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

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...am here to tap through the walls.



Sat Jun, 06 2009

March 29, 1936 — June 6, 2003

For what seem nearly unaccountable reasons, Dad really seemed to like us. Four very out-looking and alive sons and a daughter in the middle with a sweetly implacable world-view; it must've been terribly hard sometimes and I know it was. He was naturally philosophical about it all though, when he could take the time. Reflecting on a real terror of one of our cousins when I was about twelve, he said, "Give me five more like that one and I could destroy the world." He was grateful for his own blessings when he could count them.

Sitting around after breakfast one Sunday morning, the man had nothing going on in his life but his five brats and the woman who was the love of his life. He might have gone off for a round of golf, but he didn't play -- except on pressing invitation from the parish priest and and Mr. Miller up the the hill. There must have been any number of things that would have occupied that kind of time in many mens' lives, but he sat there sipping a cup of coffee, smoking Pall-Malls (the fresh-lit aroma of which is an enduring treasure in my memories), and drawing for us diagrams of a V-8 internal combustion engine. Valves, lifters, camshaft, crankshaft, electrics, fueling, piston cycles, variations on design details; he sat there with us for hours, giving Michael and I our first real understanding of these machines in an unforgettable expense of his time.

"The Little Kids" (Agnes, Bryan, and Stephen, in order) were out playing in the yard or something as this impromptu session ran its length for hours. It just happened that the three of us had caught a spark of mutual interest, and Dad was naturally interested in the fact that our minds were now big enough to see these things. He made all the most of it for us.

His way was with a sharp outlook for each of his childrens' interests. He was keen to understand us as individuals. Sometimes that was very difficult: to the end of his life, he referred to his third son as "Bryan, Son of Mine", which would seem odd considering that he had three others, but it signified his long, long struggle to get Bryan at all. He loved every revelation as they came to him as the boy grew up (and on Bryan's own time), and it was a beautiful thing to watch because the principles reached all of us: he loved us for what we were and he knew how to do that. His guiding principles had everything to do with that. In large part he made us what we are, but only in the general strokes. He put up with all the disappointments that all parents must endure, and then he kept an eye on the best in each of us, took his satisfactions in what he had to do with that much of the project, and then he seemed to enjoy us as adults as much as he did when we were kids.


It's only in looking back six years on his death that I can possibly think that I didn't have enough of him. That's how that goes. As we lived it, though, that's not true, and what I got from him is priceless.



William J. Beck, Jr. -- c. 1993, with grand-daughter Hillary Claire Beck

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}