I was in bed for what felt like five minutes (it was actually five hours) when the little alarm clock let loose its hybrid buzz-chirp: 7am, time to wake up. I stumbled into the bathroom, my mind filled with thoughts of the previous night at Maxwell’s. The fluorescent white light above the cracked mirror blinked on and off for a couple of moments before steadying itself, reminding me of the camera bulbs that flashed while we were on stage. I heard myself think: “We’ll never play a bad show again. That’s all behind us now.”
By 8am, Bagheera was finally just dipping into her food, while Huckleberry was darting and thumping across the apartment like a crazed thoroughbred. I was out the door and on my sleepy way through the refreshing, cold morning air: 49 degrees, going up to a chilly 62. JA, who also lives in the neighborhood, was waiting for me to join him in what he refers to as “The Glamorous Side of Publishing.” This is when we break our backs over 200-lb amplifiers and six-foot tall monster speakers and so on. [Note to everyone: It really makes us happy when the writers review small, light gear.] Yes, we do this mostly on our own. And when I say “we,” I actually mean JA. Yes, John Atkinson does this mostly on his own. He lugs monoblocks through his home—up and down staircases, one step at a time—out of (and back into) thick crates, up and down his driveway, and into his small garage, which is completely devoured by audio gear.
On this occasion, we hauled the PS Audio GC-100 and Hybrid Stereo amp, the Musical Fidelity Hybrid preamp, the Ensemble Fonobrio, and the E.A.R. 912 into the truck.
“Well… it’s nice to have your help,” wheezed JA.
“I’m happy to be able to help,” wheezed I.
The drive, however, was lovely. Because the highways were so congested, JA decided to take the surface roads. I was glad he did because it offered me the opportunity to see bits of Brooklyn I’d never before known.
“Really?” I looked around and noticed a few fine gentlemen’s clubs.
“I bet you didn’t know it existed.” We made a right-hand turn, which opened a view out over a parking lot and onto the Jersey City skyline.
“That’s the Goldman-Sachs building,” I said. It was then that I began to realize, despite the ridiculously long subway ride, how very close Jersey City and Brooklyn actually are.
“It’s funny,” I continued, “because this area is so similar to the area of downtown Jersey City they call the Powerhouse Arts District.”















