Here’s some players who handle a waltz beautifully…
This one below is on a “helicon” box, a diatonic accordion with long bass reeds for that oom-pah sound.
Here’s some players who handle a waltz beautifully…
This one below is on a “helicon” box, a diatonic accordion with long bass reeds for that oom-pah sound.
Toronto needs an accordion festival. The city just doesn’t know it yet. Tuffy P and I are starting the conversation. How can we make this happen? I think the first step is to put together a group of organizers to brainstorm it out, make a plan and make it happen. The next step will be to decide when it will be and work backwards. I think it can happen in the summer of 2012 if we get to it. Toronto has such a rich cultural diversity and so many of those cultures have strong accordion traditions. I’d love to bring that community together for a weekend, as a start to an annual festival. If we dream big enough and get a little lucky and a lot of help, maybe we can even bring in a couple acts from elsewhere.
If you want to help, or if you have some ideas to share, email me or comment here. The good thing and the bad thing is that we’ve never organized a music festival before. It’s a good thing because we don’t know all the reasons why it’s a crazy idea that we shouldn’t touch. It’s a bad thing because there are all kinds of things we’ll need to know to make it happen that we don’t know. Still, I think we can make it happen.
I made this painting, (or should I say alter my ego Eugene Knapik made this painting?) back in 1998 and exhibited it, along with a group of very small oil paintings, in an exhibition in Toronto called Canadian Shield. The exhibition was a large-scale group show that Tuffy P and I and a few other artists organized. The Source is quite a large diptych. I don’t have the actual dimensions at my fingertips but I’d say the panels are about 6 feet tall, making the whole painting something like 10X6. In my imagination, this painting has so much pent up energy, ready to awkwardly explode out, it seems even bigger)
The Source obviously wasn’t a new theme. The most famous painting called The Source was by Gustave Courbet, painted in 1868. I certainly wouldn’t compare my clumsy efforts to a fantastic painter like Courbet. At the same time, I was very aware of his version, even though I’ve only ever seen it in photographs. Years later I made a group of three tondos (circular paintings) on the same theme. The small paintings in Canadian Shield, which I suppose were much more overtly or obviously tied to the land, were well received. Curiously, this larger painting was lost in the exhibition, and the only feedback I received about it was some harsh criticism from a few good friends. Still, when I painted this one, I was very pleased with the results and it resonates with me even today. I still have this painting in storage. I haven’t thought about exhibiting in a while (although I have plenty of paintings that have never seen the light of day), but one day I wouldn’t mind getting this one out again. Maybe in the fullness of time it will be seen a little differently.
The Source was one of a group of paintings I did using acrylic and acrylic spray enamel. Another example from the previous year, 1997, was Shack Nasty.
This one, also a fairly large painting, has a home. It hangs in the living room of my friends Jill and Scott. When I was at their house over Christmas and looked at this painting, it transported me back in time to the day this painting, which I had struggled with for weeks, quickly came together. There were a couple other paintings I made at the time using some spray enamel too – one called Beef Trout Karaoke and another called Getting the Fuck out of Dodge – both paintings that I later destroyed.
When I first heard Saw Mill Man, the recording released by the then 79 year old singer back in 2005, it stopped me in my tracks. It’s a rough recording – nothing slick here – just stark, tough, stripped down performances of a set of inspired songs. Here’s one of them I found on YouTube:
I had read that Cast King had recorded a dozen sides on Sun Records back in the day, and sure enough I found a couple of them easily enough.
Here’s Barbara Pittman (Sun Records)
That song was written by Johnny Burnette, a rockabilly pioneer who unfortunately died way too young in a tragic boating accident.
Here’s Mr. Burnette and his combo playing Lonesome Train…
Wow, this rock ‘n roll stuff just might catch on with singin’ like that!
OK OK, just one more, since you insist. Tear it up!
That’s Paul Burlison tearing up the fretboard. Geez, that’s really good, isn’t it?
You never know what you’re going to learn over at The Presurfer. This morning I learned just how big the inner-nets really are.
That’s big.
For no reason I can think of, this afternoon I recalled a song I used to really like called The Train by The Roches. I had their first record, on vinyl of course. There was something about their harmonies and their quirky lyrics that captured my imagination. I have no idea where I first heard Maggie, Terre and Suzzy Roche except that at the time I was living in an old hardware store on Ossington Ave. It was in the mid-80s. I converted the hardware store into a live-in studio. It had peg-board walls, perfect for a painter.
There were two studios actually. I had the storefront studio in front. There was another in the back and the two were divided by a shared kitchen. We shared a basement too. That’s where the bathroom was. We built a little deck out back, and there was even a couple parking spots back there, with access from a lane-way. At one point, a friend from University named Rob lived in the back. He had a dog named Giotto who we both cared for. Giotto was a great dog. He wasn’t supposed to go on the beds but every day I would come home to find Giotto sleeping on my bed. He would guiltily slither off and when he realized I wasn’t really all that upset with him, he would wag his tail and greet me. I started putting stuff on the bed to discourage him – an old guitar, a chair, a box. Even though it couldn’t have been comfortable, Giotto would find a spot on there among the obstacles.
I was working part time, a job I thought would be a temporary condition until my painting sales took off (hardy-har-har). I worked something like 7:00 until midnight. I’d get home and paint in the dead of night then wake up at the crack of 11:00. I’d put the coffee on, throw on some clothes and walk a few doors up the street to a little Portuguese bakery for a little something-something to go with my coffee. Then, back to painting. I exhibited twice right in that old studio. I loved it there in many ways and those were good days.
A few of the paintings I made back then still stand out to me. One is owned by my friends Scott and Jill and hangs today in Jill’s office at her workplace. I don’t recall the title of that painting now, but I remember painting it like it was yesterday. When I think of that painting, I think of a quote from the British painter, Frances Bacon, who said something like it’s always the job of the artist to deepen the mystery. There was another painting too that is exceptionally memorable to me, called The Listening Machine.

I was really fond of that painting. In a way it defined the painting I was doing at the time. A friend kindly offered to store that one for me. Unfortunately, somehow or another it was damaged beyond repair in storage. I don’t know what happened exactly, but the paint – it was oil paint, built up in many layers of impasto – delaminated. It may have had to do with the fact that I was using exceptionally cheap oil paint.
Have a listen to Maggie, Terre and Suzzy Roche singing The Train. Hearing this song after many many years brought back a flood of memories for me.
We were just out for a walk with the dogs. It’s snowing out, a fluffy snow that accumulates in the most delicate way. The brisk wind of early in the evening is absent now. The neighbourhood is quiet as a white blanket gently covers the ground. Our Newfoundland dogs Memphis and Ellie Mae love the fresh snow. They like to eat the snow as if the world were their snowcones, and poke their noses in, checking for whatever it is they have to check for, and sometimes they like to roll in the fresh snow and make doggy snow angels.
Here’s a fun version of Don Freed’s Being a Pirate…remember, you can’t be a pirate with all of your parts.
And here’s the author of the song, Don Freed, singing All Night Long.