It is 1988.
My father lives in a hunting cabin off the highway near Missoula, Montana. It is Spartan in its décor. There is a cot. A small fridge. A bathroom. He isn’t here much. Most of his time is spent in the Rattlesnake Wilderness, where the U.S. Forest Service maintains a cabin for the rangers.
We have returned from town. His neighbor, a young man with long, wavy black hair, is outside. The man wears a black T-shirt and black jeans. My father has described his neighbor to me as being ‘crazy’. This diagnosis stems from an obsession the man seems to have with paper. My father tells me he has spoken about the ‘special paper’ he needs for his project. He can’t get it in Missoula. He must get it shipped.
We get out of the car and my father introduces me to the ‘crazy’ man. We start talking and my dad excuses himself, leaving us alone. I mention I play music. His interest is piqued. “We should jam some time,” he says. I tell him I don’t have my guitar with me.
He smiles. “Come here. I want to show you something.” The crazy neighbor takes me inside his hunting cabin. It’s the same model as the one my father occupies but this guy had a different decorator. The walls inside his cabin are covered with musical instruments – guitars, basses, a lute. There are instrument cases leaning against the walls – cellos, violas, violins. There’s a piano and an organ, and some kind of electronic keyboard.
An Atari computer displays musical notes arranged on a staff.
My father’s crazy neighbor turns out to be a composer. He plays these instruments. ALL of them. He tells me he is composing a ‘heavy metal’ symphony.
Adjacent to the computer is a tall stand that looks something like a drafting table. Sharpened pencils and a drafting brush for clearing eraser crumbs rest on an oversize sheet of paper, printed with repeating lines of musical staffs. It is the paper a composer uses for writing out all the different parts for the instruments in an orchestra.
Very special paper, indeed.