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

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...am here to tap through the walls.



Tue Apr, 05 2005

This Fight: Right Here, Right Now

Martin McPhillips remarks:

"I have noted that the best that can be claimed for it is that it has been a holding action against a historical tide, and that if the levee holds there might be a path back. But from an immediate objective viewing, that is not a good prospect."
Last night, as I was thinking about things to say about the dispute that I've blown up, I wrote this:

"At this pace of history, there is far more to be recovered than can be managed at polls. Although this is immensely tragic in terms of individual lives, the real danger is in the loss of an ideal."

McPhillips goes on:
"On the question of owning what one owns and what one produces, Beck is saying that tolerating a lifetime of government taking as it pleases is too long."
What will inevitably happen is that, as these lifetimes drag on, the ideas that drive them will be lost in new generations of lives bred to an undertanding that those ideas are just as dead as the people who once lived them.

We are living in the last light of the world. Look around you. Even in the countries now celebrated by one & all as exemplary of "change", there is nothing like the ideas on which this nation once stood. In fact, all they're changing to is the ideas now touted by the neolibertarians. These people who presume political leadership in their own third way between Republicans and Democrats are on their way to meeting in the middle -- somewhere below them -- the aspirations of countless millions around the world who can't see anything better than being allowed to choose their masters. It's hard to blame them: they don't know what Americans know, and they never have. But it is unconscionable to hold out as American some "process" that cannot possibly address what's wrong in this country in anything like a recognizable human lifetime. And once those ideas get swamped under generations of lives bred to a democratic yoke, there is no telling how they could ever be resuscitated. Certainly, nobody else in the world will be able to do it for many decades, if not centuries.

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}