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

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...am here to tap through the walls.



Mon Jun, 02 2008

I Met Him Once

It was five or six years ago when I was in line at a Delta Airlines gate at Dulles International Airport in D.C., very early in the morning. I don't know what everybody else was doing, but I was trying to get a seat assignment changed. So, I'm standing there bleary-eyed (way too early) and my friend Michael Hoskins, standing right next to me, whispers, "Did you see who's sitting over there?"

I have a look: there is an old black man sitting by himself. He's got a sort of Western feel in his dress, accented with the hat. Big eyeglasses, and minding his own business, with a black leather carry-on and ready to go.

"Should I know him?" I asked Mike. "Yes," he nodded, "you should."

I looked again, and damned if it didn't dawn on me.

When I got my airplane seat squared away, I went over and sat down right next to him. "Good morning," I said. "Can I tell you something?" He glanced at me and sort of nodded.

"Your life," I started, and he looked at me sharply on those two words, not knowing what might be coming next.

"...is the sort of a treasure that makes a man happy that, of all the times in history that he could have been born into, he lived in the times that you did. Thank you, sir."

And with that, he was off and running. Before the session was concluded, he had more than a dozen of us standing and sitting around listening to stories from his life and work. People came by for autographs, and he was as sweet as he could be to everyone. Our guitar player, Dr. Derek Scott, ask the man if he would play his (Derek's) guitar, just so he could tell everyone that "the great Bo Diddley played it." He did, and well, too.

Then, our airplane came and we flew away.

I was happy for the opportunity to tell him that.

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}