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

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...am here to tap through the walls.



Thu Dec, 13 2007

His Mark Is Made

My father coached Little League baseball teams for four sons, the oldest and youngest separated by eight years. Think about that. I'd have to go over it in detail, but it adds up to something over ten years spent at teaching kids The Game in action on the field.

He used to growl whenever he saw a big-leaguer make a routine fly-ball catch with one hand. "All over the country," he'd say, "there are kids watching him do that, and they think it's just fine. Then, people like me have to get out there and clean up that mess in practice."

Right now, George Mitchell is making the same point about something far, far more serious, which is the implications of Major League Baseball's blind indulgence of steroid use. Now, Galt knows that I would far rather no government asshole was allowed anywhere near this. That, however, does not mean that the point is invalid. There are kids everywhere taking lessons from Bud Selig's unconscionable neglect of his responsibilities to The Game, and that's how that idiotic sonofabitch should go down in history.

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}