How about this for your birthday, honey?

Swift and McCormick, metal recyclers. It's an interesting place. Unused (scrap) metal from manufactories is deposited here; the company leaves a bin at your site and picks it up when it's full. The stuff is sorted, baled, and sold. Locals who have metal stuff around bring it here, get paid for it, and have that good feeling they didn't throw it into the landfill.

And then there's retail buyers. Visit, pick, weigh, pay and leave. She was excited. It was a moderate, beautiful Saturday morning.




A month ago I had got my hands on a unique piece and intended to buy it but mistakenly left it in, literally, the dust. I described that scenario to Linda, with emphasis on my disappointment. "One in a million chance of finding it," I muttered, somewhat bitterly.

Minutes later she was walking toward me, swinging it in her hand, look of smug delight on her lovely face. It's the D-handle looking gizmo in the image of the loot in the back of the pickup.




Her find was the cast piece, probably for the top of a gate, which includes two ravens. This will be a stunning addition to the Steampunk/Poe teen section of the library, once she paints it.

Oh, and back to the D-handle thingy. I suspect it will be vaguely familiar to you but, out of context, not easily identifiable. Leave a comment with a hint towards your guess. We'll all be wondering, and it will be more wonder-ful if no one just out and out says it. (note: somewhere in this text there is a clue; not in this paragraph.)

But perhaps you'll not have time for such games, being on your way to Swift and McCormick for a day of Unbridled Birthday Joy.

Barker Brio #16

 
It seems like more of these have been made than just 16, but here it is, the numerical empirical truth.

We thought it would be the Ford Falcon of Barker Basses, an allusion which holds well if you're old enough to remember those years.

The Falcon popped onto the automotive stage amidst schools of lethal dorsal fins, doors which rattled even when you were the first to drive on a newly paved street, and ginormous power plants stuffed into marshmallow-inspired chassis equipped with power steering which ranged more than all the nomadic tribes of the world combined.

It was smaller. It was trimmer. It was simpler. It was modest. Cute, even, and quickly adopted by our car-crazy culture. It outsold its competition which was the Chevy Corvair (the rear engine was just too, um, German) and the Plymouth Valiant (whose little tailfins were vaguely reminiscent of a 13 year old girl's first sweater).

And then, over the years, per American Car custom, it slowly got bigger, fancier, and, surprise! more expensive.

Right now the Barker Brio is exactly as designed, and at the same price.
It is simple--Pbass pickups, volume and tone controls.
It is sleek.
It has a humility about it--unpretentiousness perhaps, springing from the alder used exclusively in the body.
It is lighter weight than its more sophisticated sibling, the B1.

And just as much fun to play.

The bright spot is that making instruments one at a time allows the maker to be in touch with the parts and bring them to a singular purpose with his own experience and intention.

The dim part is about sales. It would be very helpful for all aspects of the business if more were marching toward the boxup table and the door.

Meantime, you can still get a Barker Bass with a serial number in the teens!

Ponder that moment that your grandchildren are proudly standing next to the carpeted, oddly shaped table and the Antiques Roadshow appraisers are clustered about, cooing and oohing about this extremely rare example of the early Barker instruments. "The value would be half this if you'd had it refinished!"

After the filming is over, they'll tote the bass out to the parking lot, put it in the back of their Falcon Ranchero and ease into traffic.

Life is good.

CinderBlue at the Wheeler County Bluegrass Festival 2010

"Back in time" works as a tag line for this Festival. You hardly see a cell phone. And get this: People stake out their territory with their lawn chairs (I think we call them "event chairs" now) on Thursday or whenever they arrive, and leave them there for the duration. If you show up and find some vacant chairs, have a seat. When the owner comes 'round, you'll get a polite tap on the shoulder.

No fences, no gate volunteers, no hand stamps. Just a pleasant lawn shaded by elegant deciduous trees and the stately but modest Wheeler County Courthouse. Good food vendors, a couple of very impressive luthiers including Jayson Bowerman. Plenty of camping up by the fairgrounds. Sit and listen.

Last year we were invited by the host and founder, Jay Bowerman, to sit in with his group Quincy Street for a few gospel tunes, chronicled here.

This year we were asked to do the whole gospel show on Sunday morning.

A lot of the music you will hear there is pure. Period. But other stuff pushes out the boundaries gently in this way and that, making for delightful variety without losing the roots connection.

Add in a gospel scramble, workshops, a well-produced melodrama by the Fossil Theater Players and you'll be hard pressed to find a reason to get farther than earshot from the stage.

And one more word about this event. The philosophical underpinnings include a commitment to area bands. No big national acts are recruited or booked--It is July 4 weekend, and this is truly music of the people, by the people and for the people. And the music is good. Great Northern Planes. Misty River. And more.

Keep track here. And note the list of sponsors at the bottom of that page. Without them, and you know the rest.

Thank you Jay, Teresa, Carol, and many others for the Wheeler County Bluegrass Festival.

So you don't need to be struck by lightning while eating a cheese sandwich in sight of a Norman Rockwell painting to get it. It's Back in Time and you're there, 100%.

Barker Bass Brio Bonus; Simon Goulding

Just as your ears can filter out extraneous sounds such as teenagers conversing in the back of the van, or the inane news staff chitchat on local TV which invades the waiting room where you have other things on your mind, so can the eye be so focused that it misses what otherwise might be obvious.

In bringing two Brio bodies to the finish stage, I concentrate on every little mark in the wood, every little corner, every curve. Parts I see; the whole, not.

Hence the delight when these two went into the finish room for their first subcoat of oil. (This brings out color and grain contrast that just aren't present with a clear coat over the raw wood. It might be the visual equivalent of a really good preamp taking a really good signal and making it deeper, thicker, richer.)

A grain figure pattern emerged on one of the basses. This is not a Shroud of Turin kind of moment, just one that provoked a delighted smile and a sprint to get the camera to try to capture an interim look at what will become, I think, the defining elegance of this particular instrument.

The Brio does not own the high ground of elegance of the family of Barker Basses. That is B1five territory, well flagged currently by #95, now owned by Simon Goulding of the UK.

Here's a slice of his bio:

After winning the performing arts school music prize on 2 consecutive years, Simon started working as a pro session musician at the age of 16 and has performed, toured & recorded with many top artists in the world including The Bee Gees, Joe Longthorne, Freddie Starr, Engelbert Humperdinck, Peter Kay, Ronan Keating, David Essex, Tony Christie, The London Community Gospel Choir, The Drifters, The Four Tops, Martha Reeves, Cannon & Ball, Peter Grant, The Nolans, Billy Pearce, Dutch Vocalist Rene Froger, Alan Stewart, The Memphis Belle Orchestra, The Kings Of Swing Orchestra, The Nelson Riddle Tribute Orchestra, The Salsa meets Jazz Collective, Jovenes Clasicos Del Son, Gary Boyle, Tony Oxley, Gary Potter to name but a few. He has performed at new launches for BMW and Mercedes Benz. Add in performances at The M.E.N. Arena (20 sellout nights, over 400,000 people in Manchester UK). Ronnie Scott's Club (London UK), The London Palladium (UK), Las Vegas (USA) and Havana (Cuba), Budapest (Hungary), The Kourion Amphitheatre (Cyprus), Dubai, Abu Dhabi (Ferrari World F1 Grand Prix) plus many more. I am involved with many many different bands live and in the studio. Album Credits include, Simon Goulding “Familia”. Jazzology "Jazzology", Marty Franklins "Kajambu", Munch Manship "12 Pearls", Freddie Starr "Not fade away", Joe Longthorne "Joe's Back", "In Paradise", "Live at the London Palladium" “Sings to the Gods” DVD & Video credits include: Joe Longthorne "Joe's back", "Live in paradise","Live at the London Palladium", “Sings to the gods-live in Cyprus”. TV: "Heaven & Earth UK BBC1".

Whew.

Simon Goulding = busy bassist.

Like the beautiful grain pattern in the Brio, Simon was there all along. I just hadn't noticed him. Now we've found a bass that fits in his hands and, we hope, his heart.

The Brio is still anticipating such a home.

Sam Maloof Rocker, Charles Brock,and Coy, Part 3

Coy got to unveil his rocking chair at the monthly meeting of the Central Oregon Woodworkers, a genial fellowship of craftspeople of all stripes--turners, carvers, generalists, a model maker and restorer, and serious hobbyists. And George, who is so difficult to categorize that we'll have to see a separate blog post after we visit his shop.

It was a riveting moment. All or close to all of these people know a Maloof chair when they see one, though few had heard of Charles Brock or were aware that you could buy digital/print coaching for the construction of one of these works of art. Coy got to share some of his journey, both holding tools and allowing his mind to explore this manifestation of Sam Maloof and his spirit.

In stark and fascinating contrast was a table full of bones--all the parts of my Maloof project were there, but not a single one was attached to another. Next step is the cutting of angles on the headrest, drilling for the spindles, and dry fitting with the back legs temporarily attached to the seat. Oh, the seat, it needs to be shaped too; now it's a rugged landscape of pieces roughed on the bandsaw and far from looking like an inviting place to plunk oneself.

Attendants who are well acquainted with what it takes to get a foursquare piece of wood to become curvilinear and graceful could get a grasp of the hours it would take to go from the relatively easy part of cutting parts to a template to the sinuous sight of the front leg flowing into the arm rest, or the back leg sprouting from the rocker and leafing at the seat, the arm rest and the headrest.

And those rockers! The contrasting maple stacked just so with the walnut. The ebony plugs at the front and back legs. Note the artistic use of sapwood (the white) in the spindles and the seat.

Congratulations, Coy. It's a beauty.

And he wants to build another one.

A newcomer to the group last night was Hans Emmons, who builds and restores models. From his web site I lifted this quotation from Beryl Markham, the 20th century aviatrix who made history as the first person to fly the Atlantic solo from east to west:

"No human pursuit achieves dignity until it can be called work, and when you can experience a physical loneliness for the tools of your trade, you see that other things - the experiments, the irrelevant vocations, the vanities you used to hold – were false to you."

Sam Maloof Rocker, Charles Brock, and Coy, Part 2

It's just about the rocker. But wait, if it's a rocking chair, that's it! It can't be just about the rocker if, when there's no rocker, it's just a chair!

There are three ways to bend wood: steam, kerfing, and bent lamination. Steam is very effective, fun to do, but limited to solid wood. (There is a new way of bending wood which involves compressing it endwise first to collapse the cells, but we'll get into that sometime in the future, when I'm smarter about it.)

Kerfing is the process of making numerous parallel saw cuts not clear through the board, evenly spaced, so the board can easily be bent but remain solid on one side. This often is used as a substrate for veneer, and the sides of the board--where the kerfing shows--is hidden.

Kerfing could conceivably work for making a rocker, but covering the kerfs and insuring enough strength would make it more labor-intensive than it needs to be.

Hence the bent laminations you see in the image. The bonus here is that you can include contrasting colors--something Sam enjoyed doing, and something that Charles encourages as a way to "have fun" and personalize your rocker. Coy's choice is maple, which brings a bright white to the walnut.

Right out of the clamping form, the stripes are even. When the rocker is rounded and shaped, these will be more expressive and artistic visual components.

Brock refers, in his written companion to the how-to DVD, to the "rockers' cyma curve" as one of the "most stunning features one usually notices about this chair."
Absolutely. But what is a "cyma curve"?

This is from Raymond McInnis' Online Dictionary of Woodworking:

The Queen Anne style emerged in England at the close of the seventeenth century. (Queen Anne -- the English monarch from Holland, i.e., the nation of the Dutch, but today called The Netherlands -- gave the "Queen Anne" style its name. She ascended the throne in 1702, and reigned until 1714.) The Queen Anne style is of Dutch inspiration, and as the historian of furniture history Joseph Aronson (pages 64-65) notes, "combines elements of comfort, grace, elegance". As the century progressed, in England the Queen Anne style evolved, and the cyma curve became strikingly more pronounced.

Aronson elaborates,

"Sleek and sophisticated, there is generally a unity of curved lines in Queen Anne furniture; a restraint of ornament and a better technical understanding of design. The cabriole leg is the outstanding detail, and its skillful association with other curves, as of seat outlines and back members of chairs, produces superb, distinctive designs. Improved technique made stretchers unnecessary after 1710, and pierced back splats became more decorative. Marquetry was subordinated to fine walnut surfaces. Carved motives were the scallop shell, broken and C-curves acanthus leaves."

Queen Anne style continued through the reign of George I and well into the reign of George II, so that late Queen Anne furniture often is called early Georgian. But says Aronson, -- The Encyclopedia of Furniture, New York: Crown, 1938, pages 64-65 -- "as the style progressed it had more and more curved lines. The cyma curve predominated".

A shorter explanation: the cyma curve is an elongated S.

There are things easily understood in a short time from a short sentence, and then there are things which require absorption and understanding. Reducing any significant furniture to references to geometric tropes would be, as they say, like dancing about architecture.

But it is good to zero in from time to time for a closeup.

Steampunk Weaponry and Harmless Drudges

High School speech students often start an oration with, "Webster defines (insert subject of speech here) as..." Not a bad idea to start a discussion with a definition. And if you're curious about definitions themselves, well, Webster defines a definer as...

Our subject today is Steampunk. Here is an agglomerated definition of this portmanteau word: Steampunk is a subgenre of fantasy literature that includes technology powered by archaic methods (often, but not exclusively, steam) and an emphasis on hand-crafted, individually produced mechanical artifacts.

Common Elements of Steampunk
1. Steam locomotion, Airship transportation, Clockwork mechanization.
2. Fictional technologies, often based on archaic principles such as the Aether or Chaos Energy.
3. Victorian setting or sensibility. (1837 - 1901)
4. A lack of mass-produced goods and an emphasis on hand-crafting and crafts guilds. Clothing Victorian; embellishments, completely individualized.
5. Often presented as an alternate history of the real world.
6. Sometimes includes magic or fantastic elements or "science fiction."

These descriptors seem to be accurate to this observer, and are typical, but the definition never seems to tiptoe into the realm of the tension between the buttoned-up mores of the Victorian Era and the full-speed-ahead mentality of the Industrial Revolution.

But enough of this. People make Steampunk stuff, some of which houses modern things. And whether one traverses the aether by foot or airship, one should have an article or two of self protection.

Hence the above exercise, by a harmless drudge of the "assembled from other parts" world. Perhaps this is portmanteau art. The Thrombolean Dysambulator has the capacity to not only stop the heart of your assailant, but also to render her/his knees nonfunctionable. The Stygmisticator allows for confident self protection without sacrificing heft.

Dysambulator, $395 plus shipping; Stygmisticator, $275 plus shipping.