I SPENT THE FIRST TEN YEARS OF MY CAREER IN AND AROUND MUSICIANS. Toronto had a great – and undersung – music scene in the ’80s and ’90s, and many of my friends from that scene are still performing and recording. Guitarist Jim Field was a mainstay on the scene back then, and last Sunday he and bassist Dorian Williamson played a gig for the release of Vinland, the latest from their group Northumbria.
I don’t love shooting live music – I’ve explained that in the old blog – but it’s not easy to do, and every now and then it’s time for a challenge and trying to get a decent photo in dim, changing light with a subject who isn’t paying attention to you will make you work hard as a photographer. Jim and Dorian sounded great, and it was refreshing to photograph a show without having to work around microphone stands. Check their record out – if you like that sort of thing you’ll love what they do.
SOME FRIENDS DID THE CRAZIEST THING THE OTHER DAY and published a whole big fat book about Toronto’s hardcore punk scene in the ’80s. I was asked early on to submit some photos and recollections to the book, and a few of them made it into the finished product, which turned out to be quite the epic.
I cut my teeth taking photos of bands like Negative Gain, Bunchofuckingoofs, MDC, NoMeansNo, Corrosion of Conformity, El Paso’s Rhythm Pigs and many more in shitty little clubs like the Siboney, DMZ, the Apocalypse, the basement of the Silver Dollar and Ildiko’s/The Bridge/the Starwood. I’d owned a camera for less than a year by this point, so my learning curve started here, and Tomorrow Is Too Late was a great opportunity to try to share some of these very early shots, like these ones of MDC (aka Millions of Dead Cops) at Ildiko’s in 1986:
I’ve always been amazed that friend and photographer Rod Orchard – later my assistant in the ’90s and the guy who shot my wedding – made it into one of my shots from COC’s Ildiko’s show, a long-haired kid at the back of the pit holding his camera. So it was a thrill when I saw one of Rita Laberto’s shots from the MDC show and, presto, there I am, sleeves rolled up, with my camera, on the stage, 22 years old and skinny as fuck:
I was nominally Nerve magazine’s hardcore correspondent for my first year at the paper, which was hardly a bustling beat, though it got me in front of the stage for gigs like NoMeansNo playing the Rivoli or the El Mocambo, I’m not sure which:
Local hardcore bands were also my earliest portrait subjects. I had a lot to learn, to be sure, but I was pleasantly surprised that these shots of John Grove and Animal Stags and the Bunchofuckingoofs turned out sharp and half-decently composed. It’s worth pointing out that I’d end up taking another portrait of Steve Goof twenty five years later in almost exactly the same spot, by what was once Fort Goof in Kensington Market.
Revisiting my shots of a Negative Gain show at Ildiko’s gave me a startling sense of time passing, but not as much as the book launch party held for Tomorrow Is Too Late last week, which featured a re-formed Negative Gain at the top of a bill with Sudden Impact, Chronic Submission, Microedge and Creative Zero. Many of the same people I captured in the pit over thirty years ago were there again, a bit sweatier and very out of breath.
I was never really a mainstay on the scene – more of an interloper with a camera. But three decades later I’m still friends with Rod, and not only the contractor who recently renovated my bathroom but the guy who I buy my beer from are all onetime members of that same TOHC scene. Thirty years later, ties that I would have called fragile at the time have persisted, amazingly.
Another group of friends I made on the scene were Ed Ivey and the Rhythm Pigs, who were from El Paso via San Francisco but had a big fan base here. I was a bit disappointed that none of my shots of the band, either from their first gig here in 1986 or their final, reunion show, in 1990, made it into the book, but with everything they had, I guess some things had to go. The portrait was shot on the balcony of Don LaBeuf’s place in Oakville, I believe, the morning after the show:
There might not be a lot of skill in these shots, but there are plenty of memories. I like to think I took a lot away from punk rock and hardcore. Self-reliance, to start, and the DIY aesthetic that’s become even more important today. But also the sense that, even in a marginal scene full of constraints, there’s freedom and potential. I have never lost a sense of that scene, no matter where I am.
So buy Derek and Shawn’s book and try to stay in touch with the people who knew you when you were thinner and angrier. It’s actually worth it.