backpiece: third session

We’re starting to work on detail and shading. This gives a better idea of what this will look like when we’re done. The difference between shaded and un-shaded is striking.

We’re starting to work on detail and shading.

This gives a better idea of what this will look like when we’re done. The difference between shaded and un-shaded is striking.

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my father’s voice

My relationship with my father was deeply immature. By that I do not mean that either one of us individually was immature; though in fact we were, both of us. I moved out, for all intents and purposes, when I was sixteen; living most of the time at a girlfriend’s house. When I was home, […]

My relationship with my father was deeply immature.

By that I do not mean that either one of us individually was immature; though in fact we were, both of us.

I moved out, for all intents and purposes, when I was sixteen; living most of the time at a girlfriend’s house. When I was home, it was mostly to party with my brothers’s friends, or with my cousins who lived with my family at that time.

When I turned 18 I took a night job, sleeping all day and working til after midnight. We saw each other rarely, and I moved out officially not long after.

So when I describe our relationship as immature, what I mean is, the development of our relationship ended when I was still a teenager.

Once I was out of the house, my life went off it’s own way. I developed a career, a social life. I grew up. I made that glacial crawl from boy to man, with every mistake and triumph, every lesson in love, finance, job, every mistake with the law.

My father, though, never saw me group up. He knew me as that son who left, the one who’d visit on holidays. And I never got to know my father, the man. I only knew him as my father, the father.

My father, I know now, was a deeply cerebral man. A deep thinker. He taught himself mathematical systems; he studied statistics, semiotics, symbolic logic. He transcribed music into different keys for fun; not to play it (he had only a rudimentary ability as a musician, and no real appreciation for music in it’s own right); he did it because the intellection exercise of the system was, for him, relaxing.

When I was 19, I knew little of that, and understood none. I knew my father as an emotionally distant man, a man who was uncomfortable with teenagers. A sensitive man whose feelings were easily hurt. I knew him as a man who backed down too easily when his kids challenged him, and who never stopped thinking of them as babies.

It wasn’t an easy relationship for me; I am aggressive, argumentative, dominant, intolerant of weakness. Everything about me challenged my father. I had no respect for him; I had no idea there was anything to respect. In my brash teenage arrogance, I felt I already knew everything there was to know about the man.

There would have come a time, I think, when we’d have ‘met’ each other; when we’d gradually have found common ground and begun to listen, more than talk. We shared interests in science, semantics, logic. We shared interested in engineering and problem solving, in sports, in art, in jewelry, in language.

My brother Ian’s illness interrupted us.

It wasn’t simply that my brother was there, living with my parents for the last several years of his life. It was that my brother utterly dominated my parents life. It’s hard to say exactly why; something was fundamentally broken in the relationship. Certainly, the injury he suffered as a infant was the root of all this; my mother never in her life forgave herself for it. But more, it was the system they built around him. One in which his needs must be met, his well-being insured. In which all else was secondary to his care.

My parents were obsessive people. It’s why my father was so good at what he did; why he overcame his handicap (dyslexia) to become an expert is his field. It’s why my mother was so incredibly clever with language; she studied it every day of her life. They were incredibly organized, with filing systems I can’t even imagine building and maintaining. When they committed themselves to something, they would not let go of it. Once they accepted that my brother was broken and needed care beyond what a child normally needs, they never let go of that commitment.

Typically, when one has children of one’s own, the playing field levels somewhat. Parents relax into the easy role of grandparents; they witness their children as peers and parents. For some, this becomes a battleground, but for us, it would have been the opposite. MY mother, certainly, only got to know me as I am now after my father and brother were both gone.

Timing can be a bitch though. Ian’s decline began around the same time my first daughter was born. And my parents, with typical single-minded commitment to the role of caretaker, pushed the lesser task of grandparent aside. Later, they seemed to say; when Ian’s better and we have time.

We never had time. My brother’s care went on and on; he never got better. My father’s heart, weakened by a life of too much food, too much drink, and too much smoke, gave out under the stress. He died one morning, while I was in europe with own family.

He died without ever getting to know the grand child who was so much like him, and without he and I ever having a chance to know each other as men.

Today, I was clearing out files in what was once my father’s office, digging through decades of incomprehensible tests and papers, still in perfect, obsessive order. And I found words of my father’s, neatly filed.

I found business correspondence; letters between faculty members at San Jose State and Cal State LA. I found scholarly papers and cover letters to journals requesting consideration for publication.

I found letters to the editors of various newspapers, and a fan letter to Phil Frank, the writer of the comic strip ‘Farley’.

I found a poem or two, a number of essays, and even several short pieces of fiction.

I found my father’s voice in all this. I could hear him in my head; but not as he spoke to me. I heard him as he would have spoken to his colleagues. As he must have spoken to my mother when they were dating. I heard a strong, confident writer’s voice. A man who knows that his greatest gift is with language.

I felt as if I’d found a window into time, and could see the man – not the father, but the man that I never knew. Yet it was one-way; like a recording. I could hear this sliver of who he was, and I wanted to say, look, dad, that’s me too. You never met the man I am; you never heard my writer’s voice. You never saw me as I am with my peers, my friends, my co workers. YOU never saw me parent my children. You were gone too damned soon.

I sat on a dusty floor in the room that was once my pernets, with old type-written, hand corrected paper around me, and struggled to understand what my father did for a living; his words and obscure symbols as foreign to me as the code I write is to my children. But it didn’t matter that I couldn’t make sense of some point, debated in memos between my father and his his friend Lou. What mattered to me was the profound intellectual respect in the dialog. The confidence.

My father rarely showed his creativity and brilliance to his children. Once we’d passed the age where he could tell us bedtime stories, he seemed to lose track of who we were, and we of him. While our house held his paintings, I never saw him paint, and had no idea he could write.

There is so much there; drawer after drawer. I’ve only begun to delve into it, in all the dusty work of clearing out the fragments of my parents lives. But I look forward to something I never was able to do while he lived; getting to know my father, the man.

RIP, PJF

Philip José Farmer, one of sci fi’s great minds, is gone (see entry on him in BoingBoing).

Damn. I shed a tear.

PJF was one of the writers who turned me on to the genre. Not just to what sci fi was, but what it could do and where it could go. WHen I discovered his work as a youjng teen, First via his Edgar Rice Burroughs pastiche, HAdon of ANcient Opar, which actually was one of the best books he ever wrote), and then with ‘vebus on the half shell’ and the ‘world of tiers’, it changed how I read sci fi.

When I began reading, it was because I wanted fantasy and space. Narnia, Tolkein, Asimov. But it wasn’t until I found two authors (Farmer and Zelazney) that I encountered what I’d call ‘adult sci fi’; sci fi that isn’t just about space, but is about life and people.

Farmer isn’t by any means a great writer. His work can be clunky and awkward to my reader’s eye today. But it wasn’t his prose skills that made him important. What made him important was the wild, bizarre imagination, and the impossible yet believable world he created. Who else could have invented River World, with every human ever to live reincarnated along the banks of a seemingly endless river? Who else could have invented the World of Tiers (a world shaped like a giant wedding cake), or Day World where everyone’s in status 6 days a week and gets to live only on one week day. Who else could have gotten into the minds (and crotches) of tarzan, doc savage, teh Wizard of Oz, and so many other characters? He invented the ‘Wold Newton’ concept, interconnecting characters and real people in common universes. Zelazney’s ‘lonesom october’ and alan moor’s “League of Extraordinary Gentlemen” certainly owe him direct debt, as do dozens of other writers who use this device.

PJF was, for many years, my favorite write; and he’s still one of those few who I think changed sci fi, not just for me, but for the genre itself. He opened doors between the real world and the fantastic one in a way no other writer I can think of (then, at least) ever did.

He’ll be missed.

backpiece: second session

I wound up having to re-schedule my planned surgery (it’ll be pushed out a month or so). Which means I was able to get my second tattoo appointment in after all (luckily, Klem hadn’t filled it). Hence, second session. Outline is done; next time, we start on adding details (scales on the mermaids, more detail […]

I wound up having to re-schedule my planned surgery (it’ll be pushed out a month or so).

Which means I was able to get my second tattoo appointment in after all (luckily, Klem hadn’t filled it).

Hence, second session. Outline is done; next time, we start on adding details (scales on the mermaids, more detail on the eagle wings and ship, etc). After that comes shading, and then color.

Click images for bigger version.

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Courts and Hackett ring released

I can finally post pictures; David just emailed me and let me know the wait’s over. The Courts and Hackett ‘Keith Richards Death Head RIng’ is available for purchase at courtsandhackett.com Here’s the ring on my hand, New Year’s eve. This thing is heavy. It’s solid. It’s the biggest skull ring I own. And it’s […]

I can finally post pictures; David just emailed me and let me know the wait’s over.

The Courts and Hackett ‘Keith Richards Death Head RIng’ is available for purchase at courtsandhackett.com

Here’s the ring on my hand, New Year’s eve.


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This thing is heavy. It’s solid. It’s the biggest skull ring I own. And it’s the one with the pedigree; based on Keith’s ring, hand made by David Courts and Bill Hackett in 1978.

I love this ring. It’s absolutely stunning.

not for three weeks

I had these plans to post additional pictures for two of my last posts; better pix of the Thurxton, and of course, new pictures of my back once it was healed up.

Clearly we’re still waiting.

My back is, to the best of my ability to tell, completely healed. Which means it’s time for more ink, obviously. Only thing is, I have a conflict next week when I was scheduled to get the next session. So it’s going to be another month or so ’til we have progress.

The bike, though, is everything I’d hoped. It is, without question, the most fun ride I’ve ever had (at least the most fun ride that didn’t have a pulse). As I’ve gotten to know it, I’ve liked it more with each ride. The handling is fantastic, the exhaust note from the TOR pipes is gorgeous, and it’s got all the speed I need (no, it’s not the fastest bike I’ve ever owned, but I’m ok with that). I just need better weather to get on it and ride every day (I no longer own any rain gear for riding, so I’m still your basic fair weather rider).

However, both things need to get postponed for a while, since I’m going in next week for rotator cuff surgery; I’ll be off my bike for three weeks, and obviously the surgery conflicted with my tattoo schedule.

Honestly, that’s the main reason I’m bothered by the surgery. The repair in my shoulder will be minor, and the recovery should be reasonably quick. But for a boy with a brand new toy, hearing “not for three weeks” sounds like an eternity.

On the other hand, enforced time off work isn’t sounding that bad, even if it comes with pain. And there’s percocet. Mmm, percocet.

EDIT:

After spending the weekend working on clearing out mom’s house and my brother’s long-ignored storage space, I realize there’s no fucking way I can be down for three weeks right not. I’ve postponed the surgery (for a couple of months, I suspect).

Luckily, my tattoo appointment was still clear; which means I *can* get inked after all. Which is WAY better than getting cut open.

back to back

I feel like I should be writing about the ‘new era’ ushered in today, with Obama’s inauguration. Or maybe about the end of blackest era in american politics since McCarthyism. About how history must remember George W Bush as what he is, the worst president in american history, at least in terms of negative effects […]

I feel like I should be writing about the ‘new era’ ushered in today, with Obama’s inauguration. Or maybe about the end of blackest era in american politics since McCarthyism. About how history must remember George W Bush as what he is, the worst president in american history, at least in terms of negative effects and failures.

But you know, I kind of feel like that job is getting done.

Meanwhile, it’s all about me.

I’m starting my back piece at noon tomorrow. And I can’t wait.

I don’t expect to have much to post. This is going to take a long time, and we’re not going to rush it. I don’t like sitting for more than two or three hours when I’m getting tattooed (the endorphins run out after two and I start getting fatigued). This will be months in the making, then.

I don’t know what part we’re going to work on tomorrow. But the rough sketch I saw last week was fantastic. Klem understood exactly what I loved about the source drawing, and exactly what needed fixing, and nailed it all effortlessly, working together original feel with modern, personal touches. So whatever portion we attack is going to be great.

big five – the wood anniversary

Five years. 1,175 entries. 6,000 comments. Three ISP’s, a half dozen servers, several crashes. It’s been a bit of a ride, huh? Five years ago yesterday I started blogging. You can read about that here or here or here or here. And each yeah it seems like I have less to say about it. This […]

Five years.

1,175 entries.

6,000 comments.

Three ISP’s, a half dozen servers, several crashes.

It’s been a bit of a ride, huh?

Five years ago yesterday I started blogging. You can read about that here or here or here or here.

And each yeah it seems like I have less to say about it.

This last year has been a fucked up ride. If you’re reading you know a bit about it. If you haven’t been, feel free to. It’s been a terrible year for me creatively; I’ve written fuck-all, and I’m not seeing that get better yet. Blogging has fallen victim to all this, but so has every other form of self-expression I have.

Here’s to a change in all that.

To all you bloggers out there, write something. Come up for air now and then. Facebook and twitter and myspace ain’t enough.

For me – I have more to say; I don’t know why I’m having so much trouble saying it.

Meanwhile, tonight I go look at a sketch for my backpiece, and tomorrow I pick up my thruxton. Speed and pain, baby.

two wheels good

I just put a deposit on a new motorcycle. After looking at, and sitting on, and considering everything from retro-clasic ducatis to harley sportsters to street-fighter yamahas, kawasakis and suzukis, I fell back to a motorcycle that really, truly looks like a motorcycle. I’m buying another triumph. My last bike was a triumph as well. […]

I just put a deposit on a new motorcycle.

After looking at, and sitting on, and considering everything from retro-clasic ducatis to harley sportsters to street-fighter yamahas, kawasakis and suzukis, I fell back to a motorcycle that really, truly looks like a motorcycle.

I’m buying another triumph.

My last bike was a triumph as well. But it was one of triumph’s modern rides; clad in plastic, curvy and modern, heavy and powerful and comfortable.

Some bikes are good to ride; but others have soul.

I grew up around motorcycles. My father rode little hondas and suzukis; my aunts boyfriend rode harleys. My mom’s bosses at a local bookstore rode bmws. And I grew up trying to decide if I should get a norton, or a harley, or a triumph.

The name Triumph, for people my age, brings to mind Steve McQueen jumping fences in the great escape. It brings to mind the café racer scene of ’60s london. It was the bike of the ‘rockers’, when one imagines mods vs rockers.

The Triumph of that era was a stripped down twin, built for speed. IN it’s day, it was one of the fastest motorcycles around.

I love motorcycles. I always have. I love plastic transformer monstrosities, I love absurdly customized choppers and bobbers. And I’d collect them, if I had time and space and money, one of each type I can imagine.

Motorcycles differ from cars; cars are, almost universally, an exercise in compromise. They’re built to server several purposes at once; cargo and passengers, comfort and safety, economy and performance, reliability and affordability. Very few of them do one thing extremely well, and of those, most are race cars or work trucks.

Bikes though, almost universally, do one thing well. A suzuki hayabusa goes motherfucking fast. A harley low rider looks really cool and grunts incredibly loud. a kz650 ride trails. A gold wing goes long, long, long distances in comfort while having as much storage as a car. Harleys don’t do trails, hayabusas don’t go a long with comfortably with cargo. Sure, there are the few in-between bikes (sport touring), but they’re really one kind of bike with something else grafted onto it.

What this means is, when you buy a bike, you really need to understand what you’re getting.

I’ve spent far too much time over the last month pondering what I wanted. I knew what I didn’t want; no plastic. I knew I wanted light, maneuverable, sorty, fun to ride. I wasn’t looking at touring bikes (I never bike tour), I wasn’t looking at cruisers (when I get one, it’s going to be the real deal, a huge harley). And what I kept coming back to was the Bonneville.

The Bonneville is the triumph of my youth, without the oil leaks and kick starts and electrical problems. It’s a re-imagined version of the bike I wanted way back then. It’s my father’s bikes, but with guts and reliability.

And the one that kept speaking to me was the cafe-racer styled Thruxton.

It’s not a practical bike. It doesn’t have a nice big screen to make long rides comfortable. It’s not a relaxed upright position that would make highway miles as easy as sitting at a desk. And it’s not the fastest bike out there, the lightest. What it is, though, is the kind of bike I’ve always loved. And it suits the riding I actually do; short runs, to and from work and around town. It’s a bike you can get out just to get it out, unlike my Trophy, which always seemed grumpy until it’d been rolling at speed for 15 minutes.

I spent the last two days trying to find one. They’re something of a rarity right now, at least the ’09 version is; which isn’t surprising. Triumph’s fixed a lot little things about the bike with this rev, given it better bars, and dropped in the EFI they’ve been using in other models for years. I found one, finally, way up in Concord.

It won’t be ride-ready ’til the weekend. But I can’t wait. I need to roll.

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