Ignored By Dinosaurs 🦕

I suppose there's a few ways a post with this title could go. I'm flying back from my first run with the new band, and there were a few themes bouncing around the last couple weeks. This band is a lot lower overhead. There's no bus call. There's no soundguy (although I personally hope that's remedied this year). Load in and setup take about 15 minutes. Billy and Drew managed to work out lift passes for us to all get out on the mountain 3 times in the last two weeks. I grew up skiing a lot in the Rockies with my folks, but had basically taken a 13 year hiatus. The last time I'd been on a mountain was about 5 years ago on the Honkytonk/Railroad tour in 2006, so I had forgotten how much I love skiing until about 100 yards into our first run at Jackson Hole (an amazing mountain).

I miss my family quite a lot. We'd all gotten used to my being home and a cell phone is a poor substitute for a hug. I can already see where that's going to be a problem again, but I'm hoping that this gig remains a nice, steady, part-time thing because I really like the music. The guys are very nice guys and I'm meeting all manner of the CO scene. I'm already collecting some funny stories about the things you'd expect there'd be funny stories about and yes, the RRE thing bestows a lot of street cred out there.

It feels so good to have a bass in my hands. I'm really thankful.

#life

This is a little collection of books that I've found helpful over the past few years, ranging from design to development to business to fiction.

Ruby/Rails

* The Well-Grounded Rubyist: David A. Black: Books”) – Great second programming book. * Agile Web Development with Rails: Sam Ruby, Dave Thomas, David Heinemeier Hansson: Books”) * Metaprogramming Ruby: Paolo Perrotta: Books”) * Learn to Program (9781934356364): Chris Pine: Books”) – Great first programming book. * Design Patterns in Ruby: Russ Olsen: Books”)

Drupal

* Using Drupal: Angela Byron, Addison Berry, Nathan Haug, Jeff Eaton, James Walker, Jeff Robbins: Books”) – Great first Drupal book. * Drupal 6 Search Engine Optimization: Benjamin Finklea: Books”) – Great general SEO book with heavy Drupal focus. * Pro Drupal Development: John K. VanDyk: Books”)

General Front End Development / Design / Usability

* CSS: the Missing Manual: David Sawyer McFarland: Books”) * Jquery Cookbook (9780596159771): Cody Lindley: Books”) * Don't Make Me Think!: Steve Krug: Books”) * Web Design for ROI: Lance Loveday, Sandra Niehaus: Books”) * The Design of Everyday Things: Donald A. Norman: Books”)

General Back End Development / Databases

* Learning SQL: Alan Beaulieu: Books”) * Beginning Database Design: Clare Churcher: Books”)

iPhone / Cocoa

* Cocoa Programming for OS X Programming for Mac® OS X (3rd Edition) (9780321503619): Aaron Pablo Hillegass: Books”) * iPhone SDK Development (9781934356258): Bill Dudney, Christopher Adamson: Books”)

General Business / Startup Culture

* Founders At Work (9781430210788): Jessica Livingston: Books”) * Tribes: Seth Godin: Books”) * Linchpin: Seth Godin: Books”) * Blink: Malcolm Gladwell: Books”)

#generaldevelopment

As business models go, there are currently two dominant ones: either people like your product enough to purchase it or they don't care enough to buy it but will overlook its deficiencies if it's “free” in exchange for their personal browsing and purchasing info sold to advertisers. The former model is Apple's, the latter is Google's.

Apple sells emotional experiences. The price is what users pay to be delighted by Apple's stream of innovations and to be free of the lowest common denominator burdens and the pervasive harvesting of their personal info.

Google sells eyeballs. To be more precise, the clickstream attached to those eyeballs. Thus scale, indeed dominance, is absolutely crucial to Google's model.

~ via counternotions

#business

#3 Arcade Fire – The Suburbs

I've never listened to these guys before. I'd been getting my indie rock fix from Death Cab and the Decemberists for the last couple of years and had never felt the urge to get any of their previous albums, but when their web video for “We Used To Wait” came out I couldn't stop watching it. It's one of the most amazing things I've seen done with the internet so far, and the tune behind the video was really good, too.

After a couple of weeks I bought the whole album, listened to it a few times and put it away. It's only been over the last 6 weeks or so that I put it on repeat, and this is a fantastic record. It's got the right mix of tunes that get you immediately and tunes that take a while to realize that you love (like every great album). The Month of May in particular is custom made for setting record times on your jog...

#2 Infamous Stringdusters – Things That Fly

After I quit my last gig, I was feeling a little burned out on acoustic music. I didn't listen to much besides hip hop and dance music for the first several months of this year, but then a strange thing started happening. Larry Keel would end up on repeat for several listens through his whole catalog. I started going through Tony Rice's records, Bill Monroe's records.. I was having an urge I'd never felt before – an urge to listen to and (gasp) play bluegrass.

I'd gotten the Stringduster's latest record and listened to it a few times while planting the garden, but at the time it was too produced for me. It occurs to me now that maybe they're just too good and that's what I didn't really like at the time.

I've had this record on repeat for the last 4 months straight, and haven't gotten even close to burned out on it.

It'll Be Alright from the Beachland Ballroom. I love how these guys stalk the stage when somebody's soloing. That'd be so fun, but I'll never get to do it. sigh...

#1 Big Boi – Sir Lucious Left Foot: The Son of Chico Dusty

Going back and listening to some old Outkast I've think I've figured out that this is some sort of alter ego that he has in his tunes. I never really got into Outkast except for a few tunes here and there, the big ones. Hell, I probably only buy a hip hop record about once a year or so, so this is this year's entry.

I first heard about this album on the NPR show “Sound Opinions”. I don't have much regard for music journalists in general (I don't mean you Tyler), but these guys have a really great show. This record was featured on their show sometime over the summer and I liked what I heard, so I bought it. It got it's hooks in immediately. The first half of the album was the part that's immediately catchy on first listen, so I put it on repeat and rarely made it to the back nine.

The back half is where I spend much of my time lately. This whole album is fantastic from front to back, maybe the best hip hop record for me since Kanye's Graduation. The beats are awesome, the lyrics are hilarious, dirty, intelligible.

Hustle Blood. I had no idea that was Jamie Foxx on there singing the other part...

#music

Just a week before the FCC holds a vote on whether to apply fairness rules to some of the nation's internet service providers, two companies that sell their services to the country's largest cellular companies showed off a different vision of the future: one where you'll have to pay extra to watch YouTube or use Facebook.

~From a Wired article earlier this week. READ IT

Now here's why this matters...

It's not about Facebook or YouTube. Those seem on the surface like silly trifles and why shouldn't we have to pay more for silly trifles, right? Because those silly, time-sucking trifles represent present-day American innovation. Our physical manufacturing sector has been almost completely moved offshore. This was done over a period of a couple of decades between Reagan and Bush II and was done for the sole reason of increasing corporate profits. If it's cheaper to manufacture stuff somewhere they don't have a minimum wage, and the prices here stay the same, the company makes more money for it's shareholders. This seems like a good thing, unless you're looking further than one fiscal quarter ahead.

Now we have a situation where large Telecommunications companies have found a giant, largely unregulated loophole in the fastest growing sector of their business. They'd like for their share of the wireless spectrum to remain largely unregulated so that they can carve it up how they want and charge for it what they want. Seems fair, right? But remember this is our fucking AIR they're charging us to access. They rightly realize that they majority of future internet use is going to take place over the airwaves, so best to get that sucker divvied up now and get the “best practices” in place for making as much money as they possibly can going forward. (Makes me think of this article from the Onion.)

Best practices would include making damn sure they charge more money for popular web services once their customers come to depend on them. I depend on Facebook to keep me in touch with most of the people I know on this planet. It's surpassed “social network” status and become a utility.

This utility and others like it have become the center of American innovation, and the brightest hope for the future American economy. Perhaps we won't be able to manufacture our way out of a recession, but maybe we can innovate ourselves out.


But Chile is trying a radical new experiment. ... It is importing entrepreneurs from all over the world, by offering them $40,000 to bootstrap in Chile. They get a visa; free office space; assistance with networking, mentoring, fundraising, and connecting to potential customers and partners. All the entrepreneurs have to do, in return, is commit to working hard and live in one of the most beautiful places on this planet.

~From a Techcrunch article a few days ago.

Here's why you should be worried about Net Neutrality.

If you think for a second that America's place in this world as the center of creative innovation and hard working people making something from nothing is granted by the grace of God, you might be right. But Verizon and the FCC may just make it impossible for even the will of God to overcome the long-term economic effects of giving these TelCom idiots what they want. What they want is to milk as much money out of you and I as they possibly can, and they plan to do this by charging more for “better, faster” access to large internet companies that can supposedly afford it (while totally ignorant to the fact that the oldest and largest of any of these companies is barely 10 years old).

Where does this lead?

  1. If the biggest internet companies pay more for their content to be delivered faster, then smaller companies and startups will have to use the “plain old” internet, which is what the entire internet is today.
  2. If big TelCom gets a pass to charge for faster access over a premium network, they most certainly won't have any incentive whatsoever to improve the “plain old” network.
  3. If countries like Chile are not just begging but paying smart entrepreneurial types to move to their country and start businesses, they most certainly will.
  4. Oh yeah, vastly higher bills for all of us.

Ergo, if technological innovation and brainpower have been this country's advantage over the rest of the world and you deliberately cripple technological innovation in the name of a few years of higher corporate profits, you can rest assured that the brainpower will flee this country to some place where it's more highly valued.


I'll leave you with a few words from Steve Wozniak, co-founder of Apple.

I was brought up being told that one of the main purposes of our government is to help people who need help. When I was very young, this made me prouder than anything else of my government. [...] We have very few government agencies that the populace views as looking out for them, the people. The FCC is one of these agencies that is still wearing a white hat. Not only is current action on Net Neutrality one of the most important times ever for the FCC, it's probably the most momentous and watched action of any government agency in memorable times in terms of setting our perception of whether the government represents the wealthy powers or the average citizen, of whether the government is good or is bad. This decision is important far beyond the domain of the FCC itself.

#life #business

I was having this conversation on Saturday...

I'm hanging with my new musical buddy George Kilby. He's decided to upgrade his website so we're doing a consult to get a feel for what direction we're going to move him in (pardon my grammar). He said something at one point about a friend of his who'd decided to totally forgo having their own website in favor of just managing their presence through Facebook and a couple of other social sites.

I'm kicking myself for not having a canned response as to why I think that's a bad idea, but I guess i hadn't really thought about it too much in a while.

In my humble opinion...

I can totally understand why an artist would do that. It's a hassle to manage your own website. There's tons of traffic already happening for free over on Facebook, they already have most of the goodies that a band website needs to have built for you, and you've got to spend half your life posting all this crap there again anyway. Why not just skip the middle man?

To me it's two things – branding and informational liberty.

Branding

If you fold up your own website and just manage your presence through mySpace or Facebook or Reverb Nation, you're effectively subordinating your brand to theirs. I don't mean to suggest that you are bigger than Facebook, but to me it almost implies that Facebook or MySpace owns you if you send your potential fans there instead of a property of your own. Would a “normal” business send people to MySpace instead of having their own site? No! They want to make money...

Informational liberty

I have some friends in a band. They've moved their main website onto a platform called Ning. Ning is a well funded company that aims to make the process of building a “social network” something that anyone can do. It's sort of like the old days of having your own message board on your site, except with the features one would expect of a modern social network. They have a pretty decent system for listing their tour dates, and maintaining the info is pretty easy. It doesn't cost that much and it works well, so what's the problem?

What if they every want to do something different? What happens when the day comes that they want to do something that Ning won't let them do (or won't let them do at a price they can afford), like maybe host and sell their own digital downloads or build a design template that's outside the parameters of what Ning allows?

They're faced with a tough decision. On the one hand they don't have access to tools that they'd like to use to promote their band. On the other hand they shutter a social network that they've asked their fans to join and be a part of, one that has been a definite success so far. Maybe it's not an issue right now and maybe it won't be that big of one ever, but by inviting their fans to create a community around them using proprietary software that they'll never fully control they're rolling the dice that Ning (or whoever ultimately buys Ning) will continue to do them and their fans right.

In summary

Better to build your own site and use that as the hub around which you organize the rest of your social accessories.

#theidea #music #business

#4 – John Digweed

So this one's might need a little explaining. I've said it here before, but it's likely that you weren't here for that – I went through a phase in college where I traveled all over the southeast going to see shows. I didn't go to Phish shows except for a few times, and String Cheese was a bit after my time. I and my buddies went to go see DJs. This was the golden age of Keoki, Rabbit in the Moon, Simply Jeff, the Dubtribe Soundsystem, Scott Hardkiss.. My first party was to go see the Dubtribe at some club in Raleigh. I couldn't figure out where the music was coming from the whole time, but it didn't matter because I danced my ass off all night long. It was awesome.

After a year or two of this and getting more established in the Boone music scene as a bassist, it occurred to me one night that perhaps I should pick up a pair of decks and figure out how to rock the crowd like these guys do. It was DJ Icey running the show at that particular time. From another post -

I still remember this one record he played that night – the vocal hook was “can you feel the BASS”, and when the record said ‘bass' there was this note that came out of the subs that can't be related verbally. It shook the world. It made my hair stand up. It made the entire party, all 5000 of us, stop dancing and look around at each other.

So anyway, pretty much like this whole software quest but somewhat more informed, I began groping about for a style and a sound.

Local influences

I had two good buddies in Boone at the time that really helped inform my direction and encourage me to go for it. Most of these style of music probably don't really exist anymore or have come to be called by different names, but Matty”) was into the breakbeats (careful, that link is pretty hard). My other buddy Breckenridge was more into downtempo and deep house. Those two areas being covered, I began to search around for something that wasn't already being done. There was quite a lively DJ scene in the the NC high country in the late 90s, and there were lots of drum and bass DJs around, so I turned the tempo down a bit. I still wanted to rock the house, but in a smoother more subtle way. Wasn't long before I found a mix CD by John Digweed.

The build

I'd attribute most of my love for music that “jams” to the crop of progressive house DJ/producers that England was churning out 10 years ago. The main thing with that style of music is to lull your crowd into a trance (not like that circuit-housey gay bar trance, but an actual state of hypnosis). After about an hour or so of playing with them and giving them alternate chances to rest and whatnot, you start building over the course of a few records to a HUGE record. This is where you kill them with your best bass line.

I learned two things from DJing – how to build a set over the course of a night and a metronomic sense of time and tempo. The whole idea of mixing two records together without anyone else even noticing it's happening is something that really appealed to me, and requires a hell of a lot of skill to do well. Your sense of time has to be perfect, you have to listen harder than almost any live musician has to (just realized that while writing this) in order to achieve the right blend and keep your records together, and you have a to have a good ear for pitch so that you don't clash two records together that are a minor second apart. There's also quite a lot of acoustic theory to delve into on your mixer so that your two kick drums don't cancel each other out. Good times. So help me, some day I'm going to get back over that way musically.

Other notable prog house influences – Steve Lawler, Dave Seaman, Danny Tenaglia, G Pal, Gui Boratto, Deep Dish, Sasha of course...

God, this blogging shit takes forever. No wonder I've been so off this year. Later y'all. Thanks for reading...

#music

Reasons for leaving Drupal, a preamble

I'd had this website on Drupal since some time in July. If you look through the archives, you'll notice a relative dearth of posts from this time period. Drupal just has a way of sucking all the fun out of blogging. It's very, very slow for one thing. I had a lot of trouble integrating the site with the Disqus comment system that handled all of my Wordpress comments before I made the move so I was forced to use Drupal's comment system. I'd written a couple of posts in the “didn't find much in Google about it, so I decided to become the authoritative voice on it” vein, and had a ton of comments on one of them. Those comments appear to be gone now, even though I devoted an entire day to exporting them out of Drupal into Disqus with a solution that someone came up with.

Basically, Drupal is a beast. If you have a project that you are trying to build that involves users with accounts, and different levels of access to the content based on those roles, go with Drupal. For anything else, anything simpler, stay away. Drupal gives the impression of being somehow more user friendly since you can configure these massively complex sites without actually coding much of anything, but is that really a good thing?? Drupal's inherent dependence on stashing so much configuration in the database will be the death of the project if it's not figured out, and I personally don't think anything short of a MAJOR rewrite is going to sort it out. The major Drupal rewrite that's about to drop on the world some time has taken 2 years to get even close to the door, and a rewrite that would effectively fix this particular issue would also effectively rewrite the entire philosophy of being able to build a site in the browser, arguably the whole reason for Drupal existence in the first place.

I haven't even gotten to the part about moving Drupal to Git. Why not put the whole thing up in GitHub? Have you heard of Rails? It's doing pretty well, and I'd wager that a large part of the reason for that is how easy it is to dive in and contribute to open source on GitHub. I've never once seen it even mentioned to move Drupal to GitHub.

anyway...

Reasons for migrating to Jekyll, regular ramble

First off, it really wasn't that hard, so skip ahead if you wish. I spent a good several hours on Github researching other sites that people had going on the platform out there. I've been studying a whole lot of Ruby lately, so it was down to Jekyll or a few other simple solutions. I started building a solution out of Sinatra, but decided that deployment was probably going to be more of a headache than I felt like dealing with.

I loved the idea of a static HTML site since one of my main gripes about Drupal was how many times I could count the little page load indicator going around on Chrome. This site is blazing fast now, so yay for that.

I love the idea that there are no security updates, no databases to backup, no crufty markup that comes from where exactly? Basically, there's very little tradeoff. It's mostly win. So, on to the show.

##Migrating from Drupal to Jekyll, the meat

One of the things that I didn't understand about Jekyll was that it doesn't really generate a site template for you (you get used to that when dealing with Ruby). You have to build that part or Jekyll won't do anything at all. It's easy enough to get started though, just Google or borrow from other GitHubbers. The tricky part was liberating my posts from Drupal, which was made vastly easier by this fellow having written a Drupal migrator only a few weeks ago.

I followed all of the instructions on this page for getting the migrators to work, but kept getting an error message that ruby couldn't find the specified file or something like that. So an hour or two of fiddling around with the migrator file in my Jekyll directory and finally changing the command to something like this -

ruby -r '~/PLAY/jekyll/_import/drupal' -e 'Jekyll::Drupal.process( "#{ENV["DB"]}", "#{ENV["USER"]}", "#{ENV["PASS"]}")'

where ~/PLAY/jekyll is the root of my jekyll install in order to get ruby to read the migrator file that was there instead of trying to find one that wasn't. I'm sure the instructions will work fine for someone who knows more than me, but hey it worked.

edit: it now occurs to me that if I wanted this to really work the correct way, I should've forked Matt Dipasquale's version of Jekyll and built my site that way, but I'm not sure how that plays with the RubyGem system and in any event I made it work. YMMV.

to give back unto the community...

TODO – add a bit into the Drupal migrator that also liberates the URL aliases from the DB, as the author of the current migrator apparently used the stock Drupal URL scheme (node/*). Jekyll has an easy facility for setting the permalinks for your posts, but going through every post to make sure they were right was needlessly tedious in hindsight.

#drupal #ruby

Well, here we are. It was a tortuous migration, but IgnoredByDinosaurs (the blog) has reached version 5. I think it's version 5, let's see there was Blogger, then WP, then Drupal, then back to WP, then back to Drupal, and now this bad boy, so I guess you would call this one 6.0.

This blog is now run by a system called Jekyll, a “site generator” that's written in Ruby. What it does is take a bunch of text posts and runs them through a couple of different templates and spits out a full site of static HTML, since that's mostly what a blog is anyway. It's a compiler for your website. No webforms, no databases, no security updates. Just plain old HTML, like back in the good old days, but less hassle and more fun! I would have stayed with Drupal but honestly, it was just way too slow. This being just HMTL, without 119 database tables being joined by 200 different queries to display a blog post will be about a thousand times faster (literally).

So anyway...

Bass influences

I've been reading Kyle Hollingsworth's recent blog posts with great interest. It's always fun to see if who you think was an influence was truly such, but nobody ever posts these kinds of lists about themselves. Now that I'm on the verge of no longer being a defunct bassist, but rather a funct bassist, I thought I take a look back and see if I could boil it down to five bassists who pretty much wrote my play book.

Long story short, I can't. There's a few non-bassists who have given me more ideas than many of the bassists I've grown up with. So here goes.

#5 Cliff Burton

I know, it's pretty fashionable to say Cliff instead of Jason, especially in light of the fact that it was Jason who actually inspired me to start playing the bass in the first place. After years and years of begging my folks to let me be Lars and buy me a drum set, and years and years of begging the band director to let me be Lars and play percussion instead of trombone, I finally gave up. I guess I figured the bass line on “The God That Failed” was pretty cool too, and strangely my folks were immediately agreeable to a bass in the house. So I sat in the basement and played along with every early 90's grunge and metal record that I had.

However, it wasn't until a lot later that I realized the depth of the influence that I had absorbed many years before I even began playing. “...And Justice For All” was the first tape I ever bought and the first CD I ever bought a few years after that. It was literally almost all I listened to for a four year period between 5th and 8th grade. I didn't know anything about music or it's place in my future life, but in hindsight I learned everything I ever needed to know about harmony from that record. Most of it was written either by Cliff when he was alive or in his memory shortly after his death and his highly educated, dramatic, baroque influence is all over it. “To Live is To Die”, “The Frayed Ends of Sanity”, and “Eye of the Beholder” are all masterpieces. When the black album came out and there was neither a double bass drum nor a multi-movement epic to be found on it anywhere, somewhere in my 8th grade brain I was deeply let down. It wasn't Cliff's bass style that sunk in so much as the style of composition.

It's so nice to write. Thanks for reading.

#music #life

May I suggest you download this book — Learn Python the Hard Way? It's got instructions in the very first bit about getting a decent, free text editor installed. TextEdit that comes with the Mac leaves quite a bit to be desired, and though I haven't personally checked out GEdit, I'm sure it's a step up. Of course if you think you might want to get serious about this, or if you get serious about this down the line, may I suggest dropping $60 on TextMate? I know it's kind of a lot of money, but if you get into this stuff, it's worth it.

May I also suggest that you go through the first few exercises? It's fun to make your computer do things, however rudimentary, and doing them in the babystep fashion that this has you do eases you into programming geekery like the command line. It trains your fingers, it trains your eyes. It's like that part in Rocky 4 where he goes to Siberia to toughen up against Drago.

Back soon. Cheers.

#generaldevelopment