Ervin Somogyi

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Author: esomogyi

“LA GUITARRA” – A Psychological Insight into Flamenco

by Ervin Somogyi

This essay is about looking at some of flamenco’s roots and lore — specifically Federico Garcia Lorca’s famous poem “La Guitarra” (“The Guitar”) — through the lens of modern psychological thought. “La Guitarra” is probably the best known poem on earth about the guitar or, for that matter, about any musical instrument. In Spain, particularly in Andalusia, this ode to the guitar is as well known as the Pledge of Allegiance is in the U.S. I’ve been a student of psychology for years: that bug bit me a long time ago even before I got bitten by the guitar making bug. I’ve faithfully maintained my interest in the former as I’ve sawn, sanded, glued, bent, shaved, braced, and clamped my way through my adult life as a luthier. While lutherie isn’t particularly clinical nor touchy-feely, and psychology isn’t concretely hands-on in the way that guitar making is, it nonetheless seems to me that these disciplines have something important in common: the possibility of getting amazing results based in a person’s ability to grasp intangibles. Both of these fields, at their best, offer the possibility of functioning at the level of an art form. And for that reason I have found them, each in its own way, to be equally compelling. I’ve brought these two interests together in my writings from time to time.

Here, we’re going to be looking at “La Guitarra” from the perspective of one of today’s cutting-edge thrusts in psychological thought: Object Relations Theory. From this theory’s point of view, “La Guitarra” tells of narcissistic injuries the author received in early life, which he expresses through the form and language of Andalusian cante jondo. (Wow, you say; how interesting. Now where’d I leave the t.v. guide?) I don’t want this to come off as a pretentious exercise in undergraduate-level double-talk, so I’ll first explain some terms and then I’ll give you some background on both flamenco and Object Relations Theory; I want you to have a sense of what these are about. Bear with me: I think it’ll be worth the effort.

SOME TERMS AND BACKGROUND

As far as flamenco is concerned, cante jondo is the essence of flamenco — which has with some accuracy been described as gypsy Blues music. cante jondo is the smoldering, cathartic stuff that’s so deep down as to be almost sacred. Seen from an everyday perspective, and using everyday language, it is possible to view “La Guitarra” as being a very deep Blues riff.

To explain Object Relations we have to start by mentioning Sigmund Freud, who is the most important presence in the modern mental health field, period. Even today, when he’s become largely discredited, most psychological thought is still either based in his theories as a direct or indirect outgrowth of them, or even in more or less direct opposition to them. Any way you look at it, and like it or not, he’s the most important single point of reference in the modern field of the working of the human personality. Like, Dude, it all started with him.

Freudian psychology holds that human unhappiness is created by conflicts between incompatible but entirely natural impulses such as aggression and the sex drive on the one hand, and the conscience/voice of society’s needs on the other. Because these drives and forces are innate and necessary, human unhappiness is, consequently, a natural and unavoidable condition. In Freudian thought, resolution of conflicts are brought about by becoming consciously aware of the elements that are in conflict (hence Freud’s invention of talk-therapy); catharsis — an emotinal release of pent-up energies and repressed awarenesses — helps fix the conscious awareness by imbuing it with emotional force. But no other social or interpersonal learning, insight, growth, or maturation is otherwise necessarily involved.

Object Relations Psychology came about when psychotherapists began to notice that Freudian theory doesn’t allow any room for how one’s relational life — how one has been treated by others — to be important in how one is shaped internally and how one winds up feeling about life. Cutting to the chase: Object Relations Psychology holds that the root causes of the deepest human unhappiness can be traced to one’s very early experience of being mishandled — in any of a hundred ways — by those beings into whose hands the forces of life first entrust us. When the mishandling is catastrophic (as when an infant is sufficiently rejected, abused, and/or abandoned) Object Relations Psych calls such experiences self-object failures, meaning a failure in the bonding between an infant (self) and a caretaker (object) at a time so early in development that the infant cannot yet tell the difference between itself and others. Psychologists have their jargon, just as luthiers and academics do. But, bottom line, if the person you can’t tell yourself apart from messes with you, you develop messed up.

Narcissistic injuries is a central concept in Object Relations theory: the phrase is code for “early life experiences that are so bad that they have interfered significantly with the formation of a normally developed sense of self”. The thing is, that without a healthy sense of self one’s personal and emotional maturation more or less stops; you can’t have one without the other. Yet interestingly, at the same time, one’s intellectual, physical, and technical skills can continue to develop unimpaired. I’m sure we all know someone who more or less fits this description: people who are amazingly smart and capable in lots of things, but clueless when it comes to people; it’s because they’re essentially clueless about themselves . . . But I’m really talking about individuals who are at the extreme end of this.

Whether there will have been actual abuse done (and unfortunately there very often is) is technically moot; while parents may or may not be consciously abusive toward their very young, the fact is that infants experience things with an intensity that adults have long since lost the ability to even imagine. For the very young, things can easily be either really blissful or totally awful, in a completely direct and unfiltered way; the key word is total. They don’t have the maturational development or defenses to do or be otherwise. One can think of them as highly sensitive microphones set for maximum receptivity, with no volume knob to tweak1.

For self-object failures to be most deeply damaging to a coalescing sense of self (“narcissistically damaging”) they need to have occurred by the age of three or four. In contrast with classical Freudian thought, Object Relations psychology postulates that since deformation of the human psyche comes about through traumatic experiences with early-life primary caretakers2, then healing, resolution and change come about through not only conscious understanding but also through integration, maturation, transcendence, “working through”, and personal growth.

There’s one other thing. Since infants experience with a direct intensity that is inconceivable to most adults, conscious memories of bad early experiences — and their attendant pain — cannot be directly tolerated: they are much too uncomfortable-making. Therefore such memories are “split off” [this is more technical jargon: it’s what lay people would call ‘majorly blocked out’ or ‘really driven underground’]. Nonetheless, these buried memories remain alive internally and strive to be expressed. And they do manage to gain expression — although in hidden, disguised, and encoded form. Much art has such energies at its roots; and so do a lot of successes and failures in life, marriages, and a lot of other things.

As far as matters of mental and spiritual healing are concerned, it is the task of the sensitive helper/counselor/therapist to help the individual to become aware of, recognize, feel, and ultimately reintegrate parts of one’s own self and experience that have been forgotten . . . and from which dark areas, like unseen celestial bodies that emit pulses into the cosmos, these consciously forgotten but still active traumas send their strangely encoded and problematic signals into one’s daily life. This is what talk therapy at its best is really all about; and while this may sound awfully fanciful to many readers, those who have had successful counseling, therapy, or any kind of inner exploration will probably know and recognize such things.

LORCA AND “LA GUITARRA”

Okay, enough about psychological theory. Let’s segue to Federico Garcia Lorca, who is the most famous Spanish poet and playwright of the twentieth century, and who is still holding his own quite well in the twenty-first. While his theatrical plays have won him worldwide recognition he has been most strongly associated with, and claimed as one of their own by, the Spaniards of Andalusia. Lorca, himself an Andalusian, was killed during the Spanish Civil War. One of the strongest factors in the bond between Lorca and the Andalusians is his [quite famous in Spain] essay on duende, which captured in words and defined better than anyone else before or since the essential outlook onto the world of the Andalusian soul.

This outlook is expressed in cante jondo — literally, Deep Song. It is a plaintive, solitary cry, somewhat like the quintessential “high lonesome” sound of American bluegrass — but with a vengeance. Duende [pronounced ‘dwen-day’] refers to the quality of expression of the cante: immediate, raw, unfiltered, passionate, pained. Deep Song with duende has incredible emotional and lyrical power and can be a hair-raising experience even for non-Spaniards who cannot understand the words: it can discharge with the emotional power of a Greek tragedy. It is at the root of flamenco — although flamenco has changed more and more over the last one hundred years into commercial and theatrical entertainment.

The guitar itself, by the way, has a real and unique place in flamenco that is not matched by the relationship any other musical instrument has to any other culture or musical idiom that I know of. For the flamencos the guitar is something revered, mysterious and special. As I said before, Lorca’s poem “La Guitarra” (“The Guitar”) is probably the most widely known poem in existence about a musical instrument. While “La Guitarra” is a poem and not sung, it is pure cante jondo.

La Guitarra The Guitar
Empieza el llanto de la guitarra. The weeping of the guitar begins.
Se rompen las copas de la madrugada. The wineglasses of dawn are shattered.
Empieza el llanto de la guitarra. The weeping of the guitar begins.
Es inutil callarla. It is useless to hush it.
Es imposible callarla. It is impossible to quiet it.
Llora monotona It weeps monotonously
como llora el agua, the way water weeps,
como llora el viento the way wind weeps
sobre la nevada over the snowdrifts in the mountains
Es imposible callarla. It is impossible to silence it.
Llora por cosas lejanas. It weeps for things far, far away.
Arena del Sur caliente que pide camelias blancas. Sand of the hot South that begs for white camellias.
Llora flecha sin blanco Weeps [like] an arrow without a target,
la tarde sin manana, the afternoon without a morning
y el primer pajaro muerto and [for] the first dead bird
sobre la rama upon the branch
Oh guitarra! Oh guitar!
corazon malherido por cinco espadas. heart gravely wounded by five swords.

One cannot be unmoved or untouched by the images in this poem: it is unrelenting misery and loneliness. We have the image of the guitar weeping (interestingly, guitars playing in other idioms of music are usually said to sing, not weep). It weeps so emphatically and unstoppably that it is like forces of nature — like wind, like water flowing. It weeps like nature works: ceaselessly, monotonously, remorselessly, impersonally. It is not possible to quiet it, to calm it, to soothe it, to contain it. There is the image of hot bare sand, an arrow without a target, an afternoon without a beginning, a dead bird, and a heart pierced by swords. This landscape is as inhospitable to a man as the cold windy mountains or the hot empty desert. Comfort is far away and will not heed a call. The weeping is everywhere.

The principal themes which these images carry are endlessness (the weeping, the arrow in perpetual flight, things far away, night with no dawn, wind and water); beginninglessness (an afternoon without a morning, hot sand, day with a shattered dawn); hopelessness (unstoppable weeping, hot sands begging for flowers); emptiness (broken wineglasses, absence of images of people, deadness, the desert); qualitylessness (there are no adjectives — only nouns — until very late in the poem, and then there are only four: hot, white, far, and dead); and death (dead bird, a heart mutilated by swords).

This is pretty sad and heavy stuff. Yet, the deeply expressive nature of cante jondo is based in this kind of experience of the world and resonates to it mightily. It is what flamencos tap into when they sing their Deep Song. A sensitive listener might be moved by compassion at the thought of an inner world that can call up such images out of itself: what must one have experienced to be able to express such things? Or, perhaps one can marvel at the creative imagination which can call forth images which are powerful enough to touch so many people and put them together with such skill and unerring rightness that they cross the line of personal experience and pain to become universal, a work of art. To the flamenco, however, cante jondo is not to be compared to other possible world experiences nor enshrined as art. It is to be in, as he sings. cante jondo, to which “La Guitarra” belongs, is recognized by the flamenco as Telling It How It Is. It transcends the moral categories of right or wrong and to the flamenco it feels HERE and NOW — the essential existential Andalusian truth3.

For myself, it is also largely my existential reality. As a Holocaust survivor and a child of Holocaust survivors I can resonate to a world view of such grief and devastation. I am also a flamenco guitar player, and even though I don’t sing cante jondo the way in which the guitar itself participates in and expresses Deep Song has brought me to flamenco. The razzle-dazzle of everyday stage flamenco is nice, but it doesn’t hold a candle at all to the release I am able to experience when I play the real stuff for myself, or possibly for a friend or two. I don’t play like that very often but, like the real blues, IT FEELS GOOD to let it all hang out. Flamenco is the most cathartic music I know.

So what can a poem like “La Guitarra” tell us about Lorca the man? What kind of inner life must he have had to write something as evocative as this work? And what suppositions about these can be supported by the images, themes, and content of the poem?

This poem places us into a personal, existential geography of great alienation. In Object-Relational terms, what Lorca is expressing are the effects of significant and consistent early life self-object failures. He is telling us the story of his own emotional abandonment. As is usual in such cases the self-object failures occurred too early and/or were too painful for consciously remembered memories of them to survive. Hence the feelings are projected outward, onto the world. But the story points to a drastic failure with the mother, one’s first and most powerful self-object. For where else in one’s self can one find such scale of feeling for abandonment, useless longing and sense of alienation, loneliness and bereavement — except in one’s own and repeated and emphatic rejection by (i.e. failure to bond with) one’s own mother? The poem’s imagery supports this so strongly as to make it a virtual certainty.

Since the poem is about the guitar, let us make this our starting point in our exploration of what “La Guitarra” tells us about its author.

Guitars are many things: wood, gut, metal, science, music, etc. They are also female (and in Spanish explicitly so), with curves and mystery and subtlety. This is perhaps symbolized especially strongly for the flamenco, for whom even holding the guitar is a sensuous experience. For one thing, the traditional flamenco holds the guitar differently than do other guitarists. Classical guitarists carefully hold their instruments on their thighs, using footstools to help the balancing; others simply hang the guitar from a strap over their shoulders. But the flamenco literally embraces his guitar, holding it in a difficult and awkward “standing” position, balanced on his right thigh — seemingly just so as to be able to embrace it. Try it: it’s tricky. Hugging the guitar like that, once you get the hang of it, is a genuine sensual experience (fig. 1). Flamencos also use a wide array of stroking, playing, pulling, hitting, tapping, and scratching techniques which, if they lack the subtlety and sophistication of classical technique (although this is arguable), more than make up for it in the variety of achieved contact with the instrument and its strings. All in all, it’s a great physical experience for the guitarist and gives outlets for both sensuality and aggression4. The romance, the passions, and the rejections of life are all flamenco themes which Lorca would have, so to speak, taken in with his mother’s milk — and are for the flamenco closely associated with the guitar.

Fig. 1. The traditional way of holding the flamenco guitar, from the cover of Lives and Legends of Flamenco by D.E.Pohren.

From the title alone, therefore, we can have the idea that there is a woman and sensuality/physicality represented in this poem. Are there other feminine images?

Virtually all the nouns in this poem are female-gender nouns (Spanish possesses male, female and neuter nouns). Further, the camellias, which are themselves female and symbolize femininity, are also known as “japonicas” (Japaneses), suggesting the oriental eye-slits which adolescent Latin boys learn to associate with the shape of the female genitals5. This poem is awash in femaleness. But add to that the overwhelming emotional content of the work and it is no far leap to accept that what is being described is a primary association with a woman. The word “mother” does not appear in the poem, but who else is female who would carry that much of an emotional charge?6 What woman other than the mother who is so primarily and overwhelmingly linked to inner life — whatever the quality or content of that inner life?

It is a virtual certainty that Lorca’s mother served as an essential self-object for Lorca early in life, during which period his world view would have been substantially formed. What then does the poem suggest is his relationship with his mother, specifically?

Of the images that carry the thematic meaning of this poem I have already made note: this truly is a work expressing unrelenting bleakness and lack of fulfillment. A stylistic analysis of the poem, which is outside the scope of this essay (but includes analysis of the different stylistic elements of the poem: the syntax, meter, accents, position and length of key words, gender imagery, punctuation, rhythm, ambiguity, specific use of nouns and adjectives, etc. — and how these interact and add to or detract from the thematic meanings) would further bear out Lorca’s skill at maintaining congruence between the poem’s structure and its meaning. That is, that the poem expresses at the level of internal structure the same bleakness, disconnectedness and despair that it expresses in words. However bad life was for Lorca, he at least created good poetry out of it.

The most directly human image of the poem, and really the only one, is of (the guitar as) a heart seriously wounded, perhaps mortally wounded, by five swords. It’s an image of violence, both deadly and emotional. It is at the same time the image of someone playing a guitar — and wounding it! It point of fact this is an image which explains why the guitar has been crying all through the poem: it’s been being wounded by the player.

Playing the guitar is usually a purposeful activity, not a random one, and is indeed the only image of overt, purposeful, active human behavior in the entire poem: everything else is static or reactive. Therefore it is probably a good idea to scrutinize it even more closely. The image of the guitar gravely wounded by five swords (the player’s hand and fingers) suggests the purposeful wounding of the instrument.

This image has a basis in reality as the flamenco style of playing, which Lorca certainly knew, is very hard on the guitar physically: the player can literally pummel, pull, scratch, hammer, tear and wrench the rough, shrill, wailing, melancholy and certainly crying sounds out of the flamenco guitar. (As a matter of fact that’s why flamenco guitars have golpeadores [tap plates: literally, hitters or pummelers, or the things for hitting and pummeling] while classical guitars don’t: they need them.) On the other hand there are two very interesting symbolic interpretations of the meaning of a guitar being wounded by the player, and these, I believe, are (not to make a pun) at the heart of the poem’s meaning.

If there is a guitar player — an active, independent initiator of behavior — who is cradling in his arms (in the physical flamenco guitar playing position) something as wonderful and important as Andalusians think of the guitar as being, yet which also is at the same time something passive, receptive, inert and crying — something that is not a center of initiative — then cannot we recognize in this a disguised image from earliest life, that of a mother holding her child? Yet the “player” is hurting the “guitar” gravely and making it cry! If this is truly an image of an early mother-child connection/bond/cathexis then it is an image of the mother’s great insensitivity or cruelty, or perhaps even sadism, toward the child.

I believe, given the quality and intensity of the imagery in “La Guitarra”, which reflects Lorca’s feelings in life, there can be no doubt that he experienced such cruelty. That his mother might or might or might not have actually, consciously, done such things is moot: Lorca experienced much of his early life in just such a way.

And again, going back to this last image, if we accept the guitar as being a symbol for the mother/female and not the cradled child, then the image for the active and passive agents are reversed, yet still equally hostile to each other. Then, rather than the mother hurting the child, the guitar player with the sword-fingers is purposely hurting the mother and making her cry. Either way, one is inflicting pain on the other. But while poetic imagery can make it seem that either antagonist — and we must recognize the guitar and the player, the mother and the child, as being alternately victim and torturer, locked in permanent conflict — could be arbitrarily hurting the other (depending on which image we are focused on), in real life only one truth can be recognized: that children are absolutely helpless and vulnerable to the power of the mother to love, reject or punish. Children are in no position to abuse their mothers — only to defend themselves. And if this defense is in turn attacked, then the child enters a surreal, Kafkaesque world of hopelessness and despair which must cover his enormous narcissistic rage7. [NOTE: “Narcissistic rage” is psycho-speak for the kind of rage that is total and, once released, cannot be controlled. An example is given in the literature of someone hanging a picture on a wall; under normal circumstances, if the picture hanger hits his [or her] thumb with his hammer he’ll be frustrated and in pain, and probably swear a bit; this is normal anger, and it quickly subsides. If the episode is experienced as a narcissistic wound, however, the man will respond as though the nail had attacked him personally and he’ll try to get back at it. He will try to kill it . . . even if it means destroying the nail, the wall, and even the picture; narcissistic rage won’t subside until the cause of the wound has been annihilated. It is thought that much spousal abuse, many war-related behaviors, etc. come from this primitive level of mental life.] In Object-Relations theory such intense rage covers equally intense disintegration anxieties (this is psycho-speak for the intense early- life fears that the child will lose his self-object should he aggress against it); and it is known that Lorca suffered all his life from such debilitating anxieties and profound feelings of alienation8.

It is most likely that Lorca had, but was not able to be aware of, his own towering narcissistic rage toward his mother. The image of the active agent/guitar player wounding the woman/mother/guitar in such a way that she cries endlessly, deeply and inconsolably shows how strong the impulse to hurt must have been. And the quality of the intended hurt, cosmic and all-pervasive as it is shown, indicates the depth of the pain received. Lorca is unconsciously saying: “I would like to do to you what you did to me, to show you how it felt to be me; my pain was impossible to stop; I wept all the time because you were so far away from me and did not come; I wanted you but it was just as useless to long for you as it is for the desert to ask for flowers; I waited but my dark night had no morning; I felt like an arrow with no place to go; I felt like an afternoon with no point of origin; I felt like a day whose dawn had been shattered in the night; I cried forever; OH, I’d like to wound your heart like you wounded mine!”.

I have known for a long time that flamenco is a very matricentral form: much of cante jondo concerns itself with one’s mother, one’s sorrow at the loss of a mother through death, one’s betrayal of the mother through finding a mate, memories of the mother’s caring and love, and so on. Granted that the mother-images in “La Guitarra” are much more hidden and violent than the openly expressed and positive mother-images of everyday flamenco, they both get their energy from the same spark plug — a protective reverence for the memory of the mother. The father is hardly ever mentioned, in contrast.

This longing for and devoted holding onto the idealized maternal image while at the same time professing a view of the world which is a distillation of profound pessimism and expectations of rejection — the split between what the individual would like to have or to have had, and what he probably actually experienced (namely, early experiences in rejection and cause for lack of hope) — is a split which is by no means limited to Andalusians. That the flamenco seems not to notice this split and instead institutionalizes the idealization of the mother would seem to validate that area of modern psychological thought that asserts that the impulse to protect the mother — and to protect ourselves from an awareness of knowing our bad experiences with our mothers (and fathers) — is in operation. Author Alice Miller’s books, particularly For Your Own Good and Thou Shalt Not Be Aware are the most articulate and convincing writings on this topic.

As far as my love of flamenco goes, I am a bit nervous at the thought that something I have enjoyed so deeply over the years might be a cultural expression of a psychopathology that I would necessarily have a connection to, or investment in. Is this what expressive folk art forms are all about? A friend of mine argues persuasively that this is so, citing American bluegrass and country music, with their wailing laments of fickle fate, betrayal, loneliness, women lost to other men, and similar sentiments, as expressing much the same fundamental issues and world views. Yet, neither of these makes such a big deal about mothers as specifically as flamenco does. Maybe one difference is cultural between European and American parenting patterns.

It’s easy for me to believe that individuals with European backgrounds (as I have) get a heavier dose of parent-idealizing, in much the same way that Alice Miller (who herself has a European background) describes, and this comes out in folk musics. I do know that in Hungarian, my mother-tongue [and isn’t that an interesting phrase?], the common public mode of referring to one’s parents [edes apam and edes anjam ] translates literally as “sweet father” and “sweet mother”, or “dear father” and “dear mother” — as compared with, say, the “my dad and mom”, “my father and mother”, “my old man and my old lady”, “my parents”, etc. that we’re used to hearing in English. On the other hand, it’s been persuasively argued that Americans’ reverence for people like Ronald Reagan and George Bush have the same root causes: namely, projection of Godlike wisdom onto people whom you ordinarily wouldn’t want to buy a used car from.

Also, as a final example, and referring back again to Spain, today’s most prominent and revered flamenco-playing God is Paco de Lucia. Paco’s “real” name is Francisco Gomez Sanchez. But Paco has been called Paco de Lucia forever, or at least since he needed — and got — his own personal handle/nickname to identify him as a three-dimensional and separate individual, distinguishable from others, within the culture of his birth. Paco de Lucia means Paco from/of Lucia, Lucia being none other than the name of his mother. In other words, Paco de Lucia = Paco (el) de Lucia = Paco-(he)-who-who-is-of/from/came-out-of-the-woman-Lucia. Isn’t it interesting that this brilliantly talented musician is associated/known the world over with his mother’s personal name? Sorry, dad; better luck next time; ‘bye. On the other hand, Andres Segovia, who is quite equally and probably even more famous on this planet as a guitarist, affiliated with a Different Cultural World and wouldn’t ever have had such a public mother-connection mindset. Understandably, his expressive life passions would have been of a different kind.


1: ‘Volume knobs’ and ‘Off buttons’ are pretty much what adult defenses — ego strength, denial, repression, projection, sublimation, rationalization, etc. etc. — are all about. Without these, input is received on the (young people’s) default max setting,

2: It is thought that if the caretakers are adequate then one can learn to cope in a healthy way with life’s other ‘real’ traumas; it’s when the caretakers are absent or incompetent that there are developmental black holes.

3: There are plenty of flirty, light, silly, teasing, topical, etc. flamenco verses and songs. But they are not cante jondo; they are cante chico (“small song”). Flamencos understand that these are very separate things.

4: It is true that flamenco guitars often take a real pounding. Such treatment horrifies the average classical guitar player, who would not dream of subjecting a prized and valuable object such as even the flamenco regards the guitar as being to such rough treatment. There’s a clue to the nature of flamenco in this contradiction, I think.

5: I grew up in Cuba and Mexico, and that was part of my own sexual upbringing.

6: As a matter of culture in general, Latinos and Iberians are not, repeat not, into gayness. It’s all very hetero.

7: Psychologists and writers have focused on Kafka and make him a point of reference because he was so good at writing about such dislocated feeling-states. Even easy emotions are really are hard to describe verbally, but Kafka did some of the more difficult ones and did them very well indeed — especially the surreal parts, where the world looks real and yet at the same time doesn’t. Those are pretty unsettling experiences to have in real life. They have to do with the difference between (1) “ordinary” anxiety states, in which, no matter how scary and horrible they might be, the person having them knows, or can at least hang onto knowing, that he’s having anxieties, and hence can to some extent have a steady external point of reference to the real and “normal” world until the attack passes, and (2) narcissistic ones, which are worse because they’re sort of like having anxieties while on a bad drug trip: you not only lose “the real world” but you also lose yourself. Psychologists believe that this is one of the most extremely terrifying categories of experience possible. Unsurprisingly, it’s hard for anyone who hasn’t had something like that kind of experience to understand what it feels like, no matter how cleverly one uses words to try to get it across.

8: See footnote 7; it fully applies to Lorca

Posted in Essays & Thoughts Tagged flamenco

An Interview with Steven Dembroski, From Dream Guitars

Some time ago Dream Guitars approached me to do an interview, with the intent of putting this information on their website.  It is on their website now.  Interviewer Steven Dembroski and I spent a fair amount of time emailing questions and answers back and forth.  We covered a lot of ground . . . and it wasn’t quite the same ground that most interviews with luthiers focus on.  Steven seemed less interested in luthier Ervin Somogyi’s views on technical matters, his triumphs and successes, etc. than he was about the Inner Ervin Somogyi and what he was informed by.  I agreed to speak to these things even though they are not things I normally talk with people about.   I didn’t feel that I had anything to hide or proselytize about, really, and if anyone got tired of my comments they could simply stop reading.  But this interview did cover a lot of ground.  It’s a long read, so get yourself a cup of coffee or a brandy before you sit down.

Steven started it off like this:

I’ve created a short list of questions, and as we discussed, my aim is to present them to you one at a time for you to answer when convenient.  As this project of ours has aspirations to grow into something of significance, encompassing multifarious aspects of who you are, to my reckoning there is no one starting point that predominates another.  In time, I trust a well-rounded form will take shape, making all we discuss relevant and worthy of inclusion.  With that, here is my first question:

As a human progresses through time, he becomes a culmination of his life experiences, his education, random chance, and all other conditions of his generation and environment.  Between the tabula rasa of birth and the cold inevitability of death lies the variegated field of human existence, full of hopes and disappointments, moments of fear and discovery, occasional victories and personal losses, dark passages and unexpected epiphanies.

Here the matter of a man takes shape, becoming both an individual, and a part of society. The role he plays in that society is itself a confluence of desire, and ambition, ability, personal morality, conscience and chance. Under the best circumstances, the growth of the individual moves steadily, as if ascending a ladder, where from the vantage of each subsequent rung new things can be seen, interpreted, assimilated and hopefully understood.

Tell me about your ascent, how you view yourself internally, and the key moment(s) that defined Ervin Somogyi, human.

                – – – – – – – – – – – – – – – – – – – – – – – – – – –

Hmmmmm.  Your question is not exactly a slam-dunk one, nor one that I am likely to be able to answer briefly.  It is structurally modeled upon the concept of a graph or perhaps a bell curve, though: there’s the beginning of something, followed by expectation of some manner of developmental progression or accretion, and finally a resultant culmination, integration, or conclusion of some type. Regardless of how far we get in life, thetabula rasa is about how we all start from zero but, at the end, we exit and the tabula is as completed as possible.   I think that you are asking about my journey in this domain, out of such a mindset.  However, you are asking about the inner Ervin Somogyi as well as the visible, trackable one — and the former one works to a different model.  I don’t think that the tabula rasa  model applies to basic personality formation.  At least, not in the usual way.

What I mean is that, as far as hard-wired character traits and basic life attitudes are concerned (I assume that we can agree that these are the Inner Person), the tabula is pretty much filled up by the age of five and, barring a life-changing event, who we ‘really’ are will have been a done deal since early childhood. That ascent will have been completed.  As such, one’s very early experiences, particularly one’s parenting — and, if recent studies are to be believed, even one’s experience in utero  — are foundational;  the rest of our lives, our choices, and certainly our perceptions, are shaped within that specific crucible. At least, this is what the philosophers and developmental psychologists tell us.  And this knowledge informs one of Judaism’s most profound and terrible wisdoms, as voiced by Rabbi Hillel: we don’t see things as they are; we see things as we are.  It is the iron law of human life for those of us who are not free of our own past and our own training.  This may sound a bit sententious, but it simply means that we live our lives by rules and needs that we own but are usually unaware of.

The model I’m going to suggest for representing our personal tabulas is not a graph or a curve but, instead, a swatch of woven or knitted fabric whose boundaries are birth and death.  Looking across it from one edge to the other, this cloth may vary in thickness, evenness, lumpiness, color, etc. — sometimes richly so and sometimes just being kind of ratty and thin, so that the cloth might look clumsily made — but the basic pattern of the weave is the same throughout.  Our weave is what is set in our first five years.  Our subsequent schooling, training and socialization will add colors to the fabric — but the way we see things, how “far” we can see, and the ways in which we behave will all echo or reflect the basic pattern in some way.  

The Drama of the Gifted Child, by Alice Miller, has been influential in my forming a sense of how this coalescence of core personality works; I recommend it highly to you.  Alice Miller’s specific focus is how personality is formed under regimens of parenting that are fundamentally cruel; that is, acted out without awareness of the child’s needs.  Ms. Miller thesis is that lack of awareness of children’s needs is endemic, and in fact the norm.  In adulthood, consequently, we are all prisoners of our childhoods — at least until we become aware of how our fundamental attitudes and sense of self have been shaped.  This book has also been published under the title Prisoners of Childhood.  It’s a seriously good read.  I can also recommend Sigmund Freud’s book The Psychopathology of Everyday Life to your attention: it describes this same and exceedingly common human phenomenon in quite some depth as well, although from a different vantage point.  Freud’s book is a compendium of lectures he gave; it’s brilliant.  Alice Miller’s book is like a profound and didactic private conversation.  It is no less brilliant.

Just to be clear: not all growth stops after the age of five, by any means.  Intellectual and cognitive abilities can grow all through one’s life; the frontal cortex keeps on developing long after the limbic system (the seat of emotions) and the amygdala (the brain’s filter-trap for preverbal trauma, as well as trauma experienced in adult life and for which the sufferer can find no words) have, so to speak, reached their ultimate flight altitude and are coasting along on auto-pilot.  At least, this is so as far as my understanding of current brain research extends.

MY START

My own beginnings were very unpromising; if we’re going with the fabric metaphor then the word threadbare might be apt.  I was born in Budapest, Hungary, in 1944.  My father had been taken away, to be killed as expeditiously and as conveniently as possible, for the crime of being a Jew.  My mother and I survived for more than a year by hiding, among friends and strangers, in basements.  

Within the first year-plus-some of my life, in the last phases of World War II, Budapest was substantially leveled.  This destruction was accomplished through daily Allied carpet-bombing, by Russian artillery, and finally by vicious block by block fighting between the occupiers and the incoming Russian troops — many of whom were women, incidentally; the Russians didn’t have enough men left by then.  The Russian forces took much of Budapest building by building, from the German military that occupied it.  The Winter of 1944 was, furthermore, brutally severe.  The civilian population of Budapest — without heat, food,  water, electricity, transportation, or anything but the most rudimentary medical services, and furthermore caught between two fighting forces neither of which was going to quit — died by the scores of thousands, frozen to death, shot, blown up, starved, buried alive, and dead of their wounds and disease.  It didn’t help that Death Squads actively continued to hunt undesirables until the very end, in the middle of all this, too.  That I survived, and that my parents survived, is unspeakable.  Honestly, it set the bar pretty low, for me, in many ways; pretty much any other start would have been better.  It also didn’t help that my parents really didn’t have much left over, after World War II got done with them, with which to attend to a child’s needs.

I mentioned that Budapest was substantially leveled.  I have read that Budapest was one of only three major European cities to have been so significantly destroyed.  The others were Berlin and Warsaw; I’ve seen film clips of these taken after the war, and these cities looked almost like Hiroshima and Nagasaki: mile after mile there wasn’t a whole building standing.  You may have seen more recent pictures of Sarajevo, which suffered almost as badly fifty years later.  Of course, Hiroshima and Nagasaki weren’t European cities.  But no one mentioned Hamburg or Dresden either, however; they are major European cities and they were both burned down in Allied fire-bombing campaigns that were planned and carried out with the express intent of terrorizing and annihilating the civilian population to as great an extent possible.  Look up “Bomber” Harris on Google: it was his policy.

The long and the short of the matter is that I osmosed  my early sense of the world from an environment that was soaked in the more desperate realities of war.  I might add that no part of it was even remotely a thrilling-scary  or dramatic experience of feeling terror, as it often is in the movies.  Or in literature.  I’m a good writer and there’s a chance that the above paragraphs may be seen as some literarily well crafted, evocative, poignant, etc. gems.  But that’s irrelevant.  Real life isn’t subject to literary rules.  Readers, viewers, and other observers are perfectly safe; they can hit the “pause” button go to their microwaves to heat up a cheese sandwich pretty much any time they want.  Life, such as it was for us, was for real: every time you left your hiding place it was tantamount to picking up a gun and playing Russian Roulette; you might not come back — exactly as life has been, more recently, for noncombatants in Bosnia, Afghanistan, Iraq, Rwanda, Iran, Sudan, Lebanon, Syria, and lots of other such places.  I can add that, along with all this, the rule at every level of existence for us was deprivation — in a way that I don’t think most Americans can imagine.  Or want to.

Parenthetically, while I don’t wish any of this on Americans in general, I’ve thought it would teach them some compassion if they had any real clue as to what war feels like firsthand.  Americans haven’t been subject to such conditions since 1865, and even then rather few cities were razed.  On the other hand, from everything I’ve seen the American (Confederate) South still holds major grudges against those Northern Yankees for having won the Civil War . . . and you’d think this might give one an insight into how the Balkan Serbs, Croats, & Muslims have warred against one another based in grudges that have been held since the 1300s.  War really ain’t good for children and other living things — despite our foreign policies, fantasies, misunderstandings, delusions, paranoia, arrogance, testosterone, and self-righteous thinking since World War 2.

I should add that while what I just said probably makes me sound like an unpatriotic bleeding-heart liberal naif, I also know that many men and women who have experienced military combat are permanently changed by it in ways that aren’t at all helped by throwing cliches around.  For anyone who has been thrown into the boiling cauldron of war, violent loss, deadly trauma, dislocations, killing, and the weld-strength human bondings that can occur in such circumstances, it is not helpful to suggest that they’ve participated in crimes against humans.  To do so disrespects territories inside of them that need to be seen as being so searingly and deeply private, and probably always raw beneath the surface, that they verge on being sacred.  

The people who sent them into those cauldrons, though, without having any idea of what a cauldron is . . . that’s different.

In any event, being an infant, I absorbed wartime’s emotional reality directly, without any of the filtering or defense mechanisms that I might have had if I’d been older. To cap this sad story off, I don’t think that, even in the best of circumstances, my parents ever really would have had any idea of what to do with children.  I say this as a simple matter of factual commentary on the child-rearing practices that they themselves had been subject to and internalized when they were young, and that were going to be their own style in raising their children.  The dominant European pedagogy of the day — which is still ubiquitous, by the way — is described in riveting detail by Alice Miller, whom I’ve already mentioned, in For Your Own Good and Thou Shalt Not Be Aware.  The objective of the poisonous pedagogy that Miller describes was (and is — no ifs, ands, or buts) to break the child’s will.  My sister and I got the full benefit of such an effort.  Alice Miller’s books are required reading for anyone who is interested in how children experience the world.  Of course, as I said, the war didn’t help: my parents’ wartime experiences traumatized them irredeemably and permanently.  And my sister and I didn’t get out from under any of that unscathed, either.

Okay, enough of that.  My parents weren’t all bad.  They just seemed that way when I was young and defenseless, and it took me some growing up to see how significant their wounds, damage, and limitations were.  One of their accomplishments was that they stayed together despite, or perhaps because of, unimaginable stressors.  A second one was that an academic mindset was inculcated in me.  My parents believed in getting as much education as possible; I was rewarded for being smart in school, and I therefore learned to become really smart in school.  And both in school and out, I read voraciously.  Along the way, I learned English by reading it, not by hearing it or speaking it; that accounts for my vocabulary.

For another thing, my father taught me a fearsome work ethic.  Here’s how he did it.  Our travels started with leaving Hungary at the end of World war II.  We were penniless refugees, literally without anything we couldn’t carry with us.  We went to Austria, and lived there for two years. Then, at the end of 1947, we moved to England; we were there without official papers and we lasted six months. The back-story to this is that before the war my parents had entrusted a friend in England with their savings, for safekeeping; everybody who hadn’t already gotten out knew hard times were coming.  But instead of repaying the debt after we arrived in England, that individual reported us to the authorities as illegals; we were put on a plane to Cuba within 48 hours of being turned in.  We stayed in Cuba for two years, and my sister was born there.  Cuba was the most refugee-friendly Western nation at that time: it had no immigration quotas and accepted everyone.  It thus became a staging area for many displaced refugees who needed a breathing space in which to figure out their next move.  Those next moves were generally to Canada, the U.S., the Latin countries, Australia, Africa, and even back to Europe; I imagine that a few stayed in Cuba.  Our emigration was to Mexico, where I grew up from ages six to fifteen.  In 1959 we immigrated into the U.S. and had green cards.  

All throughout these travels my father carried the heavy burden of taking his family with him and providing for it.  Every move presented new problems in establishing himself and us: leaving behind all that we’d achieved in the last place we lived, no waiting relatives, no contacts except for perhaps the local social agency for refugees, no favors owed, no savings to speak of, a new language (we went through Hungarian, German, English, and Spanish), a need to find housing and work and new work skills, and new schools for the kids.  The need to re-orient ourselves of course included the need to learn a new culture, finding a new network of friends, new money, new foods, new household goods and possessions, unpredictable medical needs, unfamiliar logistics, and the ever-pressing needs that every immigrant has for dealing with the issues of legality/paperwork/officialdom, etc. . . . you know, pretty much a clean slate each time.  And my father did it repeatedly.  He carried his losses, which much outnumbered his victories, far from homeland and from own language, own culture, own history, own familiar surroundings, and larger family. When people have asked me what my father did I’ve had to pause to think, because unlike their fathers who did one or two things all their lives, my father did all kinds of things.  The way in which he survived (he learned a lot of this in the camps) was to be useful; he was brilliant at it.  And he survived.  Otherwise, he never complained about the fact that his own nation had done its best to murder him and us.  He was a profoundly angry man, but never spoke of any such things.  He acted them out instead, which is another story.  But mostly, I saw him work steadily. I saw him pay his bills.  He did not abandon his family, and did not descend into gambling, crime, or drug or alcohol use.  He didn’t strap a bomb onto himself and blow himself up in a German restaurant, even though I’d be surprised if he didn’t generally feel like getting back at those genocidal criminals in any way he could.  I’d have felt that way.  As a matter of fact, I absorbed such murderously corrosive feelings day by day, so I can understand others having them.  My father was an educated man but I never saw him read a book; he didn’t have the time.  My mother cooked, washed, did the shopping, cleaned, took care of the kids, cooked, washed, did the shopping, cleaned, took care of the kids, cooked, washed, did the shopping, cleaned, took care of the kids, cooked, washed dishes, did the shopping . . .

Psychiatrist Carlos Sluzky has written about the Experience of the Immigrant, for anyone who wants to know more.  He’s the first to have studied and made sense of immigrants’ imperative to solve the immense problems of transition — not the least of which is starting out as someone who has lost their culture, has the most reduced possibilities in the new one, and in general is either looked down on by everyone or simply not seen.  According to Sluzky, immigrants typically don’t have time nor energy nor the resources to grieve their losses; their children take that task on for them.  I have enormous respect for these tough people; they carry terrible burdens. As to my own losses — being a child of immigrants who has processed a lot of my family’s losses, just as Sluzky describes — these are the loss of a birth-culture, a primary language, an extended family (I’ve not had cousins, uncles, aunts, grandparents, long-term family friends, in-laws, etc.), a coherent sense of belonging somewhere, and whatever else qualifies as ‘roots’.  The flip side to this is: I’ve traveled and seen quite a bit of the world and am multi-lingual.  Regardless of whatever one gives up to do this, it does broaden one, especially if it happens before one’s teens.  I doubt that you and I would be having this dialogue if my consciousness hadn’t been cobbled together from all the bits and pieces I’ve put together from everywhere I’ve been.  These are simply the facts, and I don’t know if what I got represents anything like an even exchange with what I lost.  

Another thing that I learned from my parents, even though I didn’t understand it at the time, was a form of generosity based in sense of obligation and family. You might call it duty.  When we first moved to Mexico we landed in Mexicali, a depressingly hot and dusty border town in the middle of the desert.  We lived in a slum and, man, we were poor.  I didn’t appreciate this at the time; I was six and had a child’s awareness of my little world. Still, once a month, I saw my parents fill cardboard boxes up with clothing (I don’t know where they got it from) to send back to Hungary — for family that had even less.  That has stayed with me.  It’s also been emphasized by the fact that my father’s sister, who had married well and moved to the U.S. in the 1930s, and was comfortably in a position to have helped our family in the tough years, didn’t lift a finger to do so.  Well, other than her middle one.  

(To help explain this, that hatred began a long time ago — as these things do.  My father’s father was an entrepreneur and ran a small furniture factory in Budapest — which fact gave the family a certain position on the social spectrum.  My grandfather was killed in a street accident when my dad was 20.  That no doubt further traumatized an already troubled family; but, my father, as eldest son, was expected to take over the reins of the furniture making enterprise and keep it going.  He didn’t.  He frittered his time and energies away, and ran the business into the ground.  The resulting financial void forced his sister — my aunt — to have to go out and get a job.  She wound up working as a corset maker.  This fact, however, radically devalued her social standing and reduced her chances for a good marriage.  She eventually entered an arranged marriage, but it was a markedly unhappy one.  I don’t think she ever forgave my father for having ruined her life.)

Fast-forwarding some decades, I seem to be a teacher at heart.  I’m sure that you will sense this in the present conversation, which will be as much about things that I think and know as it will be about facts that are personal and autobiographical. As I’d mentioned before regarding my father, I seem to have learned to be useful, or at least interesting — through being informative.  But I also believe that this has, in part, a defensive function for me.  I seem to have learned early on that people who are out of touch with themselves — and especially those that lack awareness of anyone or anything outside of themselves and their own concerns — are like trucks in the streets that have peepholes instead of windshields. They can be dangerous.  I want to give them bigger peepholes.  I tend to stay away from people whose emotional imagination only takes in fellow members of their own group, clan, demographic, religion, geography, or outlook, and who believe that everybody else is for sure going to Hell.  These seem to me to be ‘human’ pretty much on the level of a horse or a cat that has really good RAM and computational ability, but without empathic capacity.  Empathy simply means having an Awareness Of The Other (be it people, other life forms, or even objects) in a way that means something to one.  From a non-intellectual everyday point of view ‘being human’ means nothing more than being indiscriminately open, friendly, and compassionately accepting of people and things.

SPIRITUAL AND RELIGIOUS THINGS

In terms of religious culture, I’m . . . er . . . sort of Jewish.  Not so much by anything like having a circumcision and a bar-mitzvah as from a sense of feeling like an outsider.  Catholics and Protestants might feel guilt and fear of the fires of Hell and such, but they don’t feel like outsiders: they feel like they’re part of the scheme of things.  Unsurprisingly, my family history in World War II, and our rootlessness for many years afterwards, has everything to do with my sense of the world.  Otherwise, my father was born Jewish, and my mother Catholic.  In Judaism the children are considered to be whatever the mother is; in Catholicism the children are considered to be whatever the father is.  Thus for all the Catholics, I’m a Jew, and for all the Jews I’m a Catholic.  Neat.  But not so helpful.  While I consider the history and political development of both these religions interesting, and that they contain much wisdom, I’ve not particularly followed either of their dogmas.  I’m as much Buddhist these days as anything else; I’ve been studying Buddhism.  Otherwise, I more easily identify with victims than with victimizers, simply as a matter of life experience.  I can, for instance, better sympathize with the boys who are molested by their priests than I can with the Father, the Son, and the Holy Ghost.  Pope Benedict XIV had announced that the Church will deal with these priests appropriately; and what can one say of an institution that takes such an enlightened stance after only several thousand reports of abuse over many decades?  To compound the shame, Pope Pius XII didn’t utter a single word to help the Jews during World War II.  I fail to understand such behavior.  From the standpoint of Wisdom and Enlightenment, it is undoubtedly a failing of mine that I find myself hoping that people who have been knowingly in a position to have helped others in need, but didn’t, spend a whole lot of time in a place where they need 3000-strength sunblock.  

As I said above, my principal questions about things has generally been Why? and How Come? I think about such things.  I am inclined to believe that I do this because my parents were unable to comprehend their own lives.  For that matter, no one could have done that: their lives were fully incomprehensible.  And I’ve felt that way about my own life for most of it.  As Dr. Sluzky has pointed out, the children take over a lot of the parents’ unresolved challenges, and I think I’ve done so in this instance.  “Who is God to have allowed this?” . . . and so on.  Interestingly, I have paid attention to my work in that same way: why does the guitar sound this way when I do this?  Why  does it sound that way if I do something different?  And so on.  I might point out, within the context of the present discussion, that while it is true that my work (and my writings) are what I’m known for, these are simply the things that I’ve learned to do well.  I’m glad to have those skills; but they are not foundational.  Foundational is what I spent many years in therapy untangling, and I’ll have more to say about that further on.

When it comes to ultimate or foundational questions, in our Western culture, these are usually directed at some version of God.  But He (She? It? They?) is really bad about responding to personal inquiries.  Polytheism makes sense to me. Buddhism appeals to me because it’s about living life here and now; it is remarkably free of dogma, saints, or judgments; it is uniquely inclusive; their “clergy” isn’t known to sodomize young boys, and it in general concerns itself with immediate, complete, and authentic knowledge of truth — like the grokking that Robert Heinlein describes in Stranger in a Strange Land.  Buddhism does have an afterlife/reincarnation component which makes no sense to me at all.  Being close to 70 years old at this point I spend more and more time thinking about end-game aspects of life.  Lacking the foundational Western cultural assumptions about life and death, I think that once you’re dead your molecules return to Nature and that’s that.  Other pieces of loam get animated and the cycle repeats.  Nothing in my history, experience, or awareness suggests anything else.  (“Well”, my friends would say, “what do you expect?  He’s a Taurus, for Heaven’s sake!”).

In terms of contemporary religion, afterlife or no, I live in a society that is hugely dedicated to a belief in the King James Bible.  It is our chief guide in matters of Living Life.  In spite of how waterlogged with the consciousness of this text many parts of this country are, I don’t quite know what the Bible is really about: it covers way too many bases.  It is much like the encyclopedia.  You can find everything in it: genesis, genealogy, history, jealous God, merciful God, false Gods, parables, punishments, military victories and defeats, moral quandaries, songs, abominations and evils, saints, parricide, infanticide, suffering, salvation, righteousness, obedience, philosophy, primogeniture, repentance, predictions, homilies, polygamy, aphorisms, kings, fratricide, the sins of vice, murder, incest, betrayal, covetousness, idolatry, curses, a great many plagues, the assurance that all will be redeemed if and when one makes a full commitment to following God’s instructions and then join him in Heaven, and homilies of many kinds.  Being such an omnibus, its usefulness toward grasping any one single thing must be somewhat diluted, don’t you think?  That is, unless one adopts a Buddhist perspective of All-Inclusiveness; Buddhism is big on The Big Picture in a way that makes judgments, opinions, positions, rules, objectifications, preferences for ‘right’, or rejection of ‘wrong’, etc., irrelevant.  (“Well”, some of my friends would say, “did we mention that  he’s a Taurus?”.)  I have the impression, on the other hand, that things like Buddhist texts are the result of, and serve the pursuit of, focused efforts at attaining the elusive but singular thing called enlightenment or One-ness.

One-ness is more interesting than it might at first seem. There’s only one thing that I can think of that is so absolutely singular that it is never expressed (in this language or any other I know of) as a plural.  That is, there’s only one of this while everything else — even ‘God’ — easily subdivides into two or more; we speak of Gods, Universes (even though the prefix ‘uni’ means ‘one’), eternities, infinities, and we can happily add “s” to everything else under the sun and Betelgeuse.  That single thing is: Peace.  Or Calm, which is nearly the same thing. One can, technically, speak of ‘Peaces’, and ‘Calms’ but these formulations sound somehow wrong and you’ve never heard these words spoken nor read them in print.  Peace is indivisible.  If there is one God only, perhaps He is Peace — a quantity barely known on this planet.  Outside of that, the idea of One Omnipotent God who needs to be glorified and obeyed, and who loves those who obey him but relegates to eternal flames those who don’t (including us), is nothing short of psychopathic, and on a par with religions that practice human sacrifice.  Actually, below par.  In those religions the Gods could be appeased.  In fundamentalism one must surrender one’s self completely; there is no appeasing.

Personally, I am inclined to believe that humans’ capacity to understand any God or Force of Creation is on a par with a hamster’s ability to comprehend, say, principles of urban planning.  I don’t think that most people understand the difference between life or death, or sanity and insanity, or health and sickness, or giving and taking, or seeing or not seeing Truth.  Not really; not in a way that affects any Authentic Conduct of their Lives.

Finally, the Bible, as we know it, is the direct product of the Council of Nicaea — pronounced nye-see-a.  Do you know that history?  The emperor Constantine, in 325 A.D., decided that Christianity would be the official religion of the world he ruled.  The Bible didn’t exist as one book yet: it was an amorphous body of work from disparate sources, sects, and traditions that had been accumulated over centuries.  Of these, nothing of the New Testament had been written down until a hundred years after Christ died; it had all existed as oral tradition until then.  Constantine convened a council of the reigning experts and church-affiliated appointees of the time, in the city of Nicaea.  Its job was to edit the Bible — that is,to formally decide on what the official Bible would be and what it would not be.  The Council of Nicaea edited the Old and New Testament materials, weeding out writings from the pre-Biblical oeuvre (such as the Gnostic gospels) that weren’t consistent with Emperor Constantine’s and the Church’s agenda, and thereby established the Nicaean (sometimes spelled Nicean) Creed — the official policy statement of the Christian Church.  Since then, a long history of scholarly misunderstandings, ignorance, and  mis-translations of the materials that were included has only helped to further confuse the various texts’ original meanings.  Elaine Pagels describes this foundational history of Christianity and its principal guiding text very ably and intelligently in her book The Gnostic Gospels.

GOOD, BAD, AND FORGIVENESS

I struggle with being judgmental (who doesn’t? We’re all taught to be judgmental).  A very active tension in my life has to do with my inability to forgive those who have injured me, colliding with my belief in the absolute necessity for doing so.  (By the way, injury comes from the Latin in juris, which means injustice.  It’s interesting to me that the original meaning of that word is to wrong someone, rather than to merely do them physical damage, which is the modern significance of the word.)  The state of general fracturing of trust that my early life experiences inculcated in me has not prepared me for the fact that my adult life has been pretty privileged and lucky, and that most people have treated me well over the years.  I got a good education.  I live decently.  Yes, I’ve been fucked over somewhat here and there, and rejected, disadvantaged, and overlooked . . . and was in an unsuccessful marriage . . . but nothing as major as my first five years on Earth).  I’ve stayed out of prison.  I have a useful and admirable skill.  I’m without serious birth defects.  I’m white (that really helps), although I experience most ordinary people of any color as being pretty decent.  I’ve found this to be the case in every country I’ve lived in. 

The flip side to all that, of course, is that if one goes below that surface then one enters a territory in which people worship at the altars of very different Gods, some of which are unforgiving, some of which are downright savage and dangerous, some of which are whores, some of which are predators, some of which are unworthy frauds and tricksters, and some of which are the real thing.  A few of these Gods — if I may use metaphoric shorthand — are (in no particular order): Sigmund Freud, The Media with their various prominent personalities, the proverbial Pot of Gold at the end of the rainbow, Service to Humanity, salvation, My Country Right Or Wrong, Jesus Christ (either the original one that proposed ‘loving thy neighbor as thyself’ or the newer one of The Rapture, smiting unbelievers, and assorted kinds of approved intolerance), The Fed, Cleanliness/Order/Reliability, Survival of the Fittest, the free market, Newtonian physics, creativity, sex, Ego, money, authority, Education, Capitalism, the relentless pursuit of Being Right and/or Winning, Less Government, More Government, Pacifism, Socialism, the Rules, Democracy, eating organically, being heterosexual, Progress, Market Share and Bottom Line, D.N.A., Krishna, Karl Marx, excelling at something tangible, Private Property, the Bible/Talmud/Koran, self-denial, profit, the G.O.P., the Earth, a Good Credit Rating, Good Return On Investment, Science and Technology, the Pursuit of Power, and the Father, the Son, and the Holy Ghost.  I may have overlooked a God or two.

And yet . . . if there’s one thing that any little awareness of history tells us it is that, as long as different peoples share existence on this planet, not a single instance of being oppositional, holding grudges, being pro-us-and-anti-them, or dwelling on old insults, etc. resolves any issues.  It just doesn’t.  The most enlightened statement about this matter that I’ve seen is the following wisdom, which I will share with you.  It comes courtesy of Anonymous, who sometimes signs her (why is Anonymous always male?) name as Unknown:

People are often unreasonable, illogical, and self-centered. 

Forgive them anyway.      

If you are kind, people may accuse you of selfish, ulterior motives.

Be kind anyway. 

If you are successful, you will win some false friends and some true enemies.

Succeed anyway.

If you are honest and frank, people may cheat you. 

Be honest and frank anyway.

What you spend years building, someone could destroy overnight.

Build anyway.

If you find serenity and happiness, they may be jealous.

Be happy anyway.

The good you do today, people will often forget tomorrow.

Do good anyway.

Give the world the best you have, and it may never be enough.

Give the world the best you’ve got anyway.

You see, in the final analysis, it is between you and God. 

It never was between you and them anyway.

 (NOTE: these things are undoubtedly easier said than done.  But the goal is the best I have ever found.  And for those readers who find this too saccharine and inspirational, I don’t deny having a darker side too.  You don’t grow up in a war and have highly troubled parents without getting one.  But all that’s between me and my therapist; and I’m coming to that in a moment.)

THE LIFE OF THE MIND

I should tell you something about my intellectual foundations.

My most important insights, perspectives, and mental growth as an adult have come in two waves of life experience.  First, at around High School and College age, was a conceptual one of how the world works, in a way that made sense.  This was formed out of the heady soup of the intellectual, scholastic, and scientific thinking that occupied the brightest and most influential minds from the 1880s to the 1960s: Sigmund Freud, Karl Marx, Henry George, Albert Einstein, Mahatma Gandhi, as well as behind-the-scenes people like J. Robert Oppenheimer, Mao-Tse Tung, John Maynard Keynes, etc. These were the people whose thought and influence most Westerners are still touched by every day, both directly and indirectly.  They have been, essentially, the spiritual speechwriters for all of our contemporary political speechwriters, columnists, and pundits.  Outside of that, news and propaganda about Communism, democracy, freedom, socialism, the superego and sex, the Cold War, the Bomb, China, the economy, trade imbalances, inflation, and better living through chemistry have been, and continue to be, my and our daily fare.  

The second episode of significant life experience came in my forties: it was my exploration and discovery of myself through psychotherapy.  

That experience turned out to be transformative.  My therapist showed and taught me a model for being able to interact with people which had been foreign to me until then, and in which I was acceptable as I was.  My previous model had been one in which I expected much of what I said or thought to be ignored, or considered invalid or unimportant, or some form of betrayal.  I think most people operate under a model like that.  My therapist was quite literally my gateway to being able to have this conversation with you, and others like it with other people.  These are based in a sense that I’m pretty much O.K., which after many years of not feeling that way was like seeing sunlight after a long blackout.  My therapy basically gave me permission to inhabit myself.  That doesn’t give you immortality or a great job or anything like that, and a cup of coffee still costs the same, but it means that you can actually live a life rather than just going through the motions. The Messiah will come again when everyone has that freedom.

As to the first conceptual awakening, those best answers about how the world works came blindingly and excitingly from reading (and discussing) Sigmund Freud, Karl Marx, and Henry George.  You’ve heard of Marx and Freud, but I bet you never heard of Henry George; most people haven’t.  He was an American contemporary of Marx who was a massively important figure in American social and intellectual thought around 1900; he ran for mayor of New York, and his ideas informed and excited the aspirations of an entire generation of Americans.  Those ideas are described in his book Progress and Poverty, which I highly recommend.  Tragically, the vanguard of the young men who believed in Henry George’s ideals died in World War I, in large part because they had ideals and went.  George’s prominence and influence died there as well.  I think THAT was a real loss to the world, in the what-may-have-been sense of the word.

Henry George wrote about what was in those days known as social economics.  Compared with the abstract and mathematical ways in which just-plain-economics are taught today, social economics taught not only about the productive capacities of a society, and how they are organized — but also included who got to make the decisions about distribution of the produced goods and wealth, and whose interests those decisions served.  If you listen to any contemporary late-night talk program about politics, economics, and the investment climate, the speakers will invariably cite the needs of Capital and Return On Investment.  There’s nary a word about how people who are not part of the investment activity might benefit; there are no broader, longer-term, or even less shallow social concerns here at all.  Henry George’s ideas were based in large part on the teachings of Adam Smith (I recommend reading him too: he’s fundamental), and they appealed to me because of the sheer logic of his presentation.  He is elegantly persuasive, the more so because he begins his narrative by defining his terms so that the reader can understand exactly what he is saying.  Modern writers don’t do anything like that; I’ve looked in vain; they are very sure of their own premises and then go on to make their argument using declarative sentences as though it were un-macho to show hesitation or doubt.

Most fascinatingly to me, Henry George very elegantly exposed the illogic of one of the great — and today still unquestioned — paradigms of our times: Thomas Malthus’ creed on how population growth is the root cause of poverty.  Population growth isn’t the problem: it’s monopoly of productive capacity and distribution.  You’d have to read Marx and George (I highly recommend Progress and Poverty) to fully understand what I just said — although it is nothing more complicated than to point out that we have (for the first time in history) plenty of productive capacity, but most of it is not directed to those in need; it is directed at whose who can afford.  As it is, I am probably coming across as one of those pinko bleeding-heart liberals who uphold Communism over the American way.  Uh . . . I actually don’t.  Reading these thinkers is simply enlightening.  Plus, does anyone seriously not believe that any regime that shoots or otherwise detains those who try to leave the country has something badly wrong with it?  

The phenomenon of Malthus is quite interesting. Thomas Malthus was a hack writer whose other work is entirely and justifiably forgotten. I was interested to learn that he was hired by the British East India Company expressly to write the one thing he is remembered for: a tract justifying the poverty of the Far East as being induced by the plenitude of native population, rather than the draining of that region’s wealth by the actions of powerful corporate interests.  Malthus’ tract on population, commissioned and written only a few years after the French Revolution, served the cause of the powerful people of those times who quite rightly feared other uprisings if the populations they were exploiting understood that the greater causes of their misery lay in something other than their own numbers.  George is a really good read.  Malthus isn’t — but echoes of his thinking are available every day on radio, printed media, and television.  More lately, Paul Ehrlich took that material and ran with it in his best-seller The Population Bomb.  That guy Malthus, he’s had real staying power.  Incidentally, George’s book cites several disproofs of Malthus’s theory that are elegant and intelligent.  I wish more modern writers could write as logically and lucidly, even if most of them lack the capacity to question their basic premises.

 The Population Bomb is about exactly what it sounds like: a prediction of doom.  These very predictions could be culled from the history of Easter Island — the one with all the monolithic heads, you know?  To the best of our knowledge the Easter Islanders comprised of two groups which, together, systematically felled all the island’s trees and used up all its resources, to the point that they came to war over what little was left.  They wiped each other out to the last man.  You can read up on that if you’d like.  Malthus would have nodded his head sagely, if sadly, over this unavoidable end.  George would have felt something unspeakable at the sight of so many people being wholly blind to the fact that if they worked in unison to make room for each other, they could have planted trees and crops, etc. so as to make their lives sustainable and thereby not die out.  This is a really interesting and useful paradigm, don’t you think?  Yet, today, no one is doing anything to make life sustainable.  

The Malthusian model is predicated on the paradigm of private property and proprietary interests.  It’s breath-taking to consider how much of human history is based in the proposition that This Is Mine And Not Yours.  Author Farley Mowat put his finger on it, in echoes of Henry George’s thinking, when he said that the concept of private property is one of the most destructive ideas to ever have existed.  He’s right.  The price that this thoughtful Canadian has paid for voicing such heresy is to have been permanently banned from entering the United States.

But I digress.  My mental awakening occurred within the larger context of the epic intellectual drama of the twentieth century.  This was the vigorous examination of, and debate about, the two modern views on the nature of human reality.  These debates have taken place within the last one hundred–plus years of Western cultural and intellectual history, and in the first decades of the  20th century, in this country and Western Europe, in particular.  Most importantly, this information — which I’m going to describe immediately below — lacked the massive internal inconsistencies between the world as I saw it and the world as I was being told God and our best political leadership intended it to be — or how it was to soon become through their efforts.  I’m still waiting . . .    

PARADIGM #1

The first of these paradigms was the view originating with Sigmund Freud that man’s life on this planet is largely driven and determined by motives and forces from within himself, of which the individual is not aware.  Not to put too fine a point on it, Freud’s thought put the kibosh on the dogma of free will — which had been a fundamental assumption in Western intellectual history up until then — and substituted for it instead the supremacy of the unconscious and the working of innate, powerful, and conflicting drives.  Many people didn’t want to think of this as a step forward, but those who studied his writings had to admit that Freud’s theory did seem to more satisfactorily explain things like hysterical [non-traumatic] paralysis, the neurotic processes of everyday life, wars, sexual deviance, the illogical uses of power and influence in adult life, the life of the mind, the hierarchy of ego-defense mechanisms that everyone uses every day, parent-child relationships, competitiveness, self-hindering, and a host of human behaviors when other, previous, explanations such as Demonic Influences or just plain Will of God had lost their compelling force. The idea that we are fully formed personalities by an early age comes largely from Freud’s writings and thought.

Of course, Freud was just the beginning.  I’ve also read the works of other thinkers in this field — particularly in the Second Wave of my aforementioned growth spurt in this area when, twenty years later, I went to graduate school in clinical psychology in order to learn more about the life of the mind.  But that’s really another story.  If the life of the mind is of interest to you, though, then I will recommend that you also read Wilhelm Reich, who made an attempt at teasing apart the specific problem of man’s inhumanity to man. You can read his wisdom on this in his book The Murder of Christ.

By now you can probably tell by my references to books that I rely on them for fodder for my mind.  The books that have been the most important to me have been the most riveting, in part because they tell truth, and also in part because they are written clearly and accessibly, with little or no jargon.  It is books like these that that I’ve modeled my own writing on, insofar as wanting to explain things plainly and in everyday language.  I very much hope that my protracted attempts at eschewing prolixity and obfuscation will have been, if not effectively intellectually salubrious, then at least having the virtue of adequate verisimilitude.

PARADIGM #2        

The second paradigm was the one put forth by the economist Karl Marx, which incorporated the thinking of the social philosophers Hegel and Engels: that the world is organized around the needs of Capital and Monopoly — in other words, that how society, especially Capitalist society, is organized in its productive and distributive capacities determines what the rest of life is like.  Incidentally, both Karl Marx and Sigmund Freud were Tauruses.

Even though these descriptions are simplistic abbreviations of seriously complicated systems of thought, please take my word for it that these matters, and their implications, dominated intellectual debate in Western society, and beyond, from about the 1890s to about the 1960s — and then some. Careers were expended in the pursuit of the understanding, development, comparison, integration, and implementation of these paradigms.  Intellectual and actual wars have been fought over them.  It was hoped that these — one, the modern view of inner life, and the other that of external and socioeconomic reality — would prove to be complementary.  Both these systems of ideas were so powerful that it was believed that if they could be integrated they would provide a comprehensive, rational, and enlightened method for understanding the human condition in the most comprehensive way, and also for regulating (or freeing up) the quality of life in the complicated socioeconomic and urban world we live in — a sort of analogue to Einstein’s quest for an ultimate Unified Field Theory. These ideas found their way into what we know as Social Darwinism, existentialism, all known systems of psychology, capitalism, communism, socialism, economics, sociology, history, art, literature, academic research, social philosophy, politics, and much more.  The working of some form or degree of these basic ideas into the modern mind cannot be overstated. As I said, they effected the formation of my own intellect — and yours too.  

Being a Taurus (so I’m told) it is natural that I’d be concerned with concrete, here-and-now matters rather than abstract ones. Maybe so. As regards real-life and hard-reality things in the realm of money and power, though, I’ve never read more truthful-sounding and outrage-inducing — but brilliantly researched — book about who really runs things and how things really work than Ferdinand Lundberg’s The Rich and the Super-Rich.  

Lundberg, incidentally, was also a Taurus.

Anyway, this ferment of discovery is largely over.  Contemporary intellectual society no longer concerns itself very passionately over either one of these paradigms.  Both Freud and Marx have been discredited.  Henry George has simply been forgotten and we have new heroes such as Johnny Carson, Jay Leno, Oprah, and various authors and titans of industry on our horizons.  One reason is that, after decades of trying, the best minds which had examined these matters concluded that these are two separate, complete, and incompatible systems of thought, with no point of commonalty.  They are very much like a world view accepting the existence of God, versus another which denies it: both are complete and self contained and you can live in one or the other.  But never both.  Hence each is useless in understanding the other.  

Yet, as far as these paradigms that dominated 20th century intellectual, economic, political, and psychological life are concerned, some thinkers noticed that even though these two world views are mutually exclusive they have one fundamental feature in common.  This is that the average individual living by either paradigm has not the least idea of how things got to be the way that they are, and accepts his world unquestioningly as being a normal, natural and necessary fact.

From the standpoint of the workings of the mind the average individual hasn’t any knowledge as to why he is the way he is or how he got to be that way.  His life is not meaningfully examined or questioned: rather, it is experienced as a natural, necessary, organically familiar and accepted — if problem-riddled — whole.   Likewise, the average individual living in the “real world” feels no reason to question how things got to be the way they are (I refer you to my previous remarks about the different Gods that people worship — i.e., what is real  for them).  Even if he did, he would not have been given the conceptual tools nor vocabulary to do this with. Richard Lichtman writes about these things lucidly and brilliantly in his book The Creation of Desire. 

THE AFTERMATH

Not only has the intellectual ferment around these Ideas waned, but a third paradigmatic idea has been making a strong resurgence in the last fifty years: it’s a reaction against any concern with either of these ‘failed’ paradigms, the mindsets of modernity, intellectuality, and progress.  It holds to an insistence on chucking it all and putting our money in the way things used to be done (tradition), faith, family, and obedience to fundamental values and authority. And there is a strong evangelical/authoritarian motive in operation.  That is, rather than convincing by argument and by logic, one strives to prevail by simply dominating the opposition by repeating one’s mantra (and acting on it) until the other side gives up.  Given my own intellectual formation, I struggle to find such a mindset comprehensible.  Visions of the Borg from Star Trek come to my mind: resistance is futile, we will conquer you, and all that.  I have only logic to offer, and the fundamentalist approach does not recognize the power of thinking or questioning.

I think that at least some of all this might come from people having been distorted, having been pulled too hard in different directions, and for too long.  David Hare, in his book Via Dolorosa, makes the point that the State of Israel has never reconciled itself as to whether it wants to be a secular state or a religious one and that its modern history comes foursquare from this split.  This struck me as both a profound and obvious insight, which is already codified in our culture in the observation that a house divided against itself cannot stand.  As a matter of fact, the U.S. is in exactly the same position as Israel in this regard: we don’t know which set of values to set our course by.  It doesn’t help that both the secularist and traditionalist camps are themselves divided . . .   And I don’t blame us for not knowing which set of values to adhere to: all the options look pretty ragged and full of falsity if looked at closely. More ominous than that is the fact that these mindsets are irreconcilable. The only faction that I can think of that isn’t in the fray on some level are the Buddhists — although I have recently heard of a rock group called Buddhists With Chain Saws.  Am I missing something?

I think about such matters.  If one of my principal areas of mental conflict is about how decent most people are, vs. how badly people behave in war, religion, and politics, then I wonder whether the social/economic/military world I live in today might not be a function of the fact that the U.S. has been operating in a pre-war mode, with a pre-war mindset, since 1945.  Looked at more broadly, one could even say since 1916. That’s a century!  Talk about being pulled too hard in different directions!  Being forever caught between permanent war and peace cannot do other than to create the epidemic sense of dislocation and lack of safety that underlie much of daily life.  It also helps me to understand why people cling to their positions as though their lives depended on it, and as though “being right” were a solution to anything.  It isn’t.  But the unpleasant truth for us is that, in consequence of all these factors, you and I live in a world that is awash in desperation and vitriol.  And all that notwithstanding, the fundamental reality of every  matter touched on in these concerns — whether one takes this metaphorically or literally — is, and always has been, this: If you give a flower sunlight and water, it’ll thrive; if you starve it and stomp on it, it won’t.  Is this a mysterious concept?  I think Jesus of Nazareth said something like this too, before he got nailed to some of the same material that I make my guitars out of.  

I want to mention another book that has been very helpful to my thinking: E.F. Schumacher’s A Guide For The Perplexed.  Some people will remember him because he wrote a cult best seller about forty years ago titled Small Is Beautiful. A Guide For The Perplexed is about values and about how we are all indoctrinated into seeing certain things as firm realities, but to not see others at all that are right in front of our own noses. Schumacher begins his narrative by saying that he’d had a lot of questions about What was What when he was young. He quickly learned to not ask them of the adults around him, though, because they didn’t know anything and gave him bullshit answers.  By his own admission, he shut up and hacked his way through the educational system, hoping for the best but never feeling quite satisfied.  Then, one day, as an adult, he traveled to Moscow, Russia, for a conference. He had a free day before the event began and decided to look around the city.  He was assigned an Intourist Guide to accompany him (he wasn’t allowed to walk around unchaperoned), and they set off with map in hand.  Sometime later that day Schumacher found himself in front of a magnificent church building, but he couldn’t locate it on the map — which otherwise featured a lot of the important buildings, historic sites, monuments, and points of interest that a tourist might want to take a look at.  He turned to the guide and asked him why he couldn’t find this extraordinary building on the map.  The guide blandly replied that in Russia they didn’t recognize the existence of the church, and therefore it wasn’t included.  Schumacher had an epiphany then: during all his life it was not his perceptions that had been faulty; he’d simply been given bad maps.  I think you’d get something out of reading this book.

MY CAREER

 You had said: “Tell me about your ascent, how you view yourself internally, and the key moment(s) that defined Ervin Somogyi, human.”   I think that you really want to know more about the Personal me than about the fulcrum events that have enabled me to be the guitar maker that I am.  But I should tell you a bit about these, as the various facts are involved who I have come to be, fully as much as in my choice of career. There have been a few significant turning points without which I’d be very differently placed today.        

My parents had planned an academic/professional career for me, preferably a medical one. But . . . making guitars!? Hmph!  No one ever even dreamed of guitar making.  Well, I alllllmmossst made it to medical school.  I dropped out of that track at the last moment, however, and became an English major — a move done more out of instinct and desperation than out of planning or thought.  I had a nervous breakdown in my fourth year of college and didn’t know anything else than to seek refuge among books and reading. These were friends that I’d long felt safe with.  Also, I had nowhere else to go; school was safe, and moving back in with my parents wasn’t.

I graduated with a Bachelor’s degree in English.  I joined the Peace Corps and was sent to Peru. The experiences I had there were fantastic and I wouldn’t have missed them for anything.  I came back to the U.S. and enrolled in graduate school (in Latin American Studies) in Madison, Wisconsin.  I found graduate school just as oppressive as undergraduate school had been, and I dropped out.  I bummed around and did various things for a while, including playing guitar in various Midwestern restaurants and clubs, and doing alcoholism rehabilitation therapy in Rockford, Illinois.  

I found both Rockford and the work — and even the whole Midwest — alienating.  I eventually returned to California, but without a clear plan of action other than to ‘find a job’ and ‘have a normal life’.  I failed.  I couldn’t find steady employment and, by default, did various sorts of temporary and part time jobs.  These supported me, meagerly, but did give me lots of free time.  This was a blessing in disguise, as I’d never in my life really had completely free, unstructured time.  It had always been expended in the service of other people’s needs and priorities, and — to use sixties jargon — I really had no idea of who I was.  But, within this matrix of unstructured time, I built my first guitar.

 That didn’t come out of a vacuum, though.  The background to this is that because a lot of my childhood was, for various reasons that I had no say in, rather isolated and isolating, I spent a great deal of time being my own entertainment and stimulation. I read, built models and kits, worked in modeling clay, whittled and carved wood, assembled things with my erector set, made plaster casts, collected stamps and coins and things, used woodburning tools, etc.  I used the manual skills that I’d learned as a boy, to build that first guitar.  And in doing so I found a way whereby I could apply those skills to an occupation that offered some things I couldn’t find in one package anywhere else.  First, guitar making is genuinely challenging and gives the satisfaction of creating something tangible. Second, it offers some really interesting mental and conceptual challenges that pull from woodworking, history, physics, acoustics, music, engineering, art, one’s sense of spatial relationships, and even spirituality. Third, lutherie offers a remarkably free rein to one’s imagination; the work has no creative ceiling and you can improve your work forever if you want to.  Fourth, if one likes to teach and write, lutherie offers lots of things to write about and otherwise share.  Best of all, it does these things pretty much without academia’s and bureaucracies’ infighting and resistance to lateral thinking — which I’d already seen a bit of.  Fifth, lutherie has held my interest even though some very difficult times when there was no money and I felt completely bewildered by repeated failures.  Those difficult times also include having depressions, which I’ve touched on in other writings. The reasons for these are deep inside me, therapy or no, and I continue to suffer from them.  Finally, making guitars has also been a haven from the world that I could withdraw into, when it has become too much for me.

Fast-forward a few years.

A significant turning point for me in my work was my relationship to the Windham Hill music label in the late 1970s and through the ’80s.  Windham Hill’s impact on solo guitar playing, and contemporary guitar music in general, was phenomenal.  It also became my point of entry into the world of serious lutherie. The Windham Hill guitar players were points of musical inspiration and reference for many young guitarists, both compositionally and acoustically — in part because, for the first time, the guitar was being recorded and listened to at the level of fidelity of sound previously occupied by classical music alone.  I was lucky to have met the Windham Hill guitarists when the Windham Hill phenomenon was just getting off the ground, and at just that point in time when serious guitarists were needing genuinely better instruments.  I was also lucky to be living an hour from Palo Alto, which was the epicenter of that musical ferment.  It helped that I’d figured some things out about guitars by then; my instruments performed well not only acoustically but also did exceptionally well in the recording studio.  The players very much appreciated being able to make better recordings, and my word-of-mouth reputation grew.

Another milestone was the Carmel Classic Guitar Festival of 1977.  This was a prestigious and important event that drew important people from all over this country and even a few from overseas.  I’d been building guitars full-time for five or six years by then and felt happy to be invited to show my work; I was going to be one of seven exhibitors.  I should tell you that my friends had been unfailingly supportive and encouraging to me in my guitar making efforts all this while, even as my parents could not fathom what the hell I was doing making guitars when I could have had such a promising career doing something reasonable.  In any event, I went to Carmel feeling a little cocky and smug, thinking to wow the people there.  Instead, I ran headlong into a brick wall: my work was the worst of anyone’s there.  It was amateurish and careless, and everybody could see it.  It was a disastrous,  humiliating, and sobering experience.  I returned from that event severely shaken, and depressed.  My friends had, in fact, been no help to me at all with their uncritical kindness: I hadn’t learned anything.  And I was faced with the inescapable fact that I’d been wasting my time in living out a hippie fantasy — without actually having the discipline, education, or motivation required to do good, serious work.  

It became clear to me that I had two choices: quit making guitars and do something else, or buckle down and do better work.  It took me several weeks of re-evaluating to realize that I actually liked making guitars and that the path was open to me if I wanted to apply myself and do professional level work.  That was my real starting point as a guitar maker.  And it was within a year of that decision to do the best work I could, and not let things slide, that I met up with the first of my Windham Hill contacts.  The second would not have happened without the first, and the rest is (my) history.

Fortunate though my timing was, I will suggest that my work has also been helped by the seemingly unrelated fact that I’m a generally empathic person.  Being empathic is both an advantage and a problem, depending on circumstances.  I might have had this capacity genetically but I also know that I learned to survive early on by being very sensitive to my parents’ needs and emotional states — out of all the circumstances that I’ve already described.   This has been helpful in making guitars   in that I have simply been able to notice many qualities of the materials that I work with, some subtle and some obvious, but that are not at all hidden; it’s just that we’re not used to really looking at things.  Unsurprisingly, this turns out to be just as useful skill toward making better guitars as it is toward getting along with people.  I’ll give you an example: if you pick up a set of guitar top wood, for instance, and no nothing other than to simply pay attention to it as it rests in your hands, it will offer some two dozen separate qualities, features, and attributes to notice — that are right there in front of your nose, eyes, and fingers.  The wood is just dying to let you know all about itself, if you pay attention.  Yet, to a lot of guitar makers this material is — beyond knowing its species, thickness, and grain count — a complete mystery.

A BIT MORE ABOUT VALUES AND THE WIDER VIEW

We’re all concerned with how to live a meaningful life.  Personally, I obsess a bit about whether people are ‘good’ or ‘bad’, and where the planet and humanity are headed.  As I said before, I’m inclined to believe that I took this on from my parents — though I admit that this really hasn’t advanced my life much other than to allow me to put labels on people and things and feel a virtuous superiority on that basis.  My current best piece of highbrow advice to the world, in this area, is to postulate the eleventh and twelfth (forgotten) Commandments: Love Thy Children, and Don’t Use Yourself Or The World In Wasteful Ways.  I think these would help.  

The Western idea of God is that He runs everything — sort of in the manner of the Wizard of Oz, from behind his curtain.  Wizard or not, and regardless of what you call him, God is simply one of the most insisted upon, fought over, debated, obsessed over, and written-about entities/topics in the world.  If you really need to have a Supreme Deity in your life to make sense of things, though, then wouldn’t it make sense to make Him/Her/It/Them as sacred and life-affirming as possible?  In this regard, Zen Buddhists simply don’t talk about The Deity (or, in their lexicon, the Buddha), because to even speak of that vast entity diminishes it.  In earlier Judaism the very mention of God’s name was forbidden for the same reason, and the Tetragrammaton (the Hebrew acronym for God’s awesome glory) was withheld from anyone who had not yet reached adulthood:.  God/He/She/It/ Them was sacred and far too awesome to fit into any adult’s mouth; even mere knowledge of it was a great responsibility.  Incessantly yammering on and writing about God (or Mohammed, or Allah, or Jesus, etc.) as we all do seems to me to . . . how should I say it . . .  devalue the currency.  A real God, if He/She/It/They is to be Truly Sacred, cannot exist as a common-currency sound-byte.  Nor can one be on a first-name basis with the Deity without its being shrunken down to our size.  God knows we don’t get expanded to His/Hers/Its/Their size.

FINALLY . . .

As I get older I find I’m less angry than I used to be, losses and limitations notwithstanding.  I mentioned some of my (historical) losses before; they are permanent and irrevocable.  Another is more subtle, and my awareness of it comes out of some recent health studies from Holland.  Dutch epidemiologic researchers have identified significant physiological and metabolic changes in their population as a function of whether a given individual’s mother or grandmother, suffered deprivation while pregnant. There was a lot of deprivation during World War II, and they’re still finding incarnated traces of its influence two generations later.  Wow; that’s awesome.  Anyway, I’ve had certain metabolic problems all my life, and it now seems at least possible that they arose in utero from wartime conditions.  It’s one more reason for me to believe that war is bad for people.  This is not exactly an original thought, but I think it’s one of the more strongly intelligent ones that I possess.

Overall, though, I think it helps most that I am realizing that I don’t have enough time left in which to win any more major battles, or even to decide on anything significant that is left unresolved.  I’ve largely accepted the idea that the answer towhy? may reside in “a better way to live life”, perhaps a more “spiritual” one — whether or not this is an illusion.  Most of the contradictions in my life are irresolvable, and my ability to change anything other than myself seems more modest every month.  My current life-ideal is the amoeba.  Amoebas are open to everything in their paths; they take everything in without prejudice; they spit out what they can’t use; and they don’t go out of their way to hunt profit nor their own or any other kind.  The amoeba is a pretty good role model and guide.  As is the following story that I wish to share with you as an end point to a rather long monologue.

It comes courtesy of Alexander Woolcott, whom you may have heard of.  Mr. Woolcott was the Dean of American Letters in the 1930s and 1940s.  He knew everyone who was anyone and was the most respected single voice in the world of American arts and literature.  His opinion of who was who, and what was good or not good, carried great weight.  Woolcott lived in the Algonquin Hotel in Manhattan, one of whose rooms there was set aside as a meeting place for anyone and everyone who was in town and desired stimulating conversation.  There was a large round table in it — the fabled Algonquin Round Table.  Around it sat many of the most significant thinkers in the fields of literature, the arts, science, economics, culture in general and even politics, all in free exchange of their beliefs and knowledge.  It ran day and night for years, in open discussion, and without any particular agenda other than to cast light on things.  Our phrase ‘round table discussion’ originated there.  That cultural Mecca was the epicenter for the most significant outpouring of intellectual, artistic, and creative thought and stimulation the modern world has known — and it was Mr. Woolcott’s invention and gift.  We don’t have anything remotely like it any more, even in think tanks.

Woolcott was a writer as well as an opinion maker, and he penned the following Christmas story which has always been dear to my heart.  I’ll try to tell it as well as he did.

The story begins on a cold, bleak Christmas Eve.  It’s Winter.  And it’s getting dark.  An icy, cutting wind is blowing through the empty streets. These are completely deserted.  The townspeople are at home, in front of their fires with their families, with a festive Christmas dinner soon to be had.  All is quiet except for the whistle of the wind, and the incessant blowing of the sleet.  There is a movement in the stillness.  It’s an old beggar, poorly clothed and huddled in a doorway, trying to escape the freezing shafts of the wind.  The poor man looks like he’s seen much better days.  He moves along the street from doorway to doorway, slowly, trying to stay out of the wind, driven by the freezing cold.  He seems to have no destination other than any little shelter he can find.  After a while he reaches the town’s church, whose doorway is deeper and offers some greater degree of protection; he retreats into it as far as he can.  Then, pressing his back against the door, he is surprised to find it unlocked; it yields.  He opens it and, cautiously, goes into the church.

The building is empty; all is quiet.  And in front, at the altar, a Christmas feast has been laid out.  The congregation has made lavish gifts to the Christ Child to celebrate his birth: there are packages and presents, fineries, and bolts of expensive, colorful cloth.  And in the center of it all is a table laden with delicacies that will be consumed in a short while, when the church members come in for that night’s special Christmas service.  

The old beggar looks at this display, hungrily.  He hasn’t eaten in days.  Cautiously, he approaches the table, drawn to its odors and promise of plenty, looking to see if anyone is going to raise an alarm.  But no: he is alone.  He takes a little food, and then some more food.  He eats, ravenously and gratefully, until he is satisfied.  It’s not as cold in the church as it is outdoors but, with his tummy full now, the old man feels the cold.  He wraps some of the cloths around himself to warm himself.  The fabrics are of bright, vibrant hues.

Being wrapped in such festive colors, and being surrounded by the churchly shine and glitter, he beggar remembers that many years ago, when he was a young man, he worked in a circus.  He was a juggler.  The colors, lights, and sparkle have reminded him of that circus life left behind long ago, and that he hasn’t thought about in many years.  He hasn’t done any juggling since he left the circus; and it occurs to him to see if he can still do it.  So he goes to a large fruit bowl in the middle of the table and takes some apples from it, and begins to juggle a few of them.  He can still do it!  Slowly, revived by the food he’s just eaten, and being warmed up by his wrappings, and also loosening up his arms and hands with the exercise of juggling, he begins to juggles faster.  His coordination and muscle memory start to come back to him.  And he takes more apples from the bowl, and juggles them!  Pretty soon, he’s juggling more things than he’s ever juggled before.  He’s never juggled this well!  He’s inspired!  It is a magical, private moment.

But it is only a moment, and after a while the impulse and inspiration pass.  It’s time for him to go; people will soon be arriving.  The beggar puts the apples back into the bowl.  He removes his warming fabrics, re-folds them, and goes out, back into the cold night.  The church is silent.

Unbeknownst to the beggar, two priests have been watching him from behind a curtain.  After he has left, one of the priests turns to the other and says, “did you see that?  Did you see what that filthy old beggar did?  He touched our Lord’s gifts.  He ate his food.  He played with it!   What a sacrilege!  What a desecration!”

His companion slowly turns to him and says, “oh . . . is that how you saw it?  I saw it differently.  You know, our congregants are prosperous people.  Yes, they have bought many fine gifts for our Christ and our church.  But they lead comfortable lives and these things are easy for them to give.  This old man, he gave a gift too . . . but he gave of his skill.  He gave of his ability.  He gave of himself.  Truly, he gave the Finest gift of all”.

Posted in Essays & Thoughts, Interviews

What I’ve Been Up To: November ’17 to March ‘18 – [4/4]

March, 2018

SOME FINAL THOUGHTS  (NOTE: YOU DON’T HAVE TO READ THIS PART; IT’S RATHER A DOWNER)

Hi:

As I said, these are new thoughts for me, and I’m still mulling them over.  It’s . . . complicated.  It’s even more complicated than that.  Yet I think that these are accurate assessments. I also think that the things I’m describing will be my most important legacy.  My guitars will be sought and bought and sold at high prices, and many people will make more money off them than I ever have.  And maybe some day someone will write a book about me.  

But the air will be foul; the water will be putrid; the oceans will be dead and full of plastic (there is reputedly an “island” of plastic the size of Texas in the Pacific Ocean; currents have carried the waste from many nations there).  Most of the species of animals [we don’t actually know how many there are; new ones are being discovered all the time even now] will be gone; Nature’s food chain will have been COMPLETELY disrupted; the rivers and the land will be polluted. Shame on us.

I can hear some of you thinking, oh, come off it; sure that’s all a little bit true; but it’s not ALL true. Don’t be such a bleeding heart.  Well . . . I think that a little bit of any or all of this is way too much.  It’s not really what I signed on for.  Or, you might also be thinking, oh stop being such a purist; everybody and every country that can does things like that.  Hmmmmm.  Is this helpful?

See, the thing is, I actually think about this stuff.

I quipped in my last posting “that if Trump and Kim Jung Un don’t destroy us first”.  This is a thought that I find utterly horrifying . . . and possible. Trump himself, before he ran for office, was described in one of the New York magazines as being “a wounded monster”.  That he is. He’s a psychopath and a narcissist. I don’t know what Kim Jung Un is, but he’s scary too.

Let me explain what the above terms mean.  The DSM (The Diagnostic and Statistical Manual) is the Bible of the mental health field; it contains the diagnoses, and language that can be used to describe the inner workings of someone who has come to attention of the mental health network.  When I was in grad school studying clinical psych we were on DSM III-R (Third version, Revised). That got replaced by DSM IV; and we’re currently using DSM-V. The diagnoses and categories of mental abnormality have shifted; for instance, homosexuality was classified as a mental disease in DSM-I.  That has changed, of course.

In DSM-III-R sociopaths and psychopaths were considered to be different categories.  The difference was that a sociopath would lie, cheat, manipulate, charm, and worm his way to getting what he (or she) wanted.  The psychopath would feel no compunction about harming you to get what he wanted, if you stood in his way. In DSM-V these categories have been blended into a single one, with the sociopaths and the psychopaths simply being on different parts of a spectrum that encompassed all such personalities.  

While Republicans may disagree with this it is clear that Mr. Trump lies, has no interest in nor skills in governing, has no conscience or impulse control, is pathologically thin-skinned, and is vindictive and malicious.  And dangerous. He frightens me; he’s essentially no different from Stalin, Hitler, Mussolini, Joe McCarthy, Mitch McConnell, Ted Cruz, Mike Pence, or Putin.

Equally troubling is that no one in the media seems horrified.  They just keep on reporting on business as usual, while the comedians keep getting paid for mocking plentifully but impotently.

– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

This all leaves me with a bad taste in my mouth.  So I’ll tell a joke of sorts.

A company CEO is dealing with taxes at year’s end, and tells his accountant to prepare the necessary paperwork.  The accountant spends two weeks getting all the numbers together and delivers them to the boss, and says that it’s all there except for a $200 discrepancy that can’t be accounted for.

The boss says to go back over the figures and find the source of the error.  The accountant goes back to work to look through the numbers, receipts, bills, invoices, payroll records, etc. again.

A week later he reports back to the boss, saying that he can’t find the reason for the discrepancy.  He says, “Boss, I don’t get it. You’re paying me a lot more than $200 to find this thing. This company makes more than a million dollars a year.  So what’s the big deal about this $200?”

The boss says, “well . . . I know we make more than a million dollars a year . . . but the truth is that I don’t really understand a million dollars.  But two hundred dollars: THAT I understand!”

Ecce Trump.  He doesn’t understand the job he got voted into his office for.  But an eight-year-old schoolgirl criticizing him? THAT he understands.

– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

I grew up in Mexico.  I remember being in a park one day, when I was young.  I had to go to the rest-room building. When I got there I saw that, like many construction projects in Mexico, this one had not been completed: it was a large bare room without toilets or sinks or toilet paper or any other bathroom paraphernalia . . . and the floor was completely covered with piles of human shit.  People had found a bare spot, squatted down, and dumped their load.  I didn’t make that mess; but when I listen to the news I feel like I have to go into a room like that.  That’s sort of what I feel like these days. I didn’t go into that particular bathroom, by the way; I held it in.  

I’m holding it in on different levels and in different ways, these days.  And as I said, when I started out making guitars many years ago . . . I had no suspicion whatsoever of any of this ever being so.

Wow.  If I were a real Buddhist I’d be in the present and not concern myself with this stuff.

More later,

Ervin.

Posted in What I've Been Up To Tagged Ervin's Thoughts

What I’ve Been Up To: November ’17 to March‘18 – [3/4]

March, 2018

Hi once more:

I have been writing about selling guitars to China, and some reports on how China has been modernizing.  I’m writing this narrative as I have been understanding it; I may be in error; but as far as I know I’m describing things as they are.  And I was in the middle of the “you don’t have to read this part because it’s too disturbing” section.  It certainly brings me down.  But here’s the rest:

Global warming has also affected rainfall patterns in China, exacerbating a growing series of droughts.  But while there is rain it washes over the mountains of waste I’d cited; it’s all junk that the U.S. can’t dispose of domestically.  In China the water runoff from the heavy metals in the junk, the electronics, the wiring, the motherboards, the switches, the screens, etc. leaches into the ground.  Runoff from rain as well as the low-tech washing, cleaning, processing, and reclaiming procedures used to salvage the gold from the gold-plating of parts, etc. plus the scavenging for other precious metals . . . has polluted the rivers in Southern China.  The water is a horrible color. The water table has been poisoned so that the water for whole provinces is undrinkable; China is now importing water into its cities for the first time. As I said, all of this is occurring on a vast industrial scale.

It is indeed occurring so on many levels.  “Racing to Extinction” is largely about exactly that, but from another point of view than being suffocated in discards.  Part of it touches on the Chinese fishery industry. The most shocking footage I saw is of one of the largest shark fin processing plants in the world; it shows  A VAST ACREAGE OF PILES OF SHARK FINS — mountains of fins of sharks that have been killed by the many tens of thousands (that month!) . . . and that could cover a football stadium several feet deep.  It is all done wholesale, with no thought to depletion of the oceans. It is all part of the same effort that humanity — as exemplified by the Chinese fishing industry — is hell-bent toward.

I was horrified to see these documentaries, and horrified to see what the Chinese are doing.  And feeling bad toward them. Until I realized that they’re basically boring holes in the bottom of the boat that we’re all in . . . and that we (the U.S.) are complicit in this.  There are a lot of American companies who have set up branches in China, and a lot more are fixing to do so. China wants to keep these foreign merchants out, but I think they’ll find ways in.

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O.K., YOU CAN START READING AGAIN

That’s about when I stopped being able to draw a line that separates “us” from “them” . . .

. . . and it started me asking where, exactly, do I fit into all this?  

O.K., I’m the clever little luthier who is making beautiful guitars.  Just what do my clients do to get the money with which to buy my guitars?  Is it honest work? Are there shrewd thefts involved? You know, these are questions that one just doesn’t ask.  Don’t even get me started on Banks . . . [except to ask: do you know where the word Bank comes from?  Well, before Banks as we know them existed, moneylenders first practiced their trade during the expanding economic growth and activities of the Renaissance; money was needed for trade, for commerce, for wars, etc.  The moneylenders were mostly Jews – by default, not genetic predisposition — because the Catholic Church forbade all Catholics from dealing with money; money was corrupting and evil. Anyway, before they moved into offices, moneylenders would set up in the town marketplace; they’d have their own spot just like any vegetable vendor, and they’d sit all day long on a little bench or stool that they brought with them, and do business with anyone who came along and needed their services.  At the end of the day they lugged their benches home and counted their money, I guess. The Italian for bench or stool is “banco”, and when you wanted money you would go to “the banco”. So there.]   And just what do the people whom they deal with do for the money that they pay my clients with so that they can pay me?  The thing is . . . the fact is that I am dealing with people who are dealing with people who deal with people who deal with people who deal with people who deal with people . . . who are ruining our air, our water, our food, our relationships with our fellow man, our animals, our land, and our sense of being human.  I have banked with Wells Fargo bank since 1972 – well before many of you reading this were born. This bank is not my friend; it is not your friend; it is not anybody’s friend. It is a criminal enterprise that has opened millions of accounts that their “owners” didn’t know about; and it funds projects that degrade the environment.  Read the news. But is there a better bank for me to move my funds to? [SEE SIDEBAR, BELOW]

You, by the way, are dealing with the very same people.

– – – – – – – – – – – – – – – – – – – – – – – – – – – – –

 

SIDEBAR

*** The difference between Savings and Loan Organizations and Commercial Banks used to be that the former were only allowed to loan out as much money as they had in deposits; the latter were allowed to loan out many times as much money as they had in deposits, under the fiction that the government would cover losses if the bank failed.  This distinction is no longer in effect: S. & Ls (remember Charles Keating?) are now fully as dishonest as the banks are. How does that work? Well, besides helping to finance nefarious ventures that degrade the environment, and bilking millions of their customers as Wells Fargo was recently convicted of, and laundering money, etc. loaning out more money than you have is profitable (so long as the banks don’t all fail at the same time as they did in 1929) but it is inherently wrong.  For one thing, it inflates and devaluates all currency.  See, if the supply of goods is fixed, and the banks create six times the amount of buying power of the actual cash on hand (that’s what credit is, dude: buying power), then it’s the equivalent of having six times the amount of actual cash on hand . . . and prices will rise.  Why wouldn’t they? Result: everybody’s money is worth less – except for those who don’t actually work for a living but make money by getting others to do the real work for them. One of any government’s proper functions is to ensure that there’s a balance between the amount of cash on hand and the amount of goods there are; it keeps prices stable.  There’s a great Hugarian word: csibész (pronounced Chi’-base).  Look it up.

– – – – – – – – – – – – – – – – – – – – – – – – – – – – –

How is this something to not think about?  And what is my relationship to it? Is my selling guitars into the Chinese market going to help or hinder?  And how?

Well, these are non-questions, I fear.  It’s a global phenomenon that I’m caught up in like a leaf in a river and that I have no influence whatsoever over.  We’re all caught up in it. Even if I sold no guitars to any Chinese dealer, they (I’m sorry to resort to such clichés as “the Chinese”) will buy all the new and used Somogyi guitars that they can find from my dealers and/or private sellers, and Bob’s your uncle.  I’m part of it regardless of whether I want to be or not; if not very much now, then certainly later.

I can almost hear you thinking, hey, wait a minute; the people you’re dealing with aren’t doing anything like that.  What are you thinking? Well, as I said, the fact is that I’m already in the mix.  We’re all already in the mix. How long has it been since you’ve purchased anything NOT made in China?  As every Buddhist knows, I have no control over anything other than myself. Not only that but, as every psychologist knows, I also don’t have nearly as much control over myself as I want to think I have.

Ethical behavior is the only thing that makes sense to me.  But it’s easier said than done.

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REFLECTIONS ON MY LIFE

It is interesting for me to contemplate all this at this point in my life.  As you know, I have recently had a life-changing event, the significance of which is that I see that I am at the end of my career and my life.  At least, relatively at the end.  And because of this I have a new perspective from which to look back on my life as a whole . . . and to assess its significance, as well as to think about how I want to live the rest of my life.  That realization is that I do not want to work six days a week as I’ve always done.  I want time to think.  I want time to relax.  I want time to do art projects in wood.  I don’t want to have to prove anything to anyone.  I want to be happy, not just busy.   And, largely, I don’t find the prospect of breaking into another new market all that exciting – even without the complications I alluded to above. Been there; done that; got a t-shirt full of sawdust, wood shavings, and sanding dust.

So, it’s seeming to me that the “significances” of my life are several.  There are personal relationships, of course, and family.  There is “growing up and being successful”.  There’s the “being a good person” component.  There is also the “being young and then growing old” one. Some people count the notches on their shillelagh or will have their final bank balance or College Board Scores carved on their tombstone.  And there is also the “how do I fit into the world?” component; you know, the socio-economico-political-cultural-ethical one.  Well, (if Trump and Kim-Jong-Un don’t destroy the world first, that is), I will have trained and taught a number of talented guitar makers who will be important and prominent in that world market.  I will have made that possible.

When I was starting out, years ago, I couldn’t have imagined any of this happening.

This is the end of part 3.  Part 4 is next.

Posted in What I've Been Up To

What I’ve Been Up To: November ’17 to March‘18 – [2/4]

March, 2018

Hi again:

I was describing the rumbling growth of the guitar market in Korea and China.  You can’t have growth and economic bubbles without rich people’s gambling speculatively on the chance of getting even richer.  It’s beginning to happen in China now; I don’t know what they want to call themselves politically, but their economy is Capitalism on steroids.

Socialism and Communism?  Hah! No way, José.

China has already had one real estate bubble burst, and no doubt more things like that will happen because no one is doing anything to keep any of them from happening.  It’s like what happened in our own bubble of 2008 in which several million people lost their homes because of the criminal depradations of our own Banking, Lending, and Home Mortgage institutions . . . and no one has ever been held accountable for it . . . and has been continuing since.  We all know that those wily Orientals (shades of Earl Derr Biggers, Charlie Chan, and Fu Manchu!) are great at copying things. Well, they’re copying Capitalism with a vengeance.

Anyway, I am beginning to be invited into this new and growing market . . . which I think I’m managing to make sound quite distasteful.  Dealers (who are attending the NAMM show I described earlier) are eagerly and hopefully approaching me and other luthiers like me . . . like . . . uh . . . like moths to a sock.  In my case this is because I am prominent in the world of guitar making; they want to have my guitars because to carry merchandise from a prominent Western luthier will get them an edge with publicity and sales.  I think they’d promote my guitars as being the best, exotic, expensive, superb, and almost magical . . . and will probably help cure baldness and impotence.

As part of this thrust, I’m being interviewed and filmed a lot these days. Part of this interest is coming from new Chinese guitar magazines (there’s even a Chinese edition of Fingerstyle magazine!).  But also, as I’m part of the rapidly aging American lutherie community (and that includes makers of guitars, banjos, mandolins, violins, etc. etc.), I am being interviewed and filmed and recorded and being sent questionnaires by American institutions, museums, archives, etc. that want to preserve pertinent historical record.

I mean, once we’re dead we are no longer available to be interviewed and allowed to tell our stories.  (Where were these people when I was younger and needed the attention???). Anyway, I’m spending more time than ever before receiving visitors who have these projects to carry out.

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CHINESE GUITAR FACTORIES:

The Chinese market is very competitive.  There are hundreds of guitar factories in Guangzhou, in Southern China.  It’s a huge city that is made up entirely of factories and dormitories. They make EVERYTHING, including guitars.  

I’ve been approached by two of their factories to this point, as well as two distributors.  One of the factories has paid me for a consultation. This is a pretty impressive outfit; they are young, smart, eager, motivated, well funded, and focused.  They showed me pictures of their facility: it’s impressively large. The factory floor is meticulously clean, and dotted with state-of-the-art computer-operated machinery that cranks out (they told me) 125,000 guitars a month.  Wow. These are mostly $100 and $200 guitars, but (did I mention?) the market is huge and growing. And they are eager to start production of a limited number of handmade guitars that were better. That’s what they wanted to consult about.

A number of my colleagues already do business and/or consult with companies in China.  They have contributed guitar and inlay designs, and have helped teach the Chinese workers how to make and assemble guitar parts.

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SIDEBAR:

Speaking of a huge and growing market, I was listening to an interview on the radio recently, with an American developer of golf courses; he was selling golf courses to the Chinese.  The interviewer commented that golf wasn’t really a Chinese game, so he wondered how much business this guy could do. He replied (quote): “well, essentially zero percent of the Chinese play golf, but zero percent of one-and-a-half billion is still a pretty good number”.  No, I didn’t make that up.

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THE GREATER ECONOMY

From what I’m seeing, it is looking as though China will be the dominant economy in the world in twenty or so years.  The sheer sophistication and scale of the productive machinery that I’ve gotten a peek at is stunning: robotics, laser machinery, CNC automation, etc.  And what isn’t automated is attended to by handwork carried out with the focus of a sweatshop on steroids; factory employees put in incredible hours to meet inflexible production quotas.  The work ethic is unreal.

For the time being, as I said, China is only beginning to find out and learn about and appreciate handmade guitars.  There is a lot of new money there and rich Chinese are happy to buy expensive American things.  They’ve started with American cars; they are inching toward guitars. There is, as in the U.S., a rapidly developing 1%-vs.-the-99% of their very own, although, no one really talks about that. They just report Economic Growth statistics baldly, in terms of abstract things like market penetration . . . it all sounds evocative of the Wisdom of the Ancients, and just as hard to interpret or understand.

It is one thing to say things like “China is modernizing and growing at remarkable speed”.  It is another to have some understanding of what that means.

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SOME REALLY AWFUL STUFF; YOU MAY WANT TO SKIP THIS PART

The factory I cited above, that is cranking out 125,000 guitars a month, is one of the bigger and more sophisticatedly tooled up ones.  But it is one of hundreds. Can you imagine the sheer amount of wood that is gobbled up in the making of these instruments? They’re mostly plywood, and they look very clean and pretty.  But My God . . . that’s a lot of precious wood being turned into these things.

A LOT of wood.

I’ve recently become aware of two documentaries about current China that have had an impact on me.  One is titled “Manufactured Landscapes” and the other is “Racing to Extinction”. They’re really horrible.  One of them features the city of Guangzhou, which is a big city made up of factories and dormitories. There are factory complexes larger than football fields in which thousands of young Chinese men and women slave away at work stations, all day long, every day, assembling parts and pieces to all the electronic goods that we buy — from on-off switches to the equipment that will have those on-off switches.  This is not skilled, meaningful work. It is capitalist piece-work. All of these products will sooner or later wind up in a Chinese, American, or European landfill.  Actually, probably European or American; many Chinese factories are for export only.  You can’t get what they produce, in China.

There are HUGE MONTAINS OF JUNK outside another city whose name I can’t pronounce — very largely electronic waste, but really including everything made of plastic and metal and glass, that has been shipped to China from the U.S., and probably Europe.  China is one of our dump sites, and has been for a while. Africa has been another. And I’m not kidding about the mountains; they’re unbelievable in size; all the millions of computers and electronic stuff we get rid of every year wind up there.  They’re made to not be fixable, and we don’t have the capacity to absorb such amounts of recycled waste; the current watchword is N.I.M.B.Y.

Well, see, we don’t actually recycle it; we export it; the Chinese recycle it . . . badly and inefficiently and pollutingly. There is footage of Chinese people going through these mountains, looking for this or that to salvage, in very low-tech ways.  Yet the scale of the waste from these efforts also staggers the imagination. The cities near these mountains of junk look like recycling yards themselves. There is junk piled up everywhere; in the streets; in the yards; in the fields; in the houses. None of it is under a roof or other cover; it’s all out in the open.

 

This is the end of part 2; part 3 follows, if you’re interested.

Posted in What I've Been Up To

What I’ve Been Up To: November ’17 to March‘18 – [1/4]

March 2018

Hi:

I hope this letter finds you all well.  I’m doing o.k. in spite of (and along with) my various medical adventures.  I sort of think that I’m in better shape than a lot of the rest of this country, actually.  But let’s not get into that.

Things in my life are progressing . . . slowly.  My life is becoming interestingly complicated. For starters, have too much work to do; I simply don’t have time to do it all — unless people are willing to wait longer to get guitars from me.  I’m getting more commissions now that I’m old and famous and decrepit; I guess people are thinking to order their guitars before it’s too late. As I have more projects than I can cope with, I’ve hired (for the first time ever) a personal assistant to help me organize my priorities and my use of time.

With my new assistant’s help, I’ve organized my building efforts into building four guitars at a time.  Each set of four takes me about five to six months to make.

Why does it take so long?  Well, for one thing, it’s not at all the same as putting four sets of woods through the same paces and procedures and more or less cookie-cuttering four guitars to completion.  I’m a custom maker, so each guitar will be different in some ways: different woods; individual treatment and thicknessing of woods; different rosettes; different models; different neck and fretboard measurements; different scale lengths; individually made and sized bridges; individual voicing for different target sound (the voicing on each guitar that I make takes me two days) ; different peghead veneers; individual intonation work; different ornamental touches and inlays; sometimes different finishes; different neck measurements; some guitars are cutaways or not; some guitars have fanned frets; some guitars have twelve strings; etc.  Also, we make our bindings, head blocks, bracing, necks, etc. rather than to farm them out or subcontract them. Finally, some guitars are “special” projects and take forever. Four such sets of specs is the most that I can juggle around at any time. Anything more than that and I lose my focus.

Besides that, I’ve always worked slowly.  I do an awful lot of the work by hand, with hand tools.  I don’t cut corners. If I did, I’m sure I’d dilute the quality of my guitars.  Worst of all, I’m artistic; that always takes time. I also teach, do repairs, and do administrative work (paperwork, endless emails and correspondence, record-keeping, finances, bookkeeping, and keeping track of the work flow) alongside of my building.  I cannot separate or eliminate any of these activities. Plus, you probably know that I’ve written two books; well, I’m writing another two-volume set now. And I still go to guitar shows, which soak up a lot of time and energy.

And I receive visitors.  This is increasing, for some interesting reasons, and it eats into my time; I’ll get back to this point later.

Finally, I have varying amounts of help at work, depending on how many apprentices I have at a given time.  A year ago I had three; now I have one, and he’s on maternity leave as he just became a dad. I expect another apprentice to begin his studies with me this coming Summer.  All in all, I have less help than usual these days.

And here’s what else is going on with me:

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HEALTH

My last health/mental-health report was of the aftermath of my heart’s having stopped pumping blood, and the installation of a pacemaker to keep a somewhat wonky muscle functioning regularly.  (Well, it has worked hard for many years now and never took any time off, so I sort of understand that it might want a break.)

I got sick the month after I got my pacemaker, with a horrible bronchial infection that lasted three months.  It’s been flu season (and a very bad one at that) so that may have been implicated. Also, the Santa Rosa fires occurred; they made the air foul as far as 90 miles away.  That blaze was a clusterf**k of PG&E equipment breakdown, bad communication, lack of communication, and the state’s Emergency Warning System’s being asleep at the wheel; as a result several thousand homes burned to the ground.  In any event, the air in Berkeley and Oakland was hazy and we could smell the soot. That didn’t help at all. For me, I think that was the straw that broke the camel’s back, as they say.

I’m o.k. now.  But I did lose a lot of time with all that.

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THE NAMM TRADE SHOW

I got well just in time for the NAMM (National Association of Music Merchandisers) show.  It’s the world’s largest trade show for the music business; it’s where manufacturers introduce all their new products and lines to the market.  NAMM takes place in Anaheim every January. There’s nothing in Anaheim, really, except for this event and Disneyland – and the NAMM event is as loud and colorful as a Disneyland for musicians and musical merchants could get.  If you’re in the music biz at any level (retailing, import-export, sheet music, guitars, kazoos, music magazine publishing, strings and accessories, violins, ukuleles, accordions, drums, recording equipment, wood supplies, specialty supplies, woodwinds, horns, microphones and amps and special effects electronics, tuners, stands and displays, straps, tambourines, music machines, harmonicas, pianos, basses, cellos, musical computer programs, musical gizmos of all kinds, etc. etc. etc. etc.) you will go, or send someone to, the NAMM show.  People come from all over the U.S. and Europe, of course . . . and from as far away as Tokyo, Singapore, and Guangzhou . . . to see what’s new and to place wholesale orders for the following year. The convention facility itself is as large as an airport, and it’s for music biz people, retailers, and media only; the public is not allowed.

And why am I telling you this?  Well, it has to do with the sheer size of the event, combined with the state of the music biz market . . . and my position in it.  I’m visible and interviewable.

So, every January and into February, visitors visit me before and after NAMM.

This year I had visitors from Germany, China, Japan, Korea, Alaska, and mainland U.S.  They come to visit, refresh the relationship, talk business . . . and to interview me. I gotta tellya, you’d be surprised at how many music magazines there are out there, and they’re all looking for things to feature and write about.  There are even – for the first time – music magazines in China. Their music biz is opening up to non-Chinese rhythms, instruments, and merchandise at a rapid speed.

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KOREA AND CHINA

I am beginning to be courted by guitar dealers and stores in Korea and China. I remember that thirty or so years ago my work was being discovered in Japan; it was an important period of interest, excitement, growth, expansion, recognition, etc.  Of course, the Japanese market has grown, developed, and changed remarkably in that time, and contemporary guitar makers are now known and their work is accepted easily in the marketplace.  Stores carry inventories of known luthiers’ work at prices that are commonly accepted.  There are talented young Japanese luthiers now, whereas there were hardly any when this all started.  There are also guitar shows and exhibitions and supporting media (books, music, magazines, YouTube and the internet, recorded music, etc.) which didn’t exist previously.  There are also loads of guitar performers and music; and so on.  An entire industry has grown around this.

In this time period the Japanese economy has shrunk, though.  It had its huge spurt of postwar growth, but the bubble burst in the 1990s and it’s been struggling to maintain itself since.

Growth is just beginning in China and Korea, however.  Their markets are like a giant that is beginning to wake up.  There is excitement, confusion, ferment, activity, and opportunism.  They have a class of recently-become-very-rich entrepreneurs who have benefited from their population growth and the migration of rural people to the cities where industry and tech will give them jobs . . . and the people who have been in the real estate biz have become very, very wealthy.  The new middle class has disposable income and is looking to buy expensive and exotic American goods, starting with cars. American guitars, too, are so exotic that they sell for huge prices.

Some Chinese believe that these imported instruments are very, very, very, very special and good.  Well, some of them really are.  But in China there is no prior experience against which to form reliable opinions; I heard that a Santa Cruz guitar was recently sold there for $43,000.  That’s ridiculous by our standards, because they normally sell for a fraction of that amount.  With all due respect to Santa Cruz guitars.

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In this regard, it is a bit like the Dutch tulip-mania of the 17the century.  Tulips were introduced to Europe in the 1550s from Turkey and blossomed into popularity in the 1590s as botanists noticed how well that flower thrived in those climates.

Interestingly, somehow, tulips got sucked into the world’s first recorded speculative bubble. In late 1636, at the height of tulipmania, prices rose to extraordinarily high levels and a single bulb could sell for more than ten times the annual income of a skilled craftsworker!  [Rich] people were going crazy for these things. The bubble burst in February of 1637, investors were ruined, and tulips became affordable to the common man. [For more information, see Wikipedia.]

Historically, this mania and the money that was spent in it were made possible by two things.  

The first was that the Dutch developed many of the techniques of modern finance.  They created a market for tulip bulbs by making them into durable goods; one element of this was that the practice developed of buyers (in this case florists) signing contracts before a notary to buy goods (in this case tulips) at the end of the season, at a known and agreed-upon price.  They thus were effectively creating and making futures contracts . . . as well as the phenomenon of short selling.  Then, as tulips became popular in France and other countries, and there began to be real money to be made in this flower, speculators began to enter the market.  

The second thing was the context for the first: the Dutch economy.  Holland was a colonialist power (as well as a trading and exploring one), and its Dutch East India Company was at that time the most powerful economic entity in the world.  It was creating a powerful national economy, as well as an economic aristocracy, by (among other things) draining the Indies of its resources. It did so in well-documented Robber Baron style.  The Dutch East India Company actually became the de facto government of some of the countries and provinces it did business with.  No, I’m not making that up.‘

 

O.K.; that’s it for this segment.  Part 2 of this narrative is coming right up.

Posted in What I've Been Up To

RE: Postponement of Voicing Classes

I have postponed my voicing classes, for an as-yet-undefined period of time.  This will be a disappointment to a good handful of people, but I see no other alternative at this point, given other factors in my life.

For some years now my classes have been far from full.  I’ve had quite a few classes with only two or three students.  I had one with four. But I really want to have six. That is a much better arrangement from the standpoint of interactions, question-and-answer sessions, problem-solving, looking-over-the-next-person’s-shoulder as we do the hands-on exercises, and the sharing of views and opinions.

The problem has not so much been the cost as it has been the inconveniences of scheduling.  Different people can only come during certain months or times of the year, but not others. And I cannot offer the class several times a year.  But whatever the cause, the result is that the classes are a net loss for me at a time when I cannot take such efforts on.

Another part of this mix is I’ve gotten very busy with guitars to make, and am so far behind schedule that I cannot afford the time each class takes.  It requires about a week of preparation beforehand, then the class is nine days long, and then it takes me a week to recover my energies. In the meantime, my students and I take over the shop and nothing else gets done.  It really is costly in terms of time . . . not to mention the hour of weekly emailing and communication that must be dealt with between classes; over the course of a year that adds up to fifty hours at the computer. All in all, having classes that are only half full really works against me.

Good luck to you in your building efforts.  The best advice I can give at this point is that, if you have not already done so, go out and buy a set of my books and read them.  They are FULL of pertinent and useful information, and my class has been organized around the information contained in these books. You can read up on them on my website, and order from me directly or through my website; They cost $265 for the set, plus shipping, and I can autograph them for you if you wish.  See below for more information.

Sincerely, Ervin Somogyi


P.S.:    My two-volume book set has the titles
The Responsive Guitar and Making the Responsive Guitar.  The first is about the Why, the How Come, the What If, and the What’s That All About.  Each of its chapters describes a part or component or function of the guitar, its dynamic importance and structural, how that aspect of the guitar works and interacts with other aspects, and how different builders work differently with these same variables, and what happens when one emphasizes one variable or function over another.  Mainly, it is about what each part of the guitar is there for, and what relationship it stands in to the other parts. The second is about how to construct the instrument itself. These books are heavily cross-referenced and are more useful a set than as single volumes. Finally, if you are not going to buy my books, then the single most useful piece of advice I can offer you is to accept that most guitars are SIGNIFICANTLY overbuilt.  If you lighten up on the construction, thickness of parts, etc. then you will make better guitars.

Posted in Announcements, Lutherie & Guitars

Some Thoughts on the Difference Between Handmade and Factory-made Guitars

by Ervin Somogyi

I am often asked what makes hand made guitars different from factory made ones, and whether they’re better, and if so, how. These are good questions, but complex ones. Handmade guitars are not manufactured goods in the same sense that factory made guitars are manufactured goods. Each is made differently, for different purposes and different markets, and with different intent, aim and skills. Factories need to make instruments which are good enough to sell to a mass market. Luthiers need to make instruments which are successful tools for musicians. Comparing a handmade guitar to a factory made one is analogous to comparing a painting with a toaster: the one really needs to be judged by different standards than the other. I wish to stress that I do not wish to malign either luthiers or factories, but rather to point out how very different their products are in spite of the fact that they can look almost exactly alike.

What, really, is handmade? Obviously, things were literally handmade a long time ago, when tools were simple. But what is one to think if the luthier uses routers, bandsaws, power sanders and joiners and the like? Aren’t these the same power tools used in factories? How can something made with them be handmade? These same questions were asked by American luthiers in the l960s and l970s, because the use of power tools was so very common. After much debate it was decided that the answer had to do with the freedom of use of the tool. That is, guitars could be considered handmade if the tool could be used with a degree of freedom dictated by the needs of the work and the will of the operator. Dedicated and specialized tooling capable of only one operation, as is the rule in factories, did not qualify; neither did the rote assembly, even if by hand, of components premade to identical specifications. These became the standards by which to distinguish handmade from production made.

It might be most true to say that handmade guitars differ from factory made guitars primarily in that factory guitars are mass-produced, and handmade guitars are not. While this may sound obvious and self-evident, a number of implications arise out of this basic fact:

l) Long term repairability. In the long term, a guitar is likely to need tuneups, maintenance or repair work, just like a car. Things like bolt-on necks, and the fact that the repairman may have worked on this or that brand of factory guitar before and knows what to expect, can make certain operations easiser. But otherwise factory instruments are often made with procedures and processes which, although quick, cheap and easy to do within the manufacturing context, can be difficult to undo or work with in the normal, post-factory setting. Guitar finishes are a good example of this. The traditional finishes such as lacquers and French polishes are beautiful, but are skill- and labor-intensive to apply. The increasingly popular polyurethane, catalyzed and ultraviolet-cured finishes are much easier and cheaper to apply, and look good. But, they cannot be repaired or worked with if there is damage. To fix a crack in the wood properly, the finish will need to be completely sanded off and redone. Lacquers and French polishes, on the other hand, are comparatively easy to spot-finish or touch up.

2) Personal relationships. If you deal with an individual guitar maker you will establish a personal relationship with someone which may last for years, and which may become an important one. He will almost certainly be available directly to you to consult with or to take care of some difficulty, and he will feel a responsibility to you for any work he has done. With a factory made guitar, you cannot have this personal relationship with the maker. You will have to settle for the best relationship you can have with either the store you purchased the instrument from or the factory’s customer support hotline.

3) Choices, features and options. Factory guitars are made to strictly unvarying specifications and in large numbers. Each one will be exactly the same in all particulars, and if you want anything a bit bigger or smaller, or in any way different, you will not be able to have it unless you pay extra to have it customized. An individual instrument maker can provide you with an instrument that is tailor-made for you in many ways. As musical styles and playing techniques evolve, instruments with differing scale lengths, actions, neck widths and contours, fret sizes, string spacings, tunings, tonalities, electronics, woods, body shapes and sizes, etc. all become more desirable. But proliferation of design variables complicates production. I’ve been told that in Japan many Japanese customers want guitars exactly like someone else’s, because that’s how things are done in that culture. The factory model serves this need. In the United States, however, musicians more commonly complain about things such as that the neck on a certain brand of guitar is too awkward for their size hand, and that their hands would tire less if the neck were just a little different — but all the necks are the same.

4) Value and price. A handmade guitar will carry a price which reflects its real value in terms of labor and overhead more truly than a factory made one which carries the same price. The former may take 200 hours of someone’s conscientiously invested time and skill; the latter may take 8 to 36 hours of intensely repetitive and automated work. A factory will target a price at which it wishes to sell a certain product and will do everything it can to enable its introduction into the market at that level, including using parts made by others and mounting ad campaigns. A luthier will probably want to make something that’s as open-endedly good as he can make it, without an overriding imperative from the profit motive. Because factory instruments are made for wholesaling and price markup, and handmade instruments are in general not, there is much more room for discounting within the system of retail store markups than an individual maker can offer. Discounting is a marketing tool, and factory made guitars are made and priced so that everybody in the complex chain of recordkeeping/tooling/subcontracting/assembling/advertising/retailing/delivering can share in the profit. Handmade guitars are priced so the maker can survive.

5) Quality. According to a guitar industry spokesman at a recent symposium, quality, from a factory point of view, is the same as replicability of components and efficiency of assembly. That is, the factory man considers quality to be the measure of how efficiently his parts can be identically made and how fast his instruments can be assembled in a consistent and trouble free manner. From the musician’s point of view quality has nothing to do with any of this: it has to do with how playable the guitar is and how good it sounds. This also is, normally, the attitude of the individual luthier, for whom efficiency is important but secondary to his concern for creating a personal and effective tool for the musician. The main ideal behind factory guitars is that they be made quickly, strong and salable. The main ideal behind the handmade instrument is quality of sound and playability. A really well made guitar almost plays itself.

If quality for the factory man has to do with efficiency and consistency in making identical things, it cannot be so for hand makers. And for obvious reasons: there are a lot of hand makers working at vastly different levels of skill and creative talent, and they have different concepts of “best”. Let us return to the analogy of the painting and the toaster to illustrate this point. A painting is something somebody made which may be good or bad, or beautiful, or repellent, or even personally meaningful. Or perhaps unintelligible. Then, some paintings can be amateurish or indifferent. Some are interesting. Some may be pretty damn good. And some are timeless, significant and really great. A toaster, on the other hand, will do what it was designed and built to do, every time, or one fixes it or discards it. One does not normally think of a toaster as being amateurish, meaningful, expressive, trite, evocative, profound, unintelligible, interesting, or timelessly great. This is not what toasters are all about.

6) Craftsmanship. An intelligently run factory is geared to operating smoothly in a standardized, not customized way. Its priorities are automation of procedures and dimensional standardization of parts. A hand maker, on the other hand, is generally flexible and inefficient enough to do customized work in every place where it counts. This methodology is essential due to the innate variability of woods: two identically thicknessed guitar tops can differ by as much as l00% in density, 200% in longitudinal stiffness and 300% in lateral stiffness. Bracewood also varies as much and further compounds the possibilities of mindful wood choice and use. Therefore, while certain components in handmade guitars may be roughed out to approximate dimensions in batches of 4 or 6 or more, the selection of these components, and their final dimensions in the assembled instrument, are done on an individual basis: this top gets those brace-blanks, which are then pared down to that height, which depends on the stiffness of the braced top, its tap tone, and the judgment of the luthier as applied to this particular unique instrument.

As mentioned above, the levels of skill, judgment and attitude among luthiers are variable quantities, some highly developed and some not, depending on how experienced and talented one is. In my opinion many hand makers today are insufficiently trained and experienced, and as a result many handmade guitars are less satisfactory than factory guitars of comparable price. Any luthier worth his salt, however, will continually strive to learn better techniques and improve his work, because personally achieved quality needs to be his stock in trade. He must be good in order to survive. The intent and skill level of factory work, on the other hand, tends to be constant and predictable and does not improve appreciably from one year to the next. Factory work is based more in using the best tooling and jigs available than in developing workers’ skills beyond what they must have so they can operate the tooling efficiently and safely and do work that meets the standards set by the quality control department.

This is, in fact, the essential distinction between handmade and factory craftsmanship. The factory’s craftsmanship is based in division and automation of labor: there is someone who is paid to do each step or make each part. He has to do it repeatedly, many times a day, at a level that meets the factory’s criteria for acceptability. As often as possible, this specialist is replaced by a machine. The handmaker, in comparison, has to be adept at everything. He must spend years to master all the techniques and skills necessary to produce a high quality guitar, and, until he does so, his guitars will be of less than highest quality in some way. The need to perform every operation to a high standard is not unlike an Olympic athletic performance: make one single mistake and you fall short of the goal. To aim so high is an exceedingly demanding, and noble, effort.

7) Playability and action. Since factory instruments are assembled in large quantities, they normally almost all need fine tuning and adjustment before they come into the hands of players. Music stores in the United States often have a person whose job it is to set up all new guitars so that they are most comfortable for the customer. I don’t know whether it is the same in other countries, but I’d be surprised if it weren’t. Set-ups include setting the strings over the frets at a comfortable height, dealing with buzzes, calibrating intonations at the bridge, adjusting truss rods to the stringing, and whatever else needs to be done. Hand makers, on the other hand, will usually have done these things prior to delivery because, as far as they are concerned, a guitar that isn’t as perfect as possible is not ready to be delivered.

8) Sound. The study of the factors involved in the production of tone teaches the instrument maker that small variations in structure in the right places can make important, specific, differences in response. Because there are so many places where one can take away or add a little wood, and because the difference between “a little more” or “a little less” can be critical to a specific aspect of tone, this study takes years. This is the level of work a hand maker engages in and strives to master. Ultimately, he will be able to make guitars which are consistent in quality and consistently satisfying to his clients. The factory approach, on the other hand, cannot spend so much time on any one guitar: its entire operation is based on treating all guitar assembly processes identically. Therefore all tops of a given model are equal thickness, all braces are equally high, all bodies are equally deep, and so on. Tone in a guitar is controlled by paying attention to specific qualities in the materials. Yet, the factory’s focus on treating all parts uniformly bypasses these important factors. Because dimensionally identical guitar tops and braces can be twice the mass and up to three times the stiffness of their companions in the assembly line factory guitars are, essentially and literally, random collections of these physical variables. In consequence, their sound quality will correspond to a statistical bell-curve distribution where a few will be brilliantly successful, a few will be markedly unresponsive, and most will be pretty good. To repeat: a factory work’s chief priorities and focus are production, selling and delivery. It is off the mark to compare this to a concern with making a personal best at something.

9) Durability. Here, again, the concerns a factory and a hand maker bring to their work are markedly different. And for perfectly good reasons. There is nothing wrong with a factory maker’s desire to sell guitars to the public. But each member of this anonymous guitar playing public will treat the guitar with different degrees of care, use different strings, play differently, live in different cities or even countries with different climates, temperatures, altitudes and humidities, and will sometimes take their guitars to the beach or on trips into the mountains. These guitars must be able to hold up against these unpredictable conditions. It is the factory’s concern that these instruments not come back to plague its warranty department with problems and repairwork. To ensure this, their guitars are substantially overbuilt. Hand makers are concerned with making sensitive, responsive tools for musicians who are fairly certain to treat these with some care. These guitars can therefore deliberately be made more delicate and fragile — and this makes possible a louder, more responsive instrument. The factory cannot afford to make fragile, maximally responsive instruments: for every increment of fragility a certain predictable number of damages and structural failures can be predicted, and the maker would sink under the weight of warranty work. The hand maker, on the other hand, cannot afford to overbuild his guitars: they would be the same as the factory version but at a higher price, and they would fail to have that extra dimension of responsiveness which makes them attractive to the buyer. He would soon starve.

10) Machine precision vs. the human touch. Machines will do the same operation, over and over again, to the identical level of precision; there are no bad days or sick days, and they don’t get fatigued or depressed. Hand work, on the other hand, is forever shaped by fluctuating human factors of energy, attention, concentration and skill. For these reasons, most people believe that machines can produce faster, cleaner, more consistent and more desirable products for the consumer, as well as reducing the tedium inherent in parts production. There is much truth in this.

But also, it is a fallacy. This relationship between tooling and craftsmanship only applies in direct proportion to how the machines and operations are completely free of human intervention — as is the case with computer controlled cutters, which are getting a lot of press nowadays. But as soon as any real workers enter the picture factories cannot escape from the same limitations of hand work under which hand makers suffer. This is shown by the fact that a factory’s own quality control people can tell the difference between the level of workmanship of one shift and that of another, and especially when there are new employees. Anyone who has done factory work of any kind knows that personnel problems are the larger part of production problems. Naturally, no one advertises this.

This brings us to the fundamental difference in the logic which informs these different methods of guitarmaking. The factory way to eliminate human error and fluctuation is to eliminate, or at least limit as much as possible, the human. The handmaker’s way to eliminate human error is to increase skill and mindfulness.

11) Is a handmade guitar necessarily better than a factory made one? No. Many factory guitars are quite good, and many handmade guitars show room for improvement. How successful a handmade guitar is, is largely a function of how experienced the maker is and what specific qualities of design or tone he is known for. No one ought to be surprised to realize that beginners will make beginner’s level guitars, and that more experienced makers will make better ones: this is what makes the instruments made by an experienced and mature maker so special. On the other hand, there is considerably less significance to the purchase of an instrument made by a factory simply because it’s been in operation for many years. Long, cumulative experience with the materials is not what they are about, and neither are improvements and advances in design which conflict with profitability.

12) Are factory guitars any better than hand made ones? By the standards of the factory people, yes. They believe that high-volume assembly of premade and subcontracted parts produces superior products. At least one company advertises this explicitly. By the standards of the individual maker, it is possible for factory guitars to be better than individually handmade ones, for all the reasons outlined above. But, in general, factory guitars are “better” only in a limited sense of the word, also for all the reasons outlined above. I wish to emphasize again that handmade and factory guitars are each made with a different intelligence, with different priorities and for different markets. The luthier cannot compete with the factory on the level of price. The factory cannot compete with the luthier on the level of attention to detail, care and exercise of judgment in the work.

13) Are not high-end factory guitars, at least, better? From the view of the musician, no. They are much more extravagantly ornamented and appointed and also produced in limited editions so as to justify the higher price. And they are in general aimed at a quite different market — the collector. For the average musician, the appeal of collector’s guitars is blunted by the high price; and for the serious musician by the fact that their essence, soul and sound are produced under the same factory conditions and with the same concerns as any other product of that factory — with comparable results: random variation of musical quality. But the collector has different interests. He seeks the appeal of rarity, uniqueness and “collectableness” in an instrument and his principal interests tend to be acquisition, owning and display — not playing or using.

The collector’s market of vintage and collectable musical instruments is not large but it is quite strong, and its continual hunger for new products helps drive the production of “collectable” guitars. Factories respond to the demand by producing and advertising limited edition guitars which have, for the buyer, the requisite appeal of uniqueness, scarcity, rarity, and high cost. There are individual luthiers whose work is sought in the collector’s market. But on the whole the difference between factory’s and a handmaker’s collectable work is that the individual guitarmaker’s collectable work is scarce by definition, and ends when he dies. A factory such as the Martin company can turn out limited and special edition collector’s models for generations.

14) A collaborative aspect. I like to think that an important difference between handmade and non-handmade guitars is the degree to which the process is one of collaboration. Makers want to find musicians who are able to appreciate how good their work is, and who can challenge them to do even better work. This is a fruitful partnership. The factory’s needs are overwhelmingly to sell guitars, and usually prefer to form partnerships only with endorsers.

15) How can one really know whether one guitar is better or worse than another? A key factor in the assessing of what is better and what is worse is the somewhat basic one of how educated and sensitive one is to the matters under examination. A discussion of differences cannot go very far without understanding this. The consumer is not merely a passive bystander in this debate but a participant in it, even if he doesn’t know he’s doing it. To illustrate, I want to give you an example of something that has happened to me repeatedly in my experience as a guitar repairman (and which I’m sure other repairmen have experienced as well).

A guitar player called me to report that his guitar, which had worked well for several years, was now not playing in tune. He suspected that the tuning mechanisms were worn and slipping, and he wanted to know whether I could replace these. I said yes, please bring your guitar to my shop. When the caller arrived I examined the guitar and found no problems: the tuners worked perfectly, the bridge hadn’t become unglued, the frets and nut hadn’t moved, the neck hadn’t warped; the guitar was not in any way damaged or broken; in fact, everything was exactly as it should be. What had really happened was that the musician’s ear had improved over time so that he could now hear that the guitar did not play in tune. In fact it never had; but he simply had been unable to hear the dissonances before.

Obviously, a guitar which plays in tune is better than one that doesn’t; but if one is unable to hear this then it becomes a non-issue. With an improved ear, this man was ready for an improved guitar. This same growth of ability to see and hear in an educated and experienced way affects our ability to appreciate nuances of detail, subtlety, and quality. These are the very areas in which handmade guitars can differ from, and excel, non-handmade ones. But, until a player reaches the point of capacity to discriminate, whatever guitar he has is good enough

Online Illustrated version of this article
In Spanish (pdf)
In French (pdf)

Posted in Essays & Thoughts, Features By Ervin, Lutherie & Guitars, Uncategorized

Lutherie Trivia

by Ervin Somogyi

Trivia are inconsequential things. They come from the Latin trivium, which means three roads [tri: three + via: path or road]. It was the custom during the days of the Roman Empire to put up public bulleting boards at points where three or more roads converged, on the presumption that these points carried sufficient traffic to warrant such information-disseminating devices. Onto these bulletin boards were put not only proclamations of general importance, but also notes and notices of local interest and color, public announcements, news, gossip, etc. Since the bulk of the information on these boards was of the homely. local and everyday type, such snippets of information came to be known as trivial, or trivia.

All woodworkers know what a kerf is: it is the space made by the path of a sawblade through a piece of material that is being cut. Most people don’t realize that kerfs are the only known things in the universe that get bigger and bigger until they disappear. Think about it. Other things only get smaller until they disappear. This is exactly the kind of trivial fact that will, if used properly, make you a sure success on your next date.

Luthiers all know what a flitch is: it is a stack of slices of wood or material cut serially from one larger piece. Flitchcomes from Old Teutonic flikkjo, which referred to a side (slice) of an animal, which had been cured (dried and aged). While originally flikkjo was a cured side of any farm animal, it eventually came to refer only to pork. According to historical records a fourteenth-century noblewoman in the Sussex County town of Dunmow, England, attempted to encourage marital contentment by offering a prize called a Dunmow Flitch to any man who would swear that after a year of marriage he still enjoyed marital harmony. The flitch became a symbol of domestic happiness. Parenthetically, the fact that the flitch by then referred to pork gave rise to the phrase “bringing home the bacon” — the byword for a good husband. Unfortunately, according to existing records, only eight Dunmow Flitches were awarded over a span of five centuries. Perhaps some records were lost.

While wood is the luthier’s material of choice, the more basic fact is that he works with a material. That is, he works with a form of matter, the primal substance which is the source of all things. Matter comes from from the Latin mater, which means mother. Matter is, literally and metaphorically, the primordial and essential Mother from which all things come. That language has preserved this connection illustrates how unspeakably important the mother is, in the human condition. But I’d be careful in using this trivium on your next date.

Padouk is a beautiful red hardwood which is sometimes used in lutherie. It’s proper name is Andaman padouk, as it grows only on the Andaman islands which lie halfway between India and Malaysia in the Indian Ocean. Padouk is, in fact, the islands’ only resource of any commercial interest. Years ago, when England had a worldwide empire, the British established a penal colony on these sweltering tropical islands, whose sole work was the logging and harvesting of this special wood. Commercial logging of padouk is no longer done with convict labor, but it’s hard for me to see a plank of this lovely material without thinking of the poor creatures who were once forced to sweat out their lives in cutting it. Also, it makes me think that other woods we use probably have interesting stories behind them, too. The Andaman Islands have left a small footnote in literature as well as in woodwork, in that the villain in Arthur Conan Doyle’s Sherlock Holmes story The Sign Of The Four was an Andaman Island native; in proper colonial fashion, he was described by the author as savage, brutish and ugly.

A computer run on medical records has shown that 69% of the piano players suffer back pain. That’s bad. But not as bad as the 73% of the harpists who hurt similarly. You’re better off as a guitarist, according to the same survey: only 33% of them voice that complaint.

Instrument making is the work of both individual craftsmen and factories, and their work is respectively called lutherie and manufacturing, referring to the fact that individual craftsmen make a few things by hand and factories produce much greater quantities of products by using machinery and division of labor. However, “manufacturing” is a misnomer, as it is rooted in the Latin mano + factus, which signify “hand” + “made” or “done”, and it literally means hand-made. Today, of course, manufactured goods are as far from being hand-made as the people in charge can manage. Mass produced goods are made in factories (once again, from factus: making), which word literally signifies “the places where things are made”.

Most of us know that the Association of Stringed Instrument Artisans (A.S.I.A.) holds a national Symposium every year or two, comparable to the Guild of American Luthiers’ Conventions. And most of us know that these two events are functionally comparable. Yet, their etymologies differ slightly, possibly in a way that can be seen as humorous.Convention comes from con (with) and venire (come, come together; venue, from the same root, generally means place, location, site, position or ground). So a convention is a coming together in a place for a common purpose, activity or discussion. Symposium, on the other hand, comes from syn (together: as in synonym, synchronous, synthesize, syntax, syndicate or synergy) and posein /variantof potein (to drink, as in potion or potable; or Poseidon, the water God) — in other words, a drinking together. This meaning comes down to us from the Greek and Roman custom of having a convivial meeting after a dinner, together with drinking, for the purpose of having intellectual conversation and mutual enjoyment. Put in a more homely way, a symposium is your basic drinking party.

We work with woods from all over the world: it’s one of nature’s most plentiful resources. England, however, has rather little of it: it is, in fact, Europe’s only wood importing country. England used to be mostly covered by forests (remember Sherwood forest and Robin Hood?) but from the seventeenth century on its forests were systematically cut down in service of the needs of the Industrial Revolution, which that country gave birth to. For one thing, raw wood was needed for construction of England’s growing cities and also to build ships for navies of war, commerce, trade and exploration. Second, huge amounts of coal and firewood were needed to stoke the furnaces of the growing iron and glass working industries. As the ground was dug up and trees were cut down, the forests began to disappear. Simultaneously, English landowners found that raising sheep on their lands [to supply the textile industry’s ravenous need for wool] was more profitable than having peasant farmers on it — so they further cut their lands bare to make pastures for sheep and thereby displaced the traditionally rural peasant population into the cities, where it could provide the labor pool for the Industrial Revolution’s work force. The upshot of such deforestation was that the English soil became rapidly denuded of its natural protective cover and erosion on a ferocious scale became, for the first time, a fact of life. Floods and flooding in towns became common events — so much so that drowned domestic animals were often found lying on the ground after a storm had passed. This has given us the phrase about a downpour so intense that it rained cats and dogs.

All plant life has an innate heliotrophism; that is, the tendency to grow toward sunlight and to follow it on its course across the sky. Sunflowers come to mind as an example, but trees do this too — albeit their ability to move is not so noticeable. Trees will want to face the sun with those parts of themselves that first receive sunlight in the morning, and they’ll twist a little bit throughout the day to try to follow it. The degree of twisting will be a function of the species of tree, how much sun it’s getting through the canopy of its neighboring trees, etc. But as a result, over the years, a tree will grow in a corkscrew pattern which is sometimes discernible through the bark and certainly underneath it: just look at some of the trees and telephone poles in your neighborhood. You’re looking at wood runout.

Not all trees exhibit the same orientation of runout. Because the earth rotates on its polar axis and most sunlight lands at the equator, trees in the Northern and Southern hemispheres stand in a mirror-image rotational-angle relationship to the sun. Think of it: artists in the Northern hemisphere prefer Northern light because it’s the most even, and Southern exposures are useful to other purposes. But on the other side of the equator it’s the opposite. And just so for trees. The resultant heliotrophic effect is that trees in the Northern hemisphere tend to turn clockwise, as seen from above (or even below), and trees in the Southern hemisphere tend to turn counterclockwise.

Tropical-region hardwoods get an interesting bonus in the matter of runout. They get the “sunspin effect” in alternating directions as the sun travels back and forth seasonally across the equatorial axis: they get to grow like Northern hemisphere trees some of the time, and like Southern hemisphere trees some of the time. Thus they can grow in layered, alternating directions as a result. This is why woods like mahogany, zebrawood, purpleheart, etc. can grow with internal structures of mixed-direction grain — which property gives them great stability. This kind of interlocked grain is nature’s own plywood.

Hardwoods and softwoods are not named because they are actually hard or soft. Taxonomists have labelled them according to the shapes of their leaves. Softwoods are, by definition, trees that have long, thin leaves; hardwoods are identified by their having broad, flat leaves. The fir that your flooring may be made of, which can stand up to many years of use, is a softwood. On the other hand balsa wood is a hardwood.

Balsa wood, which some luthiers use for bracing, is a South American tropical hardwood named for its use and not its discoverer nor its Latin name: balsa, in Spanish, means raft. Raft-wood is simply the tree that people made rafts out of since the time they first noticed that it wasn’t all that good for flooring.

Good luck on your next date! With any luck it’ll produce an anecdote or trivium worth writing down. And if you know any other trivia to add to this list, I’d love to hear about them.

(reprinted from “American Lutherie” #36, Winter 1993)

Posted in Features By Ervin, Lutherie & Guitars

Whence the Steel String Guitar? – 2/2

PART 2 OF 2

by Ervin Somogyi

In Part 1 of this article I wrote about the origins of the steel string guitar from the vantage point of the macro socio-economic culture of the New World. I used the Spanish guitar, which was developing simultaneously with it, a point of reference and comparison whereby to have a better understanding of both. In this section I will continue to examine the genesis of this most American instrument, take a look at the structural and design elements that make it a unique instrument, and take a guess at its future.

THE SUBCULTURES OF MODERN GUITAR MAKING

The Spanish guitar has come to us out of a European tradition in which fine things are made by, and associated with, individual craftsmen. This doesn’t mean that Spanish (and pre-Spanish) guitars weren’t produced in large numbers in guilds and factories: they were. And it is not that hand craftsmanship is inherently superior to other forms of organization of production. It is rather that the roots of European lutherie predate the industrial revolution and hand craftsmanship was the main option for a long time. As such, the level of skill brought to lutherie was quite high, as a visit to any museum with a good collection of historical string instruments will show. But because this kind of lutherie was associated with real individuals — despite the historical existence of numerous major centers of large-scale production of musical instruments — a tradition has been created whereby modern Spanish guitar makers are the inheritors of some past heroes to look up to and whose work they can emulate and not depart too radically from. These revered icons are people like Antonio deTorres, Hermann Hauser, Luis Panormo, the Fletas, the Ramirezes, Francisco Simplicio, Santos Hernandez and other famous European makers. Modern Spanish guitar luthiers like to think of themselves as walking in these originators’ shoes, or at least on the path that they traveled. As I said, none of this has stopped Spanish guitars from being produced in great numbers in factory settings; but the basic design has not changed much in all this time because its acceptability is still rooted in the traditional look — as well as the fact that the design continues to be a successful tone producer.

On the other hand, American factories were for many decades the only source of steel string guitars. Lutherie in the European craftsman’s sense of the word never took hold on this side of the Atlantic, and the Martin, Gibson, Washburn and Epiphone guitar companies, more than any other brands, have provided the models and standards of what a steel string guitar ought to be. Accordingly, the design of the steel string guitar has always been subordinated to the requirements of the production process, and this has in turn dictated the possibilities of the guitar as a musical instrument. With the exception of the prolific Larson brothers, and jazz guitar makers such as John D’Angelico and Mario Maccaferri in the early 20th century, no individual luthiers became prominent, successful or famous 1. In consequence, however, the contemporary American steel string guitar maker is deprived of a personal link to the past and he must either identify with a largely production tradition, or claim independence from tradition and sort of give birth to himself 2. There is now a small core of very good contemporary individual steel string luthiers who could serve as models to others. They’re all from the postwar period, and it’s not the same as having pioneer models from a hundred and fifty years ago. Yet, it’s a beginning.

THE STEEL STRING GUITAR’S “X” BRACING

The “X” bracing associated with Martin guitars is the model, pattern, template and standard used the world over for reinforcing steel string guitar faces. Pretty much all steel string guitar bracing is based on that model (fig.1). Those who don’t copy Martin’s “X” bracing outright produce minor variations of it, making the tone bars or fan braces a little flatter or taller, or longer or shorter, or spacing them farther apart or closer together, etc. This is all for good reason: the “X” brace works. Well-crafted steel string guitars using this bracing system can produce sounds that no other arrangement of parts has been found to surpass in either volume or warmth. Not least, “X” bracing is the steel string guitar’s chief distinguishing structural and tonal feature that sets it apart from the Spanish guitar, which is almost universally constructed and voiced with fan bracing.

Fig. 1 Interior view of a Martin guitar face: it is the model for virtually all steel string guitar bracing as depicted in any book, how-to video, newspaper/magazine story, published lutherie article, or guitar magazine/trade journal advertisement.

Interestingly, the “X” brace, which we all think of as being well adapted to handling the pull of metal strings, was being used by the Martin Guitar Company as early as the 1850s, when it was (along with every other manufacturer) making only gut string guitars — a full sixty to seventy years before metal string guitars came into general use. Of course, in those early times and for those stringings, the “X” brace was comparatively small and delicate.

Structurally speaking, gut strung guitars didn’t require “X” bracing — even when soundboxes were enlarged and scale lengths increased. But the structural reason why “X” bracing works so well in the modern steel string guitar is that it is most resistant to distortion in the area in front of the bridge, where the stresses pushing down on the face are greatest. The reason for its tonal success is that it succeeds in unifying the face, for vibratory purposes, better than anything else previously devised. It seems unlikely that “X” bracing was the result of any tonal considerations in the way of improvement over the possibilities given by the fan bracing universally used in the Spanish guitar of that time: fan bracing was only first being used in these at about the same time as the earliest “X” braces appeared in the United States, and there would have been little if any frame of comparative reference at the time. Both, in fact, seem to have been developed simultaneously out of the earlier smaller fan and ladder-braced instruments, as well as from the pursuit of different social imperatives, musical challenges, commercial needs, and plain old mechanical inventiveness 3.

It seems to me undeniable that we have the Larson brothers Carl and August — already mentioned above — and not the Martin Company or any other manufacturer to thank for adapting the gut-string guitar’s “X” bracing successfully to the needs and design of the modern steel string guitar. To repeat: starting in the 1890s, they made the first steel string guitars sturdy enough to not collapse under the pull of steel strings, and yet not so overbuilt that they lacked sound. The Larsons achieved this in part by enlarging and beefing up (with increased size and laminated construction) the previously too delicate “X” bracing, by doming their guitar tops, by reinforcing the guitar necks, and by increasing the size, shape and gluing surface of the bridge. These design advances notwithstanding, it wasn’t until the 1920s that such guitars were produced in sufficient numbers by factories for them to become — as it were — principal players in the popular market.

SUMMING UP

The commercial, developmental, musical, technical and artistic history of the guitar has been a complex one. The design and parameters of the Spanish guitar have been largely set for a hundred and fifty years. Classical guitars made a hundred years ago and guitars made today don’t look all that different from one another; the traditional look of the instrument has prevailed. At the same time this instrument’s music has of course advanced and its repertoire been enlarged, and the techniques for its playing have been refined although not changed much. The steel string guitar, in comparison, is experiencing a contemporary explosion of design, shape, dazzling and original ornamentation, technique, music, and, not least of all, seriously talented makers and players.

To date, many books have been written about one or another aspect of how all these things came to be, and about the individuals who wrote and played significant guitar music — and many more will yet be. But there exist a few pivotal elements and individuals behind the success of the guitar as we know it today, without which almost none of us in the business (at any level) would be able to survive. I would say that the worldwide acceptance of the Spanish guitar can rightly be attributed to the DuPont employee who discovered nylon, if only by accident, in 1930: within fifteen or twenty years this led to making an instrument which had until then been notoriously expensive to put strings on, and therefore limited to being a middle class musical object, all of a sudden accessible to the masses 4. Also, the worldwide popularity and acceptance of the flat-top steel string guitar as we know it today is, in my opinion, attributable to the genius of the Larson brothers who, regardless of how cheaply (and therefore accessibly) a guitar could be made in their day, made the first ones that could be used without sooner or later collapsing under the pull of metal strings.

While the hand/small-scale making of guitars has grown on this continent to compare with anything that exists in Europe, so has factory guitar making grown. And then some. Industrial-level guitar making such as has dominated the American scene since the beginning has been rapidly spreading — into Japan, Korea, Mexico, the Philippines, and now China: anywhere, as a matter of fact, where there is cheap labor. I’m not optimistic in contemplating the future of American lutherie — as far as the making of any kind of guitar goes — from the standpoint of the requisite basic hand skills that an individual must master in order to become a self-sufficient and skilled workman. The roots of such skills need to be put into place rather early in life for them to be fruitfully and fully integrated into one’s adult work and, from what I’ve seen, today’s younger generation is much more deficient in such basic skills than my own was. Young people don’t seem to tinker, futz, putter, sculpt, whittle, make model airplanes, play with erector sets, fix up old jalopies very much, or participate in imaginative play/role playing with real things 5 — as opposed to engaging in virtual pastimes designed by people who have been paid to do that — and the manual arts in this culture are, in general, lagging far behind ability to manipulate 6 computers and other electronic devices. I think this is a fundamental loss the results of which won’t be understood or missed, or perhaps even noticed, for another generation. If we are or have been in any sort of golden age of guitar making, it will have been built on a combination of manual skills and creative intelligence, not labor and time management in the service of acquiring practical, technical and virtual skills.

1. Even the Larson brothers, who had made pioneering contributions and significant innovations to steel string instrument making, were forgotten after their deaths — until they were rediscovered by American musicologists, and the guitar culture, of the 1960s. A large part of the reason for this is that, unlike the Spanish luthiers whom we know of who made guitars under their own names, the Larsons produced instruments under many others’ labels, including Euphonon, Prairie State, Maurer, Dyer, WLS (“World’s Largest Store”), Stahl, Stetson, Leland, Meyer, Larson and other labels.

2. I think it’s interesting that the highest-quality European guitars are associated with an individual maker’s name, and that young luthiers try to make a career out of furthering their own names as associated with their products. In this country, however, it’s not uncommon for young luthiers to try to market their instruments under a commercial-sounding name to which they’ve subordinated their own, such as: Running Dog, Moonstone, Bear Creek, Timeless, Golden Wood, Evergreen Mountain, etc. This is an interesting cultural difference.

Another one is that since at least the 1930s, when Andres Segovia was concertizing around the world, it’s been common — in classical guitar performances or recordings — that the maker of the guitar being played is mentioned in the concert program or on the record jacket. To my knowledge this was unknown for the steel string guitar and its music until the late 1970s, when I began asking that my name be mentioned on record jackets as the maker of the guitar being played. Of course, this has a lot to do with the fact that there really was no significant steel string solo guitar outside of John Fahey, Leo Kottke and Doc Watson, until the Windham Hill label established solo guitar music as a viable musical genre in the mid 1970s.

3. Although gut-strung guitars do not and never did, strictly speaking, require “X” bracing, it undoubtedly worked to make the guitar a more successful musical instrument than the earlier, smaller, ladder-braced and fan-braced versions had been. As far as the advent of the “X” brace on American shores goes, it seems likely to me that it was noticed that (1) lightly constructed longitudinal or diagonal bracing elements made better sound than the ladder bracing which was common to earlier guitars, and that (2) diagonal bracing that bound the topwood’s fibers together in a cross-grain latticework would (3) enable guitars to survive seasonal climate changes better than braces which simply followed the grain, as fan bracing does. After all, the early American makers and players all had the greatly-changing East Coast seasons to deal with. This (4) would also have gone hand in hand with the fact that, unlike the concurrently developed Spanish classical guitar and its increasingly formal middle-class uses, Martin, Washburn, Gibson, etc. were making instruments in these greatly-changing East Coast climates for the playing of steadily increasing-scale popular and folk musical entertainments at both indoors and outdoors events. “X” bracing served the needs of wooden soundboxes played under those ambient and atmospheric conditions.

4. The DuPont company found it could make stockings and fishing line out of this new substance. But it was fishing community of Southern Spain, and the fishermen of the Spanish port of Cadiz in particular, that brought the attention of this inexpensive new guitar-string-substitute material to its guitar playing community; thus it was really the flamenco guitar players of Andalusia who discovered the nylon guitar string. My thanks to luthier and guitar authority R.E. Brune for these insights.

5. Toys, dolls, tools, furniture, paint, clay, wood, camping equipment, clothing, etc., as opposed to what might appear on a computer or television screen. It’s what Piaget called “formal operations”, which he identified as an important developmental stage in his study of how young humans grow.

6. It’s an ironic choice of a word within the context of this discussion, given that it originally meant “use of the hand to effect something”. Another irony is that “manufacture”, which has the same root [manu, mani, or manus , meaning hand], originally meant “the making of something by hand”. These things are manifestly so.

Posted in Features By Ervin, Lutherie & Guitars Tagged steel string guitars

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Ervin's Essays, Articles, and Musings:

  • “LA GUITARRA” – A Psychological Insight into Flamenco
  • (1/6) HOW I BECAME A GUITAR MAKER, AND  WHAT THAT WAS/IS ALL ABOUT
  • (2/6) HOW I FIRST MET THE GUITAR
  • (3/6) ABOUT MY LIFE AS A GUITAR MAKER
  • (4/6) THE CARMEL CLASSIC GUITAR FESTIVAL OF 1977
  • (5/6) MY LIFE AS A GUITAR MAKER: LOOKING BACK
  • (6/6) AFTERMATH: WHAT, EXACTLY, IS LUTHERIE TODAY? AND WHAT IS MY PLACE IN IT?  
  • 16. A LETTER TO WELLS FARGO BANK [June, ’18]
  • 18. ADVERTISING SLOGANS FOR GUITAR MAKERS
  • 19. ON THE MATTER OF ADVERTISING SLOGANS (2/2)
  • 20. LIFE AFTER EPIPHANY
  • 21. MARTIN LUTHER & THE LAW [1/2]
  • 25. MARTIN LUTHER AND THE LAW [2/2]
  • 31. HARLOW, SKINNER, AND WATSON:
    2-1/2 SONSOFBITCHES
  • 37. ON JEWISH CULTURE . . . AND HUMOR
  • A Candid View of Value, Prices, and Guitar Lust
  • A CHRISTMAS STORY
  • A Digression Into Matter of Top Thickness
  • A Surprising Insight About Drums and Guitar Tops
  • A Systematic Comparison of Tonewoods
  • ABOUT MY ARTWORK
  • An Amusing Experience
  • An Interview with Steven Dembroski, From Dream Guitars
  • An Ironically Good Bad Experience…
  • AN OPTICAL ILLUSION
  • Carp Classic Guitar
  • Commentaries About My DVD
  • Concerning Somogyi Knockoffs
  • Craftsmanship, Sound, ‘The Right Look’, Materials, and the Marketing of the Guitar
  • DEAR DR. DOVETAIL, Part 1
  • DEAR DR. DOVETAIL, Part 2
  • F.A.Q. #2: Working Woods to a Stiffness
  • F.A.Q. #3: More on Flexibility
  • F.A.Q. #4: Thinning Out The Back?
  • F.A.Q.#5: Soundholes and Bracing Patterns
  • FAQ #1: The Stiffness Factor
  • FAQ #6: Bracing, Thickness, or Both
  • FAQ #7: Flat Backs and Arch Tops
  • FAQ #8: Flat Vs. Domed Tops
  • Frankenfinger
  • Fun Stuff #1
  • Fun Stuff #2
  • Fun Stuff #3
  • Guitar Voicing: Different Strokes for Different Folks? – [1/2]
  • Guitar Voicing: Different Strokes for Different Folks? – [2/2]
  • Guitars, Virtue, and Nudity: The Guitar as an Icon of Culture, Class Status, and Social Values
  • Internet Lutherie Discussion Forums
  • Lutherie Trivia
  • My Adventures in Book Publishing
  • On Critiquing Other People’s Guitars
  • Principles of Guitar Dynamics and Design
  • RE: Postponement of Voicing Classes
  • SOCRATIC DIALOGUE
  • Some [More] Thoughts About the Environment, Sex, and Hillary Clinton
  • Some Reflections On My Guitar Work
  • Some Thoughts About Gender and the Environment
  • Some Thoughts on Guitar Sound
  • Some Thoughts on the Difference Between Handmade and Factory-made Guitars
  • Specific Top Thickness In the Guitar
  • STEEL STRING GUITAR BASICS
  • THE DUMPSTER DRUM
  • The Maple Andamento
  • THE MODERN GUITAR: AN ICON OF ROMANCE AND HEROISM
  • The REMFAGRI Factor in Lutherie
  • The State of the Contemporary Guitar – 1/4
  • The State of the Contemporary Guitar – 2/4
  • The State of the Contemporary Guitar – 3/4
  • The State of the Contemporary Guitar – 4/4
  • The Taku Sakashta Guitar Project
  • Thoughts About Creativity, Technical Work, and the Brain – [1/2]
  • Thoughts About Creativity, Technical Work, and the Brain – [2/2]
  • Titebond vs. Hide Glue
  • Tone Production and the Logic of Wood’s Uses
  • Tonewoods in Guitars
  • Tony McManus stopped by the shop…
  • Using Wenge as a Guitar Wood
  • Werewood
  • What I’ve Been Up To These Days
  • What I’ve Been Up To, August 2017
  • What I’ve Been Up To, February 2019
  • What I’ve Been Up To, September 2017
  • What I’ve Been Up To: November ’17 to March ‘18 – [4/4]
  • What I’ve Been Up To: November ’17 to March‘18 – [1/4]
  • What I’ve Been Up To: November ’17 to March‘18 – [2/4]
  • What I’ve Been Up To: November ’17 to March‘18 – [3/4]
  • Whence the Steel String Guitar? – 1/2
  • Whence the Steel String Guitar? – 2/2
  • Why Are There Differently Constructed Classical Guitars?
  • Why Lutherie?
  • Woodstock Guitar Show

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