mdlbear: blue fractal bear with text "since 2002" (Default)

The Hartmann bag is a rather ugly tan cloth bag with leather trim, measuring 10x11x22 inches. The top has a zipper on three sides, for easy access, and has snaps in the two loose corners. There's an outside flap pocket with a snap on one long side, and a rectangle of fabric where a slash has been repaired on the other. It's the same fabric as the bag, so it must have been done a long time ago.

My parents bought it to take their excess purchases home from a trip to Japan, sometime in the early 1960s.

It's rugged enough to be checked through, (just barely) small enough to use as a carry-on, and folds down flat if it isn't needed on one leg of a trip.

It's been well-used and well-loved, by two generations of my family over nearly half a century.

mdlbear: (lemming)

I have asked a couple of people for five Things that they associate with me, to ramble on about in my journal. I extend the same offer to anyone who comments here. These are from [livejournal.com profile] tibicina.

Dylan

Bob Dylan is one of my musical role models: I figure that if he can get up on stage and sing his own songs, so can I. And for the most part I prefer his version to any of the more popular covers, though that may just be a case of what I heard first, or possibly my preference for a more folk-like style over rock or pop.

My favorite song of his is Desolation Row, which I transcribed off an LP back in high school or college (which probably explains why I can still perform the entire thing off-book). It has a melody that's wonderfully well-suited to my usual picking pattern; I can sit and noodle on it for a very long time. Lilly, Rosemary, and the Jack of Hearts (which is Colleen's favorite) is another one like that. It wasn't until this year, when I wrote QV, that I wrote a song that exceeded DR in both length and pickability.

I think what attracts me to Dylan is the surreal quality of much of his poetry. Unlike me and Janis Ian, I don't think Dylan makes much of a distinction between writing songs and writing poems.

I note in passing that Bob is from Hibbing, Minnesota, which (as we used to say back in Northfield where I went to college) is a very good place to be from.

Beards

I started growing my beard when I went away to college and got away from the high school dress code. I did a lot of experimentation back then, going through several styles of gotee and a waxed handlebar mustache before finally settling on a full beard. The fact that my electric razor disappeared sometime in my first or second year of grad school has nothing to do with it.

I know of only one person in California (Dave Uggla, who knew me at Carleton) who's ever seen me without a beard, and it's not my wife. Colleen has warned me that if I ever shave it off she won't recognize me, and will probably slam the door in my face. Which doesn't look particularly good without it -- I inherited my father's weak chin.

Guitars

My first guitar, back in high school, was a cheap Harmony with cheese-slicer action that cut my fingertips to ribbons until I grew calluses, and sometimes even then. My parents got me a nylon-strung Carlos when I went off to college; it's currently lent out to (if I remember correctly) one of the Y.D's friends who needed a loaner to learn on.

The first guitar I acquired in California was my lovely Martin O-15, which Colleen promptly dubbed "Snuggles". We found her at an estate sale for $40; she'd obviously been well-loved (the previous owner had swapped the outside tuners around to make the strings straighter) and occasionally somewhat abused.

I acquired "Plink", my Vagabond travel guitar, sometime in the early 1990's. Plink is small enough that I can play her in a chair with arms, and she sounds wonderful plugged in and amplified; she's been my usual guitar for gigs for the last several years now.

The Epiphone 12-string was inherited from Fred Capp when he, in turn, inherited a Guild from our friend Stripes. She hasn't told me her name yet, and I don't play her much.

I bought my first Ovation, "Ruby" (named for the color of her soundboard) just before my Interfilk gig at GaFilk. It turned out that I didn't like her sound plugged-in, and it turned out that she was really awkward on plane trips. Last year I replaced her with "Flame Darling" -- that was a clear case of love at first sight; I was only able to buy her because the Y.D. had just expressed an interest in learning guitar, and a strong preference for Ruby.

The [livejournal.com profile] chaoswolf's black Little Martin is named "Cindy"; we have an unnamed Applause on loan from Colleen's friend M, and [livejournal.com profile] pocketnaomi's lovely tenor guitar, "Belle", is presently visiting, hanging around the house and looking sweetly seductive.

Colleen has threatened me with divorce or murder if I ever bring another guitar into the house. I think she's serious. It doesn't keep me from looking at banjos occasionally.

Hugs

I love hugging and being hugged. I'm told I give good ones; I guess bears are good for that. That leads me to...

Bears

I'm not sure how my association with bears first came about, though Mom tells me I was very attached to my teddy bear as a toddler. I don't remember.

I've always reminded Colleen of a bear, either Pooh or Paddington, though I've often felt and acted a lot more like Eyore. One of our favorite animals in the zoo is the spectacled bear, to which I bear (as it were) a remarkable resemblance).

My first persona in alt.callahans was "The Medium-Sized Teddybear", a deliberate reference to Cordwainer Smith's Middle-Sized Bear. I became the Mandelbear after describing myself as the positively imaginary half of the cubic Mandelbrot set, a fractal which now serves as my default icon on LJ. An infinitely fuzzy, fractal, alien teddybear suits me well.

Musically I occasionally describe myself as "a bear of very little range".

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