(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

The Peoples' Soviet Of Eighth Avenue

"The expiration of the Bush tax cuts at the end of 2010 could be a moment of opportunity:
  • To recast the tax system so that it raises needed revenue with the burden distributed progressively throughout the income scale.

  • To create a system that does not disproportionately favor investment income over income from work.

  • To consider new taxes that both raise revenue and distribute the overall burden even wider, including value-added taxes that have worked well in Europe."
The New York Times

It's been fifteen years since the appalling twit Francis Fukuyama declared that the ideological struggle was over. Whole massing herds took him seriously. And still: the spectre walks the earth.

It's been forty-two years since That Woman wrote this:
"Political economists -- including the advocates of capitalism -- defined their science as the study of the management or direction or organization or manipulation of a 'community's' or a nation's 'resources'. The nature of these 'resources' was not defined; their communal ownership was taken for granted -- and the goal of political economy was assumed to be the study of how to utilize these 'resources' for 'the common good'.

The fact that the principal 'resource' involved was man himself, that he was an entity of a specific nature with specific capacities and requirements, was given the most superficial attention, if any. Man was regarded simply as one of the factors of production, along with land, forests, or mines -- as one of the less significant factors, since more study was devoted to the influence and quality of these others than
his role or quality.

Political economy was, in effect, a science starting in midstream: it observed that men were producing and trading, it took for granted that they had always done so and always would -- it accepted this fact as the given, requiring no further consideration -- and it addressed itself to the problem of how to devise the best way for the 'community' to dispose of human effort."
An enduring mystery to me: I do not understand why anyone in this country stacks so much as one brick on top of another. Observe:
"The Bush tax cuts, more than any other policy, are crippling the government financially."
Sometimes, dear reader, the FNORDs blow away and you can see right through the clear sky to the naked, evil premise. The Comfy Commissariat is not concerned with you. Take them at their words.

I can't wait until those rotten bastards go out of existence.

Not that that's going to solve the problem.

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}