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

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...am here to tap through the walls.



Wed Jun, 10 2009

The Noobs Are Cute

Remarking on the Ed Whelan/"Publius" dust-up, Dan Rhiel says:

"Jules is a journalist and a friend who came to blogging, not late, but not early, either. Certain conventions have held sway out here for a very long time. Respect for desired anonymity through a pseudonym happens to be one of them. If that's changed somehow, perhaps some of the critics of the apology - also see RedState, Ed Driscoll and Powerline, for example - will link to the decree, assuming it's been posted on the web. I must have missed it, somehow."
To anyone who paid attention, and if we're going to talk about a "very long time", those "certain conventions" were under attack in Usenet. There was a period when I published a half-dozen times a day the name, address and telephone number of one Gary Roselles in Rapid City, South Dakota, because the commie rat-bastard was using my name as his Usenet userid and I was the only person in the world who could and would do anything about it.

You're wrong, Rhiel. There was never a "convention" that allowed anonymity irresponsibility.

Later -- I've left the mangling of Dan Riehl's name in that post because it's history right there in front of everyone and his correction addresses it admirably. (Yes: it is a big deal. That's what I say.)

Onward:
"If what was going on with Beck was going on, he was entitled to out the guy in my view. I'm not saying the rule is etched in stone, never to be ignored. And if Publius were impersonating Whelan, he'd be right to out him, as well. That wasn't the case."
I know that, and I didn't say it was.

And all that I'm going to say about this is something that I wrote a couple of days ago in another context: "The unprincipled mind clings to particulates with dogged faith." I stated the principle and that's all there is to it. It's correct, and that's sufficient.

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}