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

...am here to tap through the walls.

Sat Mar, 13 2004

Dot Connections

Consider this story. Then, consider this one.

What do they have in common?

As things stand right now, we are at least a generation into training the sort of people who stood around with rifles and herded others into cattle cars without hearing the sounds of their own consciences. And if you think I'm being too dramatic about this, stop to consider these two cases as elements of a context including their epistemic and ethical implications: we're talking about people who've been trained to not reason to a moral conclusion on their own powers with simple facts right in front of them. They are forbidden to think, and that's why nobody within arm's reach of that airport scene was able to stand up and say, "Just give the guy his bloody wire-cutters before he gags on this nonsense and dies right here in front of us."

"Zero Tolerance" actually means "Don't think, because you're not qualified," and it should not be difficult to figure out where a culture like that is headed. It's why we're seeing The Rise of the Asshole Class, now. Everyone is authorized, and none of them are responsible.


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}