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

image
...am here to tap through the walls.



Sun May, 08 2005

"Culturism"

Rich Nikoley is a culturist.

I get it. I am, too. I know exactly what he's talking about, and I've had easily enough experience to understand it and agree. He's right. This is a perfectly clear concept that he's laid out, although, these days, I could see any number of people losing their minds behind it.

I might pick at one aspect of it. To "judge that all cultures on Earth are to varying degrees inferior to the idealized American culture" is simply to endorse observable facts, and I would not call that a "prejudice".

The crucial thing about all this is whether any given individual subscribes and actively endorses any given culture. The free will of an individual always implies the possibility of theoretical and practical dissent from the prevailing ethics of his time. It should be pointed out that this is profoundly American, and one of its greatest manifestions is one that Rich points out: America is "capable of absorbing the best from all other cultures". It's not for nothin' that individuals from around the world came here with their very best. Cultures are won or lost, flourish or languish, one person at a time. Sometimes, there are large numbers of them making roughly the same sorts of value decisions at the same time -- concurrently, not collectively -- but it is nonetheless the responsibility of every individual to see to their own convictions.

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}