(second block, fourth letter of the prisoners' quadratic tap code...)

image
...am here to tap through the walls.



Tue Oct, 26 2004

"A Gentle Madness"

John Venlet points to "a bibliophile's confession", where the poor soul hits on a fact of my own life in the lead paragraph: about three out of five instances over any given sample of time, you would find me in a bookstore when I should be in a grocery store.

In her smashing 1966 anthology "Capitalism: The Unknown Ideal", The Russian Rage refers (footnote, p. 71) to Carl Snyder's "Capitalism The Creator" (Macmillan, 1940). I have never known another human being who ever laid eyes on that book, but I own a copy. I was on tour with En Vogue in 1991, opening for Luther Vandross, and we had a day off in Milwaukee. In the entire entourage (I couldn't even tell you how many tour coaches we had out there, but it was a lot), I was the only one who traipsed four blocks over from the hotel, drawn by the four-storey-tall sign, to Renaissance Books, and I spent the whole day there. There were people on that tour who didn't know me, and others who did. The latter would shortly explain to the former the stacks of books lining the wall of my bunk in the EV crew coach: "That's Beck. He's a loon." I've never met another person who's ever even heard of a crew guy carrying his own library around on a twelve-week rock tour, to include an obscure treatise on free-markets economics. In first edition.

My own craziness only adds up to about eight hundred titles at the moment, but I do take pride in the fact that there is not a speck of cereal in the lot. This is not about "collecting". This is Beck University: the lifetime matriculation. These books are workers. I think nothing of researching a point in Solzhenitsyn, whipping out the trusty Paker Vector Rollerball and noting a cross-index to Conquest or Medvedev right there in my first edition of "The Gulag Archipelago". That's what they're for. Friends and family are routinely horrified to see this, and the charges of "abuse" fly roundly, but I stand defiant: "Hey. When you're the one who's generally letting your health go to hell, shelling out pennies on the pound for pages that you regard as priceless, and poring over them while everybody else is out at the titty-bars, then you get to set your Danielle Steele on the dining room table in a Lucite block for all I care. Meanwhile, just hand me that can of tuna and shut the fuck up. Thanx. Luv ya."

When I came home to little old Dryden, New York, this gentle madness was a concern to me. I figured it would end up in periodic excursions down to The City because no mere Border's at the local mall could possibly do. It never has. What I didn't know was that, in the fifteen years I'd been gone, a really superb market had been established just past the fruit stand at the end of town: The Book Barn of the Finger Lakes. If I never saw another bookstore for the rest of my life, that place could keep me busy. I know I could get my hands on a copy of James Burnham's "The Managerial Revolution" online, but Vlad will eventually turn it up for me. Meanwhile, that joint is a like a sinking ship: I just get sucked in every time I drive by.

I can testify: yes, it is a "madness". I have survived far worse ones, however, with nothing to hold after them.

It will do.

AxeBites

Various guitars I see floating by, mostly Gibson and mostly eBay.


Early Norlin ES-335 -- 1970, in Walnut ("ES-335TDW"). This is a period-piece look and feel, and arguably the sound as well but that's to cut things very finely. A "classic" 335 would be the original of 1958 in the Sunburst or Natural finish, or the Cherry Red of 1959; the Walnut of 1970 (second year of that finish offering) is not really a "classic" 335. In the history of the Gibson aesthetic, this is analogous to, say, vertically-striped polyester bell-bottoms or Bahama Blue shag carpeting. None of this is to say that they're not cool guitars, and this is a nice one. Excellent photographs.

Chrome hardware, featuring the trapeze tailpiece (like my L-47 and I've always liked it) and ABR-1 bridge with period-typical nylon saddles. Bound rosewood fretboard, with small block markers, and then the crown inlay at the machine head. These would be the T-top Humbuckers. Vintage Nazis would moan that the upper bouts are pointy (the body templates were wearing-out in the factory) and the fourteen-degree machine head with the volute signals a sometimes not-fun era of the line, but these things really do rock or moan or whatever you want a 335-type semi-hollow to do. ...which, of course, is because it really is a 335.


In the months since I've let AxeBites languish all to bleedin' hell, Gibson's Robot Guitar technology has sifted out to other models than the original Les Paul application. I don't know how it's going: I still haven't even seen one of these self-tuners. I don't see piles of them burning on the sides of the highway, nor reverent hangings in display cases over bars, so who knows? This 2008 Robot SG is ready to rock in the Metallic Red. Nickel hardware; it's the stoptail wired for data to send to the tuners, with dual Humbuckers. It's a bound rosewood fretboard, but I really like the single-bound machine head with the crown inlay. That's a real cool old-school look, right there, to set off that crazy-ass color. {nod}