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

...am here to tap through the walls.

Mon Nov, 20 2006

These Trains Just Keep Running On Time

I have said it before, and I'll say it again:

We are talking about people who are trained to not reason to a moral conclusion on their own powers with simple facts right in front of them.

"Cheryl Noel's stepdaughter had been murdered several years earlier, and her son had recently been jumped by thugs on his way home. So the family had a legal, registered handgun in the home, and Noel had reason to be frightened. When a SWAT officer kicked open the bedroom door, Noel sat up in bed with the gun, apparently pointed downward, not at the officer. The officer, who was wearing a helmet, mask, shield, and bulletproof vest, and who came in behind a bulletproof ballistic shield, fired twice. Noel slumped over, and the gun slipped out of her hand. The officer then walked over to her and ordered her to move further away from the gun. She couldn't, of course. When she didn't, he shot her a third time, essentially from point-blank range.

That's Charles Noel's version of events. But it's supported by the autopsy done on his wife. And early police accounts of the raid have since been revised. The Baltimore Sun, for example, first reported that police said Noel was pointing her gun at them when they entered. That has since changed. She was holding the gun, but not pointing it at anyone."
(Radley Balko)

We are talking about the mentality that did not hear the sound of its own conscience as it rounded up other human beings and loaded them into cattle-cars at rifle-point. And it does not matter, dear reader, whether you especially don't enjoy the example of the point, or whether you're ready to flag it with "Godwin" and "move on" or what. It is what it is.

How far does it have to go before it goes as far as it can?


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}