I make furniture all day, but I still gots no money; that doesn’t explain my ad hoc infection, exactly. In construction and related disciplines, you’re always making props and jigs and what-have-yous for the situation at hand, and you adopt it for a way of life after a while. People from the delicate arts (that don’t want to admit they are) talk endlessly about duct tape because they think it makes them sound manly, but duct tape is more a symptom that you have no idea what to do than an indication you do, and are all manly and so forth. This stuff isn’t a patch.
Woodworking catalogs rely on people that don’t ultimately make much buying expensive things with which to not make those things more easily. Parse that sentence, college boy. Anyway, here’s a half-dozen examples of things I made that are better than things you can buy.
1. Clamping Jig – Clamps are really expensive. I’m awful if I ever see Norm making anything on that commendable show he had. Just ask my wife. “He’s making a four-dollar tabletop with four thousand dollars-worth of clamps!” She just nods and smiles. This is why we don’t have cable. Here’s how I make glue-ups. Iron pipe with pony clamps and pads, with the whole shebang hung on the wall to save space and my back. The galvanized pipes on the right don’t leave marks on anything delicate like the black iron pipes on the left do. They should all be galvanized, but I’m cheap. BTW, that benchtop blank in the clamps will be on sale by Friday.
2. Stickers – Stickers is an actual woodworking term, not an ad hoc one. The little bits of wood you place between boards to allow air to circulate all around them, and helps to keep wood from warping from having only one side exposed to the air, are called stickers. I make my own, hundreds of them, from little bits and pieces of off-cut wood. I use them for all sorts of things; Keeping things up off a surface when painting, props, jigs, etc. I have to test my branding iron on something before I use it on your furniture, so they all end up with one or forty SIPPICANs burned into them. The really old ones are all mellow with shellac overspray and smooth from a million hands.They’re all eleven inches long. I only measured the first one. (See item 6)
3. Featherboards – Here’s one of eleventy-jillion I’ve made. A piece of wood will go forward through a featherboard’s little wooden fingers, but will not back up. A safe way to hold wood against a fence and not have it thrown at you by the blade. I make them often, in different sizes for different setups. I suppose I could put the sacrificial wooden fence you see on the table saw on this list, too, but I’m lazy. One of the main bad ideas of most pre-made jigs you buy is too much metal near the blades, and for some reason, too much plastic everywhere else. I don’t want metal things hitting metal things. Then hitting me.This is woodworking, not the artillery.
4. The Push Stick – All woodworkers on TV are liars. They say: the blade guard is removed so the camera can see the work. Lies. All lies. They’re in the trash. Guard or no, never, NEVER put your hand between the blade and the fence. Did I mention NEVER? I push everything through the blade with a push stick. It’s got a little hook in it to hold things down as well as shove them. Stuff gets thrown at you more than any other danger you’ll encounter on a tablesaw. This push stick is about eight years old, I think. It’s a testament to the veracity of my NEVER claim that I still have this one after all this time, despite living in two different states. It is ALWAYS on my fence, so I can NEVER.
5. Tapering Jig – They sell adjustable ones that are made from steel for a lot of money. You must have been dropped on your head as a baby to push a steel anything through a table saw right next to the blade. Upon reflection, you were probably dropped on your head as an adult, too. I have dozens of these jigs, each made special for a particular tapered leg. They’re very safe, and made from garbage. Like bacon!
6. Stop Block – It’s just a leftover from a table apron or something. You clamp it to a fence and cut the same thing over and over. Measure twice, cut once! says the TV. Measure once, set the stop block, and cut 145 times, I say. Measuring twice is for dilettantes.
So, there you go. I make all sorts of things with near nothing. You have near nothing, too, I suspect, or can lay your hands on it. Make something!
Sam Cooke singing lead with the Soul Stirrers.
She had twenty-three masts and she ‘stood several blasts and they called her the Irish Rover…
Imelda May!
The latest installment of Maine Family Robinson is up at Rightnetwork. Read about the miracle of the coves and flitches. Read it, or, um, you won’t know what it says.
We had seven wild turkeys in our back yard this week. We have one we caught at the supermarket in the refrigerator, too. It ain’t Xanadu, but it ain’t quite Dickens, neither.
We are grateful every day for everything we have.
For Mrs. Cottage:
HAD I the heavens’ embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half-light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.
-Yeats
Seasick Steve
He’s an overnight sensation. It just took fifty years.
He’s bummed around the US and Europe forever. Odd jobs, busking on the street, working on the front end of recordings — with some notable artists, mostly otherwise. Now he’s on everything in the UK.
What he appears to be is real. People find “real” electrifying if it’s presented the right way. I imagine lots of people heaping adulation on him crab-walked past him and averted their eyes when they saw him on the street before. Real is electrifying, and real is scary. He may be from Oakland, but he sounds like he was born at the foot of Mount Belzoni, and never moved to Chicago. That real.
“Hobos are people who move around looking for work, tramps are people who move around but don’t look for work, and bums are people who don’t move and don’t work. I’ve been all three.”
The secret is to get yourself a haunted guitar:
In an interview with an Australian magazine, Seasick Steve attributes much of his unlikely success to his cheap and weather-beaten guitar, ‘The Trance Wonder’ and reveals the guitar’s mojo might come from supernatural sources. “I got it from Sherman, who is a friend of mine down in Mississippi, who had bought it down at a goodwill store. When we were down there last time he says to me, ‘I didn’t tell you when you bought it off me, but that guitar used to be haunted’. I say, ‘What are you talking about, Sherman?’. He says, ‘There’s 50 solid citizens here in Como who’ll tell you this guitar is haunted. It’s the darnedest thing – we’d leave it over in the potato barn and we’d come back in and it would be moved. You’d put it down somewhere and the next morning you’d come back and it would have moved. When you took that guitar the ghost in the barn left’. He told me this not very long ago and I said to him, ‘Sherman! Why didn’t you tell me this before?’ and he said, ‘Well the ghost was gone – I didn’t want it around here no more!’”
There’s a secret to getting a haunted guitar: You have to haunt it yourself. Steve do.
If you’re itching for more, Seasick Steve does Chiggers on The Black Cab Sessions.
(Thanks to Misterarthur for sending that one along)
(Note: A little foul language in there)
I think Marlon Brando is better than you do.
It’s because I didn’t pay attention to the last thirty years or so of his life. More or less, The Godfather is the last movie I saw him in, and I didn’t see that when it came out; too young. So no, Jor-El didn’t affect my opinion much. Neither did Apocalypse Now, which isn’t really a movie, and he’s not really in it– it’s just a big self-indulgent mess of misplaced anger and sentiment, with Marlon doing the only sensible thing in it: cashing a check and going home.
All those bad movies were Marlon’s version of an old ballplayer sitting at a card table signing autographs for a few bucks apiece. But in Brando’s case, the little kids waiting to touch the hem of his shabby muu-muu were film directors clutching a few hundred grand, and the card table was a film set. He got too big for the milieu he was in, which is very big indeed, and became Elvis or Santa Claus or something. That’s not his fault. Hell, whoever made this mashup pasted it over a Beatles song that tested the outer limits of the public’s appetite to adore anything, and there’s Brando on the album’s cover.
People should be aware of things that happened before they were born. They should pay some attention to things that matter to those younger than themselves, too. How else will you raise children properly? People should put things in context.
You can see it, if you look closely. There’s this dotted line between standing on wooden floorboards yelling whispers to a house, and having a lens an inch from your nose in an artificial world with only a theoretical audience to pitch your wares to. Marlon Brando erased this line.
Sergio and Odair Assad. I like this a brazillion.
Happy Sunday!
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