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

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



Sun Jul, 06 2008

Wrong, Wrong, Wrong, All Goddamned Wrong

"'The reality is, though, that those who do not vote do not exist as far as political policy makers are concerned.'

Bullshit. Look: if I was working the plantation hard enough for them, they would still drag my ass off to prison when I didn't send them my fondest regards next April 15th. I'm not here to be mean to you, V.R., but that's fucking bullshit, and somebody had better say so, so here I am. Your 'policy makers' would still kick my goddamned door down in the middle of the night if some dimwit called 'em up and said I had a meth lab going or something. They are going to do everything they can to price me out of medical markets and drive me into their lovin' arms -- whether I vote or not. Those 'policy makers' are now being coached into things like 'nudging' and 'choice architecture' by a crop of intellectuals cooking up new rationales for the same old technocratic stomp, and they don't bloody care whether I vote or not, except for one thing:

They will agree with you that I should vote. You should think long and hard about that and what it really means. I think it means that they know something that you either don't know or will not admit: they know that my vote is a fundamental nod in favor of their existence. Go watch those creepy assholes on NBC doing their video bumpers and telling me how important it is that I should vote.

They know the whole fucking charade would fall right over if they could not claim to 'represent' us.

Well, guess what. I represent myself. I do it all year long, every day of every year, and I don't wait around for their goddamned permission every couple of years, presented as a duty -- mind you -- to line up at the polls and hand them a blank check during the periods between the national hysterics every couple of years.

And that's the very last thing they ever want: me, standing for myself.

You are dead wrong. Every one of you here who votes: you're all wrong.

You're getting more wrong with every passing election, and you keep doing it.

I know -- I know -- that I am not making an impression with any of this. You're going to keep doing it, in some atavistic hope that I will never understand. You'll keep doing it until it eventually dawns on you, one at a time, that you have committed all the years of your only-ever life to this pathetic sop of a consolation that they hold out to you, and that it has gotten you nothing but more tyranny all the while.

'It is irrational to simply retreat to a darkened room,...'

It is fucking outrageous -- do you hear? -- fucking outrageous for you to put it that way. You don't know what you're talking about. I'm living in what's left of the sunshine, sir. Every single day. And I do not submit anything about it to your opinion, a commie's opinion, or anyone else's. Sneer all you want, and go submit my rights to a vote all you want, but bear this in mind: I would never do that to you.

You're just wrong."
That's me, losing my cool over the biennial lunacy, over at Samizdata.

Go vote your asses off, ladies and gentlemen: that's what it comes to.

You might at least have the grace to leave me and my ass out of it.

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}