Crazy Scotsman
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Departing daily from the ordinary objects of my thoughts.
For the Cigar Aficionado
“Hello, my friend! You like cigars?” A wiry man with close-cropped hair and dark jumping eyes was suddenly beside me on the crowded Havana street, oiling me up with a stage smile and an amiable question. My answer: “Sure, who doesn’t?” Under the pale, pitiless Caribbean sun, he led me through the bustle of hurrying bodies to a dark doorway on a side street. Inside I could see only a shadowy stairway leading up; I hesitated. He noticed.
“No, it’s OK. My house. I show you some good cigars.” A pause.
“Come inside, please. It’s OK.”
At the top of the stairs was a window opening onto a sort of balcony. A man sat cross-legged, half inside and half out, surrounded by russet-colored curls of tobacco, intently rolling cigars. We made a left there and headed down a decrepit hallway lined with doors. Somewhere, a baby cried.
Inside his gloomy apartment, he opened a desk drawer and pulled out a gaudily multicolored box. Conquistadors and mermaids danced a cartoon quadrille on the lid. He proudly swung it open to reveal several tapered cylinders of brown paper, lined up on a delicate sheet of tissue. “Nice cigars here. You like?”
I was skeptical. “Are they USB compatible?”
His face clouded with confusion. “What do you mean?”
“Like the Soyo 1.8” Cigar HD20 Hard Drive,” I explained. “It gives you 20GB of storage capacity in a package small enough to fit in your shirt pocket. And since it’s fully USB 2.0-compatible, you can play it as soon as you plug it.”
He shook his head in short, quick jerks. “No, no, no. I’m talking about cigars that you smoke. Tobacco. Just cigars, you know?”
“But the Cigar HD20 is perfect for transporting business presentations, media files, important documents…” I could see none of this was getting through. “I thought you said you had some Cigars to show me. Didn’t you mean the Cigar HD20?”
For some reason, he stared at me like I was an idiot. Pity and contempt swirled around his expressive features as he thought a moment. Finally: “Please, I ask you to leave my home.” All sympathy vanished from his narrowing eyes. “I think, maybe, you’re no good. Bad man, I think. Leave now.” Just then, a massive, shirtless Cuban appeared from an adjoining room, stretching and rubbing his eyes as if he’d just rolled out of bed. He’d have been a linebacker, if they’d played Yankee football down here.
This new member of our party barely seemed to notice me. Neither he nor my would-be cigar salesman said a threatening word; they didn’t have to. I hustled
back down the hallway, past the cigarmaker, and down the stairs. The Cigars I was looking for seemed very far away.
"In July 1973, Johnny Cash spent several days in the studio at his House of Cash offices in Hendersonville, Tennessee, recording songs and telling tales with just an acoustic guitar and his virile craggy baritone. He sang Tin Pan Alley hits, traditional folk and gospel tunes, new originals and favorite covers by the Louvin Brothers and Johnny Horton, among others. He recited poetry and reminisced about his teenage job as a water boy on a river-dredging crew and the hours he spent glued to the radio, loving and learning the very songs he sang in these sessions...If you are still reading at this point and are willing to have another Johnny Cash related recommendation thrown at you, then here it is. In 2005 a number of Norwegian bands got together and made a CD of covers. The result can be seen here. I am not actually sure where you can buy this CD, but if you are interested in me looking further, get in touch with me and I will look. The golden gem of this collection is "I Walk the Line" by Magnet. This haunting rendition is, I dare say, more moving than the original.
Personal File delivers a Cash even his most devoted fans have never heard before: at the height of his career and vocal power, telling the story of his life in music, as if he were sitting across from you. "This is his 'Basement Tapes,'" says Berkowitz, "as close as you can get to him singing on the porch." There was no documentation with the original reels to suggest Cash ever submitted them to Columbia, his label at the time. But John Carter Cash recalls his dad referring to these sessions at the time of his first album with producer Rick Rubin, 1994's stripped-back American Recordings. "He talked about how he'd made a record like it in the Seventies," John says, "but nobody was interested in putting it out."