Photo © 2010.
Went home to Canada for much too short a trip. It was sunny and hot in the mountains (above, Kootenay National Park, near Banff) until we got to Vancouver for its first rainy weekend of the summer. But even rainy Vancouver is brilliant. Below, that’s Richard (right) and me (left) looking to beat up Emily Carr art students and granola chewing babies at Granville Island Market.
Photo © 2010.
My thanks to OffsetGuitars.com for being a wonderful source of collective information and guidance, as well as to Jim Shine, for his “Intricacies of the Fender Jazzmaster” webpage, a great reference. Special thanks to everyone who helped me directly.
This year I began to repair and restore a 1960 Jazzmaster, starting from an old chestnut of a body and using 1960 components. While the guitar is not yet fully restored with 100% original parts, it’s now relatively complete as a Jazzmaster after some months of work.
Photo © 2010.
When I first received the vintage body, it was missing its coat of paint. Its original Sunburst paint had been covered over with Dakota Red many years ago, and then Olympic White, and then it was partially stripped down to the bare wood, but then finally abandoned at the white primer stage and left very rough. Also, several of the tail piece screws were lost in their holes (with broken off heads and with no easy way to remove them.) Additionally, it required a replacement neck. So, I set an agenda to have the body repaired and refinished in Inca Silver, an original Fender custom color from 1960, and saw about getting a new replica neck with a matching headstock.
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I think for every person there’s probably a perfect chocolate bar. I’m lucky to have found mine in my lifetime. My aspirations are fulfilled and my chocolate bar walk downhill begins.
Photo © 2009.
My 21” Apple CRT, for bulk pickup, but maybe for the gleamer.
Photo © 2007.
A long while ago, back in 1999, I fondly purchased a used Apple 21” Studio Display. If you’ve never seen that model in person, I’ll say first that it was perhaps one of the largest and finest flat screen CRTs one could purchase off the shelf for photography and design at the time. The color gamut was brilliant and it had a contrast range worth every dime. Of course, it also looked bizarre. Being an Apple monitor from the original “Bondi Blue” iMac’s day, it was fabricated in a transparent blue and frosted plastic casing with a corrugated tripod base that made it look very strange yet “designy” on a desk, like a whale’s head sculpted by a futurist. Maybe that was the real premium. You either had taste for this or thought it was childish and repulsive, which is probably why Apple only sold them for what seemed like less than a year.