Fort Ord was nick-named “Planet Ord” or just “The Planet” sometime in the 1950s. It has its own geomagnetic field, its own weather patterns, and because the fog line can move unevenly across the base a long road march would often seem to start in a different country. The Army opened Fort Ord proper in 1941; its roads and ranges were laid out under the supervision of General Joseph Stillwell. If understand Stillwell then you understand that Fort Ord was designed for foot travel. Used for basic training for part of WWII, the Korean War, and Vietnam as well as being home to a variety of units lead to ten million men and women passing through this base by the time it was shuttered in 1993. The last group is what interests me, the 7th Infantry Division’s “Lightfighters.” They were my generation born from 1963 onward (known as the “Baby Busters”), and they represent a brief moment in US Army history when the Army seemed to get it right.
The 7th ID Lightfighter stood out for two reasons; the first being their distinctive rag-top helmet covers that lead to their various nick-names: Cabbage Patch Kids, Swamp Things, and Bob Marlies, and they stood out because of their above average soldiering skills. The 7th ID was the first unit to be built upon the lessons of the Vietnam War, and its many officers and NCOs were veterans of that war. The Army raised its standards for fitness and performance in 1984, and the new Lightfighters responded to the challenges and then raised the standards to a new level. At the same time the Army instituted the COHORT (Cohesion Operational Readiness and Training) system wherein entire platoons would serve their entire four year enlistment together from Basic Training onward. These platoons were usually the various weapons platoons such as the mortar crews, anti-tank, anti-aircraft, engineers, and artillery. These platoons received an extra three weeks of training on their weapons before moving to Fort Ord. Upon arrival those Vietnam era NCOs could take the freshly minted GIs and mold them into soldiers in their own image.
Hiking the maneuver ranges of Fort Ord (known as the “Back Yard”) can be a lesson in infantry archeology. Fighting positions (Fox Holes) can be found in the textbook locations at trail intersections all over. Where the Lightfighters made their mark is where they put their positions. Well camouflaged holes can still be found almost intact throughout the entire base. These are invisible until one walks right up on them. The mark of the Lightfighter seems to be the impossible fighting position that can be found on the steep canyon sides. Even more impressive is that after the position was occupied another team of Lightfighters attacked this impossible position; the spent shells of .556 and .762 rounds complete with the rusting detached belt links from the assaulting SAW (a light machine gun) along with four or five pulled hand grenade rings still lay where they fell.
Over the next ridge from this forgotten skirmish site is Fort Ord’s MOUT-Site. MOUT stands for Military Operations in Urban Terrain; Fort Ord’s MOUT-Site is named “Impossible City” because its design made successful assault on any building impossible without massive casualties. Unlike MOUT-Sites at other Army or Marine bases Impossible City is one square mile of densely packed buildings with many tight allies and only one road. Here the Lightfighters trained for potential battles in Korea, Honduras, Panama, Colombia, and Peru. Impossible City is today owned by Monterey Peninsula College for its police academy, and it is routinely used by various military special operations forces and SWAT teams from all over California. It is here where the Lightfighters excelled in gleeful ruthlessness as the attacking forces would encounter booby-trapped staircases, hallways, and alley ways. Blackhawk Helicopters would swoop in and the men would “Fast Rope” sixty feet down onto the rooftops. The mock battles sometimes ended up in actual fist-fights as the OpFor (Opposing Force) laid waste to the attackers. The MOUT-Site was where the majority of Fort Ord’s serious injuries occurred as soldiers went flying out of third-story windows, or dove down flights of stairs avoiding improvised explosive devices made from the plastic MRE (Meals Ready to Eat) packs that were armed with the charge from a practice grenade and stuffed full of unpleasant bodily excretions.
Booby-traps were the 7th ID Lightfighter’s signature. Lightfighters booby-trapped their booby-traps, and it is unwise to pick up anything one might find walking through the back country. A few years back I was hiking with a friend who had been stationed at Fort Ord from ’89 to ’93. As we cut through an off-limits swath of land he suddenly stopped and told me in a hushed voice to slow down, and to walk directly behind him. He had walked me into a kill-zone where his unit had once operated in a defensive action. They had strung the trees with practice Claymore mines and when I suggested that they must have been cleared by that time he pointed to a trip-flare still attached to the nearest tree. Then he pointed to the second wire that leads away to where a Claymore had once been placed. Over time even the aging charges inside practice munitions can ruin your day.
It is eight miles from the brigade area to the rear gate of Fort Ord. Round trip is sixteen, and with creative trail use this can be stretched to twenty miles. Lightfighters could cover that distance in four and a half hours. Not as fast as the Ranger Battalion’s mandatory four hours but still respectable. The twenty-mile ruckmarch was performed once a month, but because the 7thID had few trucks their Lightfighters often logged ten or miles each day under full 70+ pound packs. They bitched about it too. Once a year some brigades would land the men on the Big Sur coast, walk into Fort Hunter Liggett, and then once the exercise was over they would then ruckmarch the eighty-five miles back to Fort Ord. Lightfighters were in great shape, and when they weren’t training they could play just as hard.
Basketball and football could better be titled murder-ball and the death-bowl as rivalries between the companies were fierce. It was so bad that the different regiments rarely played each other out of concerns by command of crippling injuries. The Enlisted Man’s club today is CSUMB’s student center and store. The Army named it “The Rallying Point”, and up until 1984 it was also a topless club. The Lightfighters nicknamed it “The Punch & Jab” because fights broke out early and often and only the base stockade can boast more murders, but not by much. The classic fight at the Rallying Point came in 1987. The 2-9 Manchus were celebrating the regiment’s birthday, and some guys from 3-17 decided to crash the party. What ensued was out of a John Wayne western as tables were overturned, chairs crashed into heads, bodies flew through the air, glass broke, and a blizzard of fists filled the place. A call went out to every police agency, and soon sixty police officers descended along with fifty MPs to shut the festivities down. However the Lightfighter is always in combat mode; as soon as the first cops were sighted the men exited the building and into the Oak forest behind the club. Lightfighters were masters of night warfare, and even though there were estimated to be three hundred men involved in the fight only nine were arrested. The rest simply used the darkness and their comfort with walking long distances to evade capture by walking the longest way possible back to their barracks.
Today I wonder about the kids who attend CSUMB. Do they understand that there is a level of excellence that was established by the men and women who had once called this place home? Do they know what is possible if they push themselves? Do they know that the only limits they face are the limits that they impose upon themselves? For ten years the Army challenged the 7thID’s Lightfighters and the Lightfighters took it all in stride. The Army quit on the 7thID, not the other way around. Although the transformation from military to university is complete this is still a place of transformation. The lesson to be learned from the 7thID Lightfighters is to face the challenge, stick out your chest, and ask “is that best you got?”
Tuesday, December 07, 2010
Rock Guitarists Connections
I have played the guitar since the third Monday of September, 1978. I bought my first electric guitar, and Ibanez Iceman, in 1979 and in doing so I joined a fringe element of mankind. Rock guitarists, I would discover, share knowledge of a handful of truths about the word, and about us that outsiders can never know. A rock guitarist is a creature that could only exist in the late twentieth century. We played a new kind of instrument and a new kind of music in a new kind of world. From the mid-1950s until the mid-1990s as the modern world moved away from serious spirituality towards religious materialism the rock guitarist would become an anathema. Classic rock music lovers today loudly ask where are today’s guitar heroes? The current batches of demigods are in their twentieth year of their career on average with not a lot of young guys coming up the pipeline. The reasons for this are subtle.
When Les Paul invented the solid-body electric guitar in 1940 it is doubtful that he fully understood what his creation would eventually unleash. As the solid-body guitar became mated with the powerful amplifiers of Hiwatt, Vox, and the sublime creation of Jim Marshall it evolved from a musical instrument into a portal that removed the barrier between the conscious, subconscious, and the divine. Most rock guitarists recognized this on some level, and even a few are fully aware of the secret. The act of playing the guitar at high volume creates a closed-loop vortex wherein the music flows from the player’s mind out through his fingers, and then is zapped back into his head. Plato talked of divine enlightenment, and the act of the creation of music is divine, and this is the secret element of this closed loop. To put it another way the guitarist is in direct communion with his creator via his guitar and amp.
How the electric guitar works is that electrical current is fed through magnetic coils called “Pickups”, and the pickups transmit the vibrations of the guitar strings out to an amplifier. The amp takes that signal and makes it louder by pumping the vibrations of the strings through (usually) 12-inch speakers. Once the amp is set to a certain volume a good guitar player can manipulate the exchange between the string vibrations, the magnetic pickups, and the magnets in the amp to cause sustain or feedback. Feedback is where the sound from the amp is cycled back through the guitar. If fire sang it would sound like a guitar feeding back. There is a second kind of feedback that occurs within the player’s head as the gifts of skill and knowledge flow out from deep within the brain, and then return through the ear seeming to inspire more creation. It is a form of fusion; which is what powers the sun, but instead complex heavy gasses being compressed it is ideas and inspiration.
I used the word demigod because that is what it feels like when standing in front of your fully cranked amp blasting cords, and unleashing screaming scales. There is a transmutation that takes place as the guitar is played, and the player temporarily becomes something more than mortal. Between the player and his audience there is transubstantiation as the listener becomes part of that divine closed-loop vortex which in turn unlocks parts of their mind. This process can actually have a negative effect on some guitarists as they try to reconcile the difference between the guy they are while they are playing and the guy that they revert to the rest of the time. Unaware of their inadvertent divine interface, many guitarists seek to recreate that high through the ingestion of artificial substances. This is what happened to Hendrix; almost lead Clapton to kill himself with heroin, made Page, and Van Halen drink like fish. The tragedy is that these substances become a barrier between the player and the divine, and the players that don’t end up prematurely dead face a harsher fate of becoming only a shadow of their former selves.
For the guitarist who has self control or has discovered the truth life takes and interesting turn. That connection to the creator provides a cushion between the hard realities of life, and the possibilities that exist here and beyond simultaneously. We can make people dance, smile, and even cry with our instrument. The rock guitarist intuitively understands that good music connects us to the larger universe and our deepest selves. Now rock guitarist may move on with their lives and put the guitar away, but their intuitive knowledge of deeper truths of man and the universe remain. We know that people are not bad but simply lost; lost from that connection with the divine. The rock guitarist may no longer play regularly yet when that guitar is picked up and plugged in it becomes a time machine as well. The feel of steel under the fingers transports the player back to the very first day they picked up the guitar. The connection is quickly reestablished and the act is much like drinking from a mountain spring.
Guitarists can also pick out other guitarists in a crowd, but they couldn’t tell you how. When this happens total strangers speak as brothers or sisters. They will discuss their guitars, crazy gigs, and other guitarists. I have never met a fellow rock guitarist who felt like a stranger. The reason behind this is simple in that the same divine thing that inspired me also inspired them, and because I was part of that divine loop I was connected at some level with every other rock guitar player who had ever played and will ever play in the future. It isn’t something that I can quantify; it is only something that I know it true.
I described the rock guitarists as an anathema because we are a threat to the current establishment of social cool. Today it is considered foolish to feel connected to the divine; it is popular belief that to do so is primitive, and backwards. The rock guitarist embodied a truth that people could connect to something pure through music, and this is a threat to the materialistic 21st centurions. So we wait and we teach the young. The revolution will continue one day when the time is right.
When Les Paul invented the solid-body electric guitar in 1940 it is doubtful that he fully understood what his creation would eventually unleash. As the solid-body guitar became mated with the powerful amplifiers of Hiwatt, Vox, and the sublime creation of Jim Marshall it evolved from a musical instrument into a portal that removed the barrier between the conscious, subconscious, and the divine. Most rock guitarists recognized this on some level, and even a few are fully aware of the secret. The act of playing the guitar at high volume creates a closed-loop vortex wherein the music flows from the player’s mind out through his fingers, and then is zapped back into his head. Plato talked of divine enlightenment, and the act of the creation of music is divine, and this is the secret element of this closed loop. To put it another way the guitarist is in direct communion with his creator via his guitar and amp.
How the electric guitar works is that electrical current is fed through magnetic coils called “Pickups”, and the pickups transmit the vibrations of the guitar strings out to an amplifier. The amp takes that signal and makes it louder by pumping the vibrations of the strings through (usually) 12-inch speakers. Once the amp is set to a certain volume a good guitar player can manipulate the exchange between the string vibrations, the magnetic pickups, and the magnets in the amp to cause sustain or feedback. Feedback is where the sound from the amp is cycled back through the guitar. If fire sang it would sound like a guitar feeding back. There is a second kind of feedback that occurs within the player’s head as the gifts of skill and knowledge flow out from deep within the brain, and then return through the ear seeming to inspire more creation. It is a form of fusion; which is what powers the sun, but instead complex heavy gasses being compressed it is ideas and inspiration.
I used the word demigod because that is what it feels like when standing in front of your fully cranked amp blasting cords, and unleashing screaming scales. There is a transmutation that takes place as the guitar is played, and the player temporarily becomes something more than mortal. Between the player and his audience there is transubstantiation as the listener becomes part of that divine closed-loop vortex which in turn unlocks parts of their mind. This process can actually have a negative effect on some guitarists as they try to reconcile the difference between the guy they are while they are playing and the guy that they revert to the rest of the time. Unaware of their inadvertent divine interface, many guitarists seek to recreate that high through the ingestion of artificial substances. This is what happened to Hendrix; almost lead Clapton to kill himself with heroin, made Page, and Van Halen drink like fish. The tragedy is that these substances become a barrier between the player and the divine, and the players that don’t end up prematurely dead face a harsher fate of becoming only a shadow of their former selves.
For the guitarist who has self control or has discovered the truth life takes and interesting turn. That connection to the creator provides a cushion between the hard realities of life, and the possibilities that exist here and beyond simultaneously. We can make people dance, smile, and even cry with our instrument. The rock guitarist intuitively understands that good music connects us to the larger universe and our deepest selves. Now rock guitarist may move on with their lives and put the guitar away, but their intuitive knowledge of deeper truths of man and the universe remain. We know that people are not bad but simply lost; lost from that connection with the divine. The rock guitarist may no longer play regularly yet when that guitar is picked up and plugged in it becomes a time machine as well. The feel of steel under the fingers transports the player back to the very first day they picked up the guitar. The connection is quickly reestablished and the act is much like drinking from a mountain spring.
Guitarists can also pick out other guitarists in a crowd, but they couldn’t tell you how. When this happens total strangers speak as brothers or sisters. They will discuss their guitars, crazy gigs, and other guitarists. I have never met a fellow rock guitarist who felt like a stranger. The reason behind this is simple in that the same divine thing that inspired me also inspired them, and because I was part of that divine loop I was connected at some level with every other rock guitar player who had ever played and will ever play in the future. It isn’t something that I can quantify; it is only something that I know it true.
I described the rock guitarists as an anathema because we are a threat to the current establishment of social cool. Today it is considered foolish to feel connected to the divine; it is popular belief that to do so is primitive, and backwards. The rock guitarist embodied a truth that people could connect to something pure through music, and this is a threat to the materialistic 21st centurions. So we wait and we teach the young. The revolution will continue one day when the time is right.
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