CURE-AS-FOLK

PLAYING AT THE CURE

My snappy title, CURE-AS-FOLK, shamelessly mimics, the title, QUEER AS FOLK, an American television series (2000-2005). QUEER AS FOLK, the television series, celebrated the lives and passions of a group of gay friends. CURE-AS-FOLK, my brand title for gathering a group of guitar-slingers on THE CURE stage, serves as a fundraiser for those victims of disasters that have reached international attention. (THE CURE is the coolest and most inclusive bar in downtown Regina!)

To date I have organized CURE-AS-FOLK fundraisers for the war victims in UKRAINE resulting from the Russian invasion, for the flood victims in PAKISTAN, for those victims of the earthquakes in SYRIA and TURKEY, and now the PALESTINE war victims in GAZA.

Every CURE-AS-FOLK fundraiser follows my signature modus operandi.

First, I garner a gig-date from THE CURE KITCHEN + BAR, in downtown Regina. As soon as the date is confirmed, I begin my recruitment of ten or so other FOLKSTERS, who also write and perform their original folk songs. For each of these gigs I set upon the stage two tall barstools (two performers hit the stage at the same time, then take turns singing their original songs, copying an Elvis Costello television show format), two direct inputs (each performer must have an acoustic guitar with a pickup), two microphones on microphone stands (one for each performer). 

In Andy Warhol fashion, each performer has an opportunity for close to fifteen minutes of fame, under which time to enter the stage, sing four three-minute original songs, then exit the stage

Gig time, I worship the clock. I cannot control the clock, but I can control every performer’s time on the stage. Because I am over fastidious in this regard (my clock control), every guitar-slinger that I recruit must agree to all of my authoritarian commands before accepting my gig invitation:

• MUST HAVE GUITAR TUNED BEFORE HITTING THE STAGE. Nobody is paying to watch someone tune a guitar.
• MUST NOT PUMP UP THE CROWD. For example, “Are you ready to rock, Regina?!”
• MUST NOT PUMP UP YOURSELF. For example, “You can catch more of me on my livestream … blah blah.”
• MUST NOT MENTION ANOTHER VENUE. It is uncool to be advertising for other venues – the stage you are on is the only one that counts.
• MUST SING ONLY ORIGINAL SONGS. Original songs are, precisely, my raison d’etre for such gigs. It beseems my CURE-AS-FOLK brand, to offer quality originals, rather than commonplace covers.  
• WHEN I GIVE THE TIME-OUT HAND SIGNAL, IT IS TIME TO EXIT THE STAGE. Finish the song and be gone.

NOTE: This particular format has certainly evolved and has proven positively effective for me these past 16 years. I know this to be true simply because I keep getting more offers for more of these gigs.

Factoid: Any performer who chooses not to comply with any of these above-mentioned edicts during their performance on stage, will be expunged from joining any future gig tickets of mine. Hmmm. So far over the years and performing alongside a hundred gig-mates, I have expunged only six. And of those six, four were for cause and two for getting drunk and unruly both on and off the stage.

Up until this last gig, our take has always been $300.00, give or take a fin or two. This last CURE-AS-FOLK fundraiser for PALESTINIANS IN GAZA, brought in close to $600, pretty much double that in past fundraisers.

AS PUBLISHED ON INSTAGRAM AND FACEBOOK AND IN THE CURE WINDOW

Factoid: Be it a three hundred dollar take, or a six hundred dollar take, it is but a dram in the bucket. But in the terms of our saving-the-world perspective, NO DRAM OF KINDNESS, HOWEVER SMALL, IS EVER WASTED (AESOP modified).

THE CURE OWNERS: L-R KELLY, JAKE, MORGAN, JOSH

Meanwhile, back in the BUSKERHOOD, I have had several people and even a couple of books march in my CHAUCERIAN PARADE this week:

BARON AND SELF BUSKING AT THE QUEEN CITY MARATHON

AND HERE COME THE RUNNERS!

A MURAL BEING CREATED RIGHT BEHIND OUR BUSKSPOT

MURAL ARTISTS, ANDREW AND MIKE

Andrew (Robertson) is a contemporary and famous Canadian oil painter and muralist. With him in this picture, was his acolyte, Mike.

THINK. Yikes. How could I not read a book with such a title, especially when catalogued in the Philosophy section of the bookstore😊

ZEN AND THE ART OF MOTORCYCLE MAINTENANCE, published in 1974, has become an American classic. I read it in 1974 and have read it several times since. I used to be a motorcycle guy, riding a Suzuki 80 cc Sport when I was fifteen, and later a 1974 CB750 Honda when I was in my ‘20s. This is my favorite book ever. Read it and you will know why!