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

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



Thu May, 13 2010

"Corpse In Armor"

I don't have time right now for a full-blast review, dammit. I finished Martin's book yesterday, and must note something about it here right away, because I'm that glad that I read it.

In the early 1980's, I once did a summer of Robert Ludlum novels, pulling about a half-dozen of them ending with "The Matarese Circle". They were among the last of my taste for fiction, succeeding the science-fiction short stories (a favored form) of my youth. Naturally, they were compelling reads, for their style, pace and complexion of plot. They all did their jobs, and I really liked that.

This book hangs on thin-edges of plausibility, and I told Martin so in a phone call yesterday. It really works, nonetheless, because we live in times so implausible to ordinary American sensibilities inherited from the twentieth century. There is an elemental thesis to this book, which is that world socialism was happy to have Islamist terrorism as an ally against America. I heartily agree. This is the largest context of the book: the fact that all kinds of devils will league happily against us precisely because this country is the best thing the world ever saw. Within that context, the action runs fast and hard, but one can always find time for spots of philosophy, even during interrogation.

And -- my god, but who would have thought? -- Ragnar Danneksjöld has cousins in this thing.

This book does its job, and more. I would read it if I were you, but I'm me, so I already have, and I'm glad I did.

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}