Tuning up two passions under one roof

The Webb Family in the workshop. From left: Phyllis, Dale, Ben and Josh Webb, and project manager Hannah Schiffer.
Natalia Zukerman
The Webb Family in the workshop. From left: Phyllis, Dale, Ben and Josh Webb, and project manager Hannah Schiffer.
Magic Fluke Ukulele Shop and True Wheels Bicycle Shop are not only under the same roof in a beautiful solar powered building on Route 7 in Sheffield, but they are also both run by the Webb family, telling a tale of familial passion, innovation and a steadfast commitment to sustainability.
In the late ‘90s, Dale Webb was working in engineering and product design at a corporate job. “I took up instrument manufacturing as a fun challenge,” said Dale. After an exhibit at The National Association of Music Merchants in Anaheim, California, in 1999, The Magic Fluke company was born. “We were casting finger boards and gluing these things together in our basement in New Hartford and it just took off,” Dale explained. “It was really a wild ride, it kind of had a life of its own.”
For the first few years of business, Dale and Phyllis Webb were making and shipping 3,000 to 4,000 instruments a year. They soon moved out of their basement and into an old, abandoned service station in New Hartford where they were also fulfilling orders for books written by Phyllis’s brother, Jim Beloff. “He was a guitarist, songwriter and performer,” said Dale of his brother-in-law. “He picked up a ukulele at a flea market and he never went back to guitar.” Beloff established Flea Market Music, which published the wildly popular Jumpin’ Jim’s Ukulele Songbook series. Beloff’s songbooks, instructional books, DVDs and the Webb Family’s Fluke and Flea ukuleles have contributed greatly to the popularity of the instrument.
Developed in the 1880s, the ukulele is based on several small, guitar-like instruments of Portuguese origin that were introduced to the Hawaiian Islands by immigrants from Madeira, the Azores and Cape Verde. In the Hawaiian language the word ukulele roughly translates as “jumping flea.”
Since its first shipment of concert Flukes in three distinct color options in June of 1999, the product line has expanded exponentially with a diverse array of offerings. From the traditional Soprano, Concert, Tenor and Baritone Uke Banjos to the more contemporary solid body Electric Uke and Timber Bass, Magic Fluke has carved out a niche in the world of stringed instruments. Said Dale, “Our niche has been the nontraditional look, which, I think, has served us well. We have an iconic, unique headstock and then we do a lot of customizing with either laser engraving or printing. We can print anything on a face, and we do that in-house. People send us their pictures or artwork and we can put that right on the instrument.” Recent additions, such as the five-string violin introduced in 2021, signify the company’s ongoing commitment to innovation. A short-scale electric cello is slated for release later in 2024.
With a keen eye for locally sourced materials and a commitment to eco-friendly practices, Magic Fluke stands as a testament to the power of conscientious craftsmanship. This ethos of environmental responsibility has been proudly passed on to the three Webb boys: Josh, Ben and Sam, who are not only continuing the family ukulele business, but expanding to include their own interests and areas of expertise. Ben Webb is building an inventory of furniture and home objects, “highly functional, very simple forms that are made of local hardwoods,” he explained. “The whole idea is to build something of quality and put it in the hands of as many people as possible. I feel like it’s often one or the other. It’s like, build something of quality and put it in the hands of people that can afford it or put it in as many hands as possible but compromise on quality.”
The Webbs do not compromise on quality, while forging deep relationships within all their various networks. “It feels really good to be able to sell something that is made with dignity and has a really thoughtful environmental impact,” Ben explained.
This careful and skilled craftsmanship doesn’t end with ukuleles or handmade home objects: enter True Wheels Bicycle Shop.
Led by Josh Webb in partnership with his younger brother Sam, the foray into bicycle rental and repairs seamlessly intertwines with Magic Fluke’s mission of creativity and sustainability. Said Josh, “The whole family has been into cycling from a young age and then in college I did some competitive riding and found out about this company called Seven Cycles in Watertown.” After studying mechanical engineering in college, Josh went to work for Seven Cycles for a time before returning to the family business.
“I guess in the back of my mind since then it has been a goal to have some kind of a bike shop, just because I enjoy repairing bicycles and keeping things rolling for people.” Asked how the skills of instrument building and bike maintenance are related, Ben offered, “It’s the same, really. It’s attention to detail, understanding how things work and having the fine motor skills to do anything.” He laughed, “You know, sometimes I think if I wasn’t so queasy, I could go into surgery.” Josh added, “I’m reminded of a quote that I stumbled on recently that talks about how the Shakers and the Native Americans both shared a love of craft without materialism. They were not materialistic people, but they had a love of craft. And that for me, is something I strive for.”
As the workshop buzzed with creativity and production, Phyllis Webb reflected on the 25 years of the family business as she and Dale prepare to take a step back. “I think we never expected to have our kids in the business. We never wanted anybody to feel obligated, so we wanted everybody to go off and do their own thing and feel like they had wings to spread. The fact that they’re here is wonderful.”
In an age of mass production and disposable consumerism, Magic Fluke and True Wheels stand as bastions of authenticity. “My brother Jim coined the phrase ‘uke can change the world,’” Phyllis mused, “and I feel like we have changed the world in our way.”
Ruth Franklin and Ileene Smith in conversation at Congregation Beth David in Amenia.
Congregation Beth David in Amenia hosted a conversation on the enduring legacy of Anne Frank, one of the 20th century’s most iconic figures. Ruth Franklin, award-winning biographer and critic, shared insights from her highly acclaimed book “The Many Lives of Anne Frank” with thought-provoking questions from Ileene Smith, Editorial Director of the Jewish Lives series. This event, held on July 23 — the date Anne Frank would have turned 96 — invited the large audience to reconsider Anne Frank not just as the young writer of a world-famous diary, but as a cultural symbol shaped by decades of representation and misrepresentation.
Franklin and Smith dove right in; Franklin reading a passage from the book that exemplified her approach to Anne’s life. She described her work as both a biography of Anne Frank and a cultural history of the diary itself, a document that has resonated across the world.
“The diary,”Franklin explained, “has been appropriated in ways that sometimes obscure the reality of who she was and the historical context of her life.” By weaving together different perspectives, including testimonies from those who knew Anne or whose lives were shaped by her, Franklin sought to rehumanize a figure who has, for better and worse, been turned into a symbol.
Franklin’s book examines the many faces of Anne Frank that have appeared in the public consciousness: the girl whose diary became a universal symbol of the Holocaust, the teenage diarist whose words offer an optimistic glimpse of humanity, and the historical figure whose Jewish identity has at times been obscured in favor of a broader, universal message. Franklin highlighted how Anne’s legacy was shaped by her father, Otto Frank. Many of Otto’s decisions have been viewed as controversial such as removing passages that could have alienated potential readers. While often criticized, Franklin suggested that his editorial work was driven by the desire to reach the broadest possible audience.
“I think we have to be so generous in thinking about Otto Frank and the choices that he made,” said Franklin. “He made the decision that he wanted the diary to be read by the greatest number of people possible. He wanted Anne’s message to go out into the world and work, as he said, against prejudice, understood in the widest possible sense. The Anne Frank House today in Amsterdam is carrying on his mission in making Anne’s story relatable and accessible and comparing it to many other different kinds of prejudice around the world. Not everybody agrees with this approach, but that’s what he decided to do.”
The conversation turned to a quote from author Cynthia Ozick, who argued that Anne’s story has been “vulgarized, distorted, and infantilized” in adaptations of the diary, particularly those created for mass consumption. While acknowledging the validity of Ozick’s concerns, Franklin pushed back. The desire to make Anne’s story accessible to a global audience, Franklin suggested, began with Anne herself, who rewrote her diary with an eye toward future readers who might not understand her specific historical context.
The conversation also delved into the profound grief and ambivalence Otto Frank must have felt as he worked to preserve his daughter’s legacy. Franklin’s expressed deep empathy for him, burdened with making Anne’s diary into something more than a personal testament. “He was working with a tragic loss, with an immense responsibility,” Franklin noted.
The evening’s discussion expanded to include the contentious debate over the graphic version of Anne Frank’s diary, which has been banned in several U.S. states. Critics of the graphic adaptation have condemned it for including depictions of Anne’s developing sexuality, citing them as “pornographic.” Franklin pointed out that this outrage stems from “the intersection of homophobia and anti-Semitism” in today’s political climate, highlighting how Anne’s legacy continues to be embroiled in ongoing cultural and political struggles. “The books that are most frequently banned in the country right now are those that have to do with LGBTQ content.This is a serious issue of the Republican Party persecuting gay people and trans people more generally,” said Franklin.
Smith pointedly asked Franklin about what is widely considered the most famous quote from the diary: “In spite of everything, I still believe that people are really good at heart.” Franklin responded, “In many ways, Anne Frank was an optimistic person and that quote is an accurate reflection of who she was. At the same time, that quote is incomplete. It actually comes in the middle of a much longer passage in which she describes feeling hopeless about the future of the world.” Franklin continued, “That quote is often dismissed by Holocaust scholars or other people who have said with a lot of confidence that if Anne Frank had survived the camps to write about it, she would no longer have believed that people are truly good at heart. My own position, which is the perspective I adopt in this book, is that none of us can know what a surviving Anne Frank would have thought about anything at all, and it is irresponsible to speculate about it.We simply can’t go there. “
As the conversation concluded, the room was filled with a sense of reflection and appreciation. The crowd was invited to continue the conversation in the Community Room, where Franklin signed copies of her book, which were available through Oblong Books. Her visit left attendees with much to ponder about how we interpret history, memory, and the cultural artifacts that endure.
Yuja Wang performs with the TMCO and Andris Nelsons.
Sunday, July 20 was sunny and warm. Nic Mayorga, son of American concert pianist, the late Lincoln Mayorga, joined me at Tanglewood to hear Yuja Wang play Prokofiev’s Piano Concerto No. 2 in G minor, Op. 16. I first saw Wang on July 8, 2022, when she filled in for Jean-Yves Thibaudet on the opening night of Tanglewood’s summer season. She virtually blew the shed down with her powerful and dynamic playing of Liszt’s Piano Concerto No. 1.
Nic was my guest last season on July 13, when Wang wowed us with her delicate interpretation of Beethoven’s Piano Concerto No. 4. We made plans on the spot to return for her next date in Lenox.
As we found our seats there was a buzz in the Shed. A huge crowd had gathered. Nic went for tall cans of cold mineral water — essential. The Tanglewood Music Center Orchestra was on stage. The door opened, and out stepped Wang in a brilliant shear and sparkling silvery light dress befitting the warm day. Conductor Andris Nelsons followed. They greeted concertmaster Nathan Cole, and settled in.
The first movement, an Andandtino -Allegretto - Andandtino, is one where a 22-year-old Prokofiev distinguishes himself as an entirely new breed of concerto composers. It is far from typical. There is no conventional drama between opposing forces of piano and orchestra — just a light, gentle phrase with intentionally muted strings (pizzicato) and clarinets, giving way to Chopin-like left-hand figures from the piano, and a lengthy, divine melody in the right. There is beauty in this.Wang is in charge.
She transitioned to a faster march section that evolved into an extended solo played with great precision and attention to detail. The soloist had the floor until a raucous return of the full orchestra, followed by a pianissimo recollection of the opening. The two great forces now united, everyone was on the edge of their seat.
The second movement is a Scherzo: Vivace. Here, Wang showed her mastery over one of the most challenging sections — a relentlessly demanding moto perpetuo where the soloist must play unbroken sixteenths, both hands, in octave unison. Nic agreed that one must see this type of playing live to fully appreciate the artist. The orchestra added wonderful, subtle color and counter moods to this virtuoso spotlight. Wang’s command of the minutest shifts in tempo was astounding. The piano, here, produces melodies but also becomes a percussion instrument of the highest order.
In the third movement, an Intermezzo: Allegro moderato, the soloist gets a breather from the speedy tempos — but not quite, as she must alternate between delicacy and great force in figures while the orchestra layers a backdrop of a heavy march. Wang displayed her versatility here, commanding the tone, volume and moods as dictated by Prokofiev’s adventuring. Tempos changed. Everything changed. Yet throughout, each mini stanza and bar stood out — authentic, independent, real. Likely exactly what Prokofiev had in mind, but likely to elude all but the finest musicians.
In the Finale: Allegro tempestoso, Prokofiev reverts to the more conventional opposition-of-forces theme — the piano trying to overwhelm the orchestra in a barrage of flittering bright passages offset by heavy-handed chords. Wang chose a more collegial approach here. She was firm but polite; it never felt like a struggle. This made the transition to the next idea — where clarinets and violas offer a contrasting tranquility — smooth as silk. The solo piano continued with elements of Russian folk music, joined by the orchestra, building intensity before another solo piano display, and then a traditional buildup to a sweeping conclusion.
I glanced over at Nic’s joy and bewilderment. A standing ovation was followed, with encore performances of selections from Sebelius’s 13 Pieces for Piano, Op. 76, No. 2: Etude; Schubert’s “Gretchen am Spinnrade,” D. 118, arranged by Liszt; and Horowitz’s Variations on a Theme from Carmen.
Prokofiev’s debut of this concerto in 1913 did not go over quite as well. Some in the audience expressed displeasure at his ideas, hissed and rushed out. But Prokofiev expressed his displeasure at their poor taste, played an encore nonetheless, and fanned the flames. Sometimes a genius from one generation is misunderstood in his time but vindicated generations later by audiences and musicians of a different era. Such is the case with Prokofiez, who had the last laugh. Yuja Wang has her place in this saga. That she performs with the young musicians of the Tanglewood Music Center Orchestra shows her generous nature and kind heart — she cares about the future of classical music.
If you are curious and like to travel, Wang will play Prokofiev’s Piano Concerto No. 2 again several times this season: Nov. 13 at The Philharmonie de Paris; Dec. 4 and 5 at The Konzerthaus, Vienna; and Dec. 12 at The Concertgebouw in Amsterdam. I highly recommend it.