(second block, fourth letter of the prisoners' quadratic tap code...)

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...am here to tap through the walls.



Fri May, 06 2005

Wham

Sixteen hours ago, I watched a very large fire burning merrily along at Baku, on the western shore of the Caspian Sea. It might have been the suburbs of Baku, actually, because it looked like it was, maybe, fifteen or twenty miles from the middle of the town. I saw it from about seventy-five miles away, from thirty-four thousand feet. This, just as the sun began rolling up behind the jet at about five o'clock. That angle torched-off the #1 engine with a blazing deep amber glow on the white paint, hanging in space over land and water down in the depths where the sun hadn't been yet. Holes in the cloud deck; hundreds of square miles of dark land out there under plates of cloud framing them for depth to the scene, perhaps fifteen thousand feet, which would be four miles below us. The fire danced off the cloud bottoms out there past the city lights, it danced like you would see a campfire jumping and flaring. I watched it for eight or ten minutes, I think, and it was a good seventy-five miles away. It was tall, not broad, and it was the sort of thing one might imagine in a gas-flare, but it was enormous.

I'm still on Jakarta time as I sit here; in the same day and time as when I was on the other side of the world, only having skipped from there to here, through Singapore, Frankfurt, JFK, LaGuardia, Ithaca. That's four airplanes and a car to bolt through time and space from door to door, like I didn't even need four or five hours of bad-dream sleep with my head on the bulkhead by the window-seat, now and then along the twenty-six or eight-hour way.

Took nice shots of the white cliffs of Dover at mid-morning, this morning. Well, local time, that is. Today, it was blasting steaming heat in the evening on the polished marble sidewalk of the auto lobby at the Hotel Mulia Senayan, and then it was pretty much variable air-conditioning from then on, because it's like space travel. In time. In a crowd. Today was today, everywhere, in fits of daylight and darkness, for about thirty hours.

I know it was supposed to be yesterday ("Thursday"), but that didn't matter once we got rolling on today, the other day.

Woo.

Bedtime.

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AxeBites

Various guitars I see floating by, mostly Gibson and mostly eBay.


Early Norlin ES-335 -- 1970, in Walnut ("ES-335TDW"). This is a period-piece look and feel, and arguably the sound as well but that's to cut things very finely. A "classic" 335 would be the original of 1958 in the Sunburst or Natural finish, or the Cherry Red of 1959; the Walnut of 1970 (second year of that finish offering) is not really a "classic" 335. In the history of the Gibson aesthetic, this is analogous to, say, vertically-striped polyester bell-bottoms or Bahama Blue shag carpeting. None of this is to say that they're not cool guitars, and this is a nice one. Excellent photographs.

Chrome hardware, featuring the trapeze tailpiece (like my L-47 and I've always liked it) and ABR-1 bridge with period-typical nylon saddles. Bound rosewood fretboard, with small block markers, and then the crown inlay at the machine head. These would be the T-top Humbuckers. Vintage Nazis would moan that the upper bouts are pointy (the body templates were wearing-out in the factory) and the fourteen-degree machine head with the volute signals a sometimes not-fun era of the line, but these things really do rock or moan or whatever you want a 335-type semi-hollow to do. ...which, of course, is because it really is a 335.


In the months since I've let AxeBites languish all to bleedin' hell, Gibson's Robot Guitar technology has sifted out to other models than the original Les Paul application. I don't know how it's going: I still haven't even seen one of these self-tuners. I don't see piles of them burning on the sides of the highway, nor reverent hangings in display cases over bars, so who knows? This 2008 Robot SG is ready to rock in the Metallic Red. Nickel hardware; it's the stoptail wired for data to send to the tuners, with dual Humbuckers. It's a bound rosewood fretboard, but I really like the single-bound machine head with the crown inlay. That's a real cool old-school look, right there, to set off that crazy-ass color. {nod}