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

...am here to tap through the walls.

Fri Mar, 07 2008

"Question For The An-Caps"

"Brad: 'I think if anything, tarranís point that it requires a people who donít wish to be ruled for an an-cap society to thrive is a very good one. Would you say that we really have that in the US today?'

Of course not. Youíre talking about people born & bred to a government yoke for whole generations.

Iíll tell you what, though: Iím pretty sick and tired of people addressing these matters from Pragmatism. (Please note the capitalization: I did that for good reason.) Mark this: there is no way to
get to what youíre talking about without proceeding from principles. Thatís a fact. This is my own conviction: principled objections in action would go far to making the necessary arguments to these people. I am still convinced that there is enough of a political conscience remaining in this country to which to appeal with demonstrations of action from principle by those with the courage of conviction.

Iím only talking, essentially, about what Martin Luther King achieved in the South: flood the courts and embrace the prisons. A bunch of
children did this, and even the worst racists down there couldnít stand it.

Now; I might be wrong. But if I am, and it wouldnít work, then at least the issue would be perfectly clear for all to see.

And that in itself would be a value."
My comment, here.


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}