s adoptive parents weren’t the only ones with secrets.
It’s a natural that Beautiful Scars premiered in Hamilton, where Wilson is, ironically or not, a favourite son. His story – scars, secrets, songs and all – deserves be on stages elsewhere too.