Every now & then I need me a little dose of ONJ. Depending on my mood at that given time, I may require 80′s Olivia; in full-on synthesizer & spandex mode – complete with that confident vocal she would grow into; or perhaps its faux-barnyard ONJ, delivering that crystal-clear sound that made her a hit across the world mid-70′s. Today I feel like going even further back, to a 1972 Olivia, who was still relatively fresh in terms of style. Prior to her country-folk-pop-rock incarnations she recorded several albums (like this 1972 album ‘Olivia’, released on Festival Records & produced by Bruce Welch) in the UK that allowed her to experiment with some alternative covers of otherwise well-established tunes like George Harrison’s ‘What Is Life’, Kris Kristofferson’s ‘Help Me Make It Through The Night’, & this Paul Simon tune, ‘Why Don’t You Write Me’. The album as a whole is unlike any of her other albums: inherently fresh, ernest & folky. Every now & then its good to search outside the dominant hits like ‘Physical’, ‘Magic’, ‘I Honestly Love You’ & the mega hits from 1978′s Motion Picture Soundtrack ‘Grease’ & to re-explore the aspects of her expansive career. Here’s to ONJ: a class act.
I didn’t grow up with the music of ANDY GiBB, although I certainly remember him on Tv or in magazines. In my teens (late 80′s early 90′s) I discovered ANDY along with a lot of other music of that era but for me the thing that was more fascinating about him than anything was his early passing at age 30. Even just in drifting upon this ONJ duet I found myself a bit more curious about him than in my teens, and then after reading the wikki version of his bio I found him a sad sorta story. Breaks my heart actually. I read that although he had his own career going for him, apart from his older, mega star BEE GEES brothers, he became very depressed over time, and addicted to drugs. Coccaine I believe. But to be clear he did not die of a drug overdose, in fact he had cleaned up. It was the remaining depression that caused him severe social anxiety and an eventual natural death do to the wear and tear of drugs on his body. This is a piece of what I read on wikki-pedia:
“Broadway producer Zev Bufman who financed Joseph and the Amazing Technicolor Dreamcoat said this of Gibb, “When Andy was at the theater, he was a joy. But he wasn’t there enough”, adding that of the five people to play Joseph up to that point, Gibb was the best actor.[1] He also said after Gibb’s death, “We’d lose him over long weekends. He’d come back on Tuesday, and he’d look beat. He was like a little puppy – so ashamed when he did something wrong. He was all heart, but he didn’t have enough muscle to carry through.”[2] An unnamed co-star in Dreamcoat was quoted as saying, “I hear he spent most of his time in his hotel room in front of the TV. I guess he was frightened and insecure. That’s what happens when you’re the baby brother of the Bee Gees.”[1] Commenting after Gibb’s death, Solid Gold producer Brad Lachman stated, “…[Andy] was a very charming, vulnerable and charismatic performer. He clearly meant well. He wasn’t being difficult. He was going through [drug] problems he couldn’t deal with. He wanted everyone to love him. He had so much going for him, and he just couldn’t believe it.”[2]
This the kind of story that strikes me – but then on the other hand, its the kind of story that only makes the LOOKING BACK on these old artifacts you find on youtube much more intriguing and telling. Beautiful. This particular duet with ONJ (a fellow English-born-Aussie-raised-American superstar) was filmed 1981 when he would pass away in 1988. In todays over saturated world of music and pop culture, somethings bittersweet for me to see this story, that moment between the two of them has a newfound impression. Compared to today’s plethora of over inflated egos/personas this gets me a little nostalgic, and why not? Need I even say it – ONJ was a C.L.A.S.S. act women. That was love happening between them. How often do you see that in music today?
There’s also something in that description of him, the way they refer to him in the above comments as “all heart, but he didn’t have enough muscle to carry through” - that’s a frightful possibility to face within yourself; reminding somehow of the universality of his pain. I mean, isn’t that something we all grapple with somewhere deep down inside – the question of AM I STRONG ENOUGH TO MAKE IT??? Watching the footage of them, not only is it rather pretty, I think what effects me is that in his eyes and with his particular gift in that moment I see just that – shades of myself and many other people I know. His life does remain meaningful today. Very relevant. So I guess in the end, it makes you appreciate life somehow, regardless. Enjoy the ANDY GiBB experience.
Although I am back in the recording studio and focused on new material, I do have to take a moment and reflect on an album I think many people still need to hear. That album is THEY SAY I’M DiFFERENT and it is my independent debut release, recorded in 2009-2010, released independently last year by Torrid Productions.
At the time I began recording tracks for THEY SAY I’M DiFFERENT, there really was no album to speak of. In fact, CLAUDE MARQUiS (of The PEPTiDES) had me over to record what could have been my one and only track: DOLLY PARTON’S ‘THEY GRASS iS BLUE’. I have always had a strong affection for folk and country music; growing up it’s what I lived on. PARTON’S music is and always has been influential to me, so I took the opportunity to record with MARQUiS on what I initially took as a one-chance opportunity. I’ll never be able to thank MARQUiS enough for that gesture, because once my THE GRASS iS BLUE cover leaked online and I began to share it – I was baffled at the reception it got. I was mostly touched by how many people reached out and shared their connection to me or the beautifully written tune. It was encouraging for someone very shy like me.
From there I began to envision what it might be like to continue working on music: recording it and laying it down in a way that I could extend it to other like-minded people. On top of that, I performed at a few weddings over the summer of 2009 and again, the response I received from the crowds was so positive – how could I not consider pursuing music more?
Enter DANNiEL OiCKLE, founder/producer of TORRiD PRODUCTiONS. Much like MARQUiS, OiCKLE generously invited me into TORRiD PRODUCTiONS as a resident artist, where we developed the idea for a full length grass roots/folk album with original material as well as covers of some of my favorite tunes. OiCKLE is another major force behind what soon became THEY SAY I’M DIFFERENT – and over 2010 we were in and out of the recording studio laying down potential tracks. For someone like me, who was used to singing alone in my living room and playing solely for my cats and boyfriend – the concept of coming into a recording studio and laying down raw music was completely foreign to me. I’ll be honest and say that I have ton of learning to do; although I do consider myself a singer/songwriter – I also know my limitations. Every week OiCKLE and I got together, I used our sessions as opportunities to flex myself and push what it is I think I can do. Before I knew it, we had laid down tracks for all of my original tunes: LONELY BLUE WAVES (i WANT YOU), iLLUSiONS, SAViOUR iN A CAGE, BLUE, SAiL AWAY WiTH ME and THE GENTLEMAN. The results are admittedly mixed but I will say a valuable lesson learned is that much like children, a song needs time to grow and develop into its full potential, and so while I can appreciate that there is major room to grow – these recording are very representative of a certain time and place for me as an individual and artist. They are my first recordings.
These recording sessions at TORRiD PRODUCTiONS were very affirming to me as a musician – and I also jumped on the opportunity to cover some of my favorite songs by other artists. HOPELESSLY DEVOTED TO YOU, originally a NEWTON-JOHN number from 1978’s GREASE remains a song close to my heart. It made sense for me to re-work it and present it in a stripped down manner where listeners could hear the beauty of JOHN FARRAR’S lyrics. Additionally we recorded TiLL i GET iT RiGHT , originally a TAMMY WYNETTE song done in the early 1970’s. Her version is a classic that moves me even today – but getting to put my own twist on it as well as include it on THEY SAY i’M DiFFERENT meant a lot to me because the song reflects how I feel myself – ‘If I fly my wings/ and if I try long enough/ I’m bound to learn to fly/ so I’ll just keep on falling in love/ till I get it right’. This is the essence of THEY SAY i’M DiFFERENT.
As the tracks with OiCKLE kept adding up over the year, I was able to return to MARQUiS’ for some additional recording with him. MARQUiS has an ear for music, as is clearly evident in his work with THE PEPTiDES – so having him lend his touch of talent to TOMORROW iS FOREVER and my own PRAiRiE BOY further fueled the reality that I truly was on my way to putting together a full-fledged/full-length album. Wrapping up with MARQUiS we laid down a cover of STEViE NiCKS ‘AFTER THE GLiTTER FADES’, this time he also invited THE PEPTiDES member OLEXANDRA PRUCHNiCKY in to add her beautiful harmony (making it my first official duet), as well as accordion player JUDY JiBB. AFTER THE GLiTTER FADES remains one of the songs people refer to most and I can understand why. PRUCHNiCKY (also a member of TORRiD PRODUCTiONS) and I have continued to work together on numerous other projects since our time on GLiTTER, including OiCKLE’S very own baby, THE CORRUPTiON of FLESH. I think it’s pretty safe to say that I wouldn’t even be involved with CORRUPTiON had I stayed playing guitar in my living room. This goes to show that making THEY SAY i’M DiFFERENT was as much about extending myself to the world as it was about making a folk record.
THEY SAY i’M DiFFERENT may have wrapped up recording at the end of 2010, but a lot of work was put into its release in 2011. Again, I am so thankful for all of the people involved in making this project happen; I have since watched it be received in a way that I really can only be thankful for. We held the CD LAUNCH party at ELMDALE HOUSE TAVERN in July, to which I faced a big fear of public performing. I’ve done a hand full of other live gigs since then; including THE RAiNBOW, BACKYARDS of CHiNATOWN and even played up in Manitoba’s NorVA Centre, where I also had an exhibit of my photography. Ottawa’s Xpress even nominated me and THEY SAY i’M DiFFERENT for BEST ALBUM and NEW MUSiCAL ACT in their October Best of Ottawa 2011 Contest. I’m no fool and never expected for a moment that I would win either category – but it was yet another source of encouragement; someone out there heard potential. Besides, I’ve only just begun!
Everything about THEY SAY i’M DiFFERENT; leading up to it and after wards has been incredibly rewarding. Reviews, although slightly mixed – do indicate to me that any flaws aside (and I do recognize a great deal of flaws) there must be something good. If anything, THEY SAY i’M DiFFERENT woke me up to my own potential. It’s not the sum of who I am but it certainly should be seen as a work in progress.
As I move forward and continue to record new material – I take these experiences with me and strive to evolve even further as a singer/songwriter/performer and artist. Going forward I will take my time and collaborate with like-minded musicians who want a piece of the CC TRUBiAK experience – creating intimate, grass-roots folk and country-tinged music full of hope and optimism. Fortunately for me I have peers like DARREN HOLMES, iSAAC VALLENTiN, JENNY NASMiTH, KETURAH JOHNSON, SHANE NORRiS along for the ride – I can assure you that anything you see from me next will be a labor of love – for if I’ve learned anything from these past two years; take you time and be proud of what you do but always strive to outdo even yourself. Stay tuned!
In the meantime – take a moment to check out THEY SAY i’M DiFFERENT, which you can find on iTUNES here (http://bit.ly/zQFwDg). Below are youtube vids for several tracks, and stay tuned for what will be my first official music video release this spring; I’m currently working on a video concept with TORRiD pals OLEX and DANNiEL for an accompanying video to AFTER THE GLiTTER FADES. It will be beautiful I can assure you!
The following represent my all-time favorite women in Country & Western music as a genre; these are a handful of the women who paved the way….
PATSY CLiNE : Beginning in the 1950’s CLiNE was one of, if not the first HONKY TONK GiRL to record the NASHViLLE SOUND, in which country’s traditional instrumentation was sweetened with strings, and twangy vocals were toned down by a harmonizing ‘choir’. Her voice was voluptuous and versatile, perfect for pop-leaning ballads which she turned into a category all her own. At the time of her passing, mainstream audiences rarely went for country singers but CLiNE’S music was embraced by people across the board.
Download: Walkin’ After Midnight (1956); I Fall To Pieces (1961); She’s Got You (1961)
JUNE CARTER CASH : Before there was a CARTER CASH, there was THE CARTER FAMiLY – the pioneer’s country music. CARTER is a part of this legendary clan and before the CARTER family there really was no country music industry. As part of THE CARTER SiSTERS, JUNE toured and did television and festivals before meeting JOHNNY CASH. The rest is history but CARTER CASH should be remembered most for her multi-talented gifts as trained actress and comedienne, but most of all for her unique and natural gift as a singer/songwriter.
Download: It Ain’t Me Babe (1965); Jackson (1967); Far Side Banks of Jordan (1999)
LORETTA LYNN : The original COAL MiNERS DAUGHTER developed simple yet compelling songwriting style, as well as her own sound of singing; a voice becoming richer, more nuanced and emotive. Her lyrics too, became more distinctive over time, projecting a feisty, ‘shape up or ship out’ attitude, or other country and western taboos like virginity loss, double standards for divorcees, and birth control, all of which were banned by some radio programmers in the 1970’s yet became major hits.
TAMMY WYNETTE : Full of heartbreak and pathos, WYNETTE’S voice would swell and pause and build; the queen of dynamics, she could give the most maudlin song drama and power. WYNETTE may well be the finest pure singer in country music history, and from the beginning she became the doormat, dumped wife, or scorned girlfriend that populated her songs. Most of her hits were about homes that are broken or breaking but her legions knew what it was like to be stuck with an aching heart.
Download: Apartment #9 (1966), Till I Get It Right (1972), Stand By Your Man (1968)
DOLLY PARTON : PARTON’S rags-to-riches story, as well as her songwriting, down-home personality and country-girls-idea-of-glam-sex-bomb appearance make her the ultimate country & western SUPERSTAR. Many of her most memorable hits were autobiographical, and combined with her unique voice and shrewd sense of business, she has gone on to conquer HOLLYWOOD and pave the way for all future country songbirds. Her breathy trill of a soprano gave a lovely effervescence to the folksy songs she recorded early on in her career, before crossing over into pop in the late 1970’s.
Download: My Blue Ridge Mountain Boy (1969), My Tennessee Mountain Home (1973), Lonely Coming Down (1974)
TANYA TUCKER : TUCKER was 13 years old when she had her first hit song in 1972 – and her music told mythic stories in a reedy voice that bellied her age. She was and remains a rarity – not to mention one of the few child performers to mature into adulthood without losing her audience. TUCKER is one of the few and best-known female Country singers to be classified as an “Outlaw” in the OUTLAW COUNTRY movement, which was most popular in the late 70s. As TUCKER matured by the end of the 70s, her outlaw image grew, and to this day she threads that outlaw influence into her country rock.
Download: Delta Dawn (1973), If You Touch Me (1973), The Chokin’ Kind (1973)
OLiViA NEWTON-JOHN ; The English born, Aussie raised NEWTON-JOHN created uproar among country music puritans when she won GRAMMY and CMA award in 1974 for her faux-barnyard country hits. By no means the first singer to cross the boundaries between country and pop, she (along with JOHN DENVER, GLEN CAMPBELL & PARTON) did in many respects help redefine traditional country music with her crystal-clear vocals and by showing you needn’t have bona fide, dues-payin’country roots to make it in NASHViLLE.
Download: Behind That Locked Door (1971); If You Love Me (Let Me Know) (1974); Come On Over (1976)
ANNE MURRAY : Straight, Clean and Simple is not only the name of MURRAY’S 1971 country album, but it also sums up MURRAY as a stylist as well. She was the first Canadian female solo artist to reach #1 in the US, as well the first Canadian to win Album of the Year at the Country Music Association Awards for her 1984 album A Little Good News. By far not the flashiest or the prettiest country beauty – but what she brought to country music’s table is a warm down-home approach to singing.
Download: Snowbird (1970); Danny’s Song (1972); Love Song (1974)
LiNDA RONSTADT : The consummate professional, RONSTADT brought the torch into country music before exploring California rock, helping to bridge country and rock while serving as the perfect poster child for freewheeling femininity. A singer, songwriter and record producer she is recognized as a definitive interpreter of songs and being one of music’s most versatile and commercially successful female singers in the US history, she is recognized for her many public stages of self-reinvention and incarnations. Her contribution to country music helped her achieve the one-time standing as QUEEN of ROCK, earning the title of ‘highest paid woman in rock’.
Download: Long Long Time (1970); I’ll Be Your Baby Tonight (1973); You’re No Good (1975)
EMMYLOU HARRiS : HARRiS epitomizes that country-rock fold in the mid-seventies, where NASHViLLE music was sounding slicker by the minute. First singing harmonies with GRAM PARSONS, HARRiS’ shimmering soprano went on to resonate with many other artists, including DYLAN, RONSTADT and YOUNG – her ability to interpret songs in a unique style helping to redefine as well as mass-market radio friendly country.
Download: One Of These Days (1975); My Dear Companion (1987); Red Dirt Girl (2003)
****Check out the selected images and youtube links below for more!!
The time has arrived: DANNiEL OiCKLE’S ambitious production of THE CORRUPTiON of FLESH, a performance piece based on his electro-pop album POiSON APPLES & OTHER DELiCACiES will debut this Friday at Club SAW Gallery here in Ottawa. Be expecting a visual feast as well as great performances by OiCKLE, backed up by chanteuse OLEXANDRA PRUCHNiCKY and myself.
Rehearsals have been a gas – and personally I have not worked on anything this creative as a group in some time so the experience has been a fruitful one, no pun intended. OiCKLE and PRUCHNiCKY are both kindred spirits – and in many ways I have been fortunate simply to be a part of the collective – like the high school glee club I never had. Is this what it was like for JOHN TRAVOLTA, OLiViA NEWTON-JOHN and the cast of 30-somethings-playing-teens in GREASE? Food for thought….
OiCKLE is also set to release his follow-up album THE CORRUPTiON of FLESH this Friday and will be selling copies at the show as well as exhibiting several pieces of his own photography. This album contains several re-worked and remixed OiCKLE originals, ‘Skin‘ on which PRUCHNiCKY lends her seductive charm and ‘Gabriel‘ – a duet of sorts for me and OiCKLE. His works are very much a compliment to this performance piece and I highly recommend that for those who lament on what Ottawa needs to liven up the night life – THE CORRUPTiON of FLESH offers but one jam-packed titillating night for all. Well except the kiddies – leave them at home lest they be corrupted!
Tickets can be bought right at the doors – which open for the gallery at 8am. Tickets can also be purchased in advance at Venus Envy or After Stonewall (both on Bank St) – at $10 a pop. The show itself will begin around 9:30 and it runs about an hour or so. Hope to see you there!
(making it the #1 song of the 1980′s), the album went double platinum and peaked at #6. On top of that it marks the pinnacle of OLiViA NEWTON-JOHN’S career. The song was impossible to escape and it allowed her to distance herself even further from her goody-goody image. Most of all, its a damn good album.
Chopping off her long blond hair and opting for a somewhat foxier image, PHYSiCAL presented ONJ as a full-blown mega superstar. Picking up where TOTALLY HOT and XANADU left off PHYSiCAL skillfully balances catchy yet mellow dance cuts with immaculately crafted pop and ballads. The title track of course is the best example of the dance side, but LANDSLiDE, MAKE A MOVE ON ME, PROMiSE (THE DOLPHiN SONG) illustrate that PHYSiCAL wasn’t a one-hit record at all – if anything they hold up better than the big hit. Comparatively from the bulk of her 1970′s albums which had 79% filler – PHYSiCAL has a much stronger sense of focus and concept.
Production-wise as well – PHYSiCAL is ONJ’S most well crafted album; fun and very crisp, her vocals sound a far cry away from the wispy days of iF NOT FOR YOU. She had clearly become a much more confident vocalist, sounding especially strong on SiLVERY RAiN, CARRiED AWAY and LOVE MAKE ME STRONG.
PHYSiCAL also spawned a corresponding video album of the same name, an industry first that helped launch the nascent long-form music video market. Each of the album’s songs had its own corresponding promotional video, also allowing fans a chance to see ONJ as a sleek, aerobics devotee, as well as numerous other trendy characters, such as a kinky high power boss (LANDSLiDE), and yoga chick (CARRiED AWAY). A surreal streak runs through a few shorts, especially RECOVERY, in which she rides a horse through a desert, encounters a cage full of men in tuxedos, and wanders through a painting. ABC broadcast the video as LET’S GET PHYSiCAL and launched her on a major summer tour that had her jumping and hamming it up on stages worldwide. She was EVERYWHERE.
ONJ never was quite able to fully recapture the success of PHYSiCAL, nor did she ever capitalize off of her new-found image, at least in my opinion. I’m sure if I could go back in time I would find OLiViA circa 1980 and slap her silly into truly embracing a sexier image, if her real desire was to extend herself as an artist. Oh the potential there was – but luckily it does still exist for those of us who enjoy our pop perfections. The plus side is that she paved the way for MADONNA, CYNDi LAUPER, SHEENA EASTON and PAT BENETAR – not to mention many of artists today by setting a certain precedence. The downside is that for her she would never be able to sustain her own status as one of the top female pop singers of her time.
The night in general was FANTASTiC – and full of many wonderful memories. First I would like to thank everyone who was able to come out that night in support of me and the album. From my long time Ottawa boys, to all my friends and co workers – and everyone in between : I’m grateful for the crowd of devoted people who were able to make it. The energy brought into the show was magnificent. To see the faces of my friends and loved ones was especially calming before the show itself, as leading up to it I was filled to the brim with nerves and anticipation! A special thanks has to be given to the following :
My sister EBONY and JAMES - I thank you for making a pit stop in Ottawa on your travels. Just having my sister in the audience made me feel a certain ease - the embrace you gave after the show is etched in my memory.
DANNiEL OiCKLE and OLEXANDRA PRUCHNiCKY - I have to thank you both for the time and energy you both put into not only the album, but the night in general. I LOVED getting to rehearse with you – we are BiRDS oF A FEATHER and I’m quite looking forward to working on future shows – be it YOURS, MiNE or OURS. You’ve very talented and creative people - WHERE HAVE YOU BEEN MY WHOLE LiFE! In addition to the help with the show, all of the promotional help, such as bringing me on as a guest on ANYTHING BUT VANiLLA to share and discuss the project was incredibly appreciated.
ELMDALE HOUSE TAVERN – Thanks for allowing me to play in such an warm and cool atmosphere. Having previously played there last March before STONEY MARTiNS & THE OUTRiDERS I knew what I wanted and ELMDALE was the place that had it. I felt very at home there and the venue was the PERFECT spot for my music. I look forward to the chance of playing there again sometime!
DERREK PENNOCK - Thank you for your time and work on the event poster. You’re a talented man and the poster was beautiful. My FiRST LiVE SHOW POSTER !
Thank you to ALAiN and JULiE for helping me out in various ways such as greeting everyone at the doors and ensuring they know about the CD. I love you both!
BONNiE FiNDLEY – thank you for being present for such a momentous night, and for documenting it in such great style. You’re an amazing photographer and it has to be said that the photos from the night are greatly appreciated by me. (To check out more about BONNiE and her photography please go to : www.findleyfoto.com ). Check out the following photos:
Recently I had the fortune of talking to a very creative and savvy friend of mine. This friend is much more informed about how to communicate with society in today’s gizmo-happy times, particularly when you want to reach a lot of people and share a variety of things from music to photography. Myself, I am a slow learner – but after much consideration I think I may developed some new and fresh ways to keep viewers of WWW.CCTRUBiAK.COM happy and entertained more frequently. I would also LOVE to hear of any suggestions on what YOU may want to see more of so please share your suggestions!
So here is how it will look going forward:
MUSiC TRiBUTE MONDAYS: This is where I will continue to post anything pertaining to music that influences me; from my tributes to albums; songs; genres; singer/songwriters; cover art etc. As of now I’ve been very sporadic in my tributes (BOB DYLAN, TANYA TUCKER, OLiVIA NEWTON-JOHN, LABELLE, CRYSTAL GAYLE, JUiCE NEWTON etc), but this will allow for more consistency. I’ve really only touched the tip of the ice burg.
FiLM TRiBUTE TUESDAYS : Similarly I will do my best to post tributes to the films/actors/actresses/directors/genres that again, have inspired me over the years. Up to now I have done short features on PAPER MOON (1974), KLUTE (1971), CARNAL KNOWLEDGE (1971), LADY SiNGS THE BLUES (1971), THE ROSE (1980) and THE PURPLE ROSE OF CAiRO (1985) but there are many more films to be discussed. Any thoughts from you?
ANYTHiNG GOES WEDNESDAYS: On a day like Wednesday I say anything goes – so I may feel like doing a tribute/feature on anyone from a LOCAL ARTiST, to an exceptional SUPERSTAR from our times who has relevance to me and my own sensibility. To date I’ve featured Ottawa-based photographer DARREN HOLMES, DEEDEE BUTTERS as well as STONEY MARTiNS and the OUTSiDERS – but keep your eyes open for future features on THE PEPTiDES, AKSHAY TYAGi, DANNiEL OiCKLE, DAN ZiEMKiEWiCZ and more.
QUOTABLE THURSDAYS: I am often inspired by the words of wisdom that can come from anyone as relevant as LADY GAGA to as everyday as the LiTTLE OLD LADY WHO SAT ON THE BUS NEXT TO ME. Here is where I wish to share these words of wisdom with you.
PHOTO FRiDAYS: Here I would like to post any image or photograph of my choice, be it one of my own or by any given photographer, living or dead. For all the years I spent pouring over TiME, ROLLiNG STONE, VOGUE, LiFE, iNTERViEW – there are millions of photos I find striking and inspirational – so let me share them with you!
Again – don’t be shy and let me know if any of you have ideas or suggestions on how to spice up CCTRUBiAK.COM.
