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Lord Summerisle

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Lord Summerisle last won the day on September 27 2018

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About Lord Summerisle

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  1. Speaking of the 1970s, from the original patent application filed by George Ballas after his experiments with coffee cans with string tied to edgers and lawnmowers. Surprised me, actually, it seems he always imagined it as an electric tool, not a gasoline one. I guess at this point it was a PAF weed-whacker.
  2. 1972 called. It wants its jokes back. I tell you, my mother in law...
  3. Wow, that's a serious piece of kit. I mean, the weeds in Virginia seem never-ending, but that thing you posted looks like its built for rapid deforestation. I'm using a humble 10amp Greenworks corded model - much less impressive, and unlike @ksdaddy I don't even get a carburetor to mess around with. But it functions better than it did before!
  4. I wish to thank whichever genius came with the idea of simply poking bits of trimmer-line through holes, rather than having to wind up a whole spool of the stuff and then spend more time clearing jams than actually laying waste to the weeds. Last night I was about ready to throw the trimmer away and douse the entire yard in weedkiller. $20 at Home Depot this morning and yardwork just became a lot more pleasant. https://www.homedepot.com/p/Rino-Tuff-Pivotrim-Universal-Trimmer-Head-17093/206470721 Apologies. And to our friends in the UK, this is, surreally, about strimmers, otherwise known as trimmers in the US, or, amusingly, weed-whackers. Excuse me. Coffee break over. More weeds to whack. Maybe if I get the garden finished she'll let me play my guitar.
  5. Trogley says he's looking for an "origin story." I think that's rather a grandiose term to summarize a Gibson employee who apparently found himself with a hand-drill, a 3/4" spade bit, some oversized inlay dots, no ruler or measuring tape, and no inclination to go in search of other tools or supplies.
  6. I loved that CD back in the day (late '90s) when it was released. I bought a copy again, recently. The Peter Green / Danny Kirwan stuff is beautiful. I have to hit the skip button whenever a Jeremy Spencer track appears. It must have been weird seeing the original incarnation of Fleetwood Mac back in their heyday, a mixture of heavy, brooding blues, punctuated with corny Buddy Holly / Elvis impersonations and an approximation of Elmore James's most famous slide lick repeated endlessly over pretty much all of that "jocular" material. Very odd. I agree with you re: the Mayall album. The Supernatural and Peter's cover of the Stumble. It's all remarkable stuff.
  7. I take your point. In the 1990s I was a college student - someone (I forget who) rather neatly described this as "All of the freedom of adulthood with precisely none of its responsibilities." So yes, rose tinted spectacles. We could argue for some time about the generational lottery. I've always thought that if I could have had my pick I'd have been a British Boomer like my Dad. Once the dreary postwar '50s childhood was out of the way, the world was there to be enjoyed - and, unlike American Boomers, without the specter of the Vietnam lottery hanging over the party. However, I was born in the late '70s, and am glad to have had my youth in the '90s. As the '90s wore to a close, the worst thing to the happen in the west, apparently, was the peccadilloes and infidelities of the US President. And now here we are in 2020. The world changed on 9/11/2001, and the new century, now with one fifth of it gone (so scarcely a new century anymore) has been relentlessly bloody awful ever since. If I could get in the time machine, set the controls for 1996, and wake up somewhere in my knackered 1981 Volvo 244 with a Stone Roses cassette playing in its Alpine stereo, I'd take that deal. Ah, and I appear to have arrived back at nostalgia.
  8. I miss the 1990s. It's been crap ever since.
  9. Mixed feelings on this. Trademark endures for 10 years, renewable in the 6th year. If "Coronet" was so important to Gibson, they should have spent the $300 and renewed their mark. I'm not hugely interested in their argument that they (or a company they now own, Epiphone)* designed the Coronet and registered the original mark. If your Intellectual Property is valuable to you, then continue to protect it using the legal mechanisms available, otherwise don't start whining when someone else picks it up and uses it. And, frankly, most people have a degree of latitude when it comes to how vigorously IP should be protected. To the person in the street - would you rather be allowed to buy generic car parts from Autozone to keep your old Chevy running, or would you prefer to have to order all the parts from the GM dealer at their prices? For a long time the automakers thought their patents triumphed over everything - the courts, thankfully, felt differently. Back to Satellite Guitars. I've not much sympathy for Gibson in this, but I've not much sympathy for Satellite, either. Thanks to Stuart Spector Designs, Ltd. v. Fender Musical Instruments Corporation and Warmoth Guitar Products, Inc. v. Fender Musical Instruments Corporation he gets to make his "Coronets" without being sued by Gibson, even if he doesn't hold the trademark and they do - or, as is the case now, he pleads competing trade marks. Indeed, Gibson shows zero interest in suing him. He can build and sell his guitars, like all companies dealing in copies. A "Coronet" is only a "Coronet" in most people's minds when it's made by the company that designed it and with whom it has always been associated. The Yamaha Pacifica propped in the corner of my office as I type this rubbish isn't a Fender Strat, it just looks an awful lot like one. Other companies might painstakingly copy a Fender Strat - doesn't make it a Strat; a MIM Strat churned off the line yesterday would have more right to be called a Stratocaster than someone's perfect copy of Buddy Holly's 1958 sunburst or what-have-you. Of course, if Fender made a copy of Buddy Holly's Strat, things would be different. It wouldn't matter that Fender of 1958 was, to all intents and purposes, an entirely different corporate entity to Fender of 2020. Gibson should protect its IP better if it values it. Satellite should recognize they are not building Coronets, they are building copies of Coronets, and their trademark is largely irrelevant to that endeavor. They are not the first company to get all bent out of shape over stuff like this. Some company a few years back (not Phantom, which has most of the market in Vox copies) trademarked a guitar that looked very much like the Vox Teardrop played by Brian Jones before he switched to Firebirds. Of course, they didn't own the Vox name, so they couldn't put that on the headstock, hence the trademark was just the design of the headstock and guitar, plus whatever name they called it - probably "Teardrop." I was always highly skeptical about how enforceable that trademark was, despite the company being very protective of it at its website, pretty much saying, "We will sue anyone we catch copying this." Turns out the market for Brian Jones signature guitars wasn't all that great, as they - and the company making them - disappeared after a limited run, as I recall. *I do not know much about the origins of the Coronet.
  10. Just in time to go and buy Neil Young's American Stars n' Bars as it hit the record shops; only I didn't, because I was probably more interested in milk at the time.
  11. My wife is angry that Applebees is using the theme tune from Welcome Back, Kotter in its cheesy ad campaign. I have to listen to this griping several times a night. It's enough to make me boycott Applebees, but I think the last time I was in an Applebees was at Newark airport in 2002, so I'm guessing the chain can live without welcoming me back.
  12. @merciful-evans Yes, it's an interesting clip (from the early 1980s). But I suspect it's a bit like listening to a solo Peter Green album (also from the 1980s). It likely doesn't contain the magic that made people excited in the first place. The Youtube comments tend towards pondering which particular drunken fracas might have caused the black eye. If the time machine is available today, I'd prefer to go back to 1964 rather than 1981 to see Mr. Graham, whom I suspect was truly wonderful when on his game. Better than a 1964 BBC studio could capture. Actually, if the time machine is available. I'd prefer to go back to 1964 than 1981, period.
  13. Interesting that the thread began with George Benson. I'd have said the best guitarist of the 1960s was Wes, but then I wasn't born until the mid-70s by which time Wes Montgomery was long since in his grave. Do old records and grainy footage uploaded to Youtube provide enough evidence to make a judgment? London in the 1990s (the place and time where I was young) had a greying, pot-bellied middle-aged geezer in every boozer with a pint of London Pride in his hand telling you about how Davey Graham was the greatest to ever pick up a guitar. Nowadays he's mostly remembered because he was roughly one half of where Jimmy Page nicked it all from - the other 50% being Bert Jansch. I'd like to say these old geezers were right, but all that's left are old records and grainy uploads to Youtube. Besides, I doubt they saw him anyway. Davey Graham is like Nick Drake - long after the event it turns out he'd actually had live audiences of millions, all squeezed into the snug of a folkie pub one wet Wednesday evening.
  14. He took to playing slide as an act of revenge.
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