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

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



Wed Jan, 10 2007

Where The Real Power Is

"You have surrendered the fight at its most important point, and you have nothing serious to say."
(Part of one of my comments, here.)

How? Dear god... how in the world to make the point that ideas are "real", too?

People stumble through complexions like this as if something like a "health-care crisis" just settled on us out of god's blue sky like a tornado: they take that as their starting-point, call it "reality", and attempt to proceed as if no malignant human concept ever had anything to do with it. They see no point in fighting bad ideas with right ones -- ideas that integrate as widely as possible and necessary -- just rolling-over, instead, for the ideological fait-accompli that's right up in their faces and willing to surrender it as a fait-accompli without ever looking at its roots in human action: wrong, but nonetheless open to understanding as something that could be set right with the same power of intellect, but only turned in the proper direction.

This is an enormous barrier. It's the mentality that would look at a practical application of "2+2=5", realize that it's wrong, but shrug and say, "Well, there it is, it's 'real', and we have to try to work with it."

The power of ideas (like I said: very bad ones in the case of health-care) is right in front of them at every turn, and their idea is to give up the fight for ideas. Why? Because they're not "real".

I cannot imagine what it's going to take to dissolve this deadly myopia.

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}