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

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...am here to tap through the walls.



Sun Dec, 14 2003

The Racist Mind

" 'I only wish it was not the Americans who got him,' said a Syrian student, Abdule-Nasser, according to Reuters. 'I don't like Saddam but as an Arab I wouldn't like to see them dragging him around Baghdad.' "
(New York Times)

Could someone please explain to me how a mind like that works? I am never going to understand that, and I conclude that I am reading the words of a rank, pre-modern, savage. Let me try to put this in perspective:

He was only a chiseling liar who didn't have one-tenth the nerve of a Saddamn Hussein in order to commit even a single murder with his own hand in his lifetime, but if nobody in this country had had what it took to chase Richard Nixon out of the White House, I might have prayed for a sensible Arab to rid my country of that rotten old shitbag. "As an American," it would not have mattered to me one whit where such a person came from, only so long as he possessed the righteous outrage requisite to attacking something so evil.

And he was no Saddam Hussein, not by a damn sight.

What sort of a primitive does it take to regret that anyone caged that monster?... especially in a culture that did nothing on its own for so long, except to follow him into about fifty-six kinds of hell between Iran, Kuwait, and Baghdad? (Yes, yes, I know: the bug quoted above is from Syria.)

You know what? Mark my words:

This "nation-building" angle is utter crap. It's never going to work.

I say: put an ice-pick in Saddam's eye until he stops wiggling, leave his head on a pike at the city gates as a solemn warning to all other pre-moderns, pack up the whole kit and come home, right now. This party's over.

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}