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

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...am here to tap through the walls.



Tue Sep, 06 2005

Nice Work


Only four days ago, I scoffed. It looks like I got that one about as wrong as I could, and I'm happy to say so.

Fresh Water

My brother-in-law, Scott, and I spent the Labor Day weekend laboring: remodeling the bathroom in this house. It was a full-blast effort, which is why I've not written more than a couple of comments on other blogs here & there. All the major bits are done. Now, it's just me and a lot of time with the table-saw, detailing everywhere.


Naturally, the Katrina catastrophe is the story of the day. Almost just as naturally, everybody is saying everything, and very little of it makes sense. I could put up pointers here, but I'll get to that, and if you're getting around at all, you're seeing all of it anyway. And sensible people will realize that there are profound implications in all of this.

For now, I will only say that I am not surprised. The investment in government failure was enormous, and it has paid off handsomely.

Naturally.

Example -- read Walter Block carefully.

"I am not appalled with these failures. After all, it is only human to err. Were these levee facilities put under the control of private enterprise, there is no guarantee of zero human suffering in the aftermath of Katrina. No, what enrages me is not any one mistake, or even a litany of them, but rather the fact that there is no automatic feedback mechanism that penalizes failure, and rewards success, the essence of the market system of private enterprise.

Will the New Orleans Sewerage and Water Board suffer any financial reverses as a result of the failure of their installations to prevent the horrendous conditions now being suffered by New Orleanians? To ask this question is to answer it.

One crucial step forward then, would be the privatization of this enterprise as part of the rebuilding process (if that indeed occurs; for more on this, see below). Perhaps a stock company could be formed; I suspect that the largest hotels, restaurants, universities, hospitals and other such ventures would have an incentive to become owners of such an enterprise."
Carefully, I said. And don't dodge anything. Keep principles in mind. (Whether you like it or not, this is boiler-plate immutable fact: government produces nothing. We do that. We do it all the way from tomatoes in the back yard to General Motors and General Electric -- this is known as "division of labor", kids -- to all the things that government merely takes from producers and then arbitrarily rearranges.) That's only one aspect of one element of Block's arguments.

You'd better read the whole thing.

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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}