Archive for January, 2012


Published by cctadmin on January 30th, 2012


Published by cctadmin on January 30th, 2012

Today was a bright and busy day, getting up at the crack of dawn to prepare for a photo shoot with Ottawa photographer LUC PiGEAULTPiGEAULT and I have worked together previously on another series of his, however today was a little more intimate and creative.   PiGEAULT is a very down-to-earth  guy, an ambitious man full of talent so it was easy to say yes to this project with him.

Along with DENiS MURPHY, PiGEAULT is a photographer and manager of STUDiO FOUR30 (, an Ottawa studio equipt with hair stylists, wardrobe stylists and make-up artists.  Pay attention in the future as I’m certain you will see more from STUDiO FOUR30 – as they provide a strong force in this creative and highly competitive industry.  STUDiO FOUR30 is not limited to fashion – they do advertising, assist in model portfolios, boudoir, products, food, pets, fine art, weddings, real estate, corporate head shots, families, maternity and babies.  Check out their site for further information.

In the meantime, you can also check out a few snaps I took from my shoot today with PiGEAULT – together we combined our talents to create an idea inspired out of the 9 SiSTERS/MUSES in 1980′s musical extravaganza  XANADU – but with a family portrait/CC TRUBiAK twist that allowed me to do a lot of what I strive to do in my own photography; transform into numerous ‘persona’s, if you will.  I will leave it at that for now – and will be glad to share with you the final results come the right time.

Thanks for an interesting day LUC! CC




Published by cctadmin on January 29th, 2012




Published by cctadmin on January 29th, 2012

Well, today is indeed my birthday.  I’m 33 years old – and beyond that I just want to take a moment to really thank everyone for their wishes and kind words.  Not one to focus on my birthday, I do appreciate the out pour of love from friends, family and acquaintences alike – I’m lucky.

One more thing about aging:  I’m not opposed to aging at all; life looks and feels better the older I get.  So far my 30′s have been the brightest and most rewarding years – and while I have many dreams and goals to accomplish, I’m blessed to see what I’ve seen, experienced what I’ve experienced, and loved the people I have loved .  And continue to love!  I guess going forward I hope to even get back into University to work towards a Masters in Art and/or Music Therapy – but in the meantime grow creatively and just have fun with people.

Speaking of which – yesterday iSAAC and JENNY came over to jam and record music – mostly just hang.  The three of us continue to enjoy our weekly sessions together as it would seem that we all seek connection and opportunity to flex our creativity in the company of friends.  Needless to say, my home is my sanctuary, so to have my friends enter it and feel comfortable enough to sing and share and laugh – is very nice.  JENNY shared a solo song for us and sounded lovely – and if you’re reading this JENNY I encourage you to continue sharing your voice because it is a beautiful instrument!  Singing for or in front of people, even friends is not necessarily an easy thing to do – for everyone; so I’m especially honored to hear her sing solo because I know she is letting me in and that’s a beautiful thing.  Part of these jam sessions and recordings is about connecting and extending ourselves – as much as it is about making beautiful music. 

I had previously mentioned our having recorded ‘iLLUSiONS’ last week – and this week we continued to add or tweak vocals and  some percussion.  I’m very happy with the results thus far; and it was interesting to hear JENNY and iSAAC mention that whenever the song begins they have a familiar sense of comfort attached to it – and I take that as a compliment in that I know I turn to music for comfort myself so to know we ignited something that can potentially comfort people is….nice (is that the only word I knOW?!)

Moving on, I recently felt inspired to take one of my original tunes (PRAiRiE BOY) and turn it from a song into an instrumental piece instead.  PRAiRiE BOY is a very personal song to me that I wrote back in 2010 at the invitation to write and perform a song at ViCTiMS’ VOiCES MATTER, a two-day conference for Law Enforcement Organizations, Community Groups and GLBTTQ Communities.  Bullying and having a voice were major themes of this conference, and so when I was invited to write and sing a song from the viewpoint of my own experiences, I did so as a way to support what the conference was about – HAViNG A VOiCE.  BECAUSE MiNE MATTERS TOO. 

Writing PRAiRiE BOY was somewhat cathartic – but challenging too in that I had never quite written a song under the same circumstances.  The lyrics speak for themselves and are merely a snapshot of how I felt about that aspect of my life at the time I wrote it.  But for me that’s how I view my past in a lot of ways; snapshots or embellished movie scenes.  PRAiRiE BOY is a snapshot of what I like to remember most about being a teen, as we all know those are monumental years, emphasis on the word ‘mental’.  I remember a very young and isolated boy who loved being outside in nature.  By taking away my original lyrics, PRAiRiE BOY can now perhaps become a fresh and blank canvas to paint a picture of that sort of image; the sun shining down on a PRAiRiE BOYS face so much he has to squint.  This will all be slowly teased out by the help and accompaniment of iSAAC and JENNY, singing and playing guitars and heck even a mandolin!  We’ll see, we’ll see. 

Finally, we tinkered with an AiLEEN MARTELLA poem by the name MiNE, MiNE, MiNE – now for anyone who remembers I have been singing another MARTELLA song by the name OPEN UP MY HEART (YOU’LL SEE A TiNY ARMY) but this time I recieved permission from her to play around with my own compositions to her poetry, as I not only love her writing, I also find it an exorcise for my own playing – having lyrics to structure a song around is much easier than writing an entire song.  Her words make it easier to enjoy finding a tune to sing with – so MiNE, MiNE, MiNE stood out to me as this twisted, sort of love song.  Together with iSAAC and JENNY we will use it as another opportunity to play around together.  So far I think it has potential!

That’s it! That’s all! CC


Published by cctadmin on January 28th, 2012



Published by cctadmin on January 28th, 2012

‘If you could live your life all over again, would you change anything?’ – TiME TRAVEL & THE NOSTALGiA of PEGGY SUE GOT MARRiED (1986)

Published by cctadmin on January 22nd, 2012

PEGGY SUE GOT MARRiED is a 1986 American comedy-drama film directed by FRANCiS FORD COPPOLA.  Starring KATHLEEN TURNER as a woman on the verge of divorce she finds herself transported back to the days of her senior year in high school, 1960.  I would have first seen this film around the late 90’s when I worked in Winnipeg at a Blockbuster Video in Osbourne Village.  Although fairly light-weight, and even full of flaws – I enjoyed a couple of things in particular about the film, primarily that it posed the question: If you could live your life all over again, would you change anything?

I’m not so certain I would go back in time per se, as I’m not sure what that would accomplish for me.  Certainly I have a few major regrets (but they are more confined to my adulthood, not my youth), yet PEGGY SUE GOT MARRiED touched me on a couple of other levels which I was again reminded of last night when I sat down to watch it again after so long.

To start, when PEGGY SUE arrives back in 1960 she is confused by this new/old world, but fascinated to get to live high school all over again and say the things she always wanted to say (telling off rude girls; making out with a boy she always crushed on; informing her algebra teacher she’ll never in fact have any use for it).  She also uses the opportunity to repair an estranged relationship with her younger sister Nancy (played by a very young SOFiA COPPOLA – although this part of the plot line is fairly wasted and not developed).  However, there is a scene for me which still really moves me, for its very subtle but effective in pulling me into this strange world.

The scene, found within the first part of the movie, finds PEGGY SUE being dropped off at her family home by her friends. This is soon after she awakens in this new/old world.  She is disoriented when her mother (obviously 20 years younger than when she last saw her in 1986) greets her at the door and sends her up to her room to rest.  Already setting the stage for PEGGY SUE to discover that she is in fact back in time, she makes her way upstairs to her former high-school bedroom – and this is a moment for me that works especially well within the context of the movie.  Can you imagine being back in your old room?  My room is long gone – no longer full of posters and the books I used to pore over – it’s now a lovely guest room.  In this scene, a beautiful theme starts playing, and we watch as an overwhelmed PEGGY SUE looks around the room– her sanctuary as a teen.  It’s very nostalgic and effective the way this 3 minute scene plays out – I know myself I was moved at the idea that I could step back in time –  to an untouched room with records, posters and stuffed animals long gone. I would be happy to go there – it suits my sentimental heart.

Nostalgia is a major theme here – and I suppose that’s why this scene worked so well for me.  There is something strange and comforting to me, about the idea that I could go back in time JUST to sit in my old room and rummage through things of my past that are long, long gone.  Of course, PEGGY SUE is just as overwhelmed in emotion at the sight of her old possessions, like her diary, record collection.  As a scene it’s touching – and simple.


There is another scene in which PEGGY SUE, who by then in the movie is getting more accustomed to the fact that she is back in 1960 – receives a phone call from her Grandma (who would have long since passed in the other world) sending PEGGY SUE  running upstairs in tears.  “What is it?….” her mother comes rushing to ask her, “She called to see how you are…”

“I dreamed that Grandma died.” says PEGGY SUE.  Again, this little scene affected me because I could easily identify with her.  My grandparents, who both passed away a couple of years ago, were and remain very close to my heart, and I wouldn’t know what to do if I was back in time and found myself on the phone with Grandma again.  What would I say?  How much would I feel?  I would give up a lot of things to hear my Grandma’s comforting voice on the phone – yet the reality here and now is that I will never get that opportunity.  And so the scene itself is very touching to me – however small it is.

As a whole – I mentioned this film is certainly not without flaw.  I have barely mentioned the full plot line, and I will not get into the various other characters.  I enjoyed it – yet admit that it is these two moments that sum up what PEGGY SUE GOT MARRiED is more about for me..  It might beg you to question whether you would change your life if you could live it all over again – but I appreciated it more for sifting up a few golden memories like the feeling of my old room or the comforting sound of my Grandmas’ voice on the phone.  All in all, I would recommend it – and in the meantime, check out the youtube video below for a scene.


A Few words from THE CORRUPTiON of FLESH’S DANNiEL OiCKLE & the Official Release of his new video BLOODY BAG / 2012

Published by cctadmin on January 21st, 2012
I had a chance to re-connect with my Ottawa musical buddy DANNiEL OiCKLE  after the busy holiday season – and many of you will remember I’ve had the opportunity to work with him on THE CORRUPTiON of FLESH, his very own musical production.  The founding artist/producer of TORRiD PRODUCTiONS; he is also a photographer, visual artist, poet, musician and performance artist – and most recently has produced a video to coincide with the release of his single BLOODY BAG.
In the spirit of sharing, I not only present to you the official music video for BLOODY BAG – but also a few words from DANNiEL OiCKLE himself as I was really curious to know more about the man behind BLOODY BAG.  Art certainly speaks for itself but no one can speak to BLOODY BAG’S deep meaning better than the artist himself -
Enjoy the video and be sure to keep your eyes open for more from MR. OiCKLE – as he continues to shine with THE CORRUPTiON of FLESH.


Bloody Bag -
Everyone has experienced a moment in life when they have been emotionally wounded, left bleeding to death by unrequited love or abandonment. I have experienced my own losses of lovers, family, and friends, and once they are gone there is an emptiness left behind. The place they used to hold in your heart is left raw and torn.  It takes years of work to heal those wounds, only to have a new one form when loss re-enters your life.  When I sat down to write “Bloody Bag,” I was writing a poem. I wanted to express the concept of a broken heart in unrelated terms. I was hoping to hold the attention of the reader till the end, giving clues as to the meaning, but only announcing it in the final line. People refer to hearts as “holding” or “full of” love, as if they were some sort of bag or case. I was inspired to use this metaphor and write the poem from the perspective of someone trying to repair a bag that is constantly full of holes and leaking. Since the term “bloody” is also English slang for “damn” (or worse), the term could have a double entendre in the poem. So, the poem grew into the story of a boy repairing a “damn” bag that keeps leaking, only for the reader to discover that the bag was truly his heart, torn, broken and bleeding before him.
The poem first became a song one morning over coffee. I was looking for a final song for my album “Poison Apples & Other Delicacies” and had been working on a few ideas when I started to hum this tune. I had the poem scribbled in my Moleskine, so I opened it and tried the words as lyrics.  It fit beautifully into the melody. It had become a song. So, in order not to lose what I had just done, I recorded it immediately…barely out of bed and still nursing my coffee at 6 am.  The baseline of the vocal take was laid down and I reverse-wrote the music.  I wanted a vintage recording feel to the song.  Something reminiscent of the 30s and 40s, with a pseudo-big band backing.  So I recorded the piano (low register only), violin and double bass to sound live and raw, to compliment and enhance the vocals and lyrics.  When I was finished, I thought that to me it sounded like an experimental jazz piece from the 40s had jumped into bed with Bjork and Kate Bush. It was something new. Something raw.  Something vulnerable. Something I hadn’t heard before.
Then it came time to film the video. I had just finished releasing the Film Noir styled video for “Moment of Fate” and was looking for the next project. I wanted something a little more avant-guarde, and “Bloody Bag” just jumped up and said: “I’m ready for the next incarnation!” I agreed and sad down with my little one to see how he wanted to be expressed in video. He kept guiding me towards this little world he lived in, full of myth and magic.  Half reality and half fantasy. I have always adored the book “Alice in Wonderland” ever since I read a first-edition copy that my uncle had in his vast old library. Looking at the etchings and drawings and paintings in reference to the material, was inspiring, but it was the character of the “Queen of Hearts” that stood out and told me she was the proper choice. So, I set out to channel her into something like the “Queen/King of the Bloody Bag.” I wanted to keep it subtle, as the material was already dangerously bordering on ostentatious and I didn’t wish to fall overboard but to maintain the same energy. I designed a simple image, the heart on the chest (like the old Raggedy Ann and Andy dolls), the heart on the lips like the art in the book, the chalky skin, and the red hair. I wanted to whitewash the image so the red would shine through more powerfully. Then it was about performance.  I wanted a wooden marionette atmosphere to my performance, attained through simple movement and editing.  I also wanted to maintain the image crop I have become popular for with my self-portraits (low-chest and up). Everything was set, the performance was captured, the image transferred, the editing complete, but it needed something. The “Queen of Hearts” was, in theory, a playing card and what do playing cards have? Symbols.  Since I am a symbolist artist by nature, I thought I would employ those techniques to the video and give a complimentary message. I was tempted to be literal and have hearts (but decided to relegate that to the finale where I used vector art to show the birth of a new heart) and instead use words, the building blocks of the song itself. I struggled with the choice of words as the word “heart” seemed too literal, but something kept coming back to me. This song is about trying to fix something that is broken, a broken heart. That was it…I was “broken.”  The word was so simple and represented the message for the piece. Next I chose the method of delivery for the word, and thought if I were a playing card, my symbols would be written on my face. So I projected the image of the word across the image of the video, creating two flat surfaces.  Essentially making my performance, two-dimensional like a card. I had become the “King of Broken Hearts” and “Bloody Bag” was finally finished.
Danniel Oickle



Published by cctadmin on January 21st, 2012


Published by cctadmin on January 21st, 2012