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

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...am here to tap through the walls.



Sat Mar, 22 2003

They Are Not Getting It

"Bryan" queries on "Shock and Awe" at The Command Post.

I didn't see the report that he's talking about, but it is nonetheless obvious to me that the concept that's been short-handed as "shock and awe" is still competely opaque to these journalists. They are simply not grasping the fact that this is not about tonnage, or body counts, or any of the rest of the the concepts of war that they kept prior to the integration of information technology to weapons. They do not understand that the principle thing about it is that "shock and awe" will occur in the minds of military adversaries precisely because they are the ones at whom it is aimed: exclusively. The thing that's "shock[ing]" about it is that it can be that selective, as well as more ferocious than ever before. It implies the dawning realization in the mind of a military adversary that he can be segregated for destruction -- remotely.

It is not about massive destruction on a scale that the casual glance at today's weapons will call to an equally casual mind, and that is why these people do not understand it, because that's what -- and how -- they are still thinking.

This obdurate persistence of ignorance is beginning to raise my contempt of them to brand new heights. When I couple it to their presumptions and arrogance (exemplified in episodes like the fraudulent B-52 image for which I still hold CBS responsible), the imperative to judge between a dichotomy of something like "wisdom" handed down from tradition ("habit") on one hand and the obvious evidence that I see for myself every day, there is simply no choice:

These people are dismissed.

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}