Monster Party” is another of the pieces that Scot did for children while we were living in Iowa City in 1981. These were little books that we thought could come with a tape (a product which didn’t exist at the time). We even looked into putting the music onto an electronic chip, which was just beginning to happen too, but the wasn’t enough room for anything this complicated and it was very expensive.
Once again, Scot is playing on all the tracks, except for the drum track. Special blog points to T. Scot Halpin Memorial Blogsters who know about this track. If you guessed the drum record checked out from the Iowa City library heard previously on the blog, you would be right. It just goes to show that Scot would work with whatever he had and always manage to make something special out of it, no matter what. We did have that Hammond B3 in the living room and that authenticity lends itself to any track.
Today’s artwork is the cover of a mock-up of the accompanying book for this project. These books have stood the test of time. I have yet to give them to any little kid who didn’t immediately fall in love with it and want to play it over and over. I want to dedicate today’s entry to a very special little friend of mine whose birthday it is today. She’s having a tea party! As Jack Skellington would say, “I hope it’s very scary.” Happy Birthday!
Greetings Blogsters. Today I bring you an encore performance of “Carlyn Lindsey & Snake Doctor” doing Screamin’ Jay Hawkins’ marvelous tirade on love lost. This is especially appropriate because I think on the last entry I might have failed to credit the band in any way. Here’s the low-down. We’re back at Bears Friday night root gig. The place is packed and steamy. People are dancing in the aisles; we were all of us there-- celebrating with the gift of music. The magical transporting, healing powers of music were flowing greatly in the room that night.
This is definitely one of Carlyn’s signature tunes. I could listen to her sing it again and again. Carlyn’s performances have, from the start, cut straight to the heart of the matter. The musicians on the stand with her that night were all straight from the top of the Bloomington music whole fresh milk jug. The musical prowess of this outfit is here for us to know about because of another rinky-dink recording I made. Just imagine what it was like being there in the room that night!
Particularly KA on this track is Dave Witherd. I think it’s OK to say now that Scot and Dave clashed a little. Dave is a musician’s musician. He can talk about music with the same proficiency as he can play it. Scot had trouble with this because he really couldn’t take part that conversation and defensively categorized it as ‘time wasting’. Why talk about music when you can play it? They came to love each other and their mutual appreciation became vast. Check out this tenor sax. It’s about as close to the end of the tenor sax road as I’ve ever heard.
Also on the stand with Carlyn that night was Todas Phaegle on (killer) guitar, Tim Haas smacking it out on drums, Larry Vessily on keyboards (bless you and you 88 Larry), and Scot ‘Miracle Man’ Halpin. I may be imagining this but I think that Carlyn was calling Scot “Miracle Man” even before he got sick. Carlyn and Scot clicked musically. Scot new how to lead a band and he worked closed with Carlyn to cue her and help her in whatever way she needed. Carlyn is a well-seasoned professional now, but in those days, she was just learning about performing and singing in front of a band.
Today’s artwork is another piece pulled from the archive of editorial illustrations that Scot did in the early 1990’s. This one was for “Drums & Drumming Magazine” (now defunct). The staff of “Drums & Drumming” went on to put together a new publication that is still big on the news stands today—“Drum!” Scot was a contributing illustrator to “Drum!” for right up to the end.
This piece started out as a drawing done with a Sharpie marker. Scot then took that drawing to the “magic copy machine” at SF State to make many copies of the drawing. He would then lay color down on the drawing using illustrator’s markers. This piece I think stayed black & white. Then there’s that signature airbrush.
Today’s musical track was selected after a long search. Again one of those situations where when you are looking for something specific, sometimes it’s hard to find. You pass up all kinds of other things that are just great, but no…… I wanted something upbeat and fun in celebration of a friend’s birthday today—something she could dance to. I spoze she could dance to this but she’d have to turn the lights off and have a least a couple scarves. I picked it (a fun pure Basement Collaboration-Jerry, Kenny, Scot—track) because of the silly operatic interlude of Scot’s, which being so Scot-straight-up, I know she will enjoy.
Today’s artwork is a sweet little pen & ink angel with Beethoven curls during in 1997, carrying her little heart wand; she has the moon as her guide.
Turn the page of ‘the song writer’s note book and we find this track that starts out as sort of a treatise to ‘the path less taken’ and then takes a fun turn and goes to “it’s OK to have your own rocky road.” It strikes a chord with something one of my ministers put out—I accept myself right now, just as I am, unconditionally. Say that to yourself a few times in the mirror, and you’re sure to get an effect.
I love all the reassuring Scot does in this song. “A memory that gives you strength.” In the background you can hear the 7 Haight and several other buses thunder by. There was a child care center right across the street from us, which was great—a big sunny patch of humanity.
Today’s artwork was done in 1997. This is pen & ink and semi-transparent acrylic paint.
Today’s musical entry is another snipet from ‘the songwriter’s notebook’. This could be Scot’s theme song, “Do It In My Own Way.” This song is being blocked out, right there, live in 1986, in our sunny front room on Page Street (just one block over from Haight) San Francisco. On this track we get to hear a lot of detailed little sounds—the squeak of his chair—his little hum to himself. Once again, we hear Scot plug into to the creative muse like it was a gas pump.
Today’s artwork is also just a snipet. Love live “Super Doodle!”—a tiny graphite drawing with transparent acrylic wash done in 2002.
Same body of music. “I Want the Light” This arrangement was created for an installation that Scot did for an Open Studio during his residency at the Headlands during spring of 1989. His studio was up in this enormous attic of a hundred year old army barracks overlooking the beautiful Marin Headlands and the Pacific Ocean beyond. Along the rib bones of the attic Scot hung a huge newly painted painting on each rib, the only light in the room coming from the floor, below each painting. The installation was breath taking. Each painting became a window from the dark to the light. The music served as guide.
I find today’s artwork is wonderfully illustrative of the music. We’ve got momma in the bakery, we’ve got the night, and we’ve got the house of light. This is a graphite drawing, with some colored pencil effects and lots of lovely lemon transparent acrylic paint.
I like any good poetry meanings can change. In this song I now hear Scot asking to experience the night, so that he may bring on the light. Nice.
About some recent holes. The last few days have been kind of dodgy and as a result there have been some gaps in the blog. Most are filled, but I did want to mention that the title for the “Speak Out” entry below (10-21-09) is now a link to a little bit of speaking out I was invited to do. Just click on the blog title for the link.
Speaking of bones, this song always has the feel of a toss of the fortune teller’s bones to me. “Memory 17” is a song Scot wrote in 1989, when he was Composer-in-Residence of The Headlands Center for the Arts, in the Pacific Headlands outside Sausalito. The song later went on to “Folklore” a track of which I played here on the T. Scot Memorial Blog back in June (6-8-09/).
Today’s track is a wonderful solo demo Scot made of the material in 1991. Scot titled this tape: “Sing Along with Scot.” This is he himself in a room with his guitar and an echo effect. Nothing stands between us and his gift as a song-writer/musician, his gift as a singer and poet. Nothing stands between us and all his sweet notes of assurance.
Today’s artwork I really had to look for. I went down all kind of thematic paths—boats, flying spirits, mermaids on semi’s. I settled here on a shaman dude. Scot was fascinated with shamanism and often referred to himself as the Blue Shaman. Today’s piece, done in 1997, started as a graphite drawing on cotton rag board. On top of that he has laid turquoise and red spray paint and finally yellow, blue and mauve opaque acrylic.
More bare bones. This was Scot’s side of our Sponges ‘dance medley “All I Want To Do Is Dance”, recorded in 1980. My side of the medley has already been featured in the blog (I Just Want To Dance). We recorded this track at a studio down on the Peninsula—Menlo Park, I think. “The Sponges” had won the session in a battle of the bands contest, at le Disque! Our friends Peter Smith and Mike Catalona were there at the session and provide the interesting commentary on the timely death of disco fishing. Blog regulars, have I already said all this?
Today’s drawing is a sweet little piece, done with a quill pen—the kind you have to dip. It does make such a fabulous and very distinguished line. This is what dancing with Scot feels like now.
I’m slipping dangerously behind here, and so to catch up, here are the bare bones. This is once again, “The Sponges”, Scot and my New Wave/Punk/Art/Joke band, doing Scot’s tune “I Think It’s Alright”. Scot and I were way into Reggae and Ska at the time--1979 and 1980.
“The Sponges” as pictured here were—me (in Yoga we call that face a LION), Leland Monagle, “The Sponges” cool Euro drummer, Joey Belche—guitar and vocals like a good rock & roller should, Scot—clowning around on bass, vocals and costumes. In our little punk world there were two things that meant anything—line up for the show & posters.
There were a handful of really KA bands that everyone wanted to see. “The Offs” “The Zeros” “The Dead Kennedys” “The Mutants” “Tuxedo Moon”. If one of these bands was on the bill, you’d do well. Otherwise it would be you and your 20 friends. We played a lot at this club—le Disque. Our friends Judy and Ed were doing the booking and our 20 friends filled the place. This is a poster Scot created using fun lettering and a rather silly picture.
Open your eyes. You’re here. Open your ears. Open your soul. Open your karma. These are some words. They are some words that tell a story, but are words that can so immediately be substituted for other words. There is so much about this song that just suits me to the soul, but is just so not my story.
I put a spell on you--yes. But you put a spell on me too. There were things you did that were wrong. I was no saint. It didn’t matter. You were mine. I’m yours.
Today’s artwork is a conundrum. Here is this woman. She’s wearing earrings. Here’s the deal. This is not a woman. This is a beautiful face. Classic. Deep. Pure. Something is growing there on the lower left side. This is not me. It’s Scot. Those are not earrings. Those are not breasts. There is something else—there was a real symptom, look for it in his drawings. One eye was bigger. Only he and I noticed it. I’d look at it and I’d know.
Thank you Carlyn—thank you Tim for putting it all together. These moments recorded here were blessed moments. What else could there be? Thank you Dave (Witherd). Thank you Larry (Vessily). Thank you Tim (Haas). Thank you Carlyn Lindsey. And right here, right now, thank you, Scot Halpin.
Nine Part. Nine parts in this musical journey. Nine parts that fit together only in so much as they existed simultaneously in the mind and fingers of T. Scot Halpin and now exist on a piece a magnetized tape. These are total explorations. Maps. Say IF one could quiet ones mind? Where would one go? These are all solo performance--demos, every piece about it is Scot, all the weird blends--thank heavens we have it--music.
These tracks were recorded during Scot’s year-long composer-in-residence at the now famous Headlands Center for the Arts in Sausalito CA. This is a big story. Bigger than I can tell right now. Just for reference—this was 1988. Today’s artwork is a graphite drawing/rubbing on typing paper. Art-by-the ream-plus. This is ball-point pen plus graphite rubbing (over burlap mapboard). Guengus ART done in 2006.
FYI: The title of this blog entry is a link that will take you to a You-Tube site that features a little speaking out I recently got to do.
If you think you are hearing the start of a record at the beginning of this track. I remember know. Scot is playing along to a drum track on a record he checked out of the Iowa City Library in 1981. I was trying to figure this mystery drummer out before, but the countdown on the beginning of this track clued me in. More Hammond Jam today.
Today’s artwork, another one of a million wonderful little windows upon the world. This pen & ink drawing, colored with transparent acrylic was done in 1999. There’s a whole world here
The orchestra tunes up on the early moments of this tracj. Guitar here. A bink from the keyboard to check the key. A crash of the digital cymbal. This track tonight is giving me the courage to forge ahead. Turn it up. Here Scot has set out a gallop of a pace. I feel myself flying over the plain of music, as Scot himself must have, when he set up all these rollicking tracks—one by one. Drums—yes, probably the cheapest drum machine ever manufactured, glorious Kay guitar track (twice—one with WAWA), bass the way Scot played it—squeezing in the another melody, and finally laying down a 100% improvisational keyboard track.
I have talked about the technique Scot used in today’s art piece—staff paper, sepia and India Ink wash, beautiful Japanese calligraphy brush with long sable hairs.
Today’s musical track is a “Jamula” improvisational composition. “Jamula” means Scot Halpin on bass, Jerry Farnsworth on guitar and Tom Smith on mouth organ. Kenny Wright did sit in quite a bit at the end of Jamula, so I guess he’d be close to being an honorary member. This track is typical of the KA music ‘Jamula’ oh so casually made—so much ‘the real thing’. There’s nothing here in the room but four people hooking-in to the blues muse.
Today’s artwork is a visual reflection of some blues I got today. Some days doing the blog, and working with an agent to bring Scot’s work to the world, and feeling him so close, just across the veil—is not still not enough. Sometimes I just miss the man.
Here’s someone also in the deep blue mode, as model for today’s artwork. This is a dry-point engraving done on plexi-glass. Special T. Scot Halpin Memorial Blog points to anyone who can identify the tool used to ‘bring-up’ the edges of this plate. I really recommend blowing this image up. The dry point is magnificent—as delicate of a line as you’ll ever get. The color on this piece is also magnificent. Check out that peacock blue.
Swinging on in for a strike. Three “T. Scot Bottom & the Rockabilly Funhouse” tracks in a row. I am just getting such a kick out of hearing the youthful sweetness in Scot’s voice. This was another song that Scot had kind of created his own chord structure for. When he started playing out here in Bloomington and he brought some of these songs to the table, was when he realized it.
“Do You Want To Dance” was written by a guy named Bobby Freeman, who apparently played drums nightly for Carol Doda (who I happen to see at Gino & Carlo’s last time I was in SF) nightly at the Condor Club. Great song. Some how I was thinking it was a Beatle tune? Special points to T. Scot Halpin Memorial Blog followers who can identify which other entry features the bling whistle being played in the back ground--by me, I suppose.
Today’s artwork in another one of Scot’s quick little graphite sketches from 1997. Scot and I did like to dance and I choose this little graphite drawing, colored so simply in red and blue washes, because it seems to captures the sweet feeling of dancing, when the rest of the world just slips away and the world takes on a glow. Scot always loved the effect of a truly deckled edge, which I point out on this piece. SCOT IN OUR LIVING ROOM IN IOWA CITY IN 1981--WHAT A DOLL!!!!!!
More “T. Scot Bottom & the Rockabilly Funhouse” if ya don’t mind. Slip on into some “Green Onions” by Booker T. & the MGs, why don’t we. Not only did Mark have the giant Caddy (?) that could pull the trailer, but he had a Hammond B3 organ, complete with Leslie speakers. What could be cooler? Scot loved the B3 sound and on this track we get to hear Scot and Mark have some of that funky conversation. See yesterday’s track for more musical credits.
Today’s 2001 original drawing with transparent acrylic came to the top of the pile, as I was looking for something botanical. Scot likened people and plants a lot. Scot liked that plants, by their nature are always growing. He like that they are self-producers too. Scot was passionately independent and self-sufficient. Thrift should have been his middle name.
Speaking of names, yesterday in Monroe County Courtroom 204 I officially changed my name. Long story, that starts with my parents naming me Grace, but always calling me Robin. In 1983 when Scot and I got married it was fashionable for women to keep their maiden names. At 25, it did feel weird to loose Young. When Scot died at 54, I realized I had no hold on a name I’d used for 25 years. Scot and I kind of subscribed to the Myth of John and Yoko—partner/lover artists—and so in keeping with their model of taking each other’s last name as their own middle name, I have officially become Robin Halpin Young. I am very happy about it.
Journey with me now back to December 12, 1981, Iowa City, Iowa. In the mid-west you had to specify because we have things like Kansas City, Missouri. Today’s track is the first set from a recently unearth cassette of “T. Scot Bottom & the Rockabilly Funhouse” playing live at Gabe’s Saloon. I don’t suppose the group had been together more than a few months. Each player just sort of stepped up.
Scot hooked up with Mark Houseal first. Mark tells a hilarious story about how Scot gave him shit for hanging a “scrawled out note” of the ‘Musicians Wanted” board. According to Mark, Scot shoved Mark’s scrawled offering in his face and said, “Is this how you want to market yourself?” or something similar. Mark lived in town and had car that could pull a trailer, essential band elementals.
Mark comes from one of those families where everyone is the family is a gifted musician. After Scot and I left town (Iowa City) Mark went on the road with a traveling band called “Land Slide”. We are in close touch to this day. I remember the day we were leaving and we had just finally gotten packed up. We were in our seriously overloaded 1963 Dodge Dart. We just happened to meet up with Mark at our last intersection of town. We just looked over at one another, and when the light turned green, we pulled off into our separate ways. A truly amazing moment of my life.
Scot hooked up with Tom Drew, a KA photographer who was doing his MA at IOWA. He was a little older and drove; I think it was, a 47 Hudson. The back seat was as big as a movie theatre. Tom brought a cool Levon Helm style of drumming to the project. He could also sing, which was great for Scot who’s voice would get tired by the end of a set. Tom is still a photographer and does a lot of cool work of Detroit way. Last time we saw him was at a HUGE bash he was throwing for his wife, Donna’s (who did a lot of the TSB & the RBF graphics.) 40ish birthday. Can it have been this long?
Last to come on board was Todd. A little picture of his face got attached to something sticky and suddenly, ‘the Todd Head’ began appearing here, there, and everywhere. Todd was a great big adorable kid. He had a personality kind of like Jethro’s, without the corn—he had a delightful aim to please. Looking back, I think he did a pretty solid job signing on to a project that took on music the was not at all of his age. Todd was great. Funny and really very respectful of being included in Scot’s project. Mentorish.
I’ve included extra tape between songs so that you can get the full ambience of the evening. Scot takes off with a very delicate version of Conway Twitty (at least lyrics) tune “Ruby, Ruby.” Mark took on a lot of the lead duties for the band with his keyboards, as Scot was really just working out a lot of these songs on guitar. Scot’s version of a lead at this time was to strum a note or two, very rhythmically. Hey, it worked.
Today’s artwork is a piece I tried to use the other day, but couldn’t get to turn. Today it turned. I’m so glad because I think it’s just about as perfect as piece as you could get. It has it all. Sweet message. Lovely central symbol. Great romance. It is a pen & India ink drawing done on a thin cotton rag paper and colored with transparent acrylic washes, done in 1998.
Zoom! Sometimes things just take off. I picked this piece because I was looking for artwork that would capture the motion of today’s musical track--the “Basement Collaboration’s” “Alleluya Instrumental.” I love how this music soars and banks. I can just see this house being ferried along by love around some mighty tall thunderheads, just barely getting away--but making it.
Today’s artwork is an intaglio (to take away, remember). I’m not sure how to technically describe it because the tool Scot used to ‘take plate away’ with, (at least around the edges) was sandpaper. This was when Scot was making his intaglio plates on plexi-glass instead of metal. To Scot’s satisfaction, this opened up a whole new range of improvisational tools to add to the medium. The coloring on this piece is pigmented printing ink and was applied with Scot’s thumb!
I just realized that the baseball thing is heating up. Fortunately, both Scot and I shared a lack of fascination for sports in general. I always feel sorry for those couples when one likes it and the other doesn’t. The best thing that happened to me in conjunction with sports is that Scot proposed to me at opening day of the Giants, way back in April of 1983.
Today’s track gives us a shot at hearing Scot play some really nice licks. He is playing the instruments on all the tracks. This was the late 1989 and he had gotten pretty darn good at slicing this loaf.
Today’s artwork is an ‘art-by-the-ream’ piece—ball-point pen on typing paper. It was done in 2005. Scot grew up not too far from ‘the field of dreams’-- literally. Some kids he went to high school put up the field lights for the set (if I have the story right?).
It’s off and away we go on another turn around the week merry-go-round. Today’s music track is an instrumental of a Jerry Farnsworth original, “What Life Can Do.” After hearing yesterday’s track, I knew I’d struck another vein, and so I greedily turned there again today. Scot’s bass work on this particular session was so especially outstanding and this mix brilliantly features this. Still don’t know who the piano player is. We’ll get there.
Today’s artwork is actually one of the few lithographs Scot did. Scot was not down with the crayons (and how careful one has to be with the litho stone). I like this piece because it seems to tell a story about tending to the bass/base in all of us, because after all, the bass is the base. This piece was done in 1998.
Because this is a memorial blog, I want to extend birthday greetings to another friend, Steve, whose birthday is today, who also is on the other side. Happy Birthday, Steve.
Ohhhhhh. Oh Yeah. Jerry Lee was definitely thought of as ‘The Killer’ in our family. Almost nobody rocked like him. He was such a wild man. On tonight’s track Scot is offering us up some prime Rockabilly, “Whole Lotta Shakin’ Goin’ On’ by Mr. Lewis himself. On this track, Scot is rolling out the ‘billy’ in Rockabilly on lead vocals and, imagine the brain that can do this, playing this amazing, driving, right-on bass line. Listen to it!!! Super-stellar. When the heard starts breaking, it is Scot’s bass line that rounds them up. Backing him up are the BC crew (Jerry-guitar & Kenny-drums) and guests whose names while soon be identified.
Today’s artwork goes back to Scot’s editorial lineage. This piece was drawn with a Sharpie on to a clay-coated masonite surface and colored with illustrator’s markers. In the ‘old days’ illustrators often used huge sets of gradated markers—very stinky. We had one set we kept in a coffee can. Scot actually looked a little like Elvis. He clearly identified with the genre. This piece was done in 1989.
It’s an early Saturday Morning and I’m getting ready to go on vacation in 1750. “The Feast of the Hunter’s Moon” is a neat recreation of Indiana in the early days of settlement. It’s fun—it's when the white people and the Indians still got along. This year I even have a costume. I’ll let you know how it goes with the stays. There is wonderful music (drum and fife corps galore) and food and the clothes! Everyone has this sort of Frenchy, piratey, very flamboyant look.
Today’s musical track is another version of Carlyn Lindsey slaying Janis’ fab, fav—“Turtle Blue”—another slow version. In fact, this track comes from the third rehearsal in the history of CL & SD. What is absolutely remarkable, is that back at this point in time, Carlyn was just coming out as a singer. Basically she’d been singing to herself around the house. Now several years later, she’s off the charts killer, but even way back then, when she was doing something she had never done before, she shone. It is a delight to hear Carlyn laugh on this track.
What is also interesting about this track is that it is Snake Doctor as a trio. In the early days, the group didn’t have a guitar player. The line-up was Scot on bass, Tim Haas (Carlyn’s husband) on drums, Larry Vessily on keyboards and Dave Witherd on horns. The group took off on a slightly jazzy bent. Scot was already getting interested in playing some music from the teens and twenties of the 20th century. At this rehearsal, it was just Scot, Tim, Larry and Carlyn.
Today’s artwork is another original drawing done with graphite and transparent acrylic. Something about this drawing clicked with the music—something about layers and shells—something about positives and negatives and also, being in motion, while staying in the now.
My engine is not really in gear thanks to my earnest support of the local United Way Campaign auction and party last night, which ended up in the bar with a few holdover from the auction and then a bunch of guys who bought rounds for the entire bar of things like shots butterscotch schnapps!!!!!!!
Today’s music was definitely a Scot Halpin favorite. Scot loved songs that hooked on to this ‘barreling down the road’ kind of beat. This, once again, is the Basement Collaboration—Jerry Farnsworth-guitar, Scot Halpin-bass and back-up vocals, and Kenny Wright on drums. Joining them for the session is Big Bad Bobby Burns.
The artwork for today is an original graphite drawing with minimal transparent acrylic wash, segued into a couple little iconic pieces, both so dear, at the bottom of the page. The drawing was done in 2001.
See October 9, 2009 for a good explanation of what’s going on here in the musical track, except switch in this info. Bobby Burns does an admirable job of all the parts of this vocally complicated tune called “Sea of Love” written by Phil Phillips & George Khoury. Scot would call this a ‘Robin’s Beat’ song because as maybe previously mentioned, do-wop does move me.
Artwork today is a lot more of the same thing—a gorgeous black & sepia treatment—a calligraphy of a painting. I chose this because the guy really looked like a seaman to me. This piece was done in 2002.
“Who says tapes don’t skip?” This was one of those inside jokes. Something that either one of us would always say, and the other would always laugh. It happened when cassettes came in and mostly a commercial tape wouldn’t skip—but we were mostly taping our vinyl or recording off the radio. Special T. Scot Memorial Blog points to anyone who remembers KSAN, an ‘alternative format’ radio stations that regularly played whole album sides and great live concerts. Some of those tapes did, in fact, skip—just as does of musical track today.
The recording of Irene and Blue Jazz were all early times and for some reason a lot of the CD’s I’m working with of their material—skip. I am hoping that Jerry’s master tracks are OK. Today’s song ”Light MY Fire” is a “Doors” tune that Scot was working on for his own newly developing vocal repetiore (songs that he could sing and play the bass on at the same time). This is definitely his arrangement, but Irene, as usual does her fabulous time warping vocals.
Today’s artwork is another piece done on musical score. This is India ink, applied with a Japanese calligraphy brush and colored with blue and yellow transparent acrylic. Scot did this piece in 2002.
Once again I say “thank you” to the $15 tape recorder, which so magically now can transport us to July 4th, 1983--Half Moon Bay, California. Here were are still at what has historically become known as the “The Fishermen Gig.” Here we move on to a song that I don’t think has been featured on the T. Scot Halpin Memorial Blog, although it was another one of Scot’s really super favorites, Muddy Waters’ “Mojo Workin’.” I am truly amazed at how much we can here on this crumby little recording. I am digging the piano so much. I love how this guy slide between ringky-tink and organ. I am sorry I have for the moment lost track of his name. I’m flat out for Scot’s guitar work around 1:37.
Today’s artwork is an example of how some days it’s easy and some days it’s hard. Because it’s my birthday, I had a specific image in mind. Isn’t that the way, it’s harder when you want something specifically. For me today, it was this image. On many of my entries I can reach over, shuffle through a pile or two and come up with something great. This piece on the other hand, was of course on the bottom of the pile of a cupboard in the basement, that I had to wheel out and shuffle through.
I found it, but the scanner didn’t like the plastic sleeve that was on it, so I took it out of the sleeve. It didn’t like the distance between the mat and the glass, so I tore off the mat. It still didn’t like the size of the backing board and so what you see here today is the ragged gut of the foam core. The drawing is a sweet one. It is an original drawing with beautiful transparent acrylic. Scot loved this little lady. She showed up a lot in his work. She’s someone who appreciates reminders and loves the icing of sentiment.
Greetings fellow T. Scot Halpin Memorial Blogites. I cannot begin to express in words the profound happiness it gives me to check in and know that you are there. Today’s drawing was not found in the same place as yesterdays, but it is clearly cut from the same bolt. Same background blue, same midnight blue accents, same very warm orange. That said yesterday’s details will do.
Today’s musical track is another live recording of Scot’s kick-ass Rockabilly outfit, “Funhouse.” As I have said earlier, “Funhouse” was the stripped down citified version of the material he put together for “T. Scot Bottom & the Rockabilly Funhouse” in 1981 and 2 in Iowa City.
We were back in The City (San Francisco). Scot immediately hooked up with our friends Judy Tampa (rhythm guitar and vocals) and Edward Bachmann (bass), along with our friend Leland Monagle who brought his own pomp to the drums. “Funhouse” was actually a working band. I recently found tape of a private party “Funhouse” played at the San Francisco Yacht Club. Glad to have found the footage.
The particular gig happened on the Fourth of July 1983. This too was a private party—for some fisherman who had their own private pier. When we got there it turned out that the ‘party’ was about twelve guys, who didn’t look like fisherman. There was a real spread though, everything… Part of the deal is that some of these guys got to ‘sit in’ with the band and sometimes that is momentarily stinky; buy Scot’s grace and the KAness of the band shine through.
Sitting in with them that night was a guy my friend Peter Smith was playing with on Grant Avenue in New Beach. For what it matters, the guy was totally blind, and boy was he connected with those keyboards. I always hoped he could play with the band again, but for some reason, it didn’t happen. Perhaps I can get more info from Peter. The tune, once again, is “Let It Roll,” by Jimmy Reeves.
Hope you all like electronic music as much as I do. Today is another electronic piece, in seven movements. This piece is another track recorded in conjunction with Scot’s 1988 residency out at the Headlands Center for the Arts, out in the Marin Headlands, just across from Sausalito. I wanted a thread to string all these beads together, but decided to leave it long and unexplained. On today’s track, Scot is once again the whole show--the composition and the performance are all his own.
I went on a mission to my downstairs stash for today’s artwork. This was about the first piece I encountered and found it perfect. It is an original pen & ink drawing, covered with transparent acrylic. All the elements seem so mysterious and fun. I especially am drawn to that sun & moon center within a wreath of a sun. This piece is from 1999.
Hey everyone, I’ve got some exciting news! Things have been brewing from some time, but it seems there’s not time like the present to let you in on the skinny.
THINKTANK EMPORIUM TO REPRESENT T. SCOT FOR ENTERTAINMENT AND LICENSING
ThinkTank Emporium to Pursue Television, Film, Publishing, and Licensing Ventures Based on the extensive life work of T. Scot Halpin.
FOR IMMEDIATE RELEASE:
New York, NY/Bloomington, IN (October 2009) – Entertainment branding/consulting company ThinkTank Emporium has teamed with Robin Halpin Young to identify and develop licensing and media opportunities based on the extensive art and music legacy of her late husband, T. Scot Halpin. Announcement of the strategic association was made jointly by David Wollos and Joan Luks for ThinkTank Emporium and Robin Halpin Young for T. Scot.
The art work of T.Scot has been embraced and influenced tens of thousands of individuals across the U.S. The art itself has been sold at literally hundreds of art based fairs and markets from the west to east coast. Most recently, these works were exhibited with much acclaim at this year’s Surtex Licensing Show at New York’s Javits Center. T. Scot’s gift to the world and slogan ‘with a philosopher’s heart..’ is ready to be part of everyone’s life journey.
“We are proud to forge this significant strategic relationship with T. Scot Unlimited and Robin Halpin Young and look forward to helping position the most prominent works of T. Scot as new licensing evergreens. The story of T. Scot from his historic musician ‘pick-up’ session with the Who at San Francisco’s Cow Palace in 1973, to his much too soon passing last year, has all the elements for important story telling in the form of a documentary, and published biography. The collected works of T. Scot also establish a wonderful legacy for the licensing world.
Each of T. Scot’s works to be included within our initial line offers strong artistic awareness and tremendous potential,” said Luks.
The principals of ThinkTank Emporium possess an extensive track record of success in all areas of brand-building as well as in the areas of project development and production. “During my husband’s life, he amassed a significant portfolio of work that is ideal for development as licensing and media franchises. With the support and trajectory the Thinktank Emporium brings to the package, the mission of bringing Scot’s message of love and healing to the world has morphed with new possibilities,” smiles Robin Halpin Young.
About T. Scot T. Scot is the official licensing and distribution outlet for the work of the late T. Scot Halpin. The accumulated work of T. Scot Halpin represents a rich vein of artwork that has all been imbued with an especially meaning filled quality that both delights and connects. Halpin achieved notoriety in 1973, at the age of nineteen, when he sat-in for Keith Moon to play with The Who at the Cow Palace in San Francisco. As Bloomington’s Herald-Times columnist, Mike Leonard put it, the story about The Who was, in the end, a “footnote to a life well lived.” Among the first images to be released will a collection entitled: A Child Is Born. Fans of T. Scot bought his unique and delightful images for the babies in their lives, for fifteen years, at top juried fine art fairs around the country. Working as lead designer for T. Scot, is Steve K. Teraberry—Halpin’s lifelong friend. This collection will now be available for licensing and distribution opportunities through the representation of The Thinktank Emporium.
About ThinkTank Emporium ThinkTank Emporium was formed in January 2009 by distribution executive David Wollos, and licensing executive Joan Luks as an entertainment branding company representing content owners and their original properties to the television, film and licensing industries. A key initial focus of ThinkTank Emporium is the children’s and family category, where the company will target classic and original content including published books, unpublished manuscripts and branded family and toy products and cultivate the properties for television, licensing and retail. (www.thethinktankemporium.com)
CONTACT:
The ThinkTank Emporium David Wollos – david@thethinktankemporium.com Joan Packard Luks – joan@thethinktankemporium.com
It basically means that I am going to get some help telling Scot’s story to the world and sharing his artwork as well. My agents are super-cool, and super-connected. They came for a visit in August (yes, during those missing August entries). Steve and Mary Teraberry came over too. As per the PR above, Steve is my new business partner! We all had a wonderful time and made lots of wonderful plans.
Not to be remiss on my blog duties, let me just add to this happy news, that today’s musical track is another ‘Sponges’ tune written by Scot and performed here in 1981 by Leland Monagle on drums, Joe Belche on guitar and dear Scotty on bass and vocals. This is a weird song, but I really like all the parts. That was the way a lot of the music was in those days; it boinged around.
Today’s artwork is a page from another little booklet of drawings Scot made in 1980. He was doing a lot of posters for our shows at the Roosevelt, and was really fluid with the old cut and paste technique. These are all little sketches he’d done, here and there, and then thrown together as little love give-aways for his friends and family. I especially like the cop. Here is an example of how Scot wasn’t always just about art in a minute. Check out that cross-hatching!!!!!! The cop is c. 1974.
Today’s track feels nervous--“Wish This Day Would End.” It’s “The Sponges” back in 1980, doing their amped up version of Punk/New Wave. We always had a slight joke element. Sure had some moments like this in the recent by-an-by.
Today’s artwork really looks like a tarot card. I know about ‘The Fool’ but I have never seen a Juggler card. “Wish This Day Would End,” today’s musical track is what one feels like when one is The Juggler—keeping it all sorted and going. Here we’ve got The Juggler working with four of Scot’s elemental symbols: the cube—work, the heart—emotions, the pyramid—the mystic, and the sphere—unity.
Couldn’t resist another dip into the cream of Scot and John’s Farm Fresh sessions. Farm Fresh is a local recording studio, here in the area, situated in an old church. The balance of instruments to voice, of guitar to bass, of voice to voice, is pretty near to true. Today’s song, the traditional, “Old Joe Clark,” was a set list staple for the old “Plank Road.” Special points to blog followers who get the reference in today’s blog title.
Today’s artwork is another illustration. This would have been an early step. The particular piece is called “The Forced Retirement of Mr. Opinion” and appeared in E-the Environmental Magazine in the early 1990’s. The graphic began with a ball-point pen drawing. Scot liked this line, although artistically it is frowned on as a medium. Any way, this is illustration, not art, right?
After the ball-point pen lines, Scot came in with a medium grey illustration marker to lay down the cross-hatching. He edits the line-work with ‘white-out’, which won’t show in the photocopy process. On top of it all, he has laid down a hint of black spatter, a truly signature technique (him and Ralph Steadman). He would then go to the library at San Francisco State University to use “the special copy machine.” We went there to use it one day, and it way gone; replaced by a new model altogether!!!! We tried to track that machine down but never did.
Scot and I were together nearly 30 years. Our relationship was always about working together. It's a thrill to be still collaborating.
Copyright Estate of T. Scot Halpin-All Rights Reserved
