Email Specials from October 2010

Friday 10/1/2010 ~ Autographs


Do you have any autographs?

There's something exciting about having a famous person's autograph. It's as if you, on that ragged piece of paper, own a small piece of them.

And it's even cooler if you got the autograph yourself. First of all, you're then sure that it's legitimate. And second, it is evidence that at one moment in time you shared a space with the celebrity. For example, even though he has traveled around the world and has seen and done things I can't imagine, I know that on September 12, 1980 Ray Davies and I were in the same hotel room, sharing a bottle of champagne. (He's probably still reminiscing about it....)

It was right after The Kinks show at The Stanley Theater. And it wasn't just Ray and me... Paul Buriak and his wife Josie were there, too. And the important thing? I have an autograph to prove it!! (And of course, the memories!) (Although thanks to the champagne, those aren't as sharp as the autograph...)

All of this came to mind because we had a couple of autograph experiences here at the store this week.

On Tuesday one of our customers walked in and said, "Hey, I just saw Chrissie Hynde up at Slackers!" (Chrissie Hynde: singer, songwriter and guitarist of The Pretenders. Slacker: a store up the street!)

Meanwhile, ace Pittsburgh Guitars employee, Johnny B. has a room at home decorated with autographs from rock & roll celebrities that he's met. So he grabbed a Telecaster pickguard from the wall (Chrissie plays a Tele), and he ran out into the street. He met her as she was walking toward the store. Her first comment: "No, sorry, I don't sign those..." But when John explained that he worked a few doors away at a guitar store, and the autograph was for his personal collection, she cheered up. "In that case, sure!" Now his wall at home has one more signature!

The other occurrence this week was a bit stranger. Earlier this month we purchased an used blue Telecaster, with Susan Tedeschi's autograph on the pickguard. Susan is a Grammy-nominated blues guitarist, who often plays a blue Telecaster. And, in fact, the guy who sold this guitar to us bought it because he was a Susan Tedeschi fan. He had her autograph it in 2000. (Here's Susan with her blue Tele.)

Unfortunately in the world of used guitars, autographs generally don't increase the value of an instrument. Sure, it's different out in autograph-land. In "collectors stores," like the kind of shops you find in Las Vegas, a celebrity autograph on a $89 Strat-copy suddenly makes it worth $500. (Which is probably why Chrissie Hynde was hesitant to sign John's pickguard. It may have ended up on an Acme Tele-copy.) But in real life, a $1500 Les Paul is easier to sell without writing on it.

Since we always need used American-made Telecasters, it made sense to get this blue one out on the wall. On Monday morning, Scott asked me if he should rub Susan's autograph off of the pickguard, and set-up the guitar for sale. Since this wasn't a vintage guitar, and we have new Fender Tele pickguards exactly like the one that came with the guitar, I made a quick decision to just switch pickguards. I don't have a need for a Susan Tedeschi-autographed pickguard... but the previous owner went to the trouble to get it... so we took it off and put it aside.

Betsy then photographed the guitar, and put it on our web site.

Two hours later I got a phone call from Australia.

And the guy wanted to buy the Telecaster.

Now, thanks to the ol' world wide web, we've sold guitars to Australia before. In fact, we just shipped a bass there last week. So, although it was a bit surprising to sell the Tele so quickly, it appeared to be just another sale. I took the guy's info, arranged for payment, and chatted about Australian-made Maton guitars. (George Harrison used one in briefly in May, 1963.) The Australian guy was very friendly and happy to buy the Telecaster. And at the and of the conversation, he said, "Thanks so much. I've been looking for this color because I have a pickguard autographed by Susan Tedeschi, and I want to put it on a blue Tele!"

Yep. True story.


See you soon,


PS: Speaking of autographed guitars, we have one on the wall right now. It's an Epiphone Les Paul, signed by Joe Perry, his son, and his son's band, The TAB Band. Is it $500, like it would be in Vegas? Nope. It's the usual price for a used Epiphone Les Paul. Here's Sam with the guitar.

PPS: Speaking of autographs in general, it must get tiresome for celebrities to be constantly stopped for an autograph. Steve Martin devised a solution for folks who want to document that they've met him. He carries a special business card with him. Steve Martin's card.

PPPS: Getting back to Susan Tedeschi, if you look closely at the photo above, she has autographs of other people on her guitar!

PPPPS: George Harrison borrowed the Maton guitar from Barrett's Music Shop in Manchester, UK, when his Gretsch Country Gentleman was in for repair. Here's a picture of George with the borrowed Maton MS-500.

PPPPPS: Thanks to everyone who entered the "Win Tickets To See Pat Metheny" contest last week. Congratulations to our winner, Jeff W.

PPPPPPS: Sign up now for Pittsburgh Guitars Big Beatle Show #7. December 11th at the Rex Theater. Contact John.

PPPPPPPS: Customer of the Week: JP, Chrissie & The Fairground Boys


Friday 10/8/2010 ~ Questioning Beliefs


We all have beliefs. And it's good to be confident in your beliefs. But just because you've believed something for a long long time, does that mean you should never question it?

Earlier this week a guy stopped by the store to talk about some guitars he wanted to sell. Most were recent issue instruments, but one was "vintage," so naturally I wanted to discuss that first!

He said his brother bought it brand new in 1965 (a good start in any vintage guitar story!) and that it was 100% original (also good!) and it was a Fender Jazzmaster.

Now, from a vintage-value standpoint, a Jazzmaster won't sell for nearly as much as a Strat or Tele from the same year, but it's still a nice old guitar. And from Jazzmaster-value standpoint, a custom color Jazzmaster is worth more than a standard sunburst one. So my first question was, "What color is it?"

And he said, "Natural."

At which point my brain said, "Aww, too bad."

I explained to him that Fender didn't make natural-finish guitars in 1965. (Their first was the 1968 Tele Thinline. Other models became available in natural in 1973.) He said, "That's what everyone tells me, but my brother bought this brand new, and we've never done anything to it. It's 100% original." Then he added, "Maybe it's even more of a collectors item, because of the finish!"

Well, I doubted his story. But I love looking at guitars. And if its something I've never seen before, I'd be thrilled. So I asked him to bring it in.

Two hours later he returned with a vintage white Fender case. Fender used the white cases from 1963 through early 1964, so it wasn't quite right for a `65 Jazzmaster, but it was close... so, so-far-so-good. When I opened the case, though, we were back in "Aww-too-bad" land. The guitar's finish had been completely stripped off and the body was bare wood.

The guitar had obviously been like that for a long time. There were assorted dirt marks from heavy use in most of the wood grain, and even a spot where a drink had splashed on it and the moisture stained the wood. I explained to him that although it was old and had a cool I've-been-played-in-a-lot-of-bars vibe, unfortunately it was not original. His reply: "Yes, it is."

I explained that I have been studying guitars for thirty-five years, I've read hundreds of books on the subject, and I've personally seen over 10,000 guitars, including many, many refinished (or in this case no-finish) guitars. I explained that there was not a "natural finish" on this instrument, but that it was actually bare wood. And I explained that no major manufacturer offered a guitar in the 1960s with a bare wood finish... precisely because it would end up looking stained like this one.

His response: "No, this is original."

His argument was that his brother bought it brand new in 1965 and it had not been changed since. So, I suggested we look at the serial number... which indicated that the guitar was made in 1963. (That would be consistent with the case color.) I suggested that since it was two years old by the time his brother bought it, perhaps it was stripped during that time. And I suggested that perhaps his brother misunderstood the "new" part, or perhaps the person who sold it to him misrepresented it as "new."

He almost considered these options. For a second I could see him wondering. But then he said, "Nope. This is all original."

The fact is that since he believed this guitar to be all original for so long, since 1965 to be specific, it was not possible for him to change his mind now. We tried to sway him with logic, facts, and the collected experience of everyone here at the store. But to him, his long-held belief was too powerful.

I guess the moral here is: Just because you've believed something your entire life... that doesn't necessarily mean it's true.

Since we're talking about Jazzmasters, here's Sam with a sunburst 1960 Jazzmaster. This is most likely the original color of the Jazzmaster discussed above.


See you soon,


PS: Unfortunately, neither of the products in this weeks Email Special will work on bare wood!

PPS: Speaking of beliefs, from 1964 until 1970 I believed that George Harrison's Gretsch Country Gentleman was black. Hey, that's the way it looked in black & white photographs! In wasn't until I learned more about the Gretsch model line that I realized its real color was dark brown. (The catalog description: "Rich mahogany-grained finish")

PPPS: The previous Email Special mentioned three people: Ray Davies in Pittsburgh in 1980, Chrissie Hynde in front of our store last week, and Susan Tedeschi's name on a pickguard. Hank L. wrote to mention that back in 1980 Ray Davies was dating Chrissie Hynde... so they actually had a connection. He asked if there was also a connection with Susan Tedeschi that would tie all three characters from the story together. Well, I don't know! But I'm going to look into it. I love coincidences!

PPPPS: The Greatest Halloween Show In The History Of Mankind!!
Night Of The Singing Dead, #18
Friday, October 29 & Saturday October 30, 2010
8 PM
The Rex Theater, South Side
Tickets on Sale now!
Here at the store, and online!

PPPPPS: Customer of the week: Bill Toms


Friday 10/15/2010 ~ Switches


I remember the first time I was confused by a switch.

This is going to make me sound really old, but I remember when a switch only did one thing. And I can pinpoint the first time technology started to confuse me. For the sake of this story, I'd like to use the terms "switch" and "button" interchangeably. By either, I will be referring to something that you slide or push in an attempt to trigger an electronic event.

I grew up in simpler times. If you flicked the light switch, a light would come on. If you pushed the "on" button on the TV, the TV would come on. I may not have known how they worked, but I understood that a switch had a function... one function.

Then in 1988 I bought a Roland R-8 drum machine.

We were doing a lot of studio stuff at the time, and I thought it would be interesting to mess around with a drum machine. I plugged it in, but nothing worked the way I anticipated. I opened the 1,000 page manual... and I tried to stay awake during twenty or thirty pages of techno mumbo jumbo. (Hey, I'm a drummer, not a rocket scientist!)

Eventually I discovered that any given button would do different things, based on which other buttons were pushed. And it was confusing. How could one button do more than one thing? I know this seems absurd now... now that we have the touch-screens on our cell phones and one button iPods the size of postage stamps. But the R-8 was the first time I interacted with multi-function buttons. And it was hard to accept. Here's me with my Roland R-8. I never did learn how to use it. (Although other folks did, so it didn't go to waste.)

It's interesting how much the world has changed... especially with regard to switches.

And that reminds me of last week's Email Special. I mentioned checking out a Fender Jazzmaster. And even though the Jazzmaster has been around for more than half-a-century, most people still don't know how its switches work.

Let's take a quick trip back... and back... and back...

In the early 1950s Leo Fender changed the world (or at least the future of popular music) with the introduction of the first commercially-successful mass-produced solid-body electric guitar, the Fender Telecaster. Gibson, not wanting to miss out, countered with their Les Paul Model. But as both companies sought to improve their product (and capture more of the marketplace) they chose different paths. Gibson constantly tinkered with the Les Paul, introducing new features on the model throughout the decade. (Wrap-around bridge/tailpiece in 1953, tune-o-matic bridge in 1955, humbucking pickups in 1957, sunburst finish in 1958.)

Leo Fender, though, opted to leave the Telecaster primarily unchanged. He introduced his "improvements" with new models. In 1954, his new "Stratocaster" featured a contoured, more comfortable body, three pickups and a vibrato. Like the Tele, the Strat was a hit. And, as with the Tele, Leo didn't mess with success.

When he had an idea for a new innovative wiring system, Leo introduced yet another model. One that would be his top-of-the-line guitar! In 1958 Fender unveiled the Fender Jazzmaster. And it featured a slew of new features! The body was slightly more off-set than the Strat, which would be even more comfortable to hold. The bridge was mounted on pivot points in cups, so that it rocked back and forth as the vibrato was used, maintaining your intonation. The fingerboard was rosewood, a dark color, so that you wouldn't see those unsightly dirt marks that developed after the fingerboard finish was played through on the light-colored maple necks of Strats and Teles. The pickups were extra wide, to pick up more of the string length and provide a richer sound. (Maybe even rich enough to attract jazz players, as the name indicated.) And lastly, its electronics were totally new!

Leo watched bands using his products on stage. And he noticed that guitarists would change their volume and tone when it came time for their solo. He reasoned that he could aid this process by designing a guitar with separate rhythm and lead electronics. And that is the beauty (and the source of decades of confusion) of the Jazzmaster's wiring system.

The Jazzmaster features a vertical slide switch on the upper bout. When this switch is in the up position, only the neck pickup (the "rhythm pickup," so to speak) is on. Next to the switch are two horizontal wheels that control the volume and tone of the pickup. In this setting, none of the lower controls work.

When the vertical slide switch is moved to the down position, the volume and tone control wheels are by-passed, and the lower controls are activated. The lower controls are a master volume, master tone, and pickup selector switch.

It's a very clever idea. You can set your rhythm sound, volume and tone; and then set your solo volume and tone; and then with one switch, switch between them.

But it may have been a little too clever. First of all it was confusing. And even if you did understand the concept, it awkward to use in real life. It's hard to pre-set your volume and tone controls before the song starts. Despite pre-planning, it's helpful to be able to adjust your sound once everyone else in the band is playing. And the small horizontal wheels in the "rhythm" section are hard to deal with in the middle of a song. Meanwhile, since you generally strum downward on the strings, most musicians find it very natural to adjust the lower controls as needed. So, ultimately, it's easier to just use the lower, normal controls, and forget about the upper circuit.

Here's me with a 1960 Fender Jazzmaster.

Here's a close-up of the upper controls.

Here's me trying to operate the upper controls during a song.

Hey, at least now you know how the wiring works on a Jazzmaster!! And that puts you ahead of most people!

If the Jazzmaster was introduced today, in an era when even little kids can handle the multi-function switches on an iPhone, I bet its switching system would find better acceptance. Just as I eventually understood that one switch can do many things, today's younger players would be quick to grasp the two-switching-systems-in-one-guitar concept. (Even if it wasn't the most practical set-up.)


See you soon,


PS: Despite the fact that the Jazzmaster was not a hit with jazz players, and most folks were confused by its wiring, Leo didn't give up with the model. In fact, in 1962 he introduced a new, even fancier version, the Fender Jaguar. The Jaguar was the new top-of-the-line, and more expensive than the Jazzmaster. It featured the same upper wiring circuit, but the lower section contained three vertical slide switches. Two of these were on/off switches for the pickups, and the third added a capacitor to the circuit, slightly changing the tone. And all of these switches were mounted on chrome panels.

Here's me with a 1963 Fender Jaguar.
(Yeah, this one has a few thousand miles on it!)
(I like guitars like that! They have a special vibe!)

Here's a close-up of the controls.

PPS: We'll save a discussion of scale length for a future email, but for what it's worth, the Jazzmaster is a 25.5" scale, the same as the Telecaster and Stratocaster. The new Jaguar featured a shorter, 24" scale length.

PPPS: Since the mellow sound of the wide pickups on the Jazzmaster didn't strike a chord with anyone, Leo opted for a narrow pickup on the Jaguar. Furthermore, the Jaguar pickups featured metal comb-like pieces on either side, designed to concentrate the magnetic field and provide an even brighter sound.

Here's a close-up of both guitars' pickups.

PPPPS: As Fender's high-end guitars, the Jazzmaster and Jaguar were popular models... right up until Jimi Hendrix. Once the world saw Hendrix do that thing he do with a Stratocaster, Jazzmasters and Jaguars ended up in pawn shops.

And it was there, as cheap unloved guitars, that the early punk bands found these models in the mid-1980s.

My favorite Jazzmaster picture.

PPPPPS: The Greatest Halloween Show In The History Of Mankind!!
Night Of The Singing Dead, #18
Friday, October 29 & Saturday October 30, 2010
8 PM
The Rex Theater, South Side
Tickets on Sale now!
Here at the store, and online at!

PPPPPPPS: Customer of the week: Southern Culture On The Skids


Friday 10/22/2010 ~ Electricity, Magnetic Fields, and Sitars


I've been reading a book about Einstein's theory of mass-energy equivalence. ("Why Does E = mc2?" by Brian Cox and Jeff Forshaw.)

Early in the book the authors discuss scientific work that inspired Einstein, including that of British physicist, Michael Faraday. Faraday is most famous for his work with electricity and magnetic fields. He found, through careful experimentation, that electric currents generate magnetic fields. He also discovered that moving a magnet through a coil of wire generates an electric current. These two simple phenomena, now referred to as electromagnetic induction, are the basis for generating electricity in electric motors... which surround us everywhere... even in the CD/DVD drive in this computer I'm using right now. Quoting from the aforementioned book, "Faraday's contribution to the growth of the industrial world is incalculable."

Oddly, though, despite listing many positive benefits of Faraday's work, the authors fail to mention electric guitars! The basic science behind an electric guitar pickup is Faraday's Law of Induction. A guitar pickup is constructed of a magnet and a coil of wire. As Faraday noted, there is a magnetic field surrounding the magnet. When a vibrating guitar string disturbs that field it causes an electric current to be generated in the coil of wire. A pickup goes bad when there is a break in the coil, which interrupts the current flow. And "disturbing the magnetic field" is why you shouldn't put acoustic strings on your electric guitar. Acoustic strings are primarily made of bronze, rather than the steel of an electric string. Bronze won't impact the magnetic field of the pickup as much as steel, so it won't create as strong a current.

As I was reading about Michael Faraday, I thought, "I should tell everyone about him. After all, his scientific discoveries eventually led to the development of the pickup, which eventually led to rock & roll." But then I thought, "Let's face it, most of us don't care all that much about the science behind an electric guitar. We care about its development and use!"

So, instead of Michael Faraday, I want to talk about Vinnie Bell!

Vinnie Bell was a successful New York City studio musician in the mid-1960s. He played on hundreds of hit songs, movie soundtracks, and TV shows. In the studio his job was the get the guitar sound the producers wanted. And all producers want a hit record. And the easiest way to get a hit record is to mimic the sound of another hit record. And that brings us to 1965, 1966 and 1967.

In early 1965 The Beatles filmed their second movie, "Help!" One scene took place in a restaurant featuring an Indian band. During the filming, George Harrison took an interest in a sitar played by one of the musicians. In mid-1965 he bought a sitar. In October 1965 he used it on a Beatles' recording, "Norwegian Wood," from the Rubber Soul album. Soon the rest of the pop world wanted to use a sitar. In March 1966, Brian Jones used one on the Rolling Stones' hit 45 "Paint It, Black."

At this point, let's take a quick look at the sitar. Here's a picture. Although it looks confusing, with two rows of strings, the lower row is not played at all. They merely vibrate. And the top row of strings are mostly just drone strings, strummed, but not fretted. The melody is primarily played on one string. The hardest part about playing the sitar is holding it. (The second hardest part: listening to someone play one!)

Now, getting back to New York record producers... When The Beatles (and then the Rolling Stones) used a sitar, producers started requesting sitars on their songs. And Vinnie Bell ended up carrying one around New York to recording sessions. Needless to say, a large fragile instrument like a sitar is not an easy thing to haul around. Being a clever and innovative guy, he thought, "There's gotta be an easier way to do this!" On his way to a session he sketched out a small solid-body sized electric sitar. And thus the Danelectro Coral Sitar was born. Like a real sitar, it had sympathetic strings. Unlike a real sitar it was strung and played like a normal electric guitar. Though it was hollow like other Danelectro models, it didn't really vibrate enough to rattle the sympathetic strings, so they were mostly for show and novelty. But the six-string part actually sounded like a real sitar, and was 1000 times easier to use. Here's Sam with a 1967 Danelectro Coral Sitar. The model was an immediate hit, and was immediately used on hit records.

Here are a few (many of these feature Vinnie Bell playing the sitar on the record):

"Green Tambourine" by the Lemon Pipers

"Cry Like A Baby" by The Box Tops

"Games People Play" by Joe South

"Hooked On A Feeling" by BJ Thomas

"Band Of Gold" by Freda Payne

"Signed, Sealed, Delivered" by Stevie Wonder

And we owe it all to Vinnie Bell!

The Danelectro sitar was made from 1967 until 1969 when Danelectro went out of business.

I thought of Vinnie because this week we sold two sitars at Pittsburgh Guitars. Years ago we used to sell real Indian sitars, and on Monday one was traded back in. We sold it a day later. Yesterday we sold an electric model made by the Italia company. Although in recent years the Danelectro name was revived, they are not currently making an electric sitar. Fortunately, several other companies are, and Italia makes a particularly nice one. Here's John with an Italia electric sitar.

So, to recap, two names we should know:

* Michael Faraday, in 1821, discovers electro-magnetic fields
* Vinnie Bell, in 1967, invents the electric sitar

OK! Now we have something to talk about over dinner!

Speaking of sitars... Winter is approaching. And that means dry air! And that's bad. Especially for your guitar! If your guitar gets too dry, the wood will shrink... Your fret edges will get sharp (since steel doesn't shrink)... And eventually your neck angle will change... And then your strings will fret out on the upper frets... And then... it will sound like a sitar!


See you soon,


PS: You're probably wonder what the "Coral" part is all about in the Danelectro Coral Sitar name. In 1966 Nat Daniel sold his Danelectro company to MCA Inc. That was the era when big corporations saw that every kid in America wanted a guitar, so they started buying guitar manufacturing companies. CBS bought Fender, Baldwin bought Gretsch, etc. In 1967 MCA announced a new "Prestige Line" of Danelectro guitars and amps, to be marketed under the "Coral" brand. These guitars and amps only said "Coral" on them, but MCA never hid the fact that they were Danelectro products. In fact, the 1967 catalog even said Coral/Danelectro. So "Coral" was one of those ideas that sounded good at a board meeting, but in reality only caused confusion.


PPS: The Greatest Halloween Show In The History Of Mankind!!
Night Of The Singing Dead, #18
Next Friday, October 29 & Saturday October 30, 2010
8 PM
The Rex Theater, South Side
Tickets on Sale now!
Here at the store, and online at the website!


PPPS: A few songs Vinnie Bell played on:
(not necessarily using the sitar)

BLUE ON BLUE - Bobby Vinton

DOUBLE RAINBOW - Antonio Carlos Jobim



HELLO DOLLY- Louis Armstrong

CHAPEL OF LOVE - The Dixie Cups


YOU DON'T OWN ME - Lesley Gore

A SUMMER SONG - Chad & Jeremy

WALK ON BY - Dionne Warwick

GOIN' OUT OF MY HEAD - Little Anthony & The Imperials





CANDY MAN - Sammy Davis Jr.



REUNITED - Peaches & Herb

BABY I'M YOURS - Barbara Lewis


YOUNGER GIRL - The Critters


YOU DIDN'T HAVE TO BE SO NICE - The Lovin' Spoonful

IT MUST BE HIM - Vikki Carr

FUNKY BROADWAY - Wilson Pickett

98.6 - Keith

HONEY - Bobby Goldsboro


CANDIDA - Tony Orlando & Dawn


KNOCK THREE TIMES - Tony Orlando & Dawn

DAYDREAM - The Lovin' Spoonful

MY GUY - Mary Wells

BOTH SIDES NOW - Judy Collins


SUNNY - Bobby Hebb



SUGAR, SUGAR - The Archies





DA DOO RON RON - The Crystals

RUNAWAY - Del Shannon



SOLDIER BOY - The Shirelles


LAZY DAY- Spanky & Our Gang


PALISADES PARK - Freddy Cannon

THIS MAGIC MOMENT - Jay & The Americans

TELL HIM - The Exciters

CARA MIA - Jay & The Americans

ONE FINE DAY - The Chiffons

COME A LITTLE BIT CLOSER - Jay & The Americans

JEAN - Oliver

HAIR - The Cowsills

MOCKINGBIRD - Charlie & Inez Fox






DO YOU BELIEVE IN MAGIC - The Lovin' Spoonful

SUMMER IN THE CITY - The Lovin' Spoonful

THE SOUNDS OF SILENCE - Simon and Garfunkle

MIDNIGHT COWBOY - Ferrante and Teicher

I WILL FOLLOW HIM - Little Peggy March

THEME FROM "TWIN PEAKS" - Angelo Badalamenti

LEADER OF THE PACK - The Shangri-Las


LET'S HANG ON - The Four Seasons

OUR DAY WILL COME - Ruby and the Romantics



BIG GIRLS DON'T CRY - The Four Seasons

BAND OF GOLD - Freda Payne

WALK LIKE A MAN - The Four Seasons

MR. DIEINGLY SAD - The Critters


NEW YORK, NEW YORK - Frank Sinatra

DAWN - The Four Seasons


RAG DOLL - The Four Seasons

"1-2-3" - Len Barry

TRACY - The Cufflinks


SUMMER OF '42 - Peter Nero

SHE CRIED - Lou Christie

THE NAME GAME - Shirley Ellis



PPPPS: Customer of the week: Ryan Bingham


Friday 10/29/2010



Sorry I can't do an Email Special this week. I'm up at The Rex Theater building a massive set for tonight's show, "Night Of The Singing Dead, #18." (I love to work with 2x4s!)

Next week, though: the answer to life!

Thanks for reading each week!



PS: The Greatest Halloween Show In The History Of Mankind!!
(You'll laugh. You'll cry. It's better than "Cats"!)
(OK, you won't really cry... But you will cry: This is better than "Cats"!)
Night Of The Singing Dead, #18

Friday, October 29 & Saturday October 30, 2010
8 PM
The Rex Theater, South Side
Tickets on Sale now!



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