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

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...am here to tap through the walls.



Thu Dec, 20 2012

"End Game"

In a discussion of the gun-control hysteria, I was told, "So I leave it to you to propose the endgame."

This is what I wrote:

I don't know what you mean by that, but I can tell you this with all the authority of a lifetime of study and observation:

This is a cultural problem about the existence of values. None of this is -- at this point -- a dispute over which values to hold, but about the very existence of values to begin with: what they are and why they are necessary to human life.

Taking Adam Lanza as only one extreme example of the cultural psychosis, now: that kid was somehow brought to an adult age without ever having been taught what values are. There are teeming tens of millions of specimens like him, now, at the dead-end of a cultural procession that began long before he was born. Not all, or even many, will run to the extent that he did, but their lethality is every bit as real over the long run, in their casual nihilism.

You don't understand: Adam Lanza is "the end game".


Whether you or anyone else likes it or not, that is the problem in its entire scope. That's how big it is, and that's why these complaints about the guns is just so much rubbish. If cars were the social menace here, you people would be arguing about what colors to prohibit.

There is no way that resort to non-essential trivialities is going to address this matter.

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}