Jack-o'-lanterns
I volunteered at Butler Green Farms, planting salad greens and sunflowers, and doing a bit of weeding.
On September 26, KUOW's local "All Things Considered" host Kim Malcolm and reporter Monica Nickelsburg discussed the lawsuit against Amazon filed by the Federal Trade Commision. During the segment, Malcolm asked Nickelsburg about previous anti-trust cases, including a 1998 case brought by the Department of Justice against Microsoft.
Microsoft lost in federal court, but, according to
Nickelsburg, they successfully appealed the decision.
That is incorrect.
I transplanted a bit more than fifty volunteer kale seedlings from the garden into disposable containers.
I found scores of kale volunteer starts in the ground near my garden plot. And when I saw them, I recalled that last year, I had several kale plants flower. At the time, I let them be, harvesting the flowers to garnish salads and other dishes. Obviously, some of the flowers went to seed, landing nearby.
I woke up early in the morning to a cacophony of bird calls. These recordings were made in various parts of my neighborhood with a Zoom H4N handheld recorder. (I don’t have a lot of experience with the recorder, so unfortunately there’s a bit of noise here and there.)
frisée trays sitting in planter box with snap pea sprouts behind
If I had to pick one reggae artist who most deserves more attention then (s)he has received, it would probably be Junior Byles. He was gifted with a beautiful voice and an ability to convey a lot of emotion with it. Which he did, on some deadly serious songs like “Beat Down Babylon,” “Demonstration,” and “Fade Away.” Even a love song like “Curly Locks” has as a subtext a plea against discrimination.
Most of Byles's early work — indeed, much of his finest output — was produced by Perry, and it deserves a wider audience.
The two met in the late 1960s when they were employed by music executive Joe Gibbs, Byles as lead singer of the Versatiles, Perry as Gibbs' house producer. When Byles decided to start a solo career, in 1970, he turned to a now independent Perry to help him.
Responding to a question about Vladimir Putin at a press conference, Joe Biden claimed that Russia has 8 time zones.
That's ridiculous.
We have four in this country, right? Do you know how many time zones they have?
Do not, you know...lie.
Something I learned today:
A 5th generation ipod will sync songs in .aiff
format.
It will let the user select those songs and
press the play button.
But it won’t actually play the songs.
For that, you gotta use a different format.
(I went with .m4a
.)
Early in Lee Perry's career as an independent producer, he recorded a slew of instrumentals credited to his house band, The Upsetters. For song titles, Perry took inspiration from Spaghetti Westerns. Like many reggae artists, he loved that film genre. A quick glance at his output includes
Let's add to that list “Return of Django,” my favorite of the late 60s/early 70s Perry instrumentals.
I don't know much about Junior Dread outside of the two toasting records he made for producer Lee Perry. One is a solid outing over a dub mix of the Heptones' “Sufferer's Time.” The other is “A Wah Dat,” cut on an otherwise unused rhythm (or, if it was used elsewhere, I'm unaware). Both are sufferer's tunes, so-called because they express the plight of suffering people. But “A Wah Dat” is, for me, the better of the two.
The lyrics are a first-hand account of desperation and mounting financial trouble during the Christmas season:
Christmas a come And me soon get a next son And that's no fun yuh! No no no no no no
I just heard that reggae bass player Robbie Shakespeare — half of Sly and Robbie — passed away. Rest in peace. And rhythm!
(I hope NPR does a better job eulogizing him than they did U-Roy, Bunny Wailer, and Lee Perry.)
In 1968, reggae pioneer Lee “Scratch” Perry launched his first record label, Upset Records, with the single “People Funny Boy.” The title might seem odd, but try this: mentally insert a comma so that it reads “People Funny, Boy.” It's a complaint, as in “boy, people are funny.” And who was Perry complaining about? His former employer, Joel Gibson, AKA Joe Gibbs.
Two years earlier, Perry had begun working for Gibbs, ostensibly a music producer. In reality, Gibbs was not a music producer, but an executive producer — he financed the operation. Perry was the music producer. He scouted talent, supervised sessions, arranged and wrote songs, and promoted records that appeared on Gibbs' Amalgamated and Pressure Beat labels.
In 1969, Lee Perry produced one of the first ever deejay records, “Rightful Ruler” by U-Roy and Peter Tosh. And as I wrote in my list of recommended U-Roy records, it is a remarkable record.
First, recording a deejay artist on a reused rhythm track was a novel idea at the time. Second, the rhythm track, originally used for a song called “Selassie,” was substantially changed for U-Roy's cut. Most early deejay records use an instrumental mix of a record as the backing track, replacing vocals with deejay rhymes. For “Rightful Ruler,” Perry did much more:
Reggae and dub pioneer Lee “Scratch” Perry passed away in August of this year. Perry is my single favorite musical artist. I'd have a hard time counting the number of albums and singles I own that feature him as a vocalist, producer, or mixer. Since I have so much of his music, I've decided to write about songs or albums he recorded that I think you should hear.
Readers of this website — by my best guess, all two of you! — will note that I have twice criticized NPR for errors in obituary/remembrance pieces for reggae artists, first for deejay U-Roy and a second time for singer Bunny Wailer. Well, I'm at it again. This time, the subject is my single favorite musical artist, Lee “Scratch” Perry.
I woke up early this morning and recorded this audio at my open window.
peas 3rd planter box (northern-most)
Using SVG in web pages offers many advantages:
<text>
elements can be indexed by search enginesTo that list, we can add one more: the ability to add microformats to embedded SVG elements.
NPR's afternoon news program All Things Considered aired a remembrance of Neville Livingston, known to reggae fans as Bunny Wailer, who passed away
Bunny was one of the founding members of The Wailers, whence came his adopted last name. He wasn't as well known as his bandmates Bob Marley and Peter Tosh, but NPR nevertheless felt he deserved recognition for his contributions to the group. Yet the piece largely passed over those contributions, making it seem like he was only a backup singer until he went solo.
That is a misconception that I'd like to correct.
A couple of days ago, I chided NPR's “Here and Now” program for choosing a less-than-stellar record to excerpt in their U-Roy obituary. After hearing the piece, I compiled a short list of U-Roy recordings from my collection that, in my humble opionion, would have been better examples of his work. And certainly worth listening to even if you're not producing an on-air tribute to the deejay originator.
First, a note of gratitude to NPR for devoting (at least) two on-air segments and one website story to Jamaican deejay U-Roy, who passed away .
U-Roy got his start in the Kingston dancehall scene in the early 1960s. At the time, sound system deejays typically worked with just one turntable, so the music stopped whenever they changed records. To fill the gap, deejays chatted and rhymed, exhorting patrons to join the dance or telling them what record they were about to play. They began to add their patter in the middle of songs, cleverly interacting with the recording as if the singers and players were with the deejay, performing live. Then came dub music, where sound engineers created remixes with most of the vocals removed. Dub provided almost unlimited space to rhyme, or toast, over the record. It wasn't long before deejays were making their own records, commiting their witty boasts and rhymes to vinyl.
NPR just botched a tribute to the late reggae artist U-Roy by playing a musical excerpt that featured the voice of Peter Tosh. Oops.
Thanks for the video, Lara!
Lots of web software is configured to create and serve
web files/pages with an .html
extension/suffix.
That includes
11ty,
which by default creates an index.html
for each
content template. It includes
Browsersync
— the hot-reload server invoked when you run
npx @11ty/eleventy --serve
— which
determines the Content-Type
response header based
on the output file's extension. And it includes
Apache HTTP server, which,
like Browsersync, uses the extension to map a file
to a Content-Type
header.
And yet, even if your software defaults to .html
, it
is not mandatory for the web.
There is no requirement that certain characters be
attached to your web page
urls.
In this article,
I'll explain how to make
clean urls
with Apache, Browsersync, and 11ty.
This is a rough sketch for a food menu microformat that I first suggested on the microformats irc channel in late . Following that suggestion, I added several ideas to a newly created wiki page devoted to menu brainstorming. I then decided to try out some of those ideas by marking up web pages with food menus, which meant I had to come with names for the root menu and its properties. The proposal in this article is a result of that effort.
CSS-Tricks has an article about
duplicate titles and id
attributes in svg.
The article discusses the problems that might arise when
an author is relying on title
elements and id
attributes for
ARIA
accessibility. But there's another, more fundamental
problem if you insert
svg
code directly in an html document and end up with
with duplicate id
attributes. A problem that could
bork how the browser renders the svg.
I got tags working on this site.
If you publish an article in more than place —
for example on your website and on a community blog
‐ you may want to inform readers and search engines
about the other copy. One way to do that is by adding a
rel=syndication
link
element in the article's head
.
Another is with the u-syndication
property from the
microformats h-entry
vocabulary.
Building off of "add syndication links with 11ty", this article shows how you can add syndication anchor links to pages and article/post lists using 11ty and nunjucks.
Suppose you publish an article in more than place —
for example on
medium
and on your own website. If you want to alert
readers about the other copy, you can do so with a
rel=syndication
link
element.
Here's how you can add syndication links to your pages using
11ty and
nunjucks.
11ty lets web authors add a tag to a page in the front matter:
---
tags: cat
---
Or several tags:
---
tags:
- cat
- dog
---
Either way, 11ty will include that page in a collection of articles tagged 'cat'.
I wanted to be able to process my own front matter variables the same way, using either format.
I just created a personal twitter-like microblog.
I use
11ty
to publish
articles
like this one, but I also want to be able publish status
updates, sort of like my own Twitter feed. Like a Twitter
feed, I want each update to include a date and time when I
wrote it.
Unlike a twitter feed, I don't want each post
to have a permanent url. Instead, I want to show the most
recent updates on my
home page,
and I want to bump off the oldest status update every
time I add a new one.
This article explains how I did it.
Ever heard Gil Scott-Heron's spoken word piece about Gerald Ford's pardon of Richard Nixon? It's called "We Beg Your Pardon America (Pardon Our Analysis)" (from the album The First Minute of a New Day). Here's an excerpt:
We beg your pardon, America. We beg your pardon because the pardon you gave this time was not yours to give.
, I added a picture of me to the site:
The current
microformats include pattern
offers two methods — using <object>
or <a>
— to include in a microformat
element parts of a document that are outside of that microformats element's
DOM tree. Both patterns have problems, and have not been widely adopted.
Also, the include pattern has not been updated for
microformats 2.