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

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...am here to tap through the walls.



Fri Apr, 30 2004

Epistemic Snapshot

Over the past two days, this little creep has been subject to rather more attention than he might have bargained for. Making a play for "viability" (in the common political calculus), he offers his typically left-handed apology.

No big deal, really. It's outright crap of the most common sort. The only thing of halfway serious note is in this, on the matter of Pat Tillman:

"I felt that his celebrity had been a factor in American society calling him a 'hero,' and I felt American society had arrived at that conclusion without much thinking, but rather as some sort of patriotic 'knee-jerk' into hero worship."
Pay close attention: here, we have two explicit confessions of emotion over reason (he "felt"), and they fill him with the nerve to -- in the very same sentence -- indict "American society" on a charge of "not much thinking".

Now, of course, the charge is true. I want you, dear reader, to shake the goddamned beans out of your ears and start listening for the frequency with which Americans choose the word "feel" over the word "think" in their daily mewlings & maulings. What is perfectly apt is that word selection. What is perfectly horrifying is the aptitude of the word selection. It's exactly what they do: they "feel" instead of thought.

What's remarkable is the charge arriving as it does in the words of a confessed feelie, with all the attitude, no less.

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}