Book Review: Trouble in the Camera Club, by Don Pyle

Text © Robert Barry Francos / FFanzeen, 2011
Book cover from the Internet
Band photos © Don Pyle


Trouble in the Camera Club: A Photographic Narrative of Toronto’s Punk History 1976-1980
By Don Pyle
Introduction by Steven Leckie
ECW Press (Toronto), 2011
300 pages; USD/CDN $29.95
ISBN: 978-1-55022-966-0
ecwpress.com
troubleinthecameraclub.com
donpyle.com

Every scene instigation has its photographer. In Buffalo from the ‘70s on, it was Eric Jensen. In Boston in the ‘80s, it was Peter Parka (aka Rocco Cippilone). In New York, well, there were many, including myself. Perhaps someday, my book will come.

One such photographer and fan to the nascent New York scene was Mariah Augier [d. 2005], with whom I was acquainted. By the early-‘80s, I had lost touch with her. Years later, around 1996, I ran into her at a party for a mutual friend and we started talking about “the days.” She said something to me that changed my entire perspective of my photographs: “When I started taking photos,” paraphrasing what Mariah stated, “I was just doing it for fun. Years later, I realized what I had wasn’t a collection of pictures, it was a body of work.” I identified with that. Obviously, on his own, so did Don Pyle.

Pyle was a music-obsessed teen with a new camera who pointed his lens on whatever bands he was interested in, which turned out to be just about everyone that matters in the Toronto scene, and more. Hot on the heels of Liz Worth’s excellent book, Treat Me Like Dirt: The Oral History of Punk in Toronto and Beyond 1977-1981 (in which Pyle is not only often quoted, but his photo is on the cover, a self-shot piece which also appears in Camera Club, and, in part, to the right of this paragraph), comes this unofficial and welcomed companion.

Actually, referring to this book as “a photographic narrative” is a bit of an understatement. Yes, there’s over 300 of Pyle’s photos, but there is so much more, such as 200 other images of ticket stubs and show flyers, and sometimes scalding, other times self-reflective – and occasionally self-depreciating – stories of what led him to certain bands, and what turned him off about others. There are the occasional pictures of friends, some of his early and experimental shots of the city, all on levels of varied expertise: he was learning to work a 35mm camera by photographing shows, much as I was; his first was Iggy supported by Bowie, mine the Ramones at CBGBs. Similarly, he also starting out taking pix with a cheap instamatic (him: Ramones and BOC; me: Roxy Music, and stalwarts of the NY scene like the Cramps, Dead Boys, and Wayne County). Heck, we even both took some shots off the television of the same program (Joan Jett and Kim Fowley on The Tomorrow Show). I get the feeling that if we had lived in the same town at the same time, we may have been friends.

Though he was in Toronto and I was in New York, apparently we saw many shows of the same tour (e.g., Gary Glitter, the Troggs, Iggy Pop), and it was interesting to hear him describe what I was feeling back then (such as how bad and boring the Police were on stage). Fortunately for him, he also got to see way more of Toronto’s local bands than I did. While I saw the Dave Rave period Teenage Head, he followed the original Frankie Venom Kerr (d. 2008) era, along with the Viletones (great band, and Pyle took a lot of shots of them; the lead singer, Nazi Dog – aka Steven Leckie, wrote the brief intro to this book), the Diodes, the Curse, the Demics, the Ugly, and so many more that I would have loved to have seen, but have to rely on stills like these, and their released vinyl (which often, according to Pyle, did not live up to the live band performances).

So, you’re not familiar with the Toronto sound and bands? It doesn’t matter, because Pyle’s interest went beyond that, as he took his camera to shows by international groups that were touring, like David Bowie, Iggy Pop, 999, the Stranglers, the Runaways. Then there are the amazing shots of some of the New York bands that made it up there, like the Ramones, the Heartbreakers (Johnny and Walter, but no Jerry), Blondie, the Patti Smith Group, the Fast, David Jo and Sylvain, and the Dead Boys.

While I realize I have woven myself into this review (more than usual, anyway), it’s because I feel an affinity for the period, the photos, and the Pyle’s process and story. After going through the book and reading all the text (which alone would have been enjoyable), I went through it again just admiring the images. Sure, there are blurry shots (like me, he did not use a flash for a long time), weirdly composed ones, and just plain lucky ones, but mostly he innately presents the performer in the action that gives the photos life, rather than just some shots of a band in concert or backstage.

As the ‘70s turned into the ‘80s, Pyle started to lose interest in being behind the camera, and instead chose to be on the stage in bands with brilliant names like Crash Kills Five (vox) and the Juno Award winning Shadowy Men on a Shadowy Planet (drummer) who played the theme song to the Kids in the Hall show; he also became a music producer (the Sadies, John Doe, Iggy Pop, Andrew Gold, etc.). While Pyle may have left the camera behind, but he also left a legacy that we can still enjoy.

This collection is a superb entranceway to the Toronto scene, and yes, beyond.

Below are some samples of the photos in this book.

Viletones


Sylvain Sylvain


Runaways: Joan Jett


The Curse


The Diodes


The Heartbreakers: Johnny Thunders


Iggy Pop

ORAL FUENTES: Bringing Positive Belize Riddems to the Canadian Plains

Text and photos © Robert Barry Francos


No one can deny that the Prairie winter of central Canada is a bit on the cool side, sometimes dropping down to -40, even before the wind chill. What better way to warm up a frigid night, than a hot reggae band?

When I first moved to Saskatoon from Brooklyn, I was tooling around my yard trying to figure out what was what, and started talking to a very enthusiastic and upbeat neighbor. A native of the Central American country of Belize and now a Canadian, he’s in a reggae band, he informs me. Later I find out that not only is he “in a reggae band,” but he leads the premier reggae band in the city, if not the province. Everyone I talk to knows of Oral Fuentes, and what I hear back is always positive.

Oral Robert Fuentes (no kidding) not only leads a band that plays regularly around the city, including at many of the festivals around town (Jazz, Blues, etc.), but started and runs his own fest. It started out as the Saskatoon Reggae Festival a few years ago, and recently was updated to the Saskatoon Reggae and World Music Fest, to allow a wider range of sounds.

Speaking of name changes, the Oral Fuentes Reggae Band, as they used to be known, have one CD as of yet, Oral Culture (what a great name to the ear of this Media Ecologist; Fr. Walter Ong would be proud), full of original slow and sensual beats. Supposedly (and hopefully), there is a new recording in the works, hopefully to be released by the 2011 festival.

Finally, after a over a year of joyfully talking over the fence about life and music, I had the chance to see the Oral Fuentes Band in action. At the Bassment, a top-notch jazz club in downtown Saskatoon with friends, we were all planning to see the first one-hour set of two, at the Mardi Gras Fest 2011. It should surprise no one who knows the band that we all stayed for both.

Shortly after, someone at the local community newsletter asked me to write a piece about Oral. The next day, I whipped off a bunch of questions and emailed them to him. When they came back, I turned his responses into a short, easy read piece, the kind neighborhood quarterlies are known for. However, I wanted to put the full answers out, so here they are. Note that I left Oral’s written patter pretty much untouched and unedited, with his permission, because he writes like he talks, in a lilting accent that sounds similar to Jamaican, but smoother in tone. I find his talking and writing manner musical, as well.


FFanzeen: Is it the Oral Fuentes Band, or the Oral Fuentes Reggae Band? Did you change it, and if so, why?
Oral: Fuentes: Although the band name was “Oral Fuentes Reggae Band,” we have change it to just “Oral Fuentes Band.” We did this change because we don't just do only reggae music, but other Caribbean rhythm and beats.

FF: Where else in Canada have you lived? In the world?
Oral: I have lived in Ontario, Oregon, Longview (Texas), Guyana and Belize.

FF: What can you say about how you feel about Saskatoon in comparison to Belize?
Oral: Man, I love both Saskatoon and Belize. The thing is the cold of course and Belize don't get this cold. But when it’s warm and hot, you feel right at home. I feel that I should be here for some reason... sharing and being an ambassador to my culture.

FF: Is there anything you miss from Belize?
Oral: I really miss the food. We have so many good food and fresh fruits. Although you can get some fruits here, it’s not the same when the products have to come so far. I also miss my family and friends.

FF: Is there a name for Belize-distinctive reggae?
Oral: Not really. It’s the same reggae “riddim” as we say... my style is that I mix it up with Latin sounds. Both Belize and Jamaica has the same influences of reggae artists. Most of the time though... these artists are not so much reggae artists but “dance hall” artists. Dance hall and reggae are two different things.

FF: Who are some of your inspirations?
Oral: Belizean Lord Rhaburn, musician Lord Laro, Ernie Smith, Bob Marley and Bob Dylan.

FF: Do you prefer to play the slower reggae or ska?
Oral: I like both... the slower reggae gets us in the groove. Then we put it up a notch, and by the end of the evening, people can't stay in their seats.

FF: Do you play any other kinds of music?
Oral: I play punta rock, Bruckdown (music from Belize), some dance-hall and a bit of soca.

FF: Do you play any other instrument than guitar?
Oral: I play the drums, (both) congas and djembe.

FF: Is there a set Oral Fuentes Band, or do the people backing you change from gig to gig?
Oral: Yes, we have a set band. Most of the fellows in the band have been with me, some for 15 years, some for 7, others for 4 years. We also get a few people to help out from other bands. Both Randy [Woods, guitar] and Geoff [Assman; keyboards] help me out at times, from Absofunkinlutely Band.

The Oral Fuentes Band:
Joseph Ashong – percussion
Oral Fuentes – vocals / guitar
Mike Kereiff – trombone
Zender Millar – bass
Dave Nelson – trumpet
Kevin Pierce - drums
Nigel Wright – lead guitar

FF: What other bands do you play in, here in Saskatoon?
Oral: Just with this band.

FF: What is the competition like here; is there a community or it is aggressively competitive?
Oral: If there is a competition I don't see it. All of the musicians know each other here. If we don't know each other personally, we know the band or heard the name. Each genre or style of music seem to have its own community of friends or people they hang out with. I personally try to stay about from all types of bad vibes or negativity.

FF: What was the music scene like when you first moved here in 1992?
Oral: The music scene was already going, but a lot of people were doing just covers at the time. My band, with a few others, were the only ones that were doing originals. At the time though, none of the night clubs would even hire me, because I wasn't a cover band and not known. People would laugh at me and said that it won't work, just doing my own songs. Others left the band because I wasn't doing covers. But I stick with it and saw the vision for it. We have to be ourselves in this business.

FF: How is it different now?
Oral: There are so many original bands now, which is awesome! Many of the night clubs and festivals want to hire people that writes their own songs. I, myself, have played many times at these clubs that had bias, via the booking guys, against us... and we bring in large audiences for them.

FF: How is the Saskatoon audience these days?
Oral: The audience in Saskatoon is awesome. Saskatoon loves cultural music and the celebration of other cultures. We have so many people that come out to see us. I am thankful for that!

FF: Is there a regular audience that comes to see you play, or does it vary from time to time?
Oral: Yes! We have our regulars that come out to see us. But it depends on where we play. At the night clubs we have that crowd, and at the Jazz Festival we have the family crowd, which is also very large.

FF: Is there anything you'd like to see change about the music scene here (for example, I would like to see a Folk Festival, like the one in Regina, Winnipeg, Edmonton, Calgary, etc.).
Oral: We are already trying to do some changes by bringing in the Reggae Festival. Making it accessible to other cultural artists or performing groups.

FF: Why did you start the Reggae Festival?
Oral: I saw the need to have a Festival that celebrates reggae and world music culture. There is a vast amount of people that supports this type of music here. The Festival changed from “Saskatoon Reggae Festival” to “Saskatoon Reggae and World Music Festival.”

FF: How did you go about starting the festival?
Oral: I started the Reggae Fest a few years back in 1995. The Festival started with many Latin and Caribbean shows at the Odeon Events Center, hosted by our band and DJ Juan Valdez. Then it develop into the Reggae Festival. We are now a registered non-profit.

FF: How do you recruit bands?
Oral: Bands hear about the Festival online [saskatoonreggaefestival.com]. When they apply, I get all their infos and go thru it. I usually check for Band's content... whether they are positive or not. I want to find the right fit for the Festival.

FF: What about the high level of homophobia in some reggae bands; how do you get around that in choosing bands to play at the Festival?
Oral: Most of these bands will not get hired at this Festival. I check online to see if these bands are like this, and they will not hear back from us. That’s just the way it is... Also, if a band gets hired we make sure that they know as part of their contract that they can't use profanity or any homophobia statement on stage. If they do there will be consequences.

FF: Since starting the Festival, you have expanded from Reggae to include World Music. What do you consider World Music? And why it's inclusion to the Reggae Fest?
Oral: I consider World Music all afro-beats or other musical cultural rhythm.

FF: When will it be this year (2011)?
Oral: On August 11 to 13th at the Friendship Park, downtown. Last year was at the Rotary Park... but have to be change because of the construction.

FF: How does someone go about hiring the Oral Fuentes Band?
Oral: People usually hire us via my website: oralfuentes.com, or after they see us at a show.

FF: How can someone go about buying your CD, Oral Culture?
Oral: People can buy our music online at cdbaby.com/cd/oralfuentes. It is also at 40 different online stores.

Road Trip to Yellowknife, Day 8: Peace River to Lac La Biche, AB

Text and images (c) Robert Barry Francos, 2010
Photos can be enlarged by clicking on them.

We woke up to a light rain, and we packed up our stuff between the drops, fortunately not getting wet, even with us making breakfast. We sat on plastic bags because the picnic table benches were wet.

We left the Queen Elizabeth Provincial Park at Lac Cardinal, located outside the town of Grimshaw (AB). A quick check on the closed Pioneer Village along the road, we drove through the gateway pictured below. We stopped there for photos. Just outside park by the metal gate was some cars parked in a ditch with protests about the government bringing in nuclear power.


Heading back up Highway 35 and back east on Hwy 2, we went once again entered Peace River. We stopped into the Tim Horton's for some coffee and a muffin, and across the street was this liquor store / gas station. So much for promoting not drivin' and drinkin'. For those in the States, note that the station is Esso, rather than Exxon.
After our morning refueling, we headed east over the bridge, and onward on Route 2 through the river valley. Moxy Früvous's "River Valley" was playing in my head.
Not only was there a railroad bridge next to the roadway, there was another, possibly older one, off in the distance, passing over the Peace River. Highway 2 can be seen to the left, where we would be in minutes.
Along the road, we passed through a town called Nampa (AB). Here we found a combination Country Inn and liquor store, for those who want to crash and drink. Note that they both share the same door.
It must be doing well, as it has survived when the other hotel in town was up for sale.
Along the way, the river valley gave way to farmland, including bright yellow fields of canola.
The clouds built up and were dramatic and temperamental. Rainstorms could occasionally be seen in the distance, and we passed through a few here and there.
The No. 2 highway rode along the south end of Lesser Slave Lake, and after passing some small towns, such as Faust and Kinuso, we headed to the town of Slave Lake. At the airport, we saw these yellow planes on the tarmac. These are used to dump water on forest fires, and were most likely being used to help out in the many fires that were plaguing large parts of British Columbia.
We came to the town of Slave Lake, and stopped at the exact same gas station / A&W burger joint we had on the way to Yellowknife. We had made a complete circle through northern Alberta, going one way up (route 88) and coming back another (Highways 35 and 2).
I'm guessing this RV park is under repair?

Being in the area, we decided to check out the Lesser Slave Lake Provincial Park. A wooden stairway led us down to the windy beach. It was pretty quiet with a few visitors coming through while we were there, but no one stayed long. The picnic tables told of warmer days and happy campers, but this day was desolate and windblown. It was a lovely spot.







We motored along Highway 2 (joined with Highway 55 after a bit), and arrived in Athabasca in mid-afternoon. This was where we had spent the first night out on this road trip. It was near dark when we had gotten there last time, so now we had time to check out more of the town. We crossed over the bridge on route 813, and found our way to the Athabasca Centennial Park, which was behind the huge letters placed on a cliff directly on the other side of the Athabasca River from the town. We had a great overview from there.










On the way back to the main road and our way east, we stopped just before the steel bridge to take some photos. There were lots of flowers around, and some racist and scary graffiti.



The bridge had a narrow wooden bed, and no walkway for pedestrians, but we still went to the middle to take some shots of the river. John and I were conscious of the occasional traffic, and stayed as much to the side as we could.




On our way out of town we saw the beautiful Ukrainian Orthodox Church Of St. Peter and St. Paul, There is a large Ukranian population in Athabasca.
Highway 2 split from 55 just out of town, so we stayed on the latter, which headed due east. We had come up Hwy 2 at the beginning of the journey, so we took 55 as an alternative route. Along the way, just east of Atmore, this cloud caught my eye. It looked just like North America, right down to Mexico on the bottom. See it?
We stopped in the town of Lac La Biche (AB). We asked some locals where would be a good place to camp. A couple of teenage girls giggled but hadn't a clue. Eventually someone suggested the Sir Winston Churchill Provincial Park, which was on a beautiful - albeit windy - peninsula.
The sun was golden as we cooked up our soup and cut up the veggies for dinner. The light during the golden hour was bright on the tops of the trees, making them glow.

The place felt a bit open, but it ended up being just fine and surprisingly quiet. It would be our last night on the road, so we savored it.
As the day ended, we figured out we had come 568 kilometers / 353 miles, which means we have traveled 3928 K / 2441 M in total. Our last full day of travel had ended, and we knew the next night would be be in our own beds. John estimated we'd be home late evening. That was good, because I wasn't sure about how much more John could stand of my snoring...