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

...am here to tap through the walls.

Wed Jan, 04 2012

"In Terms Of Centuries"

"And that you see no solution other than ruin."
No, sir. That's quite incomplete. When we talk about "solution", it has to imply the effection of things that would actually make better human life practically possible. In politics, freedom is the whole answer, but politics is not the whole of culture. Now, within the constraint of politics, the theory and practice are actually quite simple: anything that is not freedom must be reversed. (Because of the state of philosophy now, there very probably must be a discussion of what freedom actually is, which will, at least as probably, devolve to metaphysics and the whole question of existence and identity. It should be short and to the point, however, with all bullshitter clowns relegated to the kids' playroom while the adults figure it out. Do you hear me in your grave Richard Rorty, you stoopid prancing piece of shit?)

Here is a very serious concern, to me: if all of American politics were sorted-out to my liking, instantly, I am not at all certain that there would actually be enough Americans who could live it. That once required a certain and historically unique grasp of values, which is quite -- quite -- beyond the competence of whole multitudes in my daily observation, now.

It's a very open question whether it's too late to save any of this. We'll be lucky if a small torch of American ethical theory burns anywhere through what might very well be coming: a Dark Age to revive the name -- and concept -- from recent revisions which attempt to deny that the last one ever really existed.

I'm not kidding when I scale this matter in terms of centuries. And that is part of why I view presidential elections as less than a drip off the end of my dick.

(Facebook note)


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}