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

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...am here to tap through the walls.



Wed Sep, 10 2008

Palin: Think Her Through

In the Telegraph, James Bennett pitches Sarah Palin. Bites:

"In fact, she and her husband have, for decades, run a company in the highly politicised commercial fishing industry, where holding on to a licence requires considerable nous and networking skills."
Terrific. She knows how to exert herself in the contest of political pull, and can play the inside-angles. This is a recommendation? To whom?
"Her rise from parent-teacher association to city council gave her a natural political base in her home town of Wasilla. Going on to become mayor was a natural progression. Wasilla's population of 9,000 would be a small town in Britain, and even in most American states.
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But Wasilla is the fifth-largest city in Alaska, which meant that Palin was an important player in state politics."
"A natural political base." The home-town herd rallies around a lead-cow, and this is supposed to be a political value.
"Her husband's status in the Yup'ik Eskimo tribe, of which he is a full, or 'enrolled' member, connected her to another influential faction: the large and wealthy (because of their right to oil revenues) native tribes."
Swell. She can lay second-hand claim to the allegiance of explicit tribal ethics necessarily and by definition at variance to the rest of the polity. I'd like to see someone explain to me why I should give half a damn about that.
"All of this gave her a base from which to launch her 2002 campaign for lieutenant (deputy) governor of Alaska.

She lost that, but collected a powerful enough following to be placated with a seat on, and subsequently the chairmanship of, the Oil and Gas Conservation Commission, which launched her into the politics of Alaska's energy industry."
Her entré to arbitrary power -- dealing with a crucial enterprise -- was a consolation prize. It would have been exactly as conceptually valid to just pull her name out of a hat.

Bennett says that she has "given the state a bigger share in Alaska's energy wealth".

Ladies and gentlemen, let me only suggest to you that if you have a basic respect for the language and the concepts which it is intended to connote, then you must be thoroughly disgusted with such flagrant anti-thought. Let's start with the elementary fact that she had nothing to "give". Nothing in the ground up there belonged -- or belongs -- to "Alaska" except by arbitrary claim of the sort that kings would have asserted before the rise of rational politics that eventually instituted America as the first nation consciously and deliberately attendant to principles of individualism, in which free people could thumb their noses at such a claim and then go to work at production on their own powers.

I'm warning you people: if you're interested in freedom, Sarah Palin is not your friend. Get this through your head: no matter how awful an Obama presidency could be, you need to be looking at this Palin thing a lot more carefully than people like Bennett would like you to.

You can vote for her if you want to, but you're not going to get away with it in the long run.

(link: Dale Amon)

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}