
excerpt
were alternately enthusiastic and appalled at the size of the project. Joseph
Carrier on the other hand, came to Ken’s studio, periodically, and
smiled and nodded approval at everything he saw.
That there was still no money to stage the show brought Rocco to the
edge of nervous exhaustion. Ken’s reassurances did not fill him with encouragement.
“If you’re willing to get on this vehicle with me, I’m going
to take you for a ride like you’ve never had – and I will bring you back.
You might be bruised but you won’t be dead.”
Ken outlined a poster campaign to take place in three phases. The
posters were to be museum quality: so beautiful that people would rip
them off walls in order to take them home and frame them. Invitations,
under the auspices of the Portuguese Embassy, were to be printed on the
finest paper.
“I don’t have any money!” Rocco cried.
“Neither do I,” Ken said. “And you have more money than I do.”
He refused to compromise. He bartered paintings. He found a printer
who agreed to run off fifteen thousand posters, in three lots of five thousand
each, and he hired young people to put them up strategically – in Rosedale
where the old money lived, and in the financial district downtown. He had
flyers printed and distributed to thousands of homes in the city.
He scanned the Toronto Star and the Globe and Mail until he found a
journalist with a style he liked. “I have a story of a young boy who grew
up on a beach in Portugal, and one day he woke up and he was in the
Arctic,” he told her. “The story is much better than Sir John Franklin’s.”
Sharon Singer listened and wrote in her stenographer’s pad for seven
hours. Then she called her editor. “I think I have a story you’re going to
love.”
The article started a landslide. Other newspapers called, and a CBC
crew arrived at the studio. The broadcast caught the eye of Gary McLaren
– an amiable, articulate man – whose popular talk show was aired every
Sunday morning from Kitchener-Waterloo. He arrived at Ken’s studio
one day with a cameraman, who filmed while the two men talked.
Two weeks after the show aired, Gary asked for a follow-up. Both shows
were so popular that segments with Ken became regular features of the
show.
The media coverage drew the attention of a tall, quiet businessman
named Irving Shakter, who began to drop into the studio once every couple
of weeks to watch Ken paint and to listen to his stories.
“There’s something awfully big going on inside of you,” he said when
they met.
“What makes you think that?” Ken asked.
“I have a sense for it,” Irving said. “I used to play hockey, and I could
anticipate where the puck was. I was a very good hockey player.






