The Rio Grande flooded down in El Paso. Long before the US Army Corps of Engineers channelized the river to "fix" the ever-shifting border imposed on Mexico, it used to do that all the time. Many oldtimers from El Paso have stories nobody believes about boulders the size of their servants' quarters washing down off the mountain and blocking key intersections right downtown. I believe this is the first time it's happened since channelization. I know it's the first time it's happened in my lifetime. Like the Nile, or Mississippi, the Rio Bravo is by nature a wild river that floods its banks and even changes course completely. That's why the Rio Grande Valley is fertile and has supported human civilization for thousands of years. So on one level I am thrilled to see the river yet untamed, a century and a half of man's brutalization notwithstanding. It still has a mind of its own, and we still depend on it -- not the other way 'round.
But on a human level, well, they had to evacuate Anapra, which is terrible. Even tragic. Grossly unfair. I love Anapra. It's the working-class smeltertown place right smack-dab against the border fence that got screwed over bigtime when Interior Secretary Gale Norton's EPA declared most of El Paso (but mostly the moneyed neighbourhoods) a Superfund site, thanks to ASARCO's 113 years of belching tons of carcinogenic smoke (Lead, Arsenic, Antimony) all the way up to Canada, where fish died from dioxins emanating from its huge smokestack. Something like 2,000 people were evacuated from Vinton, too. Wealthy neighbourhoods were inconvenienced. Poor neighbourhoods flooded and may yet again be sacrificed on the altar of "flood control".
Emergency centers were set up in high schools and a lot of people lost their homes and everything they own. There were refrigerators floating in the streets and water up to the tops of full-sized vans. Shadow Mountain Road, which runs through a hoity-toity exurb built way too high up on the Franklin Mountains has reportedly been reduced to rubble (good riddance). Sinkholes opened up beneath the city streets, presumably from the caverns that underlie much of the city.
I've heard all this from my mother and from the local news on public radio (
KUNM 89.9 FM). On
NPR, of course, the only weather news they had for the day was that it hit a hundred in New York. So -- with apologies to my one reader from New York (thrilled to have you, btw) -- the beautiful, important people on the coasts have to fan themselves for a day and it makes national headlines, while thousands of impoverished Mexicans and Mexican-Americans getting flooded out of their homes makes -- you guessed it -- local public radio news. NPR can't sacrifice the precious airtime it's devoted to the so-called "human interest" story about "music from Brazil so bad it's almost good" to say a word about Anapra. You might forgive me for being just a trifle cynical about what does and doesn't make national news.
To be fair, NPR *is* relatively responsive to public criticism. They still drive me insane with their coastish airs of superiority, sophistication, and whatnot but they *have* changed, slowly, the ways that they report on important stories in response to public comment. They do respond a little bit to massive public pressure. More than you can say for CNN, Fox News, or any other multinational conglomerate owned private commercial media outlet.
What else. Supremely good guitar day today. I just started playing and played for an hour and a half without a single break. Best hour and a half I've ever played. Ever. I'd still be playing if it weren't one in the morning. (Good god I've been writing too long.) I made a discovery about the ingenious design and placement of the pickup selector switch on my Gretsch -- specifically that I can switch its positions *while* playing! Yes, I know, it *is* obvious, and goodness knows I saw the *incredible* guitarist of
Amplified Heat doing some mind-bending things along that line (and many other lines, besides) in Austin way back before they even had a website (which I just discovered). They're pretty much the guys who *convinced* me valve amps were the *only* way to go when my guitar fell right into my lap.
But I've been focusing on getting good tone out of the guitar without using the knobs and switches -- you know -- how you hold and hit the strings makes all the difference in the world, and I don't *ever* want to be one of those people who uses excessive distortion and electronic tomfoolery to attempt to make up for tenth-rate playing. It fools nobody. Noise is still noise: if it's loud, noise isn't better, but worse; and all the harmonic processing of all the vacuum tubes in the world won't make three chords into four or hide the fact that you're not fretting properly or missing strings when you transition.
So what I was doing today was, again, I'm sure preschool-level stuff to most experienced guitarists, but completely amazing for me, all the more because it's not even possible to come close to doing the same thing on an acoustic instrument. I mean, you can change your sound considerably from one measure or passage to the next just by technique, but not *anything* like *that*! It's like suddenly having a whole different instrument in your hands, and then switching back, just as quickly. No break.
That little thing that I've been playing so much of lately, that started as an Irish jig or hornpipe or something until I just made it my own, has these "sections" it divides up into very neatly when you strum (which takes practice and skill to sound halfway decent, let alone look "easy"), and I've been working on doing all I could with that. I've skipped the Sunday jam sessions two weeks now just to work on this one piece of music on my own, it's *got* me *that* much in its grip! Part of me -- a big part -- wants to be able to offer something when the turn-taking comes round and hits me so I don't have to sit there and grin stupidly like I don't know *anything*.
Finally I've got it *down*. I find myself doing things that just sound right and surprising myself. Bigtime. Trial and error. Do it wrong a zillion times, then do it right, and stop because I can't believe I really did it right. Then do it wrong a zillion more times until suddenly I do it right without stopping, and then do it right again -- again -- again. By now it's natural. That "tricky" chord is not so tricky, it was just unfamiliar. Now it's not. That transition wasn't "difficult", it was just different from what I'd done a thousand times before I decided I had to learn a song with that particular transition. Now that I've done it a thousand times or more it's second nature, like the others that I'd learned before. Doing things by instinct I had tried before but found way too tricky and just moved on to something else. Then suddenly, pop, there it is, and it's flawless, but at the same time not so earth-shattering an event as to stop me dead in my tracks. There's no pause and no break in the music. I'm not stopping midsentence to say "see? I just constructed half a sentence right there, good for me!". If that's not a zen moment I don't know what is.
Basic things, yes. But I have to figure them out on my own. That (more than the currently overextended finances) is why I don't go for lessons just yet. I'm not out to run a marathon and don't need a trainer while I'm just barely learning to stand on my own two feet. If I need to pay anyone forty bucks per half hour to tell me that I shouldn't dampen the next string over with my big fat middle finger then I've probably got no business playing the instrument in question to begin with and would be well advised to try a cello or bass viol, frets or no. (Don't they make bass guitars as well these days?)
Then suddenly today I discover that this little three-way pickup selector switch moves in the same direction as the right hand while it's strumming. IMAGINE THAT. It's not where it is and aligned like it is because it looks pretty, it's where it is because it makes good sense. I *don't* have to treat it like it's something I need stop what I'm doing and walk clear across the room in order to turn on. So I have it in the middle position for one section, then switch it down for the next one, and then switch it back for the section after that, without slowing or stopping the music itself. It's just part of the strum. It changes the voicings quite dramatically; and since I've gotten to where I can change the sounds to a considerable degree without switching a thing I can make it work *for* me, deliberately. On purpose!
If I were on organ I'd call the effect antiphonal. Since I'm not on organ I don't know what I *should* call it; so I'll call it antiphonal regardless, and let anyone who knows better be damned. But it's just like switching from the foundational diaphones to a well-rounded ensemble with diapasons, flutes, strings, and reeds to OUT OF NOWHERE straight nasards or even state trumpets (depending finally on where and how you hit the strings -- so if you're muddling them, the switch just absolutely doesn't matter).
Yes, Michael Murray playing Dunstable, Bach, Dupre, and Franck on church and concert organs is as much a model for my guitar playing as anything. That little switch can add whole different dimensions to the music, enabling impossibly, vividly clear "call and response" phrasings on ONE INSTRUMENT. The only other single instrument capable of doing that, that I know of, comprises tens of thousands of wooden and metal pipes and can't be strapped to your chest and moved around with you from place to place without a 53-foot trailer.
If you're playing *right* to begin with it can be downright shocking. It can make the hairs on the back of your neck stand on end (in a *very* good way). If you're playing sloppy it'll still just sound sloppy, but in different voices, therefore sloppier than if you didn't fuck with the switch in the first place, so it's best to play right, and that's that.
Let's see. How have I changed? Me, six months ago: "the guitar is a lowly and unworthy instrument, save in the hands of a veritable master of music". Today, I've played maybe a couple of months and can make train sounds and grade crossing sounds and trumpet sounds and lyrical harp sounds and driving sounds and surfer music sounds and horror movie sounds I have no right to make at all on top of organ sounds and goodness knows what else I haven't even stumbled across yet. It's a crazy mix of stuff but the point is that it's all evocative, it's all *at my command*, they're all *available* to work with, and I'm starting to piece something together in the process that does actually sound like music and has infinite variety within even the simplest outward forms.
I'm not a master of the instrument by any stretch of the imagination but I'm getting far more for the effort that I'm putting into it than I have ever gotten from any instrument I've ever played or tried to play. I can play a few things on piano and a few more on an organ. My fingers are too big for violin, although I did enjoy the cello, and could probably scratch something out on a viola if I had one handy. I can noodle around on an accordion or bandoneon and play some chords on the banjo and make a sound like a dying sheep on a clarinet. But only on the guitar can I apparently make music, and apparently, an ever-expanding range and variety of it, at that.
Plus I'm learning to use and adjust and play off the amazing harmonics that come out of the amp. There are overtones in that little Fender that I swear sound just like a theremin. I mean, they're in the strings, or the vibrations of the strings, or the magnetic fields through which the strings are vibrating, or between the cathodes and anodes in the tubes, or wherever -- but when you have the knobs set *just* a certain way and *really* get going, there's suddenly this otherworldly voice on top of and beyond what you *thought* you were playing that follows your fingers. You can't *make* the voice come. If you try you will just get a few high-pitched squeals. It just comes when you're playing correctly.
Poking around the Amplified Heat website. Damn, they've got a CD. I need it. I still need to listen to Mike's! I ge;pppp;;[t
Apologies. That last word of wisdom come to you courtesy one of my too many kittens.
I continue.
I get CDs and then don't listen to 'em 'til I can do it *right*. I listen intently, music's *never* "background noise" to me. So I get CDs and put 'em on a shelf and practically forget they're there. Driving down to El Paso I should have some time to actually *listen*. Then again, if I don't hear the interlock beep at me -- heh -- music, or jailtime, that's my choice! Damn it. So I've got to listen here at home. Or wait a few more months. Wish I could route the CD through the big speakers, do it up right. We will see.
Whoa nelly. I've run out of laptop battery. It's two AM. I thought I gave this up when I left Foxes. Later.