Podcasts about Atomics

In this episode, Spencer and Brad discuss the ever popular and highly debated topic of evasion. In this podcast we talk about evasion from the context of evading defense controls, not necessarily EDR specific evasion techniques. Our hope with this episode is to shed light on this topic and help defenders understand various methods of evasion and this topic more in general.Resources(Jun 1, 2021) Evadere Classifications - detection & response focusDefense Evasion, Tactic TA0005 - Enterprise | MITRE ATT&CK® - controls focus(Mar 22, 2024) Atomics on a Friday - Evade or Bypass - edr focusBlog: https://offsec.blog/Youtube: https://www.youtube.com/@cyberthreatpovTwitter: https://twitter.com/cyberthreatpovWork with Us: https://securit360.com

Thor teaches history. We learn Japans rise from mid-evil to modern in a short time, that Japan may have started WW2, and the reason that we had to drop 2 Atomics

Matt Loszak is building a nuclear reactor factory for a new kind of reactor: one that is almost impossible to melt down.

On this week's podcast, Modern Atomics co-founder Michael Braithwaite joins us from Austin, TX, to discuss his 30-plus-year career as an innovator and inventor of smart home and commercial AV technology. Mike and Jeremy recently re-connected, prior to his new company's launch at CEDIA Expo last month in Denver, and that chat was so insightful, that Jeremy wished afterwards that he'd recorded it for this podcast. In this episode they re-capture some of that magic as they discuss Modern Atomics' first product, called Reaktor, which is a power distribution unit designed specifically to save energy while powering motorized shades. We also learn how the company plans to use its innovations in other applications going forward and look back on Mike's impressive career leading Crestron's residential systems group in the early 2000s, co-founding NetStreams, and helping bring more innovation to Screen Innovations. Special thanks this week's sponsor: the Sonos Era 100 Pro.

Today, we're talking to Matt Loszak, CEO at Aalo Atomics. We discuss the technology that is making small nuclear reactors possible, how far along we are in the Second Atomic Age, and the potential that nuclear energy holds for the whole world. All of this right here, right now, on the Modern CTO Podcast!  To learn more about Aalo Atomics, check out their website here: https://www.aalo.com/ Produced by ProSeries Media: https://proseriesmedia.com/ For booking inquiries, email booking@proseriesmedia.com

Ralph's love for The Atomics, half-speed Kevin and Bean, Omar being the responsible adult, Hawktober, Eddie can't sleep, Fran Drescher, Miley's wrecking ball days and Eric Andre craziness!

Ralph's love for The Atomics, half-speed Kevin and Bean, Omar being the responsible adult, Hawktober, Eddie can't sleep, Fran Drescher, Miley's wrecking ball days and Eric Andre craziness!

Welcome to another episode of Category Visionaries — the show that explores GTM stories from tech's most innovative B2B founders. In today's episode, we're speaking with Matt Loszak, CEO & Co-Founder of Aalo Atomics, a nuclear energy company that has raised over $33 Million in funding. Here are the most interesting points from our conversation: Recent Funding Milestone: Aalo Atomics recently secured over $33 million in funding, including a $27 million Series A, positioning the company for further growth and innovation in nuclear energy. Revolutionizing Nuclear Power: The company is developing a 10-megawatt electric nuclear reactor designed to be compact enough for widespread deployment, aiming to revolutionize energy production. Strategic Market Positioning: Matt discusses how Aalo Atomics is strategically positioning itself in the energy market, focusing on sectors where traditional energy sources fall short. Scalability and Sustainability: The company's technology not only aims for scalability but also emphasizes sustainability, addressing critical concerns about energy consumption and environmental impact. Challenges and Opportunities in Nuclear Tech: Matt shares insights into the unique challenges of bringing nuclear technology to market, including regulatory hurdles and public perception. Vision for the Future: Aalo Atomics envisions a future where their reactors provide reliable, clean energy on a global scale, transforming the energy landscape. //   Sponsors: Front Lines — We help B2B tech companies launch, manage, and grow podcasts that drive demand, awareness, and thought leadership. www.FrontLines.io The Global Talent Co. — We help tech startups find, vet, hire, pay, and retain amazing marketing talent that costs 50-70% less than the US & Europe.  www.GlobalTalent.co

Hello all, It's been a long while since I've uploaded anything. This is my attempt to remedy that. It goes off the rails for a bit but if you would like to support my https://www.linkedin.com/in/townsendatomics newsletter, where this was originally posted as letter 193, please feel free to follow along there for more information while I work to make the next episode better. Thanks for your time. -J. --- Send in a voice message: https://podcasters.spotify.com/pod/show/divergentmind/message

Here's my conversation with Isaiah Taylor the founder of Valar Atomics. Valar aims to build hundreds of nuclear reactors and use their energy to pull hydrocarbons out of thin air. Isaiah has a fascinating story and I'm excited to see what he builds over the next 15 years.

Isaiah Taylor, the founder of Valar Atomics, joined me to talk about his new venture, how he wants to turn the nuclear energy over on its head, how his Christian faith and Midwestern roots inform his work, and much more. Reach more about Valar here. Get full access to Nuclear Barbarians at nuclearbarbarians.substack.com/subscribe

We've all run "mix phx.new", but have you ever thought to customize what that does? We talk with Victor Björklund who explains how we can create customized Phoenix project generators and why we might want to. We also discuss customizing the phoenix generators for our already generated projects. We explore the idea of supporting 3rd-party maintained generators and what that might look like. A fun discussion sure to “generate” ideas for your project! Show Notes online - http://podcast.thinkingelixir.com/167 (http://podcast.thinkingelixir.com/167) Elixir Community News - https://github.com/elixir-lang/elixir/releases/tag/v1.15.5 (https://github.com/elixir-lang/elixir/releases/tag/v1.15.5?utm_source=thinkingelixir&utm_medium=shownotes) – Elixir 1.15.5 bug fix release - https://pdx.social/@kenichi/110934002380304132 (https://pdx.social/@kenichi/110934002380304132?utm_source=thinkingelixir&utm_medium=shownotes) – Livebook code cells getting Vim and Emacs support - https://pragprog.com/titles/tvmelixir/adopting-elixir/ (https://pragprog.com/titles/tvmelixir/adopting-elixir/?utm_source=thinkingelixir&utm_medium=shownotes) – Good quote from the “Adopting Elixir” book (published 5 years ago) - https://twitter.com/paraxialio/status/1694832429087728005 (https://twitter.com/paraxialio/status/1694832429087728005?utm_source=thinkingelixir&utm_medium=shownotes) - https://elixirforum.com/t/elixir-saves-pinterest-2-million-year-other-marketing-examples/57909/14 (https://elixirforum.com/t/elixir-saves-pinterest-2-million-year-other-marketing-examples/57909/14?utm_source=thinkingelixir&utm_medium=shownotes) – Elixir Saves Pinterest $2 million/year - https://twitter.com/davydog187/status/1694768741467165147 (https://twitter.com/davydog187/status/1694768741467165147?utm_source=thinkingelixir&utm_medium=shownotes) – Tweet by Dave Lucia about what people can accomplish with Elixir and Phoenix in a short amount of time. - https://twitter.com/geolessel/status/1695467313477173313 (https://twitter.com/geolessel/status/1695467313477173313?utm_source=thinkingelixir&utm_medium=shownotes) – Geoffrey Lessel shared observation that the timing page used by the World Cube Association is a Phoenix LiveView page. - https://github.com/thewca/wca-live (https://github.com/thewca/wca-live?utm_source=thinkingelixir&utm_medium=shownotes) – Platform for running WCA competitions and sharing live results with the world created by Jonatan Kłosko - https://twitter.com/AshFramework/status/1696257451857707295 (https://twitter.com/AshFramework/status/1696257451857707295?utm_source=thinkingelixir&utm_medium=shownotes) – Ash Framework experiments with adding a new “atomics” feature. - https://github.com/ash-project/ash/blob/main/documentation/topics/atomics.md (https://github.com/ash-project/ash/blob/main/documentation/topics/atomics.md?utm_source=thinkingelixir&utm_medium=shownotes) – Atomics documentation and design - https://twitter.com/ac_alejos/status/1695562511787983164 (https://twitter.com/ac_alejos/status/1695562511787983164?utm_source=thinkingelixir&utm_medium=shownotes) – Elixir gets a new Reinforcement Learning library named "Rein" for Nx. - https://github.com/DockYard/rein (https://github.com/DockYard/rein?utm_source=thinkingelixir&utm_medium=shownotes) – Rein project on Github - https://fly.io/phoenix-files/star-cross-live-view-processes/ (https://fly.io/phoenix-files/star-cross-live-view-processes/?utm_source=thinkingelixir&utm_medium=shownotes) – Star-Crossed LiveView Processes about linking processes to solve UI design Do you have some Elixir news to share? Tell us at @ThinkingElixir (https://twitter.com/ThinkingElixir) or email at show@thinkingelixir.com (mailto:show@thinkingelixir.com) Discussion Resources - https://victorbjorklund.com/guide-to-custom-phoenix-phx-new-generator-mix-task (https://victorbjorklund.com/guide-to-custom-phoenix-phx-new-generator-mix-task?utm_source=thinkingelixir&utm_medium=shownotes) - https://jawdropping.io/ (https://jawdropping.io/?utm_source=thinkingelixir&utm_medium=shownotes) - https://github.com/phoenixframework/phoenix/tree/main/installer (https://github.com/phoenixframework/phoenix/tree/main/installer?utm_source=thinkingelixir&utm_medium=shownotes) - https://hex.pm/packages/oban (https://hex.pm/packages/oban?utm_source=thinkingelixir&utm_medium=shownotes) Guest Information - https://twitter.com/BjorklundVictor (https://twitter.com/BjorklundVictor?utm_source=thinkingelixir&utm_medium=shownotes) – on Twitter - https://github.com/victorbjorklund/ (https://github.com/victorbjorklund/?utm_source=thinkingelixir&utm_medium=shownotes) – on Github - https://genserver.social/victorbjorklund (https://genserver.social/victorbjorklund?utm_source=thinkingelixir&utm_medium=shownotes) – on Fediverse - https://victorbjorklund.com/ (https://victorbjorklund.com/?utm_source=thinkingelixir&utm_medium=shownotes) – Blog Find us online - Message the show - @ThinkingElixir (https://twitter.com/ThinkingElixir) - Message the show on Fediverse - @ThinkingElixir@genserver.social (https://genserver.social/ThinkingElixir) - Email the show - show@thinkingelixir.com (mailto:show@thinkingelixir.com) - Mark Ericksen - @brainlid (https://twitter.com/brainlid) - Mark Ericksen on Fediverse - @brainlid@genserver.social (https://genserver.social/brainlid) - David Bernheisel - @bernheisel (https://twitter.com/bernheisel) - David Bernheisel on Fediverse - @dbern@genserver.social (https://genserver.social/dbern) - Cade Ward - @cadebward (https://twitter.com/cadebward) - Cade Ward on Fediverse - @cadebward@genserver.social (https://genserver.social/cadebward)

Links for Matt's stuff: Aalo.com Matt on Twitter Aalo on Twitter Aalo Job Board Link to invest alongside Eric in deals like Aalo: rolling.fun Links to stuff mentioned: Decouple Podcast Titans of Nuclear Podcast Nuclear Barbarian Substack Atomic Awakening by James Mahaffey Why Nuclear Power Has Been a Flop by Jack Devanney Topics: (00:03:08) How the popular opinion of nuclear has changed from the 1950's (00:15:16) The regulation issues surrounding nuclear (00:17:20) Water-based nuclear reactors vs. advanced nuclear reactors (00:19:40) Matt's journey into nuclear energy (00:34:42) Aalo's strategy (00:41:12) What is the TAM for this nuclear microreactors? (00:45:53) The manufacturing process for a nuclear plant (00:48:51) The nuclear supply chain (00:50:01) The change in public opinion on nuclear energy (00:55:56) Support for nuclear energy in the VC world (01:01:12) Recommendations for learning more about the sustainable energy industry (01:03:30) What do you look for when hiring?   To support this podcast: >> Join the free weekly email list at ejorgenson.com/newsletter >> Buy a copy of the Navalmanak: www.navalmanack.com/ >> Invest in early-stage companies alongside Eric and his partners at Rolling Fun: https://angel.co/v/back/rolling-fun >> Sign up for my online course and community about building your Personal Leverage: https://www.ejorgenson.com/leverage >> Text the podcast to a friend >> Or at least give the podcast a positive review to help us reach new listeners! Important quotes from Naval on building wealth and the difference between wealth and money:   How to get rich without getting lucky. - Naval Ravikant   Making money is not a thing you do—it's a skill you learn. - Naval Ravikant   Seek wealth, not money or status. - Naval Ravikant   Wealth is having assets that earn while you sleep. - Naval Ravikant   Money is how we transfer time and wealth. - Naval Ravikant   Ignore people playing status games. They gain status by attacking people playing wealth creation games.    You're not going to get rich renting out your time. You must own equity—a piece of a business—to gain your financial freedom. - Naval Ravikant Important quotes from the podcast by Naval on Leverage:   “Give me a lever long enough and a place to stand, and I will move the earth.”  —Archimedes    To get rich, you need leverage. Leverage comes in labor, comes in capital, or it can come through code or media. But most of these, like labor and capital, people have to give to you. For labor, somebody has to follow you. For capital, somebody has to give you money, assets to manage, or machines. - Naval Ravikant   Capital and labor are permissioned leverage. Everyone is chasing capital, but someone has to give it to you. Everyone is trying to lead, but someone has to follow you. - Naval Ravikant   Code and media are permissionless leverage. They're the leverage behind the newly rich. You can create software and media that works for you while you sleep. - Naval Ravikant   If you can't code, write books and blogs, record videos and podcasts. - Naval Ravikant   Leverage is a force multiplier for your judgment. - Naval Ravikant   Apply specific knowledge, with leverage, and eventually you will get what you deserve. - Naval Ravikant   Important Quotes from the podcast on Business and Entrepreneurship   There is no skill called “business.” Avoid business magazines and business classes. - Naval Ravikant   You have to work up to the point where you can own equity in a business. You could own equity as a small shareholder where you bought stock. You could also own it as an owner where you started the company. Ownership is really important.     Everybody who really makes money at some point owns a piece of a product, a business, or some IP. That can be through stock options if you work at a tech company. That's a fine way to start. 

Dr. Inna Vishik is a professor of Physics at UC Davis, where her lab studies the spectroscopic properties of exotic condensed matter. We dig down into how she sees the atomic landscapes she studies, the significance of mathematical descriptions that show up all over the place, harmonic oscillators at the scale of an electron, and why physics is perfectly happy to deal in abstractions, even when better models might be available. (00:00:00) Go! (00:00:18) Who is Inna Vishik? (00:02:33) Condensed Matter Physics (00:10:07) Atomic shape changes in conduction (00:14:53) Wavelength & Momentum in Electronics (00:22:13) Simplifications as Good Enough (00:29:16) Material Models of the Atom (00:33:50) Atom as Harmonic Oscilator (00:43:30) A Sufficient Level of Abstraction (00:44:42) Experimental Approach (01:00:03) Fundamental Science & Applications (01:07:15) What Makes an Interesting Material? (01:13:04) Space for Play in the Lab (01:16:30) Experimental Techniques (01:23:49) Phonons & Electronics (01:34:25) Intensive v. Extensive Physical Properties (01:36:46) LK-99 (01:48:51) Electric Astronomy (01:52:06) Closing Thoughts Support the scientific revolution by joining our Patreon: https://bit.ly/3lcAasB Tell us what you think in the comments or on our Discord: https://discord.gg/MJzKT8CQub #physics #quantum #quantumphysics Check our short-films channel, @DemystifySci: https://www.youtube.com/c/DemystifyingScience AND our material science investigations of atomics, @MaterialAtomics https://www.youtube.com/@MaterialAtomics Join our mailing list https://bit.ly/3v3kz2S PODCAST INFO: Anastasia completed her PhD studying bioelectricity at Columbia University. When not talking to brilliant people or making movies, she spends her time painting, reading, and guiding backcountry excursions. Shilo also did his PhD at Columbia studying the elastic properties of molecular water. When he's not in the film studio, he's exploring sound in music. They are both freelance professors at various universities. - Blog: http://DemystifySci.com/blog - RSS: https://anchor.fm/s/2be66934/podcast/rss - Donate: https://bit.ly/3wkPqaD - Swag: https://bit.ly/2PXdC2y SOCIAL: - Discord: https://discord.gg/MJzKT8CQub - Facebook: https://www.facebook.com/groups/DemystifySci - Instagram: https://www.instagram.com/DemystifySci/ - Twitter: https://twitter.com/DemystifySci MUSIC: -Shilo Delay: https://g.co/kgs/oty671

Cold and windy at the summit, but Jake's determined to make one last run. His buds say no way, done for the day, but Jake moves to the beat of his own drummer. He leaves the warmth and camaraderie of the lodge, steps into his Atomics, and heads for the lift.Trouble is, there's a perfect storm brewing. Wind, cold, snow, party at the tech billionaire's ski lodge, obstinance, and lift operators who are stoned, injured, and dreaming of sex.A man may think he has some measure of control over his life, but man is, by and large, a fool. simpson-books.com

Townsend Atomics leads to LinkedIn. --- Send in a voice message: https://podcasters.spotify.com/pod/show/divergentmind/message

Join Coffee Talk with SURGe for our bi-weekly interview series. This week, Audra Streetman interviews Michael Haag, Senior Threat Researcher at Splunk. They'll discuss his YouTube show, Atomics on a Friday, along with the Living off the Land Drivers project, which aims to consolidate vulnerable and malicious drivers into a centralized location.   Links: Episode livestream Splunk Threat Research Team Splunk blog about certificate abuse Splunk blog about IIS Modules Splunk content on Windows drivers LOLDrivers Project Form to submit drivers Atomic Red Team SANS Talk about Windows driver rootkits Atomics on a Friday Follow Michael on Twitter  

Dr. Mike McCulloch is a University of Plymouth lecturer in geomatics, physicist, and author who is best known for developing Quantized Inertia, a cosmological explanation for Newton's first law that states an object in motion will tend to stay in motion. We discuss the principles of quantized inertia as a derivation of photon pressure at the cosmological horizon in the form of Unruh radiation, the path to formulating an mathematical formulation for an everything-is-connected universe, and how the Casimir effect that emerges from the theory can be used to engineer novel, combustion-less propulsion mechanisms. Check out more from Dr. McCulloch here: Twitter: https://twitter.com/memcculloch McCulloch's Blog: https://physicsfromtheedge.blogspot.com/ Support the scientific revolution by joining our Patreon: https://bit.ly/3lcAasB Or By Purchasing Dr. McCulloch's books: Falling Up: https://amzn.to/41yxYOX Physics from the Edge: https://amzn.to/3o10qLK Tell us what you think in the comments or on our Discord: https://discord.gg/MJzKT8CQub (00:00:00) Go! (00:02:18) A New Physics of Inertial Mass (00:06:42) A direct observation of Mach's Principle (00:18:55) Expanding light cone of the universe (00:28:56) Galactic Rotation (00:36:11) Casmir Effects, Oceanography, & Propulsion (00:46:20) Engineering Antigravity Systems (00:54:58) Heading for Low Earth Orbit (01:02:01) General Relativity & Gravity (01:08:01) Fireflies and Agents that Remember #quantizedinertia #physics #unruhradiation Check our short-films channel, @DemystifySci: https://www.youtube.com/c/DemystifyingScience AND our material science investigations of atomics, @MaterialAtomics https://www.youtube.com/@MaterialAtomics Join our mailing list https://bit.ly/3v3kz2S PODCAST INFO: Anastasia completed her PhD studying bioelectricity at Columbia University. When not talking to brilliant people or making movies, she spends her time painting, reading, and guiding backcountry excursions. Michael Shilo also did his PhD at Columbia studying the elastic properties of molecular water. When he's not in the film studio, he's exploring sound in music. They are both freelance professors at various universities. - Blog: http://DemystifySci.com/blog - RSS: https://anchor.fm/s/2be66934/podcast/rss - Donate: https://bit.ly/3wkPqaD - Swag: https://bit.ly/2PXdC2y SOCIAL: - Discord: https://discord.gg/MJzKT8CQub - Facebook: https://www.facebook.com/groups/DemystifySci - Instagram: https://www.instagram.com/DemystifySci/ - Twitter: https://twitter.com/DemystifySci MUSIC: -Shilo Delay: https://g.co/kgs/oty671

TALKING JOE 196 - DISAVOWED - crank! Interview We are continuing our look at the Disavowed era with G.I. Joe with an interview with special guest Chris Crank, AKA Crank! Christopher Crank is a comics letterer currently based out of Cincinnati, OH. He was part of the original Devil's Due crew, as webmaster, forum admin, Flash animation creator, letters page wrangler (for a time) and at the end of the era, letterer. Crank! is now a full time letterer, working on projects such as ITGirl and The Atomics, Revival, Hack/Slash, Rick & Morty, Battlepug, Jonna and the Unpossible Monsters see more credits at https://comicvine.gamespot.com/crank/4040-52438/issues-cover/ Outside of comics you can find him on Twitter (@ccrank), talking about junk at Crankcast and playing music with the Vladimirs and Sono Morti. Crank's Links: Site: http://www.crankcast.com Twitter: @ccrank Instagram: @ccrank_ a On the Patreon site https://www.patreon.com/posts/79234959 is a post are some photos of the Devil's Due offices and a couple of wallpapers that Crank created.

Have a listen. I will be working on this until I can get it to market asap. --- Send in a voice message: https://podcasters.spotify.com/pod/show/divergentmind/message

Today we have the opportunity to sit down with Unlikely Heroes Studios, Insymmetry Creations, Charlie Stickney, and Skeletal Press to learn more about their The Badass Women of Kickstarter campaign + their experience creating #indiecomics! Be sure to check the links below to stay in touch with their future works! Unlikely Heroes Studios Miss Medusa's Monstrous Menagerie #1-2 - "It's 1963, and having a carnival of 666 monsters ain't the draw it used to be. Miss Medusa's Monstrous Menagerie is one of the last two Mythic shows left in the U.S., trucking from one backwater jerkass town to the next. It's dirty work, and sometimes you barely make the nut, but America's still the land of plenty (of rubes). For this season at least, Miss Medusa's hiring, and you can still run away and join the circus. (Mythics, Cryptids, Gods, and Atomics only, please. Humans need not apply.) " Kickstarter - www.uhstudios.com/kickit Twitter - https://twitter.com/UHStudios Facebook - https://www.facebook.com/UnlikelyHeroesStudios Instagram - https://instagram.com/uhstudiosofficial ------------------------------ Charlie Stickney The Game #1-3 "Picking up where we left off, the story follows the down-on-his-luck Eli, who on his thirtieth birthday is told he's Player Number 3 in a game that's been going for over a thousand years. And that he needs to figure out the rules pretty quickly if he wants to survive. " Kickstarter - https://www.kickstarter.com/projects/thegamecomic/the-game-1-3?ref=ksrtwitter-prelaunch Twitter - https://twitter.com/CharlesStickney Facebook - www.facebook.com/whiteashcomic Instagram - https://instagram.com/whiteashcomic ------------------------------ Insymmetry Creations HEIRS OF ISILDUR: The Perilous Prospects Books I & II - "After catastrophic events erupted across Shadow's Haven, alliances have been formed and secrets are being uncovered, all in the name of saving their village and their heritage... but will some take their quest to find truth (or those that caused the catastrophe) too far?" Kickstarter - www.tinyurl.com/HeirsTPP2 Twitter - https://twitter.com/InsymCreations Facebook - https://www.facebook.com/insym Instagram - https://instagram.com/insymmetrycreations ------------------------------ Skeletal Press RAYNA: The Bastard Queen #1-2 " "The story of a young barbarian warrior who seeks vengeance on a coven of witches that murdered her tribe when she was a child. Finding her place in a brutally unforgiving world, Rayna will explore beautiful and haunting landscapes while slashing her way through monstrous threats like griffins, vampires, werewolves, and other supernatural beasts." Kickstarter - http://kck.st/3V501Dp Twitter - https://twitter.com/skeletalpress Instagram - https://instagram.com/skeletalpress www.skeletalpress.substack.com --------------------------------------------------------------------------------------------------------------------------- To stay up to date with my content creation as well as my day-to-day thoughts, feel free to follow my Twitter - https://twitter.com/keepingitgeekly For single-issue breakdowns and more be sure to visit my TikTok over at https://tiktok.com/keepingitgeekly Be sure to drop by my Twitch channel where I live stream every Wednesday, Thursday, Friday, and Saturday at 11 PM EST https://twitch.tv/job_for_a_cody My personal Discord -https://discord.gg/vg9zEyKt Intro Music - https://twitter.com/PersyThePianist | http://linktr.ee/PersyNotes Background Music - [FREE] Kota The Friend Type Beat - "Laid Back" - Kota https://www.youtube.com/watch?v=QIY19VZa3FY&t=83s --- Support this podcast: https://podcasters.spotify.com/pod/show/keepingitgeekly/support

Every day I visit with industry leaders on the ENB Podcast is a great day. Today is one of those great international days. Thomas Jam stopped by from Copenhagen Atomics, and we talked about the world's energy crisis.We cannot get to Carbon Net Zero without atomic energy, and what is the number one reason people hate nuclear power? The nuclear waste and the sheer costs to build reactors. Well, Thomas and his team have solved the issues and are mass manufacturing thorium reactors. Yes, you just read that right. Mass-producing nuclear reactors that can run off of existing nuclear waste. If I was looking for the right investment to save the world, look no further. We are not decades away, just a couple from mass production. Check out Copenhagen Atomics HEREWe would like to thank our ENB Podcast sponsor Enverus. You can check them out HERE. We would also like to thank our fellow travelers with Enverus. Mark LaCour, Editor in Chief, OGGN Paige Wilson, Host of Oil and Gas Industry Leaders and Co-Host of Oil and Gas This Week Podcast.  OGGN NetworkDavid Blackmon, Author, Industry leader, Podcast Host, DB Energy QuestionsDB Energy Questions Podcast

This week we have Dr. Gerald Pollack on the show, who is here to tell us about the role of electricity in weather - but to get there, we have to go all the way to the beginning and deal with the structure of the atom, the nature of charge, and what are clouds, anyways? Support the scientific revolution with a monthly donation: https://bit.ly/3lcAasB #electricuniverse #science #weather Check our short-films channel, @DemystifySci: https://www.youtube.com/c/DemystifyingScience Join our mailing list https://bit.ly/3v3kz2S PODCAST INFO: Anastasia completed her PhD studying microbial communication at Columbia University. When not talking to brilliant people or making movies, she spends her time painting and exploring the woods. Michael Shilo also did his PhD at Columbia studying the elastic properties of molecular water. When he's not in the film studio, he's exploring sound in music. They are both freelance professors at various universities. - Blog: http://DemystifySci.com/blog - RSS: https://anchor.fm/s/2be66934/podcast/rss - Donate: https://bit.ly/3wkPqaD - Swag: https://bit.ly/2PXdC2y SOCIAL: - Discord: https://discord.gg/MJzKT8CQub - Facebook: https://www.facebook.com/groups/DemystifySci - Instagram: https://www.instagram.com/DemystifySci/ - Twitter: https://twitter.com/DemystifySci MUSIC: -Shilo Delay: https://g.co/kgs/oty671

Episode 468. Topic: Antimatter. Theme: Atomic physics. Is an up quark the antiparticle of the down quark? What are antiprotons? What is antihelium? What happens when matter and antimatter meet? Where is all the antimatter anyway?Twitter: @3minutelesson  Email: 3minutelesson@gmail.com  Instagram: 3minutelesson  Facebook: 3minutelesson  New episode every Monday, Wednesday, and Friday! Find us everywhere podcasts are found. 

Episode 467. Topic: Subatomic particles. Theme: Atomic physics.  What are protons, neutrons, and electrons made from? What are subatomic particles or elementary particles? How are they described? How do they form matter? How were they discovered? Do they answer all questions about the universe? Twitter: @3minutelesson  Email: 3minutelesson@gmail.com  Instagram: 3minutelesson  Facebook: 3minutelesson  New episode every Monday, Wednesday, and Friday! Find us everywhere podcasts are found. 

Episode 466. Topic: Radioactive decay. Theme: Atomic physics. What is radioactive decay? What are alpha  particles, beta particles, and gamma rays? What are examples of these decay types? Which is the most dangerous?Twitter: @3minutelesson  Email: 3minutelesson@gmail.com  Instagram: 3minutelesson  Facebook: 3minutelesson  New episode every Monday, Wednesday, and Friday! Find us everywhere podcasts are found.

Episode 465. Topic: Radiocarbon dating. Theme: Atomic physics. What are isotopes? What are the common isotopes of carbon and how do they form? How is carbon-14 used to date organic material? What are the limits to radiocarbon dating? How are billion-year-old objects dated?Twitter: @3minutelesson  Email: 3minutelesson@gmail.com  Instagram: 3minutelesson  Facebook: 3minutelesson  New episode every Monday, Wednesday, and Friday! Find us everywhere podcasts are found.

Episode 464. Topic: Discovering atoms. Theme: Atomic physics. What are elements and how are they defined? What are atoms? How was the atom discovered? How did scientists uncover the basic structure of the atom? How were neutrons discovered? Twitter: @3minutelesson  Email: 3minutelesson@gmail.com  Instagram: 3minutelesson  Facebook: 3minutelesson  New episode every Monday, Wednesday, and Friday! Find us everywhere podcasts are found.

Ed's Links (Order RED ROOM!, Patreon, etc): https://linktr.ee/edpiskor Jim's Links (Patreon, Store, social media): https://linktr.ee/jimrugg ------------------------- E-NEWSLETTER: Keep up with all things Cartoonist Kayfabe through our newsletter! News, appearances, special offers, and more - signup here for free: https://cartoonistkayfabe.substack.com/ --------------------- SNAIL MAIL! Cartoonist Kayfabe, PO Box 3071, Munhall, Pa 15120 --------------------- T-SHIRTS and MERCH: https://shop.spreadshirt.com/cartoonist-kayfabe --------------------- Connect with us: Instagram: https://www.instagram.com/cartoonist.kayfabe/ Twitter: https://twitter.com/CartoonKayfabe Facebook: https://www.facebook.com/Cartoonist.Kayfabe Ed's Contact info: https://Patreon.com/edpiskor https://www.instagram.com/ed_piskor https://www.twitter.com/edpiskor https://www.amazon.com/Ed-Piskor/e/B00LDURW7A/ref=dp_byline_cont_book_1 Jim's contact info: https://www.patreon.com/jimrugg https://www.jimrugg.com/shop https://www.instagram.com/jimruggart https://www.twitter.com/jimruggart https://www.amazon.com/Jim-Rugg/e/B0034Q8PH2/ref=sr_tc_2_0?qid=1543440388&sr=1-2-ent

Jay Cutler (IG: @JayCutler ) is a 3x Arnold Classic champion and 4x Mr. Olympia champion. He's the only person in the history of Olympia to regain his title after losing the previous year. He's the founder of Cutler Nutrition and the host of the  @Cutler Cast . Michael's Men of Action program is a Master's course dedicated to helping people elevate their social lives by building elite social circles and becoming higher status. Click the link below to learn more: https://go.moamentoring.com/i/2 Subscribe on Youtube: https://www.youtube.com/user/MichaelSartain Listen on Apple Podcast: https://podcasts.apple.com/us/podcast/the-michael-sartain-podcast/id1579791157 Listen on Spotify: https://open.spotify.com/show/2faAYwvDD9Bvkpwv6umlPO?si=8Q3ak9HnSlKjuChsTXr6YQ&dl_branch=1 Filmed at Sticky Paws Studios: https://m.youtube.com/channel/UComrBVcqGLDs3Ue-yWAft8w 0:00 Intro 0:30 Getting Jay on the podcast 1:09 Growing up in Massachusetts, 6 siblings 2:56 Genetics 4:03 Discovering bodybuilding 5:11 College Athlete, Team Sports 6:03 Lifting with no distractions 7:30 19-year-old teenage nationals 7:51 Maximum-security prison guard 8:15 50 pounds in the first six months 8:43 The eating, 140lbs of chicken 9:56 The food is everything 10:56 The discipline to keep eating 13:55 **Squat till your nose bleeds 15:11 Benchpress 500 lbs 16:14 Bodybuilding is like the running back position 17:15 **2011 bicep tear 18:44 Pain tolerance 21:00 15th to 8th to 2nd in Olympia 21:44 moving to Las Vegas in 2002, Real estate 23:02 Joe Weider, Muscle and Fitness magazine 25:10 Meeting your wife at 16 26:09 Schedule of a bodybuilder 26:54 Finishing second to Ronnie Coleman 2001 28:24 Income of a bodybuilder 31:11 Getting paid to do something you love 32:28 *“Are you going to win this year?” 33:35 Jordan shoe collection, Atomics 34:48 Cardio, Stairmaster, Boost your metabolism 36:29 *20 sets per body parts 38:40 Shoulder injury, Abscess 39:33 Winstrol 39:56 Greg Doucette interview 41:14 Performance-enhancing drugs 43:20 *Better drugs then than today 44:04 *Cycling off steroids and TRT 45:35 *12 IU's of HGH per day 47:46 getting ripped on HGH 48:51 Equipoise, Anavar 50:23 **Trenbolone 51:07 **FDA 52:54 *Free testosterone level 54:04 Bodybuilder mortality 55:01 I give up my life to win Mr. Olympia 55:53 *Forthright about steroid use 58:17 Getting drug tested 59:48 The Rock, Mike O'Hearn, Don't ask about steroids 1:02:01 Don't enjoy food to this day 1:02:59 140 egg whites a day 1:03:30 1,000 gm carbs, 300-400 gm protein 1:05:32 2006 Mr. Olympia champion 1:06:24 Flipping homes, Real estate 1:08:45 Pre-workout, Prevail 1:09:35 2007 Mr. Olympia 1:10:16 2008 *Losing to Dexter Jackson 1:12:07 2009 Revamped training 1:15:08 Thrive off positivity 1:16:21 *Studying your competition 1:16:55 Shit talking 1:18:09 Ronnie Coleman 1:19:38 All natural in his first Olympia 1:21:32 Ronnie in the night club 1:23:36 Schwarzenegger, Van Dam, Stallone 1:26:16 Dehydration before the competition 1:28:04 When you win the Olympia 1:28:57 Claudia Fijal: what was your favorite moment competing? 2009 quad stomp 1:31:58 Cutler cast 1:33:53 Social media 1:35:47 *They don't care 1:37:22 I love Las Vegas 1:37:41 2010 Olympia, getting a divorce 1:38:48 *Dating 1:40:38 Merchandise, supplements and competitions 1:41:52 Focus, networking, relationships 1:44:14 Ryan Diaz 1:45:29 Advice for new bodybuilders 1:47:00 Ambassador for Olympia 1:47:41 Phil Heath 1:49:33 Intimidating physique 1:51:03 Podcast guests 1:52:48 Tom Sosnoff influence 1:53:43 My podcast guests 1:54:05 You can't overtrain if you eat enough 1:55:00 Tom Brady 1:56:51 **Outro

In this episode, we sit down with Dirk Scheumann, the Founder of Schneestern, to discuss building the best parks and competitive courses in skiing. Among their many projects, Schneestern is responsible for the courses at Nine Knights, the 2018 Winter Olympics in PyeongChang, and now the 2022 Winter Olympics in Beijing. Find out how Dirk went from a professional skier in Germany to building parks for a living. Learn more about Schneestern https://www.schneestern.com/en/products/snow-parks/ @TwoPlankerPod https://www.instagram.com/twoplankerpod/ Listen on Spotify: https://open.spotify.com/show/4DoaAVYv69xAV50r8ezybK Listen on Apple Podcast: https://podcasts.apple.com/us/podcast/two-planker-podcast/id1546428207 Listen on YouTube: https://www.youtube.com/channel/UCRvAYQSF4s3bsC887ALAycg Show Notes: 0:00:00 Line Skis Ad Read 0:00:30 Intro 0:01:45 Dirk's background, Influences 0:09:00 Riding for Atomics first Freeski Team, Snowboardings influence 0:16:30 The start of Schneestern, Challenges of building parks 0:28:30 The Nines, The process from start 0:38:30 Getting involved with the Olympics Games, Shredsauce, involving the Great Wall of China, Rails vs jumps, Weather 1:00:45 Calculating trajectories, Permanent Big Air stadium in Beijing 1:09:00 The Best park? Plans for North America, Advice 1:15:40 Closing

1) How Thomas Jam Pederson made the jump from the IT industry to molten salt reactors  2) How Copenhagen Atomics is bringing new nuclear technology paired with a new industry business model  3) Challenges of operating a nuclear-based business in a country that has outlawed civil nuclear  4) Why both open source and patented designs are beneficial to the nuclear startup community 

This episode we sat down with Atomics head boot designer, Matthew Manser, to chat about their new Hawx Ultra XTD 130 flex boot in a true 22.5 and 23.5 shell fit. Why does this matter?... The post Big Stick Energy – E11 – Girls and Gear: Why We Need Stiffer Boots and What Atomic is Doing About It – Matthew Manser appeared first on Out of Bounds Podcast.

On this week's SBAM Weekly Podcast, Michael Rogers talks with Michael Marsiglia, the Co-CEO of Atomic Object, winner of the Distinguished Alumni Award at this year's Michigan Celebrates Small Business. “If we go all the way back to our founding in 2001, our simple but consistent business strategy has always been to treat people well and be good stewards of our community,” he says. “And that strategy meant Atomics has always focused on more than just our bottom line, and this has greatly influenced our culture over time.” The Small Business Association of Michigan is the only statewide and state-based association that focuses solely on serving the needs of Michigan's small business community. We have been successfully serving small businesses like yours in all 83 counties of Michigan since 1969. We're located in Lansing, just one block from the Capitol. Our mission is to help Michigan small businesses succeed by promoting entrepreneurship, leveraging buying power and engaging in political advocacy. When small businesses band together through the Small Business Association of Michigan, they achieve more than they could on their own.  Our 28,000+ members are as diverse as Michigan's economy. From accountants to appliance stores, manufacturers to medical, and restaurants to retailers, what unites the SBAM membership is the spirit of entrepreneurship…a spirit that drove you to start and continue to operate your own business because you believe you can do something better than anyone else is doing it! (music licensed from www.jukedeck.com)

This podcast involves two live demos, you can catch up on the YouTube verison here: https://youtu.be/T3K_DrgLPXMLinks Builder.io https://www.builder.io/ PartyTown https://github.com/BuilderIO/partytown Qwik https://github.com/builderio/qwik https://dev.to/mhevery/a-first-look-at-qwik-the-html-first-framework-af Timestamps [00:01:53] Misko Intro  [00:03:50] Builder.io  [00:08:31] PartyTown  [00:11:41] Web Workers vs Service Workers vs Atomics  [00:15:02] PartyTown Demo  [00:21:46] Qwik and Resumable vs Replayable Frameworks  [00:25:40] Qwik vs React - the curse of Closures  [00:27:32] Qwik Demo  [00:42:40] Qwik Compiler Optimizations  [00:53:00] Qwik Questions  [01:00:05] Qwik vs Islands Architecture  [01:02:59] Qwik Event Pooling  [01:05:57] Qwik Conclusions  [01:13:40] Qwik vs Angular Ivy  [01:16:58] TED Talk: Metabolic Health  Transcript [00:00:00] Misko Hevery: So the thing that I've learned from Angular.js days is make it really palatable, right. And solve a problem that nobody else has. Doing yet another framework in this state of our world would be complete suicide cause like it's just a different syntax for the same thing, right? So you need to be solving a problem that the other ones cannot solve. [00:00:22] swyx: The following is my conversation with Misko Hevery, former creator of Angular.js, and now CTO of Builder.io and creator of the Qwik framework. I often find that people with this level of seniority and accomplishment become jaded and imagine themselves above getting their hands dirty in code.  [00:00:39] Misko is the furthest you could possibly get, having left Google and immediately starting work on the biggest problem he sees with the state of web development today, which is that most apps or most sites don't get a hundred out of a hundred on their lighthouse scores. We talked about how Builder.io gives users far more flexibility than any other headless CMS and then we go into the two main ways that Misko wants to change web performance forever: offloading third-party scripts with PartyTown, and then creating a resumable framework with Qwik. Finally, we close off with a Ted Talk from Mishko on metabolic health. Overall I'm incredibly inspired by Misko's mission, where he wants to see a world with lighter websites and lighter bodies. [00:01:23] I hope you enjoy these long form conversations. I'm trying to produce with amazing developers. I don't have a name for it, and I don't know what the plan is. I just know that I really enjoy it. And the feedback has been really great. I'm still figuring out the production process and trying to balance it with my other commitments so any tips are welcome. If you liked this, share it with a friend. If you have requests for other guests, pack them on social media. I'd like to basically make this a space where passionate builders and doers can talk about their craft and where things are going. So here's the interview.  [00:01:53] Misko Intro  [00:01:53] swyx: Basically I try to start cold, [00:01:55] assuming that people already know who you are. Essentially you and I met at Zadar and, I've heard of you for the longest time. I've heard you on a couple of podcasts, but I haven't been in the Angular world. And now you're no longer in the Angular world.  [00:02:11] Misko Hevery: The child has graduated out of college. It's at a time.  [00:02:15] swyx: My favorite discovery about you actually is that you have non-stop dad jokes. Um, we were walking home from like one of the dinners and that you're just like going, oh, that's amazing. [00:02:27] Yes. Yeah.  [00:02:28] Misko Hevery: Yes. Um, most people cringe. I find it that it helps break that. It does and you know, the Dad jokes, so they're completely innocent. So you don't have to worry. I also have a good collection of, uh, computer jokes that only computer programmers get.  [00:02:47] swyx: Okay. Hit me with one.  [00:02:48] Misko Hevery: Um, "How do you measure functions?" [00:02:51] swyx: How do I measure functions? And the boring answer is arity,  [00:02:55] Misko Hevery: and that's a good one! "In Para-Meters." Uh, [00:03:03] swyx: yeah. So for anyone listening like our entire journey back was like that it just like the whole group just groaning. No, that's really good. Okay. Well, it's really good to connect. I'm interested in what you're doing at Builder. You left Google to be CTO of Builder. I assumed that I knew what it was, from the name, it actually is a headless CMS and we can talk about that because I used to work at Netlify and we used to be very good friends with all the headless CMSes. And then we can talk about Qwik. How's that ? [00:03:34] Misko Hevery: I can jump into that. Sorry. My voice is a little raspy. I just got over a regular cold, like the regular cold ceilings  [00:03:42] swyx: conference call, right. I dunno, I, I had it for a week and I only just got over it. [00:03:46] Misko Hevery: It was from the conference. Maybe it wasn't from the other trip I made anyways.  [00:03:50] Builder.io  [00:03:50] Misko Hevery: So let's talk about Builder. So Builder is what we call a headless visual CMS. Uh, I did not know any of that stuff. Would've meant. So I'm going to break it down because I assume that the audience might not know either. [00:04:01] So CMS means it's a content management system. What it means is that non-developers, uh, like typically a marketing department think like Gap. Gap needs to update .... If you're showing stuff on the screen, you can go to Everlane. Everlane is one of our customers. Okay. And so in Everlane case, the marketing department wants to change the content all the time. [00:04:22] Right? They want to change the sales, what things are on the top, what product that they want to feature, et cetera. And, um, this is typically done through a content management system. And the way this is typically done is that it's like a glorified spreadsheet where the engineering department makes a content. [00:04:39] And then it gives essentially key value pairs to the marketing. So the marketing person can change the text, maybe the image, but if the developer didn't think that the marketing person might want to change the color or font size, then there is no hook for it, and the marketing person can't do that. [00:04:54] Certainly marketing person won't be able to add new columns, decide that this is better shown in three columns versus two column mode or show a button or add additional text. None of that stuff is really possible in traditional content management systems. So, this is where the visual part comes in. So Builder.io is fully visual, right? [00:05:13] Drag and drop. You can add it, whatever you want in the page. And the last bit is headless, meaning that it's running on the customer's infrastructure and we don't host the website. If you are, if we are hosted CMS, then it's relatively easy to make a drag and drop editor. [00:05:28] But because we don't host it, it's not on our infrastructure. It's actually quite a head-scratcher. And the way we do this, which I think is pretty cool, is, we have this open source technology called Mitosis, which allows us to give one input to Mitosis and it can produced any output in terms of like, whether you use Angular, React, Vue, Svelte, Solid, it doesn't matter what you use on the backend. [00:05:50] We will generate a component for you. And because we're generating an actual component, it drops into the customer's backend infrastructure, right. And everything just works there. Server-side rendering works. Everything that, that the customer might have on a backend, it just worked because it's a full-on regular component, whether it's Angular, React, or whatever the company might use. [00:06:13] So that's the unique bit that nobody knows how to do. And it's also the bit that attracted me to Builder.io and joining them. And the reason for that is because it is really easy for them to create new technology. So one of the things we're going to talk about later is this thing called Qwik. [00:06:30] What's super easy with Builder.io is that they can easily produce new output. So if you have a customer that already has their content, let's say on react or Angular, and they decided they want to move over to something different, like Qwik, and I will talk about why that might be a reason, it is super easy because with a push of a button, because we generate the content, we can generate the components in a different framework. [00:06:55] swyx: Got it. It's interesting. Have you seen Tailwind?  [00:06:57] Misko Hevery: So Tailwind is more of a CSS framework with my understanding is correct for  [00:07:01] swyx: building, but they had to build something for doing this essentially like having different outputs, uh, we have one central template format that outputs all these different  [00:07:11] Misko Hevery: things.  [00:07:12] So this is what Mitosis would do. Right. But Mitosis can do this across all of them, not just Vue and React, right? Every single one. Like, I don't even know what the list is, but there's a huge list of possible outputs that uh, Mitosis  [00:07:25] swyx: can do. Yeah. You have, Liquid and JSON.  [00:07:30] Misko Hevery: There's more, I mean, this for ones that you see over here. [00:07:33] Yeah. You can see pretty much everything's analyst here. We can import from Figma, given some constraints. Cause it's not a one-to-one thing kind of a thing, but we can import from Figma. So the idea is that people can design their site in Figma provided that they follow a certain set of guidelines. [00:07:49] We can actually import them and to turn it into HTML and then serve it up, whether it's React or whatever. One of the things is that's actually important. For example, for us is Liquid, right? Liquid is a templating system on Shopify. But it's a server side templating system and it cannot be done on the client side. [00:08:05] So if you pre-render on Liquid, how do you get a component to bind to it on the client? Because you would need to have the same component. Right? One of the things we can do is we can present it on a liquid and then produce an, a equivalent react component on the client and they automatically bind to it on a client. [00:08:21] Right. So we can do these kinds of tricks which are normally quite difficult.  [00:08:25] swyx: So you went from building one framework to building all the frameworks.  [00:08:29] Misko Hevery: You can think of it that way.  [00:08:31] PartyTown  [00:08:31] Misko Hevery: But my real thing, the real passion is that I want to get all sides to be 100/100. Yeah. Okay. Uh, on mobile, not on this stop, you know, a lot of people claim on desktop that they can do 100 out of a hundred mobile, that's the bar. [00:08:46] So I want to figure out how to do this. And in order to do that, you really have to get super, super good at rendering these things. And it turns out that if you just make a blank page and blank, white page with nothing on it, and you add a Google tag manager, that alone puts you essentially on the cusp of a hundred, out of a hundred on mobile. [00:09:08] So that alone, that, that act alone, right, he's kind of uses up all your time that you have for rendering. And so the question becomes like, how do we make this as fast as possible? So you can get a hundred out of a hundred on mobile. And it's very little processing time that you get to have and still get to have a hundred. [00:09:25] And so we do two things. One is be introducing a new framework called Qwik. little later. But the other thing we're talking about is introducing this thing called PartyTown okay. And I absolutely love PartyTown. So the person behind PartyTown is Adam Bradley, who you might know him from, making the Ionic framework.  [00:09:43] The guy is absolutely genius. And this is a perfect example of the cleverness of it. All right? So you have, something like a Google tag manager that you want to install on your website. And that thing alone is going to eat up all of your CPU time. So you really would like to put it on a WebWorker, but the problem is you can't because the WebWorker doesn't have DOM API. [00:10:02] It doesn't have a URL bar. It doesn't have just about everything that the Google tag manager wants to do. Right? Google tag manager wants to insert a tracking pixel on your screen. It wants to register a listener to the, to the, uh, URL changes. It wants to set up listeners for your mouse movements, for the clicks, all kinds of stuff. [00:10:21] So running it on a Web Worker becomes a problem. And so the clever bit of geniuses that Adam came up with is that, well, what you really want is you want to proxy the APIs on the main thread into the web worker thread, and you can proxy them through, you know, we have these, these objects called proxies. [00:10:39] The problem is that the code on a Web Worker expects everything to be synchronous. And our communication channel between the main thread and the web worker thread is async. And so the question becomes like, well, how do you solve this particular problem? And it turns out there is a solution to this problem. [00:10:56] And the solution is that you can make a XML HTTP request, which is synchronous, on a Web worker. And then you can intercept that the request using a service worker and then service worker can talk to the main thread. Figure out what exactly did you want to do? So for example, let's say you want to set up a, uh, you want to know the bounding rectangles of some div, the Web Worker thread can make that request, encode that request inside of a XML HTTP request, which goes to the service worker. Service worker calls the main thread, the main thread figures out what the rectangle boxes, and then sends the information back to the web worker thread, which then doesn't notice anything special. As far as it's concerned, it's just executing stuff, synchronously. It's like, you're laughing, right? Because this is hilarious. [00:11:41] Web Workers vs Service Workers vs Atomics  [00:11:41] swyx: So I'm one of those. Okay. You're, you're a little bit ahead of me now. I'm one of those people I've never used web workers or service workers. Right. Um, can we talk a little about, a little bit about the difference and like, are they supposed to be used like that? Like,  [00:11:54] Misko Hevery: uh, so we did these two because they are supported under the most browsers. [00:11:59] There's a different way of making synchronous call and that is through something called Atomics, but Atomics is not available on all browsers yet.  [00:12:07] So web worker is basically just another thread that you have in the browser. [00:12:12] However, that thread doesn't have access to the DOM. So all DOM APIs are kind of gone from there. So you can do a lot of CPU intensive things over there, but, , with limited abilities and this is what PartyTown solves is it proxies all of the API from the main thread into the Web Worker thread. Yeah.  [00:12:32] Now service worker is kind of a safe thing, but the difference is that a service worker can watch HTTP requests go by and it can intercept them. And so think of it as almost like a mini web server in your browser. And so what the service worker does over here is intercepts the request that the web worker makes, because that's the only way we know how to make it blocking call. [00:12:56] swyx: Uh, this is the one that we use for caching and Create React App and stuff like that. [00:13:00] Misko Hevery: Yeah. And then, because we can make a blocking call out of a web worker, the service worker who can use the blockiness of it to make an asynchronous call to the main thread and get all the information that you need.  [00:13:12] swyx: that's pretty smart. Is there any relation to, uh, I know that I think either Jason Miller or Surma did a worker library that was supposed to make it easier to integrate, um, are you aware of, I think  [00:13:25] Misko Hevery: all of these worker rivalries are in heart they're asynchronous, right. And that's what prevents us from using it, right. [00:13:31] Because the code as written assumes full asynchronicity, and that is the bit that's. Different. Right. That's the thing that allows us to take code as is, and just execute it in a, Web Worker. And so by doing that, we can take all of these expensive APIs, whether it's, Google tag manager, Analytics, Service Hub, I think that mispronouncing it, I think, all of these libraries can now go to the main thread and they have zero impact on your Google page speed score. And we actually talked to Chrome and we said like, Hey, we can do this. Do you think this is cheating? Right? Like, do you think that somehow we're just gaming the system and the message was no, no, because this actually makes the experience better for the user, right? [00:14:17] Like the user will come to the website. And because now the main thread is the thing that is running faster and none of this stuff is blocking. You actually have a better experience for the user. The other thing we can do is we can actually throttle how fast the Web Worker will run because when the Web Worker makes a request back to the main thread to say, like, I want the bounding box, or I'm going to set up a tracking pixel or anything like that, we don't have to process it immediately. [00:14:43] We can just say, well, process this at the next idle time. And so the end result is that you get a really high priority for the main thread and then the analytics loads when there's nothing else to do. Which is exactly what you want, right? You want these secondary things to load at a low priority and only be done when there's nothing else to do on the main thread. [00:15:02] PartyTown Demo  [00:15:02] swyx: That's amazing. Okay. All right. We have some demos here if we want to  [00:15:05] Misko Hevery: So if you, let's pick out the simple one, the element, right. And what you see in the console log is this is just a simple test, which performs, uh, synchronous operations. But what you see on the console log is that all of these operations are intercepted by the service worker. [00:15:22] Right. And we can see what particular API on the web worker is trying to do and what the result is, what the return code is, you know, how do we respond and so on and so forth. And so through this,you can kind of observe what your third party code does. By the way. The nice thing about this is also that, because you can observe, you can see is ECP. [00:15:43] If you're a third-party code, because we essentially trust them, right. Fully trust this third party code on your website and who knows what this third party code is doing. Right? So with this, you can see it and you can sandbox it and you can, for example, say like, yeah, I know you're trying to read the cookie, but I'm not going to let you, I'm just going to return an empty cookie because I don't think it's your business to do that. [00:16:04] You know, or any of those things we can do. So you can create a security sandbox around your third party code. That is kind of, as of right now is just implicitly trusted and you can, you have a better control over it.  [00:16:18] swyx: I could filter for it, I'm basically, I need HTTP calls and then I need any cookies. [00:16:23] Right. So,  [00:16:25] Misko Hevery: yeah. So in this case, there will be nothing because this is just showing off element API, but I think you go to previous page  [00:16:33] swyx: Before we go there. is there anything significant and? It says startup 254 milliseconds?  [00:16:38] Misko Hevery: Yeah. So the thing to understand is that it is slower, right? We are making the Google tag manager slower to start up. [00:16:46] Right. So it's definitely not going to be as fast as if it was on a main thread, but it's a, trade-off, we're doing intention. To say like, Hey, we want to give the CPU time to a user so that the user has a better experience rather than eagerly try to load analytics at the very, very beginning and then ruining it for the user. [00:17:04] So while in theory, you could run a react application and the web worker, I wouldn't be recommended because it will be running significantly slower. Okay. Um, because you know, all of these HTP requests, all these calls across the boundary, uh, would slow down. So it is a trade-off.  [00:17:23] swyx: So this is really for the kind of people who are working on, sites that are, have a lot of third-party scripts for,  [00:17:30] Misko Hevery: well, all the sides have third party scripts, right? [00:17:32] Like any kind of a site will have some kind of third-party whether it's analytics ads or just something that keeps track of what kind of exceptions happen on the client and send them back to the server, right. Standard standard things that people have on a website. And instead of the standard things that are making, preventing you from getting a hundred out of a hundred on your score. [00:17:52] Right. Okay, amazing. So this is a way of unloading stuff from the main thread Got  [00:17:58] swyx: What's the API? I haven't seen the actual code that, Party Town. Okay. There's a, there's a adapter thingy and then  [00:18:05] Misko Hevery: you stick it. So we, those are just for react components. There is also vanilla. Just go a little over. [00:18:14] So do   [00:18:16] swyx: you see how we have to prioritize, React above Vanilla? [00:18:20] Misko Hevery: Even lower? This just shows you how you get the PartyTown going. Oh, here we go. Text to pay. We go right there. [00:18:25] You're looking at it right there. So notice what. We asked you to take your third party script, which, you know, if you go to Google on an exit, it tells you like, oh, take this script tag and just drop it inside of your head. Right. Or something like that. So what we do is we say like, do the same exact thing, except change the type to text/partytown. [00:18:43] And that basically tells the browser don't execute it. Instead, PartyTown will come later, read the stuff, ship it over to the web worker and then do it over there.  [00:18:54] swyx: So the only API is you, you just change this, that's it? Yes. Yes.  [00:18:58] Misko Hevery: So you drop a party down script into, uh, into, which is about six kilobytes. And then you go to all of the third-party places and just add, type text/partytown, and that ships them off to the other place. [00:19:10] swyx: So, um, it feels like Chrome should just build this in like script, script type third party. Right. And then just do it.  [00:19:20] Misko Hevery: Yeah. I mean, we're having chats with them. You never know. Maybe if this shows up to be very useful technique. It might be something that Chrome could consider. Well, certainly we need a better way of making synchronous calls from the web worker thread to the main thread, not from the main ones of the web, right. [00:19:37] That's clearly a bad idea, but from the web worker, the main, it would be really nice to have a proper way of doing synchronous calls.  [00:19:44] Atomics  [00:19:44] Misko Hevery: Atomics might be the answer. And so it might be just as simple as getting all the browsers to adopt Atomics because the standard already exists.  [00:19:51] swyx: And I see what, what is this thing I've never heard of it? [00:19:55] Misko Hevery: Atomics is basically a shared memory array buffer between two threads and you can do, atomic operations like locking and incrementing and things of that sort on it. And they can be done in a blocking way. So you can, for example, say, increment this to one and wait until whatever result is three or something like that. [00:20:14] So then you're giving a chance for the other thread to do its work. I  [00:20:18] swyx: mean, this is like, so I'm writing assembly, like,  [00:20:22] Misko Hevery: It's not assembly it's more, you know, semaphore synchronization.  [00:20:26] swyx: Um, okay. Yeah. I see the, I see the locks and stuff, but this is, I can't just like throw in a third party script here. [00:20:33] Misko Hevery: No, no, no. This is something that the PartyTown would use to get synchronous messaging across. Right. Because currently it is kind of a hack that we create an XML HTTP request that is blocking that stuff with a service worker. Like this is craziness, right. So Atomics would definitely be a nicer way to do this. [00:20:51] swyx: I think the goal is definitely very worthwhile that the underlying, how you do it is a bit ugly, but who cares?  [00:20:57] Misko Hevery: Yeah. So the goal is very simple, right? The goal is, for us, we think we can have the best CMS, if we can produce websites that are a hundred out of a hundred on mobile, right? [00:21:07] That's the goal. And if you look at the current state of the world, and if you go to e-commerce websites, it's pretty dismal. Like everybody gets like 20 something on their scores for their sites, right? Even Amazon that has all the resources to spend, will only get 60 out of a hundred on their score. [00:21:24] Even Google website themselves gets it only about 70, out of a hundred. Right? So the state of the world is not very good. And I feel like we are in this cold war in a sense that like everybody's website is equally bad, so nobody cares. Right. But I'm hoping that if you can build a couple of websites that are just amazingly fast, then the world's going to be like, well, now I have to care. [00:21:46] Qwik and Resumable vs Replayable Frameworks  [00:21:46] Misko Hevery: Right? Because now it is different. And so now we're getting into the discussion of Qwik. So what is clicking and why do we need this? So, um, the basic idea behind Qwik, or rather than, let me back up a second of why existing websites are slow.  [00:22:04] And so there's two reasons, right? One is third party scripts, and we just discussed how we can solve this through PartyTown right? I mean, we can move all of their party scripts off.  [00:22:12] However, even if you move all the third party scripts off, your problem is still going to be that, uh, the startup time of your website is going to be pretty slow. And the reason for that is because all websites ship everything twice. First it's a server side rendered HTML, right. [00:22:30] And the page comes up quickly and then it's static. So we need to register listeners. Well, how do we adjust your listeners? Well, we download the whole site again, this time they came to in a form of TypeScript or JavaScript, and then we execute the whole site again, which is by the way, the server just did that. [00:22:49] Right? Yup. Yup. And then we know where to put up listeners and, that causes, you know, this is a perfect graphic for it, right. That causes double loading of everything. So we, we download everything once as HTML and then we load everything again, as JavaScript and then the execute the whole thing again. [00:23:07] So really we're doing everything twice. So what I'm saying is that the current set of framework are replayable, meaning that in order for them to have the bootstrap on the client, they have to replay everything that the server, literally just did, not even a second ago. And so Qwik is different in a sense, because it is resumable. [00:23:27] The big difference with Qwik is that the Qwik can send HTML across, and that's all. That's all it needs to send across. There's a little tiny bootstrapper, which is about one kilobyte and about one millisecond run, which just sets up a global listener and alert for the system. And no other code needs to be downloaded and it can resume exactly where the server left off. [00:23:48] So you need to have some formal way of serializing, the state, getting the state to the client, having a way of deserializing the state. More importantly, there's an importance to be able to render components independently from each other, right? And this is a problem with a lot of frameworks, which is - even if you could delay the startup time of a, uh, of an application, the moment you click on something react has to rerender the whole world right now, not rerender, that might be the wrong term, but it has to re execute its diffing algorithm from the root, right. It has to build up the vDOM. It has to reconcile the vDOM, has to do all these things, starting at the root. [00:24:26] There's no real way to not make it from the root. And so that means that it has to download all the code. And so the big thing about Qwik is, how can we have individual components be woken up individually from each other in any order? Right? I mean, people tend to talk about this in form of micro components or microservices on the client, right? [00:24:46] This is what we want, but at like the ultimate scale, where every component can act independently from everybody else.  [00:24:54] swyx: Yeah. Yeah. I think, we should talk a little bit about that because basically every single component is its own module and separately downloaded. So you're really using the multiplexing or whatever you call it of HTTP/2, right? [00:25:05] Like you can parallelize all those downloading. Right. The main joke I made, because I saw this opportunity and I was like, immediately, like, I know this will be the most controversial part, which is essentially. Uh, the way you serialize is you put everything in HTML, right? Like, like that. [00:25:23] So, so I, I immediately feel that, and it will stir up some controversy, but like also, like, I think the, the interesting, I mean, we should talk a bit about this. Like, obviously this is not handwritten by, by, by people. So people should not be that worried. Um, but also like there are some legitimate concerns, right. [00:25:40] Qwik vs React - the curse of Closures  [00:25:40] swyx: About how I think basically Dan Abramov was, was also the, the, you, you responded to Dan. Um, so Dan said something like this, okay. So it wasn't a direct response to Qwik but Qwik serializes all state in HTML, and that's something that we considered for React Suspense. And he says, basically the question was, have you considered allowing server components to have serializable state using equivalent? [00:26:03] it's been proposed somewhere earlier. This doesn't work generally state is in reaction arbitrary. Payloads would get huge essentially, like, "does it scale?" Is the question. Uh, and he said that this was done before and I went and looked it up and he was like, yeah. And it's actually what we used to do for ASP .NET WebForms. Right.  [00:26:18] Misko Hevery: So if you will look at react the way to React does things. And so I want to pull this up on one of the dev, uh, dogs. I actually talk about it and it might be useful to kind of pull it out. Yeah, the one you are on right now, the answer adoptable fine-grained lazy loaded. The point is that if you have a react component, react components take heavily, closures, right? Closure is the bread and butter of react components and they rely on closures everywhere and it's beautiful. I it's absolutely nice. I really like the mental model. However, it doesn't serialize, right? [00:26:50] You can't take a closure and serialize it into HTML. So what Qwik is trying to do is it's trying to break this up into individual functions. Clearly functions cannot be serialized, but functions can get a URL , a globally known URL, uh, which can load this. So if you scroll a little lower, you will see a, uh, Qwik component , and the difference is, in a Qwik component, we'll have these declaration template, which is which points to a location to where this particular thing can be loaded, if you scroll even further, it talks about how this particular thing can be served up in pieces to the client, if you do this thing. Right. So while it's maybe true that like, oh, it's been tried before and we didn't do it right. [00:27:32] Qwik Demo  [00:27:32] Misko Hevery: Have people really tried to solve every single one of these problems. Right. And there's a huge myriad of them that Qwik is trying to solve and kind of get over. And so maybe I can show it to you as a demo of what I kind of have a to-do app working. So let's let me, let's talk about this. [00:27:50] One of the things. So by the way, the screenshot you have on your Twitter account, that is the old version of Qwik, I've been chatting with you and bunch of other people at the conference, I really got inspired by lots of cool things. And this is a kind of a new version I'm working on, which has many of the issues fixed up and improved. So the thing I'm going to show you is standard todo example, right? I mean, you've seen this millions of times before. [00:28:15] swyx: By the way. I did not know that, uh, I think Addy Osmani made this original to do yes, he did. He did. And it's like the classic example. That was a classic example,  [00:28:24] Misko Hevery: right?  [00:28:27] So remember the goal for us is to serialize everything and send to the client in a form that the client can resume where the silver left off. Right. And then everything can be downloaded in pieces. So there's a lot of things to talk about. So let's start with, with how this works first, and then we can talk about how different pieces actually fit together. [00:28:46] So, you know, first thing you need to do, is, standard, define your interface for an item and define your interface for Todos, which is the collection of items, which contains , number of items completed in the current filter state, and just a list of items like so far, nothing. [00:29:02] Now the special thing comes in that when you declaring a object that you want to serialize, you will run it through this special function called Q object. And it's a marker function and does a couple of things to an object. But you're just basically passing all the stuff in and notice the individual items on Q objects as well. [00:29:20] The reason I did it this way is because I want to serialize individual line items separately, because I know that I'm going to be passing the individual items into separate components individually. Right? So what this basically says to the system is like, there is a top level object. Which is this guy right here and it can have rich state, but remember it has to be JSON serializable. [00:29:43] Therefore it cannot have cyclical things inside of it. It has to be a tree, but inside of it, it can have other objects and those can form cyclical things. So using the combination of those two, you can actually get cyclical graphs going inside of your application. But individually, each Q objects doesn't have that. [00:30:02] So that's a bit of a magic. If I scroll over to the actual running application, what you will notice is these Q objects get serialized like right here. So for example, this one has some ID and you notice it says completed zero and the inside of it has individual items. And notice these items are actually IDs to other locations. [00:30:22] So this ID ending in Zab is actually pointing to this object right here, which has other things. So the whole thing gets serialized. And unlike the demo I showed in Zadar, I have moved all the serialized content at the end, because I don't want to slow down the rendering of the top part. And so if you go, let's go back to our application. [00:30:41] So if you have Todo app, the Todo app is declared in a slightly more verbose way than the way the one would be declared in React. But if we do it this way, then we can serialize the closures, right? The closures don't have the issue with non serialized. By the way, the regular React way of doing things still works here and you can do that is just, they become permanently bound to their parents. [00:31:05] They cannot be lazy loaded. So you can think of it as having two mental models here. You can have lightweight components, which are essentially the same as react components, or you could have Q components, which are slightly more heavyweight, but they get the benefit of having the whole thing, be composable and get lazy a little bit so on and so forth. [00:31:24] So in this particular case, we're saying that there is a Todo app component and the QRL is this magical marker function that tells the system that this content here needs to be lazy. Or rather let me phrase it differently, it says the content here can be lazy loaded. The beauty of Qwik is that it allows you to put a lazy load of boundaries all throughout the system. [00:31:48] And then an optimization phase later decides whether or not we should take advantage of these lazy loaded motor boundaries, right in normal world, the developer has to put dynamic imports and that imports that asynchronous and a pain in the butt to work with, it's not simple. Right? So instead, what Qwik wants to do is say like, no, let's put dynamic imports everywhere, but do it in a way where the developer doesn't have to worry about it and then let the tooling figure out later whether or not we should actually have a dynamic import at this location or not. [00:32:18] Yeah. So even though this file, this there's two applications is in a single file in the tooling. We'll be able to break this file up into lots of small files and then decide in which order the things should be shipped to the client in order to get the best experience. You know, if there's a piece of code that never runs in the client will then put it at the bottom of the, of the chunks, right? [00:32:38] If there's a piece of code that is going to be most likely, you're going to click on it and put it up to the top. So, anyway, so that's kind of a diatribe here with a little bit of an off the rails here, but what this produces is a to-do and it turns the code, right? This QRL function, it says on render, it gets turned into a URL. [00:32:58] And this is what allows the build system to rearrange the code. And so this URL basically says, if you determine that Todo needs to be re re rendered, uh, then you can go download this piece of code. And that will tell you how do we render the Todo, right.  [00:33:14] You know, you're using a header and we're using main, notice we're binding Todos in there. So it looks like a regular binding, but the system has to do more work. So in this particular case, the main has to see if it has Todos, it has to refer to a object. So notice this, this ID here matches the ID here. And this is basically how the system knows that this component here, because if you look over here, the main and foot are, both of them want to know that you do this right? [00:33:42] So both of these components need to have the same object. And so, yeah, exactly. So this main here, as well as the footer, they both have a same ID passed in here. And that's how the system knows like, all right, if I wake you up, I have to make sure to provide you with the same exact ID. Now, not only that there is also this particular thing, which is just a copy of it, but, but in this particular. [00:34:08] What it does is, is the list, all of the objects that could potentially affect the state of this component. And when you go and you modify one of these, state objects, the state, these objects actually keep track of each other and they know which components need to be woken up and affected. So I think there's an example of it somewhere here later, uh, like right here, right in here, it says, Hey, if you, uh, you know, do a key up on the input right here, if I type here over here, something, then the key up runs and then eat, enter runs, you know, add a new item, which is just the function that the function right here, which just pushes an item and new item into the list. [00:34:54] And it sets my current state to text me. And so the system knows that in this political case, in a header, this input right here, Has its own state right here. So let me refresh this again. Um, this header has its own state one eight, whatever, right? Which if you look over here is right here. It's text blank, right? [00:35:16] So we find typing here. I'm going to change the state over here. And then if I set the state to blank, then the system knows, oh, that's object 1 8, 7 1, or whatever. I can run a query. I can run document DOM, querySelectorAll. And I can say, give me, uh, all the queue objects, remember how the selector for this start something like this. [00:35:44] Anyways, there's a way to run a selector that will allow me to whatever, whatever the code is, right? I'll run the selector and this selector will then return this header back to me saying this is the object or rather, this is the component that is, has interests registered into this object, which means. [00:36:04] Because I've selected this thing. I have to find the Q render message and send the Q render message to download its template and we render the object. And so what this allows you to do is have a completely distributed set of components that can be awoken only when a relative, you know, appropriate data is changed rather than having this world of like, well, the state has changed and I don't know who has a reference to what? [00:36:30] So the only thing I can do is we learn that the whole page. Well, that's kind of a, it doesn't help you, right? Cause if you run the, the whole page, then there's the whole, the code has to come in here. Right. So that's not helpful. We want to make sure that we only download the code is actually needed. And so you need to have some mechanism by which, you know, like if I change this piece of code, if I change this object, which component needs to be awoken, right. [00:36:54] And normally like if you have Svelte, Svelte does through subscription, this particular trick, the problem is subscriptions cannot be serialized into the DOM. And so we need a mechanism where the subscription information is actually DOM serializable, right? And this is what the Q object is, or the subscriptions that the individual components have to undo to other things. [00:37:18] And so the other thing I kinda want to point out is that we can then bind a complex object. Like in this case, it's a complicated state that'd be assigned to reduce yet. It turned into a binding that's serializable into the bottom, right? So if I go back here, see I'm jumping around. So we have our footer. [00:37:38] If we have our main, the main is declared over here, you know, standard, uh, JSX in here where you, you want to iterate over a bunch of items. There's a host. Okay. So one of the things we need to do is, um, in react, when you have a component, the component is essentially hostless, or I would say it's life component in the sense that it doesn't have a parent, right. [00:38:02] Uh, and that is wonderful in many, many situations, but sometimes it isn't. The problem we have is that we need to have a component. We need to have a DOM element for each component that can be queried using querySelectorAll so that we can determine if there is a listener on it, or if there is a subscription on a particular object or a single back. [00:38:24] So we have this concept of a host element, and this is one way in which the Qwik Q component is more heavyweight than the react component. You can still use react components if you want, you just don't get the benefits we talked about. And, and so a host element is, is a way of referring to the, the host element and adding an attribute to it. [00:38:47] Right. And saying like, oh, I want the host, I'm going to have a classmate. And so if you go into, let's see Maine, uh, right. So it's supposed to be a classmate, right. So it's the component that, that adamant. So normally, uh, the way you do this normally in react is that the main would be a object that the JSX of the re. [00:39:07] The child react component, right? In this particular case for a variety of reasons, we need to eagerly create this particular thing. So then it's a placeholder for other things to go in. And so we need to do an eagerly and then we need a way of like referring to it. So that's what host is, sorry for the, uh, diatribe anyways, but this is how you create your items, right? [00:39:31] And notice the way you got your items is you just got it from your prompts and you can iterate over them. Right? You can reiterate and run the map and produce individual items. And for each item you will pass. And the key. So if you look at the item here, it's prompt says like, I am going to get an item in here. [00:39:50] And my internal state is whether an I am not, I am an editable state. So these are you, basically your props. And this is the components state in here. And, uh, you know, on mound, we create a component states that we're not, we're not an editable state. And then when the rendering runs, uh, it has both the information about the item as well as about whether or not you are currently editing. [00:40:13] Uh, and if you look at the UL, so here's our, one of our items that got generated, notice that the item that passed in as a ID here, right? So if you go to the script at the bottom and see this one ends in PT six, so we should be able to find, here we go, this is what actually is being passed in to that particular component. [00:40:34] But notice there's a second object. Not only is there a, um, a PT six objects, there's also the secondary option. That's the state of the components. So if the state of the component, we're basically saying here is like, if this object changes or this object changes, I want to know about it and I need to be. [00:40:52] So these objects form a graph, right? The presents, the state of your system. And then the Qwik provides a mechanism to serialize all this information into the DOM in such a way that we know which component is to be woken at what time. So if I start typing in one of the things you're going to see is that on the first interaction, this script that will disappear, because what actually happens is that when you interact with the system, it says like "I need to rehydrate myself". Right? And so it goes to the script tag and, uh, reads it. Let me give it back over here, read it leads to the script tag and figures out. You know, these utilizes all these objects because takes this object, puts them inside of this object to build up the graph and then goes back into the DOM tree and say like, okay, so I need to put this one over here. [00:41:40] I need to put this one over here, this one over here and so on and so forth and puts all these objects back. What are they supposed to be? And now you are, your state is back in a, in these components, but the components aren't present yet. They're not awoken, right? Because none of their, uh, Mount or their render functions actually got called. [00:41:59] And because the functions didn't get called, uh, the code didn't have to get downloaded. So everything is super lazy. Right. So when I go and I hit a key over here, the state gets de-centralized, but the only piece of code that gets downloaded is right. It is, it is right. This thing right here. [00:42:18] Nothing else.  [00:42:19] swyx: Can we show that the network actually, ah,  [00:42:22] Misko Hevery: I would love to, but that part is mocked out right now in the old demo, in the demo that I have, that I did for the conference, that one actually had it properly working. But the feedback was that the D as a developer, there was a lot of things I had to do. [00:42:40] Qwik Compiler Optimizations  [00:42:40] Misko Hevery: And so I wanted to simplify it. So one of the things I did is I figured out a way, or rather I spoke with Adam, uh, the same Adam that did PartyTown. And we figured out how to make it, make the tooling smarter so that the developer doesn't have to do this. So what actually happens is that when you have the QRO over here, what actually happens is you, the, the code automatically gets refactored. [00:43:06] And you will get a new function with factor like this. The system will put an expert on it. And what gets placed in this location is a string that says something like, you know, ABC. Uh, hash you local, right. Or something like that. Right? So by doing this transformation and that piece of code is not working in this transformation, um, the, uh, the system can then, uh, lazy load, just the spirit physical code, nothing else. [00:43:39] But in order to do this transformation, we have to make sure that this code here doesn't have any closures. Right? I cannot, it cannot close over something and keep that variable because if it does the whole thing doesn't work. And so the nice thing is that we can still write it in a natural form, but one of the constraints here here is that you can't close over any variables. [00:44:01] Now there's no variables to close over them. The system is designed in such a way that it doesn't need it. Instead of things like props and state are explicitly passed into you, as well as to the thing of the child, whether they're halo as well. So you don't have a needs to create these kinds of closures, but it is a constraint. [00:44:19] And this is what allows the optimizer to go in and rearrange your code base in a way where we can then determine what things are used. So, so in this particular case, we can, for example, determined that you're likely to go and interact with the input box, but you are very unlikely to actually call this on render, because this is the kind of the Chrome, the shell of the application, and wants to show them the applications loaded you will never, ever interacted. [00:44:46] Right? So what you can do is you can take all these imports and you can sort them not alphabetically. You can sort them by the probability of usage. And then once you haven't sorted by the probability of usage, you can tell the optimizer like, okay, take the first N ones so that I have a chunk that's about 20 kilobytes because we think 20 kilobyte chunks. [00:45:08] And then the system can be like, okay, let me add a whole bunch of them until I have 20 kilobytes. Let me add a nice chunk, then underline about 20 clubs. And I kind of do these chunking all the way on the end. And then the last chunk we'll probably end up with a bunch of stuff that never ever gets loaded. [00:45:22] Right. But the problem is the current way we design applications. You can't do that. You just can't right. And so we have this mentality of like, we have frameworks that have amazing developer experience, but they set up the overall experience down the path of monolithic code base and any kind of, um, lazy loading that the Builder can add after the fact. [00:45:50] It's just like kind of a kloogey workaround. Right? And that's the thing that the Qwik solves it says like, no, no, no, let me help you design an application that has still nice developer experience, but let me structure things in a way so that I can later rearrange things, right? Let me keep you on this guide rails of like, make sure you do it in these ways. [00:46:12] And so everything is in the quickest set up in a way where it keeps you in this guide rails. And the result is, is a piece of code that the optimizer, then the Qwik can rearrange, right? It can go and pull out this function. It can pull out this function. It can pull out all of these functions and turn them into a top level functions that are exportable. [00:46:31] And it can then, um, tree shake the stuff that's not needed and produce chunks that can then be lazy loaded into your application.  [00:46:41] swyx: Like four or five years ago, I think there was some, uh, I think even at the Chrome dev summit or something like that, there was a effort to use Guess.js to basically use Google analytics, to optimize all this, intelligent pre-loading or loading predictions. [00:46:58] Um, is that how I think I missed the part about how, like, how you pull in the statistics for, for optimizing.  [00:47:05] Misko Hevery: So the first thing to talk about, I think is important to understand is that unless you can take your application and break it up into lots and lots and lots of chunks, I do that. Yeah. There's nothing to talk about. [00:47:15] Right? If your application is one big chunk, there's nothing to talk about. You would have to load the chunk end of discussion.  [00:47:21] swyx: Well, so the chunk goes page level, and now you're doing component level, right? So they were, they were saying we split it by page and we can predict the next page. So,  [00:47:30] Misko Hevery: so look at Amazon, right? [00:47:34] Most of this stuff, you will, I mean, you can click on stuff and there's a menu system up here and let's pick a random component here. How do I, let me just go to something. Oh, come on. Just give me a detail view of something every day. Uh, you know, most things here never have to be rendered. Like, for example, there's a component here. [00:47:52] This component never, ever changes. Nothing here. We're render nothing. We'll run it there, here. Uh, yes, these are components and I can click on them and they update the UI over here. But if I'm interacting here, why am I downloading the menu system? Right. And so the point is, if you have a page like this, there is huge number of components in here, but most of them either never update, or in my current path of interaction, I just don't need to update them. Right. If I'm using the menu system, then I don't need to download this thing here. And if I'm interacting with my item then I don't need the menu system, and I'm not, unless they put something out to car, do I have to worry about my shopping cart? [00:48:33] Right? And, and this is the problem is that we currently bundle the whole thing up as one giant monolithic chunk. And yes, there are ways to break this out, but they are not easy. And everybody knows how to do route level break up. But like even on rough level, it's, it's not, it's not fine grain enough. [00:48:53] Right. And so the magic of Qwik is the magic of writing the code in this particular style. Is that for a typical size application, I can break up the application in literally thousands of chunks. Now that's too much. We've gone way too far. I do. These, these chunks are too small and we don't want that. [00:49:13] Right. But when I can break things up, it's easy for me to assemble bigger chunks out of it. But the opposite isn't true, right? If I have a big chunk and I want to break it, well, good luck. You know, no amount of tooling is going to do this. As a matter of fact, the best AI system we have, which is right here in our brains. [00:49:31] Right. Even if you give it to the developer and say, go break this thing up, it's a head-scratcher that takes like weeks of work. Right? And so we are in this upside down world of like build a humongous thing and then have this attitude of like, somehow tooling will solve it. Tooling can solve this problem. [00:49:52] Right. You have to do it the other way around. You have to design a system which breaks into thousands of little chunks. And then the tooling can say, yeah, but that's too much. It's too fine-grained. And let me glue things together and put them together into bigger chunks because. Through experience. We know that an optimal chunk size is about 20 kilobytes, right? [00:50:11] And so now the thing you want is to get a list, the order of which the chunks are used, and that's easy, right? If you're running your application, you can just keep statistics on what, how users interact with your application and that's that the sticks can be sent back to the server. And so once you can get back on a server is just a ordered list of the probability by which you're going to need individual chunks. [00:50:35] And that sort of lists that sorted list is all you need to tell the optimizer, like start at the top of the list, keep adding items until you get to a correct chunk size, they'll start a new job, right. And you keep doing this over and over. Okay. Now the reason I get excited about this, the reason I talk about it is because we completely ignored this problem. [00:50:57] Right. We, we have these amazing frameworks, whether it's Angular, React, Svelte or whatever that allow you to build these amazing sites. But on the end of the day, we all have horrible page speed scores, because we're not thinking about it from the correct way. And the attitude for the longest time has been, the tooling will solve it later. [00:51:18] And my argument here is no, the tooling will not solve it later. If you make a mess of this code base, there's nothing that tooling can do. Yeah.  [00:51:27] swyx: Um, there's so many directions. I could take that in. So first of all, uh, the React term for this is a sufficiently smart compiler, which has been in the docs for like four or five years. [00:51:36] Yeah. That's an exhibit,  [00:51:39] Misko Hevery: but that's my point. Like you cannot make a sufficiently smart compiler [00:51:43] swyx: so is, I mean, is there a compile step for this because of the QRL section.  [00:51:47] Misko Hevery: So right now it's actually running without compilation whatsoever. So one of the things I want to make sure that it runs both in a compiled and uncompiled state, and that's why it comes up with these bogus things like mock modules, et cetera. [00:52:01] Uh, and I think if you go to the network stab, it loads the mock module, and it just re-exports it. I can't really show you, but basically all of these things are kind of just in there. So currently this thing runs as a single monolithic application, but the, the way this thing would work is that as I pointed out everything, every place that you see QRL is a hint to the compiler to go and extract this. [00:52:26] The compiler, literally, we would just think. Ctrl+Shift+R extract here and then gives it a name which will be a header pull on a key up. Right. And then it repeats the same exact thing over here. So Ctrl+Shift+R extract. This is a header onMount. I mistyped it. It's okay. I get it right. And the same thing here, controls have to go Ctrl+Shift+R [00:53:00] Qwik Questions  [00:53:00] swyx: what if I need to do like conditional loading because the competitor doesn't know which branch I need to go down.  [00:53:09] Misko Hevery: So I'll answer the question in a second, did you want to point out, so notice what ends up here? The header is super, super lightweight. There's nothing in here. Cause these things, these two things will get converted into these URLs, right? Yeah. And because of that, this header is permanently bound to the onRender of the to-do app. [00:53:28] Right? If you load a to-do app you're also loading the header and of Main and a footer, but the thing we've done over here is we made this super lightweight, and this is what allows the lazy loading to happen.  [00:53:41] Now you're asking what about other components? Uh, easy. I mean, uh, if you want it to conditionally include the header, you know, standard stuff. [00:53:51] Uh, true. Right now the, the header itself will always be permanently bound into the, on render of the to-do app. Right. However, because we did the trick when we extracted everything out of it had already super, super lightweight. It doesn't contain anything. Right? So the only thing the header really contains if you go in here is the what to do on this URL was the only thing that's in there and also this vendor, right? [00:54:18] So these two URLs are the only thing that is contained inside of the header by itself. Okay. It's only when we decide to render the header, do we go into the header? And we say, okay, we're doing a rendering. So what's your URL. And we look at this URL right here, we download the code. And so now the rendering pipeline has to be a synchronous. [00:54:38] We download the code and then we go and execute the content. And we basically fill in the content the better now in the process, we also realize, oh, we also have to download this piece of code. And this is where statistics would come together. And we basically tell us that this URL and this URL always get downloaded together. [00:54:57] And therefore the optimizer will be smart enough to always put them together in the same file in the same chunk. And, uh, you know, we rented the content. Got it.  [00:55:09] swyx: Okay. So, uh, one small piece of, uh, API feedback slash questions. Uh, yeah, you have, the tag name is optional there. I guess that's a hint to what to store, right. [00:55:18] Misko Hevery: So right now it says to-do right here. If I have a  [00:55:22] swyx: out,   [00:55:24] Misko Hevery: it becomes, uh, just the div. Um, so the system doesn't care. What the thing is, it means eight element. Um, it could be any element they will do just fine. It's easier to kind of on the eyes if it actually says to do right. So that's the only reason for okay. [00:55:42] Got it.  [00:55:43] swyx: the bigger piece is okay. It's like a lot of HTTP requests. Every time I basically, like every time I make a request, every time I interact with the app, I essentially need to do a whole new handshake, a whole new network transfer. There's some baseline weight for that. [00:56:00] Right. Chunking links that helps, um, is there a preload essentially? Is there a less programmatically say like, okay. And by the way, uh, this is important for offline capable apps. So I like, let's say like, I'm going offline. Like it's five things. I know I don't need it right now, but like as an app developer and  [00:56:18] Misko Hevery: I know.  [00:56:19] Yes. So, uh, we can totally do that. Um, we, uh, there is a level worker that will be set up and the web worker will get a list of all the chunks in the woodwork who will try to go and download them and set up the caching for you, uh, in these chunks of time. So that Y when you interact, the only thing that the browser has to do is execute the code now, because these chunks are small, the execution code, if we don't, we're not worried about it, right. [00:56:46] In the case of like on typical framework, that's replaceable. The problem is that the first time you interact with this thing, you have this huge amount of code to download parts and execute. But this isn't the case here because every interaction really only brings in the code that's strictly necessary for this interaction. [00:57:04] So again, we go to like Amazon, right? If I hover over here over these things, and it changes the image on the right side, the only code that gets downloaded and executed is the code for this. Now it's already pre downloaded because their web worker would go and pre fetch it for you. So the only thing that the browser has to do is parse the code and execute the code for the on hover, a callback that goes and updates this components URL. [00:57:27] Right. That's it? No other code needs to be downloaded in a presence. Yep.  [00:57:31] swyx: Got it. anything else that we should cover real Qwik?  [00:57:35] Misko Hevery: I feel like I have talked your ear off and you have been such a good and gracious host. Uh, happy to answer questions. I don't want to overwhelm people, but I am super excited as you can talk. [00:57:46] I'm super excited about this. I think it's a fundamental shift about how you think about a framework. So like, if you look at all the existing frameworks, they're all arguing about, like, I have a better index, I can do this better or that better and et cetera. Right. But fundamentally they're not the same, like essentially the same buckets they can all do about the same thing Qwik. [00:58:05] I think it's a whole new ballgame because the Qwik thing is not about like, oh, I can render a component just like, you know, 50 other frameworks can do as well. The thing that Qwik has is I can do it. I can give you microservices for free. I can give you this micro component architecture for free and I can produce a bundling. I am the sufficiently advanced compiler. Okay. Let's put it this way. This thing that you thought you could have and solve for you, doesn't exist unless you have the current guidelines. Right? So the thing with Qwik is that it is the thing that allows you to have a sufficiently smart compiler to give you this amazing times to interactivity, right? [00:58:48] At the end of the day, is the, there's nothing faster than downloading HTML for your website. I mean, that's the cake, right? Yep. So the reason why Qwik is fast is not because Qwik is clever in the way it runs JavaScript or anything like that. So no Qwik as fast because they don't have to do anything. [00:59:04] Right. When you, when you come to a Qwik website, there is literally nothing to do, right. We're fast because we don't do anything. And that's  [00:59:13] swyx: your baseline is like a one kilobyte bike loader, right?  [00:59:16] Misko Hevery: One come on loader with all the loader, does it sets up a global list? Right. So let me, let me go back. Sorry, let me share one more thing. [00:59:22] So here's your input, right? So if you go to a header, here's the input, right? The reason we know how to do something on it is because we serialize this thing called on:keyup, and there is a URL, right? So when this thing is first executed, nothing is done. Like this content shows up and it said we're done. [00:59:41] And the only reason why we know to do something next is because when I do a key up here, the event, bubbl

In a prior episode, I talked with Sean Kenny about so-called fourth-generation nuclear reactors. In particular, on their benefits and advantages compared to classical light-water reactors. However, we didn't talk about how companies build those new nuclear reactors. Oddly enough it is not that hard to build a light-water reactor and keep it stable. We first added nuclear reactors to the power grid in the 1950s ... without the help of a computer. Yet nowadays it is quite common for a construction time of up to 10 years. Far beyond anything reasonable in an economy of scale to make a dent in energy production and climate change.That is another point where fourth-generation nuclear reactors differ from their conventional siblings. Due to the way they work, a variety of architectures and power outputs is possible, where seemingly every startup has its own approach. One of them is Copenhagen Atomics, attempting to build a 100 MW reactor on an assembly line, and their CTO Aslak Stubsgaard, explains how they build their reactors.If you enjoyed this episode, why not recommend it to a friend?Homepage: https://www.deeptechstories.ioMusic by Nathaniel Drew x Tom Fox:https://www.nathanieldrew.com/https://tfbeats.com/This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

Episode 82: Weapons of Mass Destruction in SciFi! Welcome to the SciFi Pubcast! Come for a drink but stay for the speculation.  We're talking weapons of mass destruction in science fiction. And yes, we had a blast. So grab a drink quickly before the bombs start falling. This is the SciFi Pubcast.  Episode recorded and released as a podcast on May 30, 2021. Video version released on YouTube on May 31, 2021 (anticipated). Show website: www.scifipubcast.space. Contact us: Email Twitter Instagram Facebook Follow our staff's personal Twitter accounts at: Keri Simpson Derek Beebe Randal Graham Joel Welch Join our Discord Server! Here's an invite.  Here's the link to Dr. Randal Graham's novel, Beforelife, by ECW Press. And the sequel, Afterlife Crisis, is out now!  Music provided courtesy of Logan Rathbone. The SciFi Pubcast logo is by Jea Rhee. Widescreen photograph utilized for some podcast feeds, Pillar and Jets HH 901/902, used courtesy of NASA, ESA, and M. Livio and the Hubble 20th Anniversary Team (STScl). Photograph (iss065e001065) used for the header on our podcast website/YouTube used courtesy of NASA and the ISS. Listen Responsibly. Copyright 2021 Joel Welch. All rights reserved.

I Zoom recorded a consultation with a leading Los Angeles Solar company Sales Representative to install Solar Panels on my home. Below is some info about the company. Starting with only two employees in Los Angeles, LA Solar Group now has a team of 180 strong employees, with 14 offices in 7 states. LA Solar offers complete residential and commercial renewable energy solutions comprising of the latest technology, meticulous engineering, quality installation, outstanding support, and the best warranty for the lowest possible price. These calculated steps enable the lowest total cost of ownership and the fastest return on investment. As a leading solar panel company, LA Solar Group has a variety of premium solar panels and other solar-related equipment. LA Solar Group also offers financing options to ensure that the price does not get in the way of going solar. The solar panel installation process is an important step in creating a greener future. Going solar is both cost-effective and has an essential impact on the environment. I think I'm close to putting my money down for this Solar investment. Thank you Dayvin Turchiano. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/romeo-carey/message Support this podcast: https://anchor.fm/romeo-carey/support

Tom Jam Pedersen is the co-founder of Copenhagen Atomics, a company in Denmark that uses thorium to burn out actinides from spent nuclear fuel in order to convert long-lived radioactive waste into short-lived radioactive waste, while producing large amounts of energy.Useful links:Copenhagen Atomics : https://www.copenhagenatomics.com/Thomas Jam Pedersen : https://www.linkedin.com/in/thomas-jam-pedersen-9595a4/Support the show (https://www.buymeacoffee.com/impacthustlers)

From computing to application-specific systems, the next age of information will be built on quantum atomics.

Today we sit down for an interview with the co-founder of Copenhagen Atomics Thomas Jam Pedersen. --- Support this podcast: https://anchor.fm/rock-logic/support

LinksAnnouncement blog postKaroy LorenteyGitHub RepositoryAtomics forumHacker News DiscussionGuillaume Lessard’s existing swift-atomics repoSponsorsAWS Amplify - AWS Amplify is a suite of tools and services for iOS developers to build full stack serverless and cloud-based mobile apps. Check out our getting started Tutorial for iOS! Go to awsamplify.info/IOSGet in TouchIf you're enjoying the show and want to say thank you, the best way to do that is by leaving us a review on iTunes! It lets us know what you think of the show and helps us climb the charts so other people can find the show.We've also got a channel set up on Spectrum.chat! If you want to talk about today's episode, ask us a question or just follow the conversation, jump in anytime at spectrum.chat/specfm/swift-unwrapped.

Podcast: The RoC ShowEpisode: Copenhagen Atomics with Thomas PedersenPub date: 2020-03-24Notes from Listening Post:ThoriumWe start off with an interview with Thomas Jam Pedersen, one of the founders of Copenhagen Atomics. We have a talk about the possibility to revolutionize the future of energy by using Thorium. The podcast and artwork embedded on this page are from Carsten Soelund, which is the property of its owner and not affiliated with or endorsed by Listen Notes, Inc.

To say the way we use and write JavaScript has evolved since the launch of ES2015 is an understatement. Atomics, TypedArrays, globalThis, and function generators are just a few ways JavaScript has grown up to meet the needs of a growing web platform. But it's not just language that has evolved, it's our entire toolchain as we have come to rely on compiled JavaScript as the "new normal". Join for a very special episode of The Web Platform podcast as we discuss all this and more with our invited expert on all things ECMA - Jordan Harband at OpenJS World 2020. Visit the website for This Week in Web, resources & more: https://thewebplatformpodcast.com/201-evolution-of-modern-javascript-live-@-openjs-world-2020 Follow The Web Platform podcast on Twitter for regular updates @TheWebPlatform.

Atomics #1-3 Commentary with Co-Host My Mike! Thank you to SPONSOR popuptee.com/ USE PROMO CODE SUNSPOTSCOMICS and get 25% OFF ON YOUR ORDER!!! @popuptee #popuptee www.popuptee.com/ - Theme song Singer Nick Papageorge www.instagram.com/nicholas.dell/and his band Solution www.instagram.com/solution_band/ Check out my Comic Book Zombie Destroyers! - ZD Sample Pages www.sunspotscomics.com/zombie-destroyers Spotlighting - Mention of Spotlighting interview with Comic Book Creators. Be a guest, email me at Chris@sunspotscomics.com Help Support Sunspots Comics: www.sunspotscomics.com/support and Please Give us a short Positive review and 5 Stars on iTunes. Thank you for listening, PLEASE tell a friend. Be like water my friend. Links: - www.sunspotscomics.com/ - www.instagram.com/sunspotscomics/ - www.facebook.com/SunspotsComics/ - www.youtube.com/user/topheelat - www.twitter.com/SunspotsComics - Itunes Podcast: podcasts.apple.com/us/podcast/suns…ics/id994419341 - Soundcloud Podcast: @sunspotscomics #comicbooks #podcast #comicbook #comicbookrecommendations #ntycbd #newtoyoucomicbookday #free #comicbookpodcast #love #geek #nerd #NewComicBookRecommendations #comicbookreviews #superheroes #monsters #podcast #review #recommend #fun #laugh #comicbookcommentary #mikeallred #lauraallred #atomics #atomix #jackkirby #cosmic #wacky #weird #msb #mutantstreetbeatniks

All issues being reviewed in our podcast may contain spoilers without extra warning. Club Discussion: Ghostbusters: Year One #3 Weekly Reviews: Red Rocket 7, Star Wars Epic Collection: The New Republic Vol. 4, DC Comics Presents #6 (1979), Madman Adventures, Doctor Strange: Mr. Misery, Batman: The Killing Joke, Kingdom Come, It Girl and the Atomics, Prometheus: The Complete Fire and Stone, The Superman Family #171 (1975), Clerks comics, Zorro Masters #1, '93 JLA Annual, Archie Meets Kiss, TMNT Presents: Merdude Versus, Mandrake the Magician #1, Silver Surfer #75, Tomb of Dracula #10 Letters Page: Who is the most likable villain in pop culture? ------------------------------ Theme music by: BVSMV bvsmv.bandcamp.com

## Semaphore vs Mutex vs AdminDev ### Semaphore - More of a signal than a lock/unlock - Integer value accessed through wait() and signal() - wait() checks if the int is less than or equal to 0, decrements value - signal() increments the integer value ### Semaphore Over Mutex - Mutex locks can have busy waiting. - Semaphore wait() results in busy waiting, but a process can block itself with a wakeup() implementation - Semaphore can still result in syncing issues - Critical-Section: Two processes can be in the same section if the wait() and signal() sequence is not monitored ### Semaphores in OS Dev - Counting semaphore - Value can range dramatically - Control access to a given resource consisting of finite instances - Semaphore is initialized to the given number of resources - Each process that wants to use a resource performs wait() (lowering the value count) - signal() is called when a process is finished utilizing a resource (increasing the value count) - When count == 0, all resources are used - Processes will block until count becomes greater than 0 - Binary semaphore - Value can range between 1 and 0 - Similar to mutex locking - Used in systems lacking mutual exclusion ### Atomics and Atomicity - An atomic action is a group of related operations that execute without interruption or do not execute at all - Operations isolated from other operations occurring at the same time - Observed state is pending or complete, never partially complete. - The Linux kernel - A note on Golang - Package "sync/atomic" - Low-level primitives for synchronization algorithms - "Share memory by communicating, don't communicate by sharing memory." - Emphasis on low-level applications ### Java and C, Sitting in a Red-Black Tree - My education vs my desires - C teachings - What other langs do - Why this costs - What I've learned - Java still in the mix - Shell and Python ### Why C, Again? - OS and kernel development - OS Dev Wiki - Prereqs - Userland tools - Assembly - All the cool kids do it! - The language of operating systems - The language of networking - The language of web and proxy ### New Format - Technical Buzzword Jargon Hell - Stuff like this :D - CompSci, Unix and Linux, computer programming - Off topic - Book reviews (some tech, some not) - M-m-m-mental and physical health - Ranting and raving - NOT Tech News - Linux kernel stuff - Unix-like conventions and meetups (BSD, Linux) - Interesting sites, tips, and tricks - Long segment, short segment, short segment - One long episode, two short episodes - Intro music pending ### Let Me Know! - chris@admindev.tech - forum.admindev.tech - iTunes: https://podcasts.apple.com/us/podcast/admindev-labs/id1476478667 - Stitcher: https://www.stitcher.com/podcast/the-rollbak/admindev-labs

Welcome to episode eleven of A History of Rock Music in Five Hundred Songs. Today we’re looking at “Rocket 88” by Jackie Brenston and the Delta Cats. Click the full post to read liner notes, links to more information, and a transcript of the episode. —-more—- Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. Both “Rocket 88” and the Howlin’ Wolf tune used here are on Memphis Vol. 3 – Recordings from the Legendary Sun Studios, the third in a series of ludicrously cheap ten-CD box sets (this one currently selling on Amazon for £12!) which between them cover every single and B-side recorded in Sam Phillips’ studio in the 1950s. Sam Phillips: The Man Who Invented Rock ‘n’ Roll by Peter Guralnick is the definitive biography of Phillips. A content warning, though — the book contains racial slurs, always in quoted speech and used to illustrate historical racism, but some may still find that upsetting. Ike Turner wrote an autobiography, but I’m not going to recommend a book which exists solely to minimise his abuse of his wife. However, Turner was also interviewed by ghostwriter Kurt Loder for Tina Turner’s autobiography I, Tina, and his description of the recording of “Rocket 88” is in there, so if you want to hear his take on the story, buy that. Content Note As you may have noticed from the above, this episode deals with Ike Turner, a man who is now as widely known for his spousal abuse as for his music. I mention this disclaimer episode in the podcast, and everything there goes for this episode. This episode is about the music, and about music he made before his horrific acts, but I don’t want to give the impression I’m condoning or ignoring those. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There is, of course, no actual “first rock and roll record”, and if there is, it’s not “Rocket 88”. But nonetheless, “Rocket 88” has been officially anointed “the first rock and roll record ever made” by generations of white male music journalists, and so we need to talk about it. And it is, actually, quite a good record of its type, even if not especially innovative.   Before I talk about this, go and listen if you haven’t already to the disclaimer episode I did after episode two (I’ll link it in the show notes) about my attitudes towards misogynistic abusers who happen also to have played on some great records. I don’t want to repeat all that here, but at the same time I definitely want to go on record that I’m not an admirer of Ike Turner. Because as it is, here at the official “beginning of rock” according to thousands of attempts to set a canon, we also have the beginning of rock being created by abusive men. Literally at the beginning in this case — Ike Turner plays the opening piano part. And here we see how impossible it is to untangle the work of people like him from this history, as that piano part is one that would echo down the ages, becoming part of the bloodstream of popular music.   Anyway, enough about that.   To talk about “Rocket 88” we first have to talk about the Honeydrippers, and about the Liggins Brothers.   Joe Liggins was a piano player, with a small-time band called Sammy Franklin and the California Rhythm Rascals. In 1942, Liggins wrote a song called “The Honeydripper”, which the California Rhythm Rascals used to perform quite regularly. It’s a pleasant, enjoyable, boogie-flavoured jump band piece, which had a very catchy, unusual, riff, based loosely around the riff from “Shortenin’ Bread”. It was mostly just an excuse for soloing and extended improvisation — sometimes it could last for fifteen minutes or more when performed live — but it was surprisingly catchy nonetheless.   Liggins believed it had some commercial potential, so he went to his boss, Franklin, with a deal. He said he thought it could be a big hit, and they should make a record of it. If Sammy Franklin would pay $500 towards the cost of making the record, Liggins would give Franklin half the composer rights for the song. Sammy Franklin turned him down, and Liggins believed in his song so much that he quit the band and formed his own jump band, which he named after the song. Eventually, three years later, Joe Liggins and the Honeydrippers went into the studio and recorded “The Honeydripper Parts 1 & 2” for a small indie label, Exclusive Records, and it was released in April 1945.   [Excerpt: “The Honeydripper” by Joe Liggins and the Honeydrippers]   It doesn’t sound that much now — pleasant enough, but hardly the most exceptional record ever. But that’s with seventy-three years of hindsight. It went to number thirteen on the pop charts — which is a remarkable feat for an R&B record in itself — but its performance on the R&B charts was just ludicrous. It went to number one on the race charts (later the R&B charts) for eighteen weeks straight, from September 1945 through January 1946. The only reason it didn’t stay at the top for longer was because the record label simply couldn’t keep up with the demand, and it was replaced at number one by Louis Jordan, but at number two was Jimmie Lunceford playing… “The Honeydripper”   [Excerpt: Jimmie Lunceford’s version of “The Honeydripper”].   At number three, meanwhile, was Roosevelt Sykes playing… “The Honeydripper”. Later in 1946, Cab Calloway also had a number three hit with the song.   Joe Liggins and the Honeydrippers’ version, alone, sold over two million copies in 1945 and 46, and it still, seventy-three years later, is joint holder of the title for longest stay at number one in the race or R&B charts (“Choo Choo Ch’Boogie” is the other joint holder, and that came a few months later). It’s likely that nobody will ever beat that record. “The Honeydripper” was a sensation.   Meanwhile the California Rhythm Rascals had renamed themselves Sammy Franklin and his Atomics, in an attempt to sound more up to date and modern, with the atomic bomb having so recently gone off. They recorded their own version of “The Honeydripper”. It sank without trace — but you’ll remember from last week that that record launched the production career of Ralph Bass. “The Honeydripper” made money and careers for everyone in the music industry, except for Sammy Franklin.   Sammy Franklin may not have been the single most unwise person in the history of rock and roll — he didn’t turn down Elvis or quit the Beatles or anything like that — but still, one has to imagine that he spent the whole rest of his life regretting that he hadn’t just spent that five hundred dollars.   Joe Liggins never had another success as big as “The Honeydripper”, but he had a few minor successes to go along with it, and that was enough for him to give his brother Jimmy a job as the band’s driver — at that time, it was *very* rare for bands to have actual employees, rather than doing their own driving and carrying their own instruments, and for Jimmy it was certainly an improvement on his previous career as a boxer under the name Kid Zulu.   But Jimmy also played a bit of guitar, and so he decided, inspired by his brother’s success, to try his hand at his own music career, and he formed his own jump band, the Drops of Joy.   The Drops of Joy signed up to Specialty Records, a label we’ll be hearing a *lot* about in upcoming episodes. But the Drops of Joy would normally not be a band that we’d be talking about. They weren’t the most imaginative or innovative band by a long way, and they only had minor hits. Their songs were mostly generic boogies, called things like “Saturday Night Boogie Woogie Man” or “Night Life Boogie” — all perfectly good music of its type, but nothing that set the world on fire.   But one B-side, “Cadillac Boogie” was, indirectly, responsible for a great deal of the music that would follow…   [Excerpt “Cadillac Boogie” by Jimmy Liggins and the Drops of Joy]   To see why “Cadillac Boogie” was a big influence, we now need to turn to Sam Phillips. It’s safe to say that he’s one of the two or three most important people in the history of rock and roll music — and it’s also safe to say that even if rock and roll had never happened at all, we’d still be talking about Sam Phillips because of his influence on country and blues music. He may well have been the single most important record producer of the 1950s — he’s as important to the history of American music as anyone who ever lived.   Phillips had started out as a DJ, but had moved sideways from there into recording bands for radio sessions. He had very strong opinions about the way things should sound, and he was willing to work hard to get the sound the way he wanted it. In particular, when he recorded big bands for sessions, he would mic the rhythm section far more than was traditional — when you heard a big band recorded by Sam Phillips, you could hear the guitar and the bass in a way you couldn’t when you heard that band on the records.   He had a real ear for sound, but he also had an ear for *performance*.   Like a lot of the men we’re dealing with at this point, Sam Phillips was a white man who was motivated by a deeply-felt anger at racial injustice, which expressed itself as a belief that if other white people could just see the humanity, and the talent, in black people the way he could, the world would be a much better place. The racial attitudes of people like him can seem a little patronising these days, as if the problems in America were just down to a few people’s feelings, and if those feelings could be changed everything would be better, but given the utterly horrendous attitudes expressed by the people around him, Phillips was at least partly right — if he could get his fellow white people to just stop being vicious towards black people, well, that wouldn’t fix all the problems by any means, but it would have been a good start.   He was also someone who was very much of the opinion that if a problem needed fixing, he should try to fix it himself. During the Cuban missile crisis he decided that since Castro seemed a reasonable sort of person and a good progressive like Phillips himself, the whole thing could be sorted out if a decent American just had a one-to-one chat with him. And since no-one else was doing that, he decided he might as well do it himself. So he phoned Cuba, and while he couldn’t get through to Fidel Castro himself, he did get through to Castro’s brother Raul, and had a long conversation with him. History does not relate whether it was Sam Phillips’ intervention that saved the world from nuclear war.   And what Sam Phillips thought he could do to stop the evil of racism — and also to improve the world in other ways — was to capture the music that the black people he saw around him in Memphis were making. The world seemed to him to be full of talented, idiosyncratic, people who were making music like nothing else he had heard.   And so he started Memphis Recording Services, with the help of his mistress Marion Keisker, who acted as his assistant and was herself a popular radio presenter. Both kept their jobs at the radio station while starting the business, and they tried to get the business on a sound financial footing by recording things like weddings and funerals (yes, funerals, they’d mic up the funeral home and get a recording of the service which they’d put on an acetate disc — apparently this was a popular service).   But the real purpose of the business was to be somewhere where real musicians could come and record. Phillips didn’t have a record label, but he had arrangements with a couple of small labels to send them recordings, and sometimes those labels would put the recordings out. Musicians of all kinds would come into Memphis Recording Services, and Phillips would spend hours trying to get their sound onto disc and, later, tape. Not trying to perfect it, but trying to get the most authentic version of that person’s artistry onto the tape.   In 1951 Memphis Recording Services hadn’t been open that long, and Phillips had barely recorded anything worth a listen — but he *had* made some recordings with a local DJ called Riley King, who had recently started going by the name “Blues Boy”, or just “B.B.” for short. To my mind they’re actually some of King’s best material — much more my kind of thing than the later recordings that made his name. Here, for example, is one of those recordings that wasn’t released at the time, but has made compilations later — “Pray For You”:   [excerpt: B.B. King “Pray For You”]   That was the kind of music that Sam Phillips liked, and it’s the kind of thing I like too. The piano player there, incidentally, was a young man called Johnny Ace, about whom we’ll hear a lot more later.   A couple of years earlier, King had met a young musician in Clarksdale Mississippi called Ike Turner, who led a big band called the Top Hatters. Turner had sat in with King on the piano and had impressed King with his ability, and King had even stopped over a couple of nights at Turner’s house. The two hadn’t stayed in touch, but they both liked each other.   The Top Hatters had later split up into two bands — there was the Dukes of Swing, who played classy big band music, and the Kings of Rhythm, who were a jump band after the Louis Jordan fashion, led by Turner. One day, the Kings of Rhythm were coming back from a gig when they noticed a large number of cars parked outside a venue which had a poster advertising one “B.B. King”. Ike Turner had noticed that name on posters before, but didn’t know who it was, but thought he should check out why there were so many people wanting to see him.   The band stopped and went inside, and discovered that B.B. King was Ike Turner’s old acquaintance Riley. Turner asked King if his band could get up and play a number, and King let him, and was hugely impressed, telling Turner that he should make records. Turner said he’d like to, but he had no idea how one actually went about making a record.   King said that the way he did it was there was a guy in Memphis called Sam who recorded him. King would call Sam up and tell him to give Turner a call on Monday. Monday came around, and indeed Sam Phillips did call Ike Turner on the telephone, and asked when they could come up to record. “Straight away”, Ike replied, and they set off — five men, two saxes, a guitar, and a drum kit in a single car, with the guitar amp and bass drum strapped to the roof.   The drive from Mississippi to Memphis was not without incident — they got arrested and fined, ostensibly for a traffic violation but actually for being black in the deep South, and they also got a flat tyre, and when they changed it the guitar amp fell on the road.   At least, that’s one story as to what happened to the guitar amp — like everything when it comes to this music, there are three or four different stories told by different people, but that’s definitely one of them.   Anyway, when they got to the studio, and got their gear set up, the amplifier made a strange sound. The band were horrified — their big break, and it was all going to be destroyed because their amp was making this horrible dirty sound. The speaker cone had been damaged.   Sam Phillips, however, was very much not horrified. He was delighted. He got some brown paper from the restaurant next door to stuff inside as a temporary repair, but said that the damaged amp would sound different, and different, to Sam Phillips at least, was always good.   The song they chose to record that day was one that was written by the saxophone player, Jackie Brenston.   Well, I say written by… as with so many of the songs we’ve seen here, the song was not so much written as remembered (as indeed that line is — I remembered it from Leslie Halliwell, talking about Talbot Rothwell’s scripts for the Carry On films, so I thought I should give it credit here). Specifically, he was remembering “Cadillac Boogie”, as you can tell if you listen to it for even a few seconds:   [insert a chunk of Rocket 88]   Now the main difference in the songwriting is simply the car that’s being talked about — the 88 was a new, exciting, model, and Brenston made the song more hip and current as a result. But *musically* there are a few things of note here.   Firstly, there’s the piano part, written and played by Ike Turner — that part is one that Little Richard adored, to the point that he copied it on the intro to “Good Golly Miss Molly”. Compare and contrast; here’s the intro to “Rocket 88”:   [intro to Rocket 88]   and here’s Little Richard playing “Good Golly Miss Molly”:   [intro to Good Golly Miss Molly]   There’s another difference as well — the guitar sound. There’s distortion all over it, thanks to that cone.   Now, this probably won’t even have been something that anyone listening at the time noticed — if you’re listening in the context of early fifties R&B, on the poor-quality 78 RPM discs that the music was released on, you’d probably think that buzzing boogie line was a baritone sax — the line it’s playing is the kind of thing that a horn would normally play, and the distortion sounds the same way as many of the distorted sax lines at the time did. But that was enough that when white music critics in the seventies were looking for a “first rock and roll record”, they latched on to this one — because in the seventies rock and roll *meant* distorted guitar.   When the record came out, Ike Turner was horrified — because he’d assumed it would be released as by Ike Turner and his Kings of Rhythm, but instead it was under the name “Jackie Brenston and his Delta Cats”. And the record was successful enough to make Jackie Brenston decide to quit the Kings of Rhythm and go solo. He released a few more singles, mostly along the same lines as Rocket 88, but they did nothing.   Brenston’s solo career fizzled out quite quickly, and he joined the backing band for Lowell Fulson, the blues star. After a couple of years with Fulson, he returned to play with Ike Turner’s band. He stayed with Turner from 1955 through 1962, a sideman once more, and Turner wouldn’t let Brenston sing his hit on stage — he was never going to be upstaged by his sax player again.   Eventually Jackie Brenston became an alcoholic, and from 1963 until his death in 1979, he worked as a part-time truck driver, never seeing any recognition for his part in starting rock and roll.   But “Rocket 88” had repercussions for a lot of other people, even if it was only a one-off hit for Brenston. For Ike Turner, after “Rocket 88” was released, half of his band quit and stayed with Brenston, so for a long time he was without a full band. He started to work for Phillips as a talent scout and musician, and it was Turner who brought Phillips several artists, including the artist who Phillips later claimed was the greatest artist and greatest human being he ever worked with — Howlin’ Wolf.   [excerpt “How Many More Years” — version from https://www.youtube.com/watch?v=1lTpcKnp-NQ ]   That’s a recording that was made at Phillips’ studio, with Turner on piano. Phillips licensed several singles by Howlin’ Wolf and others to Chess Records, but then the Chess brothers, the owners of that label, used contractual shenanigans to cut Phillips out of the loop and record the Wolf directly. So Phillips made a resolution to start his own record label, where no-one would steal his artists. Sun Records was born out of this frustration. Meanwhile, Ike Turner resolved that he would never again see his name removed from the credits for a record he was on. When he got a new Kings of Rhythm together, he switched from playing piano, where you’re sat at the side of the stage, to playing guitar, where you can be up front and in the spotlight And when the Kings of Rhythm got a new singer, Annie-Mae Bullock, Turner made sure he would always have equal billing, by giving her his surname as a stage name, so any records she made would be by the new act, “Ike and Tina Turner”.   And finally, “Rocket 88” was going to have a profound effect on the career of one man who would later make a big difference to rock and roll. The lead singer of the country band the Saddlemen — a singer who was best known as a champion yodeller — was also working as a DJ for a small Pennsylvania station, and he noticed that Louis Jordan records were popular among the country audience, and he decided to start incorporating a Louis Jordan style in his own music   But Jordan’s records were so popular with a crossover audience that when the Saddlemen came to make their first records in this new style, they chose to cover something by someone other than Jordan – someone that hadn’t crossed over into the country market yet. And so they chose to record “Rocket 88”, which had been a big R&B hit but hadn’t broken through into the white audience. Their version of the song is *also* credited by some as the first rock and roll record. But it’ll be a few weeks until Bill Haley becomes a full part of our story…

Welcome to episode eleven of A History of Rock Music in Five Hundred Songs. Today we're looking at "Rocket 88" by Jackie Brenston and the Delta Cats. Click the full post to read liner notes, links to more information, and a transcript of the episode. ----more---- Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. Both "Rocket 88" and the Howlin' Wolf tune used here are on Memphis Vol. 3 - Recordings from the Legendary Sun Studios, the third in a series of ludicrously cheap ten-CD box sets (this one currently selling on Amazon for £12!) which between them cover every single and B-side recorded in Sam Phillips' studio in the 1950s. Sam Phillips: The Man Who Invented Rock 'n' Roll by Peter Guralnick is the definitive biography of Phillips. A content warning, though -- the book contains racial slurs, always in quoted speech and used to illustrate historical racism, but some may still find that upsetting. Ike Turner wrote an autobiography, but I'm not going to recommend a book which exists solely to minimise his abuse of his wife. However, Turner was also interviewed by ghostwriter Kurt Loder for Tina Turner's autobiography I, Tina, and his description of the recording of "Rocket 88" is in there, so if you want to hear his take on the story, buy that. Content Note As you may have noticed from the above, this episode deals with Ike Turner, a man who is now as widely known for his spousal abuse as for his music. I mention this disclaimer episode in the podcast, and everything there goes for this episode. This episode is about the music, and about music he made before his horrific acts, but I don't want to give the impression I'm condoning or ignoring those. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There is, of course, no actual "first rock and roll record", and if there is, it's not "Rocket 88". But nonetheless, "Rocket 88" has been officially anointed "the first rock and roll record ever made" by generations of white male music journalists, and so we need to talk about it. And it is, actually, quite a good record of its type, even if not especially innovative.   Before I talk about this, go and listen if you haven't already to the disclaimer episode I did after episode two (I'll link it in the show notes) about my attitudes towards misogynistic abusers who happen also to have played on some great records. I don't want to repeat all that here, but at the same time I definitely want to go on record that I'm not an admirer of Ike Turner. Because as it is, here at the official "beginning of rock" according to thousands of attempts to set a canon, we also have the beginning of rock being created by abusive men. Literally at the beginning in this case -- Ike Turner plays the opening piano part. And here we see how impossible it is to untangle the work of people like him from this history, as that piano part is one that would echo down the ages, becoming part of the bloodstream of popular music.   Anyway, enough about that.   To talk about "Rocket 88" we first have to talk about the Honeydrippers, and about the Liggins Brothers.   Joe Liggins was a piano player, with a small-time band called Sammy Franklin and the California Rhythm Rascals. In 1942, Liggins wrote a song called "The Honeydripper", which the California Rhythm Rascals used to perform quite regularly. It's a pleasant, enjoyable, boogie-flavoured jump band piece, which had a very catchy, unusual, riff, based loosely around the riff from "Shortenin' Bread". It was mostly just an excuse for soloing and extended improvisation -- sometimes it could last for fifteen minutes or more when performed live -- but it was surprisingly catchy nonetheless.   Liggins believed it had some commercial potential, so he went to his boss, Franklin, with a deal. He said he thought it could be a big hit, and they should make a record of it. If Sammy Franklin would pay $500 towards the cost of making the record, Liggins would give Franklin half the composer rights for the song. Sammy Franklin turned him down, and Liggins believed in his song so much that he quit the band and formed his own jump band, which he named after the song. Eventually, three years later, Joe Liggins and the Honeydrippers went into the studio and recorded "The Honeydripper Parts 1 & 2" for a small indie label, Exclusive Records, and it was released in April 1945.   [Excerpt: "The Honeydripper" by Joe Liggins and the Honeydrippers]   It doesn't sound that much now -- pleasant enough, but hardly the most exceptional record ever. But that's with seventy-three years of hindsight. It went to number thirteen on the pop charts -- which is a remarkable feat for an R&B record in itself -- but its performance on the R&B charts was just ludicrous. It went to number one on the race charts (later the R&B charts) for eighteen weeks straight, from September 1945 through January 1946. The only reason it didn't stay at the top for longer was because the record label simply couldn't keep up with the demand, and it was replaced at number one by Louis Jordan, but at number two was Jimmie Lunceford playing... "The Honeydripper"   [Excerpt: Jimmie Lunceford's version of "The Honeydripper"].   At number three, meanwhile, was Roosevelt Sykes playing... "The Honeydripper". Later in 1946, Cab Calloway also had a number three hit with the song.   Joe Liggins and the Honeydrippers' version, alone, sold over two million copies in 1945 and 46, and it still, seventy-three years later, is joint holder of the title for longest stay at number one in the race or R&B charts ("Choo Choo Ch'Boogie" is the other joint holder, and that came a few months later). It's likely that nobody will ever beat that record. "The Honeydripper" was a sensation.   Meanwhile the California Rhythm Rascals had renamed themselves Sammy Franklin and his Atomics, in an attempt to sound more up to date and modern, with the atomic bomb having so recently gone off. They recorded their own version of "The Honeydripper". It sank without trace -- but you'll remember from last week that that record launched the production career of Ralph Bass. "The Honeydripper" made money and careers for everyone in the music industry, except for Sammy Franklin.   Sammy Franklin may not have been the single most unwise person in the history of rock and roll -- he didn't turn down Elvis or quit the Beatles or anything like that -- but still, one has to imagine that he spent the whole rest of his life regretting that he hadn't just spent that five hundred dollars.   Joe Liggins never had another success as big as "The Honeydripper", but he had a few minor successes to go along with it, and that was enough for him to give his brother Jimmy a job as the band's driver -- at that time, it was *very* rare for bands to have actual employees, rather than doing their own driving and carrying their own instruments, and for Jimmy it was certainly an improvement on his previous career as a boxer under the name Kid Zulu.   But Jimmy also played a bit of guitar, and so he decided, inspired by his brother's success, to try his hand at his own music career, and he formed his own jump band, the Drops of Joy.   The Drops of Joy signed up to Specialty Records, a label we'll be hearing a *lot* about in upcoming episodes. But the Drops of Joy would normally not be a band that we'd be talking about. They weren't the most imaginative or innovative band by a long way, and they only had minor hits. Their songs were mostly generic boogies, called things like "Saturday Night Boogie Woogie Man" or "Night Life Boogie" -- all perfectly good music of its type, but nothing that set the world on fire.   But one B-side, "Cadillac Boogie" was, indirectly, responsible for a great deal of the music that would follow...   [Excerpt "Cadillac Boogie" by Jimmy Liggins and the Drops of Joy]   To see why "Cadillac Boogie" was a big influence, we now need to turn to Sam Phillips. It's safe to say that he's one of the two or three most important people in the history of rock and roll music -- and it's also safe to say that even if rock and roll had never happened at all, we'd still be talking about Sam Phillips because of his influence on country and blues music. He may well have been the single most important record producer of the 1950s -- he's as important to the history of American music as anyone who ever lived.   Phillips had started out as a DJ, but had moved sideways from there into recording bands for radio sessions. He had very strong opinions about the way things should sound, and he was willing to work hard to get the sound the way he wanted it. In particular, when he recorded big bands for sessions, he would mic the rhythm section far more than was traditional -- when you heard a big band recorded by Sam Phillips, you could hear the guitar and the bass in a way you couldn't when you heard that band on the records.   He had a real ear for sound, but he also had an ear for *performance*.   Like a lot of the men we're dealing with at this point, Sam Phillips was a white man who was motivated by a deeply-felt anger at racial injustice, which expressed itself as a belief that if other white people could just see the humanity, and the talent, in black people the way he could, the world would be a much better place. The racial attitudes of people like him can seem a little patronising these days, as if the problems in America were just down to a few people's feelings, and if those feelings could be changed everything would be better, but given the utterly horrendous attitudes expressed by the people around him, Phillips was at least partly right -- if he could get his fellow white people to just stop being vicious towards black people, well, that wouldn't fix all the problems by any means, but it would have been a good start.   He was also someone who was very much of the opinion that if a problem needed fixing, he should try to fix it himself. During the Cuban missile crisis he decided that since Castro seemed a reasonable sort of person and a good progressive like Phillips himself, the whole thing could be sorted out if a decent American just had a one-to-one chat with him. And since no-one else was doing that, he decided he might as well do it himself. So he phoned Cuba, and while he couldn't get through to Fidel Castro himself, he did get through to Castro's brother Raul, and had a long conversation with him. History does not relate whether it was Sam Phillips' intervention that saved the world from nuclear war.   And what Sam Phillips thought he could do to stop the evil of racism -- and also to improve the world in other ways -- was to capture the music that the black people he saw around him in Memphis were making. The world seemed to him to be full of talented, idiosyncratic, people who were making music like nothing else he had heard.   And so he started Memphis Recording Services, with the help of his mistress Marion Keisker, who acted as his assistant and was herself a popular radio presenter. Both kept their jobs at the radio station while starting the business, and they tried to get the business on a sound financial footing by recording things like weddings and funerals (yes, funerals, they'd mic up the funeral home and get a recording of the service which they'd put on an acetate disc -- apparently this was a popular service).   But the real purpose of the business was to be somewhere where real musicians could come and record. Phillips didn't have a record label, but he had arrangements with a couple of small labels to send them recordings, and sometimes those labels would put the recordings out. Musicians of all kinds would come into Memphis Recording Services, and Phillips would spend hours trying to get their sound onto disc and, later, tape. Not trying to perfect it, but trying to get the most authentic version of that person's artistry onto the tape.   In 1951 Memphis Recording Services hadn't been open that long, and Phillips had barely recorded anything worth a listen -- but he *had* made some recordings with a local DJ called Riley King, who had recently started going by the name "Blues Boy", or just "B.B." for short. To my mind they're actually some of King's best material -- much more my kind of thing than the later recordings that made his name. Here, for example, is one of those recordings that wasn't released at the time, but has made compilations later -- "Pray For You":   [excerpt: B.B. King "Pray For You"]   That was the kind of music that Sam Phillips liked, and it's the kind of thing I like too. The piano player there, incidentally, was a young man called Johnny Ace, about whom we'll hear a lot more later.   A couple of years earlier, King had met a young musician in Clarksdale Mississippi called Ike Turner, who led a big band called the Top Hatters. Turner had sat in with King on the piano and had impressed King with his ability, and King had even stopped over a couple of nights at Turner's house. The two hadn't stayed in touch, but they both liked each other.   The Top Hatters had later split up into two bands -- there was the Dukes of Swing, who played classy big band music, and the Kings of Rhythm, who were a jump band after the Louis Jordan fashion, led by Turner. One day, the Kings of Rhythm were coming back from a gig when they noticed a large number of cars parked outside a venue which had a poster advertising one "B.B. King". Ike Turner had noticed that name on posters before, but didn't know who it was, but thought he should check out why there were so many people wanting to see him.   The band stopped and went inside, and discovered that B.B. King was Ike Turner's old acquaintance Riley. Turner asked King if his band could get up and play a number, and King let him, and was hugely impressed, telling Turner that he should make records. Turner said he'd like to, but he had no idea how one actually went about making a record.   King said that the way he did it was there was a guy in Memphis called Sam who recorded him. King would call Sam up and tell him to give Turner a call on Monday. Monday came around, and indeed Sam Phillips did call Ike Turner on the telephone, and asked when they could come up to record. "Straight away", Ike replied, and they set off -- five men, two saxes, a guitar, and a drum kit in a single car, with the guitar amp and bass drum strapped to the roof.   The drive from Mississippi to Memphis was not without incident -- they got arrested and fined, ostensibly for a traffic violation but actually for being black in the deep South, and they also got a flat tyre, and when they changed it the guitar amp fell on the road.   At least, that's one story as to what happened to the guitar amp -- like everything when it comes to this music, there are three or four different stories told by different people, but that's definitely one of them.   Anyway, when they got to the studio, and got their gear set up, the amplifier made a strange sound. The band were horrified -- their big break, and it was all going to be destroyed because their amp was making this horrible dirty sound. The speaker cone had been damaged.   Sam Phillips, however, was very much not horrified. He was delighted. He got some brown paper from the restaurant next door to stuff inside as a temporary repair, but said that the damaged amp would sound different, and different, to Sam Phillips at least, was always good.   The song they chose to record that day was one that was written by the saxophone player, Jackie Brenston.   Well, I say written by… as with so many of the songs we've seen here, the song was not so much written as remembered (as indeed that line is -- I remembered it from Leslie Halliwell, talking about Talbot Rothwell's scripts for the Carry On films, so I thought I should give it credit here). Specifically, he was remembering "Cadillac Boogie", as you can tell if you listen to it for even a few seconds:   [insert a chunk of Rocket 88]   Now the main difference in the songwriting is simply the car that's being talked about -- the 88 was a new, exciting, model, and Brenston made the song more hip and current as a result. But *musically* there are a few things of note here.   Firstly, there's the piano part, written and played by Ike Turner -- that part is one that Little Richard adored, to the point that he copied it on the intro to “Good Golly Miss Molly”. Compare and contrast; here's the intro to “Rocket 88”:   [intro to Rocket 88]   and here's Little Richard playing “Good Golly Miss Molly”:   [intro to Good Golly Miss Molly]   There's another difference as well -- the guitar sound. There's distortion all over it, thanks to that cone.   Now, this probably won't even have been something that anyone listening at the time noticed -- if you're listening in the context of early fifties R&B, on the poor-quality 78 RPM discs that the music was released on, you'd probably think that buzzing boogie line was a baritone sax -- the line it's playing is the kind of thing that a horn would normally play, and the distortion sounds the same way as many of the distorted sax lines at the time did. But that was enough that when white music critics in the seventies were looking for a "first rock and roll record", they latched on to this one -- because in the seventies rock and roll *meant* distorted guitar.   When the record came out, Ike Turner was horrified -- because he'd assumed it would be released as by Ike Turner and his Kings of Rhythm, but instead it was under the name "Jackie Brenston and his Delta Cats". And the record was successful enough to make Jackie Brenston decide to quit the Kings of Rhythm and go solo. He released a few more singles, mostly along the same lines as Rocket 88, but they did nothing.   Brenston's solo career fizzled out quite quickly, and he joined the backing band for Lowell Fulson, the blues star. After a couple of years with Fulson, he returned to play with Ike Turner's band. He stayed with Turner from 1955 through 1962, a sideman once more, and Turner wouldn't let Brenston sing his hit on stage -- he was never going to be upstaged by his sax player again.   Eventually Jackie Brenston became an alcoholic, and from 1963 until his death in 1979, he worked as a part-time truck driver, never seeing any recognition for his part in starting rock and roll.   But "Rocket 88" had repercussions for a lot of other people, even if it was only a one-off hit for Brenston. For Ike Turner, after "Rocket 88" was released, half of his band quit and stayed with Brenston, so for a long time he was without a full band. He started to work for Phillips as a talent scout and musician, and it was Turner who brought Phillips several artists, including the artist who Phillips later claimed was the greatest artist and greatest human being he ever worked with -- Howlin' Wolf.   [excerpt "How Many More Years" -- version from https://www.youtube.com/watch?v=1lTpcKnp-NQ ]   That's a recording that was made at Phillips' studio, with Turner on piano. Phillips licensed several singles by Howlin' Wolf and others to Chess Records, but then the Chess brothers, the owners of that label, used contractual shenanigans to cut Phillips out of the loop and record the Wolf directly. So Phillips made a resolution to start his own record label, where no-one would steal his artists. Sun Records was born out of this frustration. Meanwhile, Ike Turner resolved that he would never again see his name removed from the credits for a record he was on. When he got a new Kings of Rhythm together, he switched from playing piano, where you're sat at the side of the stage, to playing guitar, where you can be up front and in the spotlight And when the Kings of Rhythm got a new singer, Annie-Mae Bullock, Turner made sure he would always have equal billing, by giving her his surname as a stage name, so any records she made would be by the new act, "Ike and Tina Turner".   And finally, "Rocket 88" was going to have a profound effect on the career of one man who would later make a big difference to rock and roll. The lead singer of the country band the Saddlemen -- a singer who was best known as a champion yodeller -- was also working as a DJ for a small Pennsylvania station, and he noticed that Louis Jordan records were popular among the country audience, and he decided to start incorporating a Louis Jordan style in his own music   But Jordan's records were so popular with a crossover audience that when the Saddlemen came to make their first records in this new style, they chose to cover something by someone other than Jordan – someone that hadn't crossed over into the country market yet. And so they chose to record "Rocket 88", which had been a big R&B hit but hadn't broken through into the white audience. Their version of the song is *also* credited by some as the first rock and roll record. But it'll be a few weeks until Bill Haley becomes a full part of our story...

Welcome to episode ten of A History of Rock Music in Five Hundred Songs. Today we’re looking at “Double Crossin’ Blues” by Johnny Otis, Little Esther, and the Robins. Click the full post to read liner notes, links to more information, and a transcript of the episode.  —-more—- Resources Like last week, this episode talks about a musician losing the use of some fingers. If you want to help others like Johnny Otis, you might want to check out a charity called the One-Handed Musical Instrument Trust, which invents and provides instruments for one-handed musicians. As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are a lot of cheap compilations of Johnny Otis’ material — this one seems to be the best value for money, and contains two other songs I already have podcasts written about, and two more that I’m almost certainly going to cover. This CD covers Little Esther’s first couple of years, including all her recordings for Savoy along with some of those from Federal. And this double-CD set contains almost everything the Robins recorded, though for some unknown reason it doesn’t contain their three most well-known songs. Much of the biographical information about Johnny Otis comes from Midnight at the Barrelhouse: The Johnny Otis Story by George Lipsitz. Both Otis and Ralph Bass are interviewed in Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, one of the most important books on early 50s rhythm and blues. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We talked last week about playing an instrument with missing or damaged fingers. Today, we’re going to talk about how a great musician losing the use of a couple of fingers led directly to several of the biggest careers in rhythm and blues.   When we think of the blues now, we mostly think of guitar-based music – people like Robert Johnson and Muddy Waters – rather than piano-based musicians and the more vaudeville style of what’s called “classic blues”, people like Ma Rainey or Bessie Smith. And that tends to give a rather ahistorical perspective on the development of rock and roll.   Rock and roll when it started — the music of the mid fifties — is not really a guitar-based music. It’s dominated by the piano and the saxophone, and that domination it takes from jump band rhythm and blues. We’ve already heard how blues shouters in jump bands were massively influential for the style, but of course the blues, along with the jump bands, fed into what was just becoming known as “rhythm and blues”, and that in turn fed into rock and roll.   There were two real links in the chain between the blues and rock and roll. And we’ll definitely talk about the Chess label soon. But to the extent that there was any influence at all from what we now think of as the blues, it was mostly down to one man, Johnny Otis. It’s probably safe to say that if Johnny Otis had never lived, the whole of 1950s music would be totally different.   We’re going to be talking about Johnny Otis *a hell of a lot* in this podcast, because to put it as simply as possible, Johnny Otis was responsible for basically every good record that came from the West Coast of the US between about 1947 and 1956. I have three more Johnny Otis-related records lined up between now and the middle of February, and no doubt there’ll be several more after that.   Johnny Otis had his first hit in 1945, with “Harlem Nocturne”, which featured his friend Bill Doggett on piano:   [excerpt of “Harlem Nocturne”]   After “Harlem Nocturne” became a hit, and partly through the connection with Doggett, he got the opportunity to tour backing the Ink Spots, which exposed him to a wider audience. He was on his way to being a big star.   At that time, he was a drummer and vibraphone player. And he was one of the great drummers of the period — he played, for example, on Ilinois Jacquet’s version of “Flying Home”, and on “Jamming With Lester” by Lester Young.   He was leading a big band, and had been trying to sound like Count Basie, as you can hear if you listen to the records he made at that time, but that soon changed when the jump bands came in. Instead, Otis slimmed down his band to a much smaller one and started playing this new R&B music, but he still wanted to give the people a show. And so he started the Johnny Otis Show, and rather than devote the show to his own performances, he would tour with a variety of singers and groups, who’d all play with his band as well as perform in different combinations. These singers and groups would be backed by the Johnny Otis band, but would be able to put out their own records and put on their own shows. He was going to use his fame to boost others — while also giving himself more stars for his show, which meant more people coming to the shows.   One thing that’s very important to note here is that Otis was a white man who chose to live and work only with black people. We’ll be talking more about his relationship with race as we go forward, but Johnny Otis was *not* the typical white man in the music industry — in that he actually respected his black colleagues as friends and equals, rather than just exploiting them financially.   He also lived in the Watts area of LA, the black area, and did all sorts of things in the community, from having his own radio show (which was listened to by a lot of the white kids in the LA area as well as its intended black audience — both Frank Zappa and Brian Wilson talked about listening to Johnny Otis’ show as children) to running a pigeon-breeding club for the local children. One of the kids who went along to learn how to breed pigeons with Johnny Otis was Arthur Lee, who later went on to be the leader of the band Love.   He was always a bit of an entrepreneur, and someone who was doing twenty different things at the same time. For example, he kept chickens in coops outside his house in Watts, running The Progressive Poultry company with a friend of his, Mario Delagarde, who was a bass player who worked with Johnny “Guitar” Watson and who died fighting in Cuba with Castro against Batista. Apparently, the chickens they sold were too popular, as Otis lost the use of a couple of fingers on his right hand in a chainsaw accident while trying to build more chicken coops — though as he said later, he was still able to play piano and vibraphone with only eight fingers. After a doctor botched an operation on his hand, though, he couldn’t play drums easily.   But it was because of his damaged hand that he eventually discovered Little Esther. Otis prided himself on his ability at discovering artists, and in this case it was more or less by accident. One night he couldn’t sleep from the pain in his hand, and he was scared of taking painkillers and becoming addicted, so he went for a walk.   He walked past a club, and saw that Big Jay McNeely was playing. McNeely – who died in September this year – was one of the great saxophone honkers and skronkers of rhythm and blues, and was a friend of Otis who’d played on several records with him. Otis went inside, and before the show started there was a talent show. These talent shows were often major parts of the show in black entertainment at this time, and were sometimes *hugely* impressive – Otis would later talk about one show he saw in Detroit, where he discovered Hank Ballard, Little Willie John, and Jackie Wilson all in the same night, and none of them were even the winner.   On this night, one girl was impressive, but didn’t win, and went and cried in the back of the theatre. Johnny Otis went over to comfort her, and offered her a job with his band.   That girl was only fourteen when she became a professional blues singer after Otis discovered her (he had a knack for discovering teenage girls with exceptional vocal abilities — we’ll be looking at another one in a few weeks). She was born Esther Mae Washington, but later took the surname of her stepfather and became Esther Mae Jones. A few years from the time we’re talking about, she took the name of a petrol station company and became Esther Phillips.   At first, Otis had trouble getting her a record deal, because of the similarity of her sound to that of Dinah Washington, who was Esther’s biggest inspiration, and was the biggest female R&B star of the period. Anyone listening to her was instantly struck by the similarity, and so she was dismissed as a soundalike.   But Otis had a little more success with a vocal group he knew called the Robins.   We haven’t talked much about doo-wop yet, but we’re at the point where it starts to be a major factor. Doo-wop is a genre that mostly came from the East Coast of the US. Like many of the genres we’ve discussed so far, it was a primarily black genre, but it would soon also be taken up by Italian-American singers living in the same areas as black people — this was a time when Italian-Americans weren’t considered fully “white” according to the racial standards then prevalent in the US. (As an example, in the early 1960s, the great jazz bass player Charles Mingus was asked why, if he was so angry at white people, he played with Charlie Mariano. Mingus looked surprised and said “Charlie’s not white, he’s Italian!”)   But at this point doo-wop was very much on the fringes of the music business. It was music that was made by people who were too poor to even afford instruments, standing around on street corners and singing with each other. Usually the lead singer would try to sound like Bill Kenny of the Ink Spots, though increasingly as the genre matured the lead vocalists would take on more and more aspects of gospel singing as well. The backing vocalists — usually three or four of them — would do the same kind of thing as the Mills Brothers had, and imitate instrumental parts.   And in the tradition of the Ink Spots’ “top and bottom”, these bands would also feature a very prominent bass vocal — though the bass singer wouldn’t speak the words like Hoppy Jones, but would instead sing wordless nonsense syllables. This is where the name “doo wop”, which was only applied later, comes from — from the singer singing things like this:   [excerpt “Count Every Star”, by the Ravens]   That’s the Ravens, one of the first and most successful of the new vocal groups that came along. We’re not doing a whole episode on them, but they caused a huge explosion of black vocal groups in the late forties and early fifties — and you can tell how influential they were just by looking at the names of many of these bands, which included the Orioles, the Penguins, the Flamingos and more.   And The Robins were another of these “bird groups”. They started out as a vocal group called the A-Sharp Trio, who entered a talent contest at a nightclub owned by Johnny Otis and came second (the performer who came first, the guitarist Pete Lewis, Otis got into his band straight away). Otis gave the A-Sharp Trio a regular gig at his club, and soon decided to pair them with another singer who sang there solo, turning them into a quartet. They were originally called the Four Bluebirds, and under that name they recorded a single with Otis — “My Baby Done Told Me”:   [Excerpt: the Four Bluebirds “My Baby Done Told Me”]   However, they didn’t like the name, and soon settled on the Robins.   The Robins recorded with Otis on various labels. Their first single, “Around About Midnight”, was a remake of Roy Brown’s earlier “Long About Midnight”, and it’s really rather good. Take a listen:   [“Around About Midnight”]   A quick note there — that’s noted as their first single on some discographies I’ve seen. Others, however, say that these original tracks weren’t released until a few months after they were recorded. It’s definitely from their first session under the name The Robins though.   That was recorded on the Aladdin label, a record label that also had recordings by Ilinois Jacquet, Louis Jordan, Wynonie Harris, and many, many more early R&B people who we’ve touched upon in this podcast and will touch upon again I’m sure. But soon after this Otis and the Robins — and Esther Mae Washington — would all go on to another label, Savoy.   Ralph Bass, the A&R man who signed Johnny Otis to Savoy, is another of those white back-room people who devoted their life to black music who keep showing up at this stage of the story, and he’s another one we’ll be seeing a lot of for the next few episodes. Born Ralph Basso, he’d been an amateur musician and had also worked for Shell. When he was working for Shell, one of his jobs had been to organise corporate events, and because of the war there was a lack of musicians to play them, and he’d taken to playing records through an amplifier, becoming one of the very first live DJs.   He’d always had a love of music — he used to sneak into the Savoy Ballroom to watch Chick Webb as a teenager — and when he was playing these records, he realised that many of them sounded awful. He was convinced he could make records that sounded better than the ones he was playing, and so he decided to write to every record company he could find, offering his services. Only one record company answered — Black and White Records in Los Angeles. They weren’t certain that they could use him, but they’d give him an interview in a few weeks if he flew to LA.   Bass flew to LA two weeks before his interview, and started preparing. He asked the musicians unions for a list of who they thought their most talented local musicians were, and went to see them all live, and chat to some of them. Then, when he went into the actual interview and was asked who he would record, he had an answer — he was going to record Sammy Franklin and his Atomics doing “The Honeydripper”.   But he still didn’t actually know anything at all about how to make a record. He had a solution to that too. He booked the band and the studio, then got to the studio early and told the engineers that he didn’t have a clue about how to record sound, but that his boss would be expecting him to, and to just go along with everything he said when the boss got there, and that the engineers would really be in charge. The boss of Black and White Records did get there, shortly afterward, and Bass spent the next half hour tweaking settings on the board, changing mic placements, and a thousand other tiny technical differences. The boss decided he knew what he was doing and left him to it. The engineers then put everything back the way it was originally. The record came out, and it didn’t do wonderfully (for reasons we’ll discuss next week) but it was enough to get Bass firmly in place in Black and White Records.   Over the next few years, he produced dozens of classics of jazz and blues, including “Stormy Monday” by T-Bone Walker and “Open the Door, Richard” by Jack McVea:   [excerpt: “Open the Door, Richard”]   That record was based on an old routine by the black comedian Dusty Fletcher, and it was Bass who suggested that the old routine be set to music by McVea, who had previously been a saxophone player with Lionel Hampton’s band. It became a massive hit, and was covered by Count Basie and Louis Jordan, among others — six different versions of the song made the R&B top ten more or less simultaneously in the first few months of 1947.   But the problem with “Open the Door, Richard” was that it was actually too successful — the record label just assumed that any of its records would sell that well. And when they didn’t, Bass had to find another label to work with.   Bass had proved his ability enough that he ended up working for Savoy. For most of its time, Savoy was a jazz label, but while Ralph Bass was in charge of A&R it was, instead, an R&B label, and one that put out some of the greatest R&B of its time. He had an eye for talent and a real love for good rhythm and blues music.   And so when Ralph Bass saw the Johnny Otis revue performing live, he decided that Savoy needed to sign *all of them* — Otis and his band, Esther, the Robins, everyone. He got in touch with Herman Lubinsky, who was the owner of Savoy Records, and got Lubinsky to come down to see Otis’ band. During intermission, Lubinsky met up with Otis, and got him to sign a record contact — the contract only specified a one percent royalty, but Lubinsky promised he’d triple the royalty rate after Otis’ first hit with Savoy. Like many of Lubinsky’s promises, this proved to be false.   When the Otis band, Esther, and the Robins went into the studio together, Esther was so intimidated by the studio that she started giggling, and while they did manage to cut a few songs, they didn’t get as much done as they wanted to in the session. But at almost literally the last minute — twenty minutes before the end of the session, Otis came up with a song that was, like “Open the Door Richard”, based around a comedy routine from a well-known black comedy act. In this case, a double act called Apus and Estrellita — Esther and Bobby Nunn of the Robins engaged in some good-spirited comedy back and forth, copied from their routines.   [excerpt “Double Crossin’ Blues”]   Those lines “How come you ain’t in the forest?” “I’m a lady”, “they got lady bears out there!” take on a bit of a different colour when you realise that “lady bear” was, at the time, slang for an ugly, sexually aggressive woman.   Herman Lubinsky, the head of Savoy Records, was not impressed with the record or with Esther Phillips, and according to Bass “I sent the record to Lubinsky and asked for five dollars to pay for the kid’s expenses — lunch and all that, coming to Hollywood from Watts. He shouted ‘Whaddaya mean five bucks? For what?’ He wouldn’t give me the five bucks”.   Lubinsky put the recording aside until a DJ in Newark asked him if he could look through the new recordings he had to see if there was anything that might be a hit. The DJ loved the record, and even ran a competition on his radio station to pick the song’s name, which is where the title “Double Crossing Blues” comes from. Although as Bass said “Everybody who was involved with the record got double-crossed. The songwriter, Johnny and I, the Robins, everybody connected with it.”   Lubinsky was suddenly so sure that the record was going to be a success that he phoned Bass at five in the morning, Bass’ time, waking him up, and getting Bass to go and wake Johnny Otis up so they could both go and track down Esther and her mother, and get them to sign a contract immediately. It was around this point that Esther’s stage name was decided upon — Lubinsky said to Otis “you need a stage name for that girl,” to which Otis replied “which girl? Little Esther?” and Lubinsky said “that’s perfect!” And so for the next few years, Esther Washington, who would later be Esther Phillips, was Little Esther, and that was the name under which she became a phenomenon.   The record went to number one on the R&B charts, and was the biggest thing in the genre in years. In July 1950, Billboard published its annual listing of best-selling R&B acts. Johnny Otis came first, Little Esther second, and the Robins came fourth   But the record’s success caused friction between Otis and the Robins, who he later described as the people “who hummed behind Little Esther”. They decided that they were the big stars, not Little Esther, and that they were going to go on tour on their own. Otis had to find another male singer to sing the parts that Bobby Nunn had sung, and so he found his new singer Mel Walker, who would be the main lead vocalist on Otis’ future records, and would duet with Little Esther on more than a few of them. The Robins offered Otis a job as musical director for twenty dollars a night, but Otis refused.   The Robins would go on to have many, many successes themselves, some of which we’ll talk about later, but Otis, Mel Walker, and Little Esther went on to have a string of hits in various combinations as well — “Mistrustin’ Blues”, “Deceivin’ Blues”, “Dreamin’ Blues”, “Wedding Boogie”, “Rockin’ Blues”… Otis also had a 1951 hit with “All Nite Long”, which would later be referenced in records by both Frank Zappa and Talking Heads:   [excerpt “All Nite Long”: Johnny Otis]   We’ll be seeing much more of Johnny Otis, and of the Robins, as the story goes on, but this is the only time we’ll be talking about Little Esther. In her first year, she had an amazing seven records make the R&B top ten, three of them (including “Double Crossin’ Blues”) going to number one. She was regarded as one of the finest R&B vocalists of her generation, and had a promising future.   She decided, after a year on Savoy with Johnny Otis, to go solo and to move with Ralph Bass to Federal Records, a new label Bass had joined after falling out with Herman Lubinsky. According to Bass, Lubinsky often blackmailed his employees, in order to get leverage over them. But he was unable to find any dirty secrets about Bass — not that Bass didn’t have them (and not necessarily that he did, either — I don’t know) — but that he didn’t mix his business and personal lives. He didn’t hang out with the musicians he worked with or with his colleagues, and so there was no vector for Lubinsky to get any kind of leverage over him.   So Lubinsky sent Bass to a party for a distributor at the last minute, which ran until three or four AM, and then when Bass’ wife phoned up to ask where he was, Lubinsky claimed not to know, causing Bass and his wife to have a row.   Bass instantly realised that Lubinsky was trying to mess with his marriage in order to get some leverage over him, and decided he was simply not going to go back to work the next day. Instead, he went to King Records, who set up a subsidiary, Federal, for Bass to run. Bass took Little Esther with him, but Johnny Otis and the Robins were both still on Savoy.   Over the next few years, Bass would produce a lot of records which would change the course of rhythm and blues and rock and roll music, but sadly his further collaborations with Little Esther simply weren’t as successful as the work they’d done together with Johnny Otis. She stopped having hits, and started doing heroin.   She moved back in with her family in Houston, and played odd gigs around the area, including one with Otis, Big Mama Thornton, and Johnny Ace, which we’ll talk about in a future episode but which must have traumatised her further. Eventually her career got a second wind, and she had a few minor hits in the 1960s and 70s under her new name Esther Phillips.   Most impressive of these was “Home is Where the Hatred is”, a song by Gil Scott-Heron that she recorded in 1972:   [excerpt “Home is Where the Hatred is”: Esther Phillips]   That song clearly meant a lot to her, given her own history with drugs, and the album it came from, From A Whisper to a Scream, was nominated for a Grammy for Best R&B Vocal Performance (Female). Aretha Franklin won the award, as she did every year from 1968 through 1975 inclusive — and to be fair, that’s one of the few examples of the Grammies actually recognising talent when they saw it, because if it’s possible to give Aretha Franklin an award between 1968 and 1975, you give Aretha Franklin that award. But this time, Aretha said publicly that she didn’t deserve the award, and gave it to Phillips. Sadly, Esther Phillips never won the award in her own right — she was nominated four times, but all during that period of Aretha dominance.   She continued having minor hits into the 1980s, but she never recaptured that brief period when she was the biggest female star in R&B, back in 1950. She died in 1984, aged only 48. Johnny Otis, who by that time was ordained as a minister, performed her funeral.

Welcome to episode ten of A History of Rock Music in Five Hundred Songs. Today we're looking at "Double Crossin' Blues" by Johnny Otis, Little Esther, and the Robins. Click the full post to read liner notes, links to more information, and a transcript of the episode.  ----more---- Resources Like last week, this episode talks about a musician losing the use of some fingers. If you want to help others like Johnny Otis, you might want to check out a charity called the One-Handed Musical Instrument Trust, which invents and provides instruments for one-handed musicians. As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. There are a lot of cheap compilations of Johnny Otis' material -- this one seems to be the best value for money, and contains two other songs I already have podcasts written about, and two more that I'm almost certainly going to cover. This CD covers Little Esther's first couple of years, including all her recordings for Savoy along with some of those from Federal. And this double-CD set contains almost everything the Robins recorded, though for some unknown reason it doesn't contain their three most well-known songs. Much of the biographical information about Johnny Otis comes from Midnight at the Barrelhouse: The Johnny Otis Story by George Lipsitz. Both Otis and Ralph Bass are interviewed in Honkers & Shouters: The Golden Years of Rhythm and Blues by Arnold Shaw, one of the most important books on early 50s rhythm and blues. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We talked last week about playing an instrument with missing or damaged fingers. Today, we're going to talk about how a great musician losing the use of a couple of fingers led directly to several of the biggest careers in rhythm and blues.   When we think of the blues now, we mostly think of guitar-based music – people like Robert Johnson and Muddy Waters – rather than piano-based musicians and the more vaudeville style of what's called “classic blues”, people like Ma Rainey or Bessie Smith. And that tends to give a rather ahistorical perspective on the development of rock and roll.   Rock and roll when it started -- the music of the mid fifties -- is not really a guitar-based music. It's dominated by the piano and the saxophone, and that domination it takes from jump band rhythm and blues. We've already heard how blues shouters in jump bands were massively influential for the style, but of course the blues, along with the jump bands, fed into what was just becoming known as "rhythm and blues", and that in turn fed into rock and roll.   There were two real links in the chain between the blues and rock and roll. And we'll definitely talk about the Chess label soon. But to the extent that there was any influence at all from what we now think of as the blues, it was mostly down to one man, Johnny Otis. It's probably safe to say that if Johnny Otis had never lived, the whole of 1950s music would be totally different.   We're going to be talking about Johnny Otis *a hell of a lot* in this podcast, because to put it as simply as possible, Johnny Otis was responsible for basically every good record that came from the West Coast of the US between about 1947 and 1956. I have three more Johnny Otis-related records lined up between now and the middle of February, and no doubt there'll be several more after that.   Johnny Otis had his first hit in 1945, with "Harlem Nocturne", which featured his friend Bill Doggett on piano:   [excerpt of "Harlem Nocturne"]   After “Harlem Nocturne” became a hit, and partly through the connection with Doggett, he got the opportunity to tour backing the Ink Spots, which exposed him to a wider audience. He was on his way to being a big star.   At that time, he was a drummer and vibraphone player. And he was one of the great drummers of the period -- he played, for example, on Ilinois Jacquet's version of "Flying Home", and on "Jamming With Lester" by Lester Young.   He was leading a big band, and had been trying to sound like Count Basie, as you can hear if you listen to the records he made at that time, but that soon changed when the jump bands came in. Instead, Otis slimmed down his band to a much smaller one and started playing this new R&B music, but he still wanted to give the people a show. And so he started the Johnny Otis Show, and rather than devote the show to his own performances, he would tour with a variety of singers and groups, who'd all play with his band as well as perform in different combinations. These singers and groups would be backed by the Johnny Otis band, but would be able to put out their own records and put on their own shows. He was going to use his fame to boost others -- while also giving himself more stars for his show, which meant more people coming to the shows.   One thing that's very important to note here is that Otis was a white man who chose to live and work only with black people. We'll be talking more about his relationship with race as we go forward, but Johnny Otis was *not* the typical white man in the music industry -- in that he actually respected his black colleagues as friends and equals, rather than just exploiting them financially.   He also lived in the Watts area of LA, the black area, and did all sorts of things in the community, from having his own radio show (which was listened to by a lot of the white kids in the LA area as well as its intended black audience -- both Frank Zappa and Brian Wilson talked about listening to Johnny Otis' show as children) to running a pigeon-breeding club for the local children. One of the kids who went along to learn how to breed pigeons with Johnny Otis was Arthur Lee, who later went on to be the leader of the band Love.   He was always a bit of an entrepreneur, and someone who was doing twenty different things at the same time. For example, he kept chickens in coops outside his house in Watts, running The Progressive Poultry company with a friend of his, Mario Delagarde, who was a bass player who worked with Johnny “Guitar” Watson and who died fighting in Cuba with Castro against Batista. Apparently, the chickens they sold were too popular, as Otis lost the use of a couple of fingers on his right hand in a chainsaw accident while trying to build more chicken coops -- though as he said later, he was still able to play piano and vibraphone with only eight fingers. After a doctor botched an operation on his hand, though, he couldn't play drums easily.   But it was because of his damaged hand that he eventually discovered Little Esther. Otis prided himself on his ability at discovering artists, and in this case it was more or less by accident. One night he couldn't sleep from the pain in his hand, and he was scared of taking painkillers and becoming addicted, so he went for a walk.   He walked past a club, and saw that Big Jay McNeely was playing. McNeely – who died in September this year – was one of the great saxophone honkers and skronkers of rhythm and blues, and was a friend of Otis who'd played on several records with him. Otis went inside, and before the show started there was a talent show. These talent shows were often major parts of the show in black entertainment at this time, and were sometimes *hugely* impressive – Otis would later talk about one show he saw in Detroit, where he discovered Hank Ballard, Little Willie John, and Jackie Wilson all in the same night, and none of them were even the winner.   On this night, one girl was impressive, but didn't win, and went and cried in the back of the theatre. Johnny Otis went over to comfort her, and offered her a job with his band.   That girl was only fourteen when she became a professional blues singer after Otis discovered her (he had a knack for discovering teenage girls with exceptional vocal abilities -- we'll be looking at another one in a few weeks). She was born Esther Mae Washington, but later took the surname of her stepfather and became Esther Mae Jones. A few years from the time we're talking about, she took the name of a petrol station company and became Esther Phillips.   At first, Otis had trouble getting her a record deal, because of the similarity of her sound to that of Dinah Washington, who was Esther's biggest inspiration, and was the biggest female R&B star of the period. Anyone listening to her was instantly struck by the similarity, and so she was dismissed as a soundalike.   But Otis had a little more success with a vocal group he knew called the Robins.   We haven't talked much about doo-wop yet, but we're at the point where it starts to be a major factor. Doo-wop is a genre that mostly came from the East Coast of the US. Like many of the genres we've discussed so far, it was a primarily black genre, but it would soon also be taken up by Italian-American singers living in the same areas as black people -- this was a time when Italian-Americans weren't considered fully "white" according to the racial standards then prevalent in the US. (As an example, in the early 1960s, the great jazz bass player Charles Mingus was asked why, if he was so angry at white people, he played with Charlie Mariano. Mingus looked surprised and said "Charlie's not white, he's Italian!")   But at this point doo-wop was very much on the fringes of the music business. It was music that was made by people who were too poor to even afford instruments, standing around on street corners and singing with each other. Usually the lead singer would try to sound like Bill Kenny of the Ink Spots, though increasingly as the genre matured the lead vocalists would take on more and more aspects of gospel singing as well. The backing vocalists -- usually three or four of them -- would do the same kind of thing as the Mills Brothers had, and imitate instrumental parts.   And in the tradition of the Ink Spots' "top and bottom", these bands would also feature a very prominent bass vocal -- though the bass singer wouldn't speak the words like Hoppy Jones, but would instead sing wordless nonsense syllables. This is where the name "doo wop", which was only applied later, comes from -- from the singer singing things like this:   [excerpt "Count Every Star", by the Ravens]   That's the Ravens, one of the first and most successful of the new vocal groups that came along. We're not doing a whole episode on them, but they caused a huge explosion of black vocal groups in the late forties and early fifties -- and you can tell how influential they were just by looking at the names of many of these bands, which included the Orioles, the Penguins, the Flamingos and more.   And The Robins were another of these "bird groups". They started out as a vocal group called the A-Sharp Trio, who entered a talent contest at a nightclub owned by Johnny Otis and came second (the performer who came first, the guitarist Pete Lewis, Otis got into his band straight away). Otis gave the A-Sharp Trio a regular gig at his club, and soon decided to pair them with another singer who sang there solo, turning them into a quartet. They were originally called the Four Bluebirds, and under that name they recorded a single with Otis -- "My Baby Done Told Me":   [Excerpt: the Four Bluebirds "My Baby Done Told Me"]   However, they didn't like the name, and soon settled on the Robins.   The Robins recorded with Otis on various labels. Their first single, "Around About Midnight", was a remake of Roy Brown's earlier "Long About Midnight", and it's really rather good. Take a listen:   ["Around About Midnight"]   A quick note there -- that's noted as their first single on some discographies I've seen. Others, however, say that these original tracks weren't released until a few months after they were recorded. It's definitely from their first session under the name The Robins though.   That was recorded on the Aladdin label, a record label that also had recordings by Ilinois Jacquet, Louis Jordan, Wynonie Harris, and many, many more early R&B people who we've touched upon in this podcast and will touch upon again I'm sure. But soon after this Otis and the Robins -- and Esther Mae Washington -- would all go on to another label, Savoy.   Ralph Bass, the A&R man who signed Johnny Otis to Savoy, is another of those white back-room people who devoted their life to black music who keep showing up at this stage of the story, and he's another one we'll be seeing a lot of for the next few episodes. Born Ralph Basso, he'd been an amateur musician and had also worked for Shell. When he was working for Shell, one of his jobs had been to organise corporate events, and because of the war there was a lack of musicians to play them, and he'd taken to playing records through an amplifier, becoming one of the very first live DJs.   He'd always had a love of music -- he used to sneak into the Savoy Ballroom to watch Chick Webb as a teenager -- and when he was playing these records, he realised that many of them sounded awful. He was convinced he could make records that sounded better than the ones he was playing, and so he decided to write to every record company he could find, offering his services. Only one record company answered -- Black and White Records in Los Angeles. They weren't certain that they could use him, but they'd give him an interview in a few weeks if he flew to LA.   Bass flew to LA two weeks before his interview, and started preparing. He asked the musicians unions for a list of who they thought their most talented local musicians were, and went to see them all live, and chat to some of them. Then, when he went into the actual interview and was asked who he would record, he had an answer -- he was going to record Sammy Franklin and his Atomics doing "The Honeydripper".   But he still didn't actually know anything at all about how to make a record. He had a solution to that too. He booked the band and the studio, then got to the studio early and told the engineers that he didn't have a clue about how to record sound, but that his boss would be expecting him to, and to just go along with everything he said when the boss got there, and that the engineers would really be in charge. The boss of Black and White Records did get there, shortly afterward, and Bass spent the next half hour tweaking settings on the board, changing mic placements, and a thousand other tiny technical differences. The boss decided he knew what he was doing and left him to it. The engineers then put everything back the way it was originally. The record came out, and it didn't do wonderfully (for reasons we'll discuss next week) but it was enough to get Bass firmly in place in Black and White Records.   Over the next few years, he produced dozens of classics of jazz and blues, including "Stormy Monday" by T-Bone Walker and "Open the Door, Richard" by Jack McVea:   [excerpt: "Open the Door, Richard"]   That record was based on an old routine by the black comedian Dusty Fletcher, and it was Bass who suggested that the old routine be set to music by McVea, who had previously been a saxophone player with Lionel Hampton's band. It became a massive hit, and was covered by Count Basie and Louis Jordan, among others -- six different versions of the song made the R&B top ten more or less simultaneously in the first few months of 1947.   But the problem with "Open the Door, Richard" was that it was actually too successful -- the record label just assumed that any of its records would sell that well. And when they didn't, Bass had to find another label to work with.   Bass had proved his ability enough that he ended up working for Savoy. For most of its time, Savoy was a jazz label, but while Ralph Bass was in charge of A&R it was, instead, an R&B label, and one that put out some of the greatest R&B of its time. He had an eye for talent and a real love for good rhythm and blues music.   And so when Ralph Bass saw the Johnny Otis revue performing live, he decided that Savoy needed to sign *all of them* -- Otis and his band, Esther, the Robins, everyone. He got in touch with Herman Lubinsky, who was the owner of Savoy Records, and got Lubinsky to come down to see Otis' band. During intermission, Lubinsky met up with Otis, and got him to sign a record contact -- the contract only specified a one percent royalty, but Lubinsky promised he'd triple the royalty rate after Otis' first hit with Savoy. Like many of Lubinsky's promises, this proved to be false.   When the Otis band, Esther, and the Robins went into the studio together, Esther was so intimidated by the studio that she started giggling, and while they did manage to cut a few songs, they didn't get as much done as they wanted to in the session. But at almost literally the last minute -- twenty minutes before the end of the session, Otis came up with a song that was, like "Open the Door Richard", based around a comedy routine from a well-known black comedy act. In this case, a double act called Apus and Estrellita -- Esther and Bobby Nunn of the Robins engaged in some good-spirited comedy back and forth, copied from their routines.   [excerpt "Double Crossin' Blues"]   Those lines "How come you ain't in the forest?" "I'm a lady", "they got lady bears out there!" take on a bit of a different colour when you realise that "lady bear" was, at the time, slang for an ugly, sexually aggressive woman.   Herman Lubinsky, the head of Savoy Records, was not impressed with the record or with Esther Phillips, and according to Bass "I sent the record to Lubinsky and asked for five dollars to pay for the kid's expenses -- lunch and all that, coming to Hollywood from Watts. He shouted 'Whaddaya mean five bucks? For what?' He wouldn't give me the five bucks".   Lubinsky put the recording aside until a DJ in Newark asked him if he could look through the new recordings he had to see if there was anything that might be a hit. The DJ loved the record, and even ran a competition on his radio station to pick the song's name, which is where the title "Double Crossing Blues" comes from. Although as Bass said "Everybody who was involved with the record got double-crossed. The songwriter, Johnny and I, the Robins, everybody connected with it."   Lubinsky was suddenly so sure that the record was going to be a success that he phoned Bass at five in the morning, Bass' time, waking him up, and getting Bass to go and wake Johnny Otis up so they could both go and track down Esther and her mother, and get them to sign a contract immediately. It was around this point that Esther's stage name was decided upon -- Lubinsky said to Otis "you need a stage name for that girl," to which Otis replied "which girl? Little Esther?" and Lubinsky said "that's perfect!" And so for the next few years, Esther Washington, who would later be Esther Phillips, was Little Esther, and that was the name under which she became a phenomenon.   The record went to number one on the R&B charts, and was the biggest thing in the genre in years. In July 1950, Billboard published its annual listing of best-selling R&B acts. Johnny Otis came first, Little Esther second, and the Robins came fourth   But the record's success caused friction between Otis and the Robins, who he later described as the people "who hummed behind Little Esther". They decided that they were the big stars, not Little Esther, and that they were going to go on tour on their own. Otis had to find another male singer to sing the parts that Bobby Nunn had sung, and so he found his new singer Mel Walker, who would be the main lead vocalist on Otis' future records, and would duet with Little Esther on more than a few of them. The Robins offered Otis a job as musical director for twenty dollars a night, but Otis refused.   The Robins would go on to have many, many successes themselves, some of which we'll talk about later, but Otis, Mel Walker, and Little Esther went on to have a string of hits in various combinations as well -- "Mistrustin' Blues", "Deceivin' Blues", "Dreamin' Blues", "Wedding Boogie", "Rockin' Blues"... Otis also had a 1951 hit with "All Nite Long", which would later be referenced in records by both Frank Zappa and Talking Heads:   [excerpt "All Nite Long": Johnny Otis]   We'll be seeing much more of Johnny Otis, and of the Robins, as the story goes on, but this is the only time we'll be talking about Little Esther. In her first year, she had an amazing seven records make the R&B top ten, three of them (including "Double Crossin' Blues") going to number one. She was regarded as one of the finest R&B vocalists of her generation, and had a promising future.   She decided, after a year on Savoy with Johnny Otis, to go solo and to move with Ralph Bass to Federal Records, a new label Bass had joined after falling out with Herman Lubinsky. According to Bass, Lubinsky often blackmailed his employees, in order to get leverage over them. But he was unable to find any dirty secrets about Bass -- not that Bass didn't have them (and not necessarily that he did, either -- I don't know) -- but that he didn't mix his business and personal lives. He didn't hang out with the musicians he worked with or with his colleagues, and so there was no vector for Lubinsky to get any kind of leverage over him.   So Lubinsky sent Bass to a party for a distributor at the last minute, which ran until three or four AM, and then when Bass' wife phoned up to ask where he was, Lubinsky claimed not to know, causing Bass and his wife to have a row.   Bass instantly realised that Lubinsky was trying to mess with his marriage in order to get some leverage over him, and decided he was simply not going to go back to work the next day. Instead, he went to King Records, who set up a subsidiary, Federal, for Bass to run. Bass took Little Esther with him, but Johnny Otis and the Robins were both still on Savoy.   Over the next few years, Bass would produce a lot of records which would change the course of rhythm and blues and rock and roll music, but sadly his further collaborations with Little Esther simply weren't as successful as the work they'd done together with Johnny Otis. She stopped having hits, and started doing heroin.   She moved back in with her family in Houston, and played odd gigs around the area, including one with Otis, Big Mama Thornton, and Johnny Ace, which we'll talk about in a future episode but which must have traumatised her further. Eventually her career got a second wind, and she had a few minor hits in the 1960s and 70s under her new name Esther Phillips.   Most impressive of these was "Home is Where the Hatred is", a song by Gil Scott-Heron that she recorded in 1972:   [excerpt "Home is Where the Hatred is": Esther Phillips]   That song clearly meant a lot to her, given her own history with drugs, and the album it came from, From A Whisper to a Scream, was nominated for a Grammy for Best R&B Vocal Performance (Female). Aretha Franklin won the award, as she did every year from 1968 through 1975 inclusive -- and to be fair, that's one of the few examples of the Grammies actually recognising talent when they saw it, because if it's possible to give Aretha Franklin an award between 1968 and 1975, you give Aretha Franklin that award. But this time, Aretha said publicly that she didn't deserve the award, and gave it to Phillips. Sadly, Esther Phillips never won the award in her own right -- she was nominated four times, but all during that period of Aretha dominance.   She continued having minor hits into the 1980s, but she never recaptured that brief period when she was the biggest female star in R&B, back in 1950. She died in 1984, aged only 48. Johnny Otis, who by that time was ordained as a minister, performed her funeral.

Enough Actual Play for now because Gator is back!   This episode will cover the r/RunnerHub news article ""Shiawase Atomics confirms theft of spent nuclear fuel rods" https://www.reddit.com/r/RunnerHub/comments/8z8i67/comment/e2gvemm Tennessee Hayride by Audionautix is licensed under a Creative Commons Attribution license (https://creativecommons.org/licenses/by/4.0/) Artist: http://audionautix.com/

When a problem comes along, you must... sit down and have an in depth conversation about Devo. This week Kyle sits down with his best friend Jarrod Gilbreath to discuss Jarrod's favorite band, the one and only Devo. They go album by album exploring the development of the band. They talk about the trend in the late 70's of art collectives that accidentally turned into rock bands. Plus they explore the world of music videos before music videos were a thing. It's a fun episode and hopefully it encourages you to check out some deeper Devo cuts, they were waaaaaaaay more than just a one hit wonder band.   Weekly Rads: Kyle: Madman and The Atomics (comic) Laura: Blue Planet 2 (show)

This episode talks about the java.util.concurrent.atomic package What are atomic operations and why do we need it? Example with volatile, synchronized and Atomics Atomic Internals Atomic Primitives, Array and Reference variants JDK 1.8 classes – LongAdder, LongAccumulator etc Usage of this API in JDK When not to use Atomics Links: JDK Atomics API Music: Paint[...]

In this episode, Billy O'Neal and Stephan T. Lavavej (S.T.L.) talk about the Standard Template Library for multithreading, and how to use it properly. We would love to hear some feedback on this episode! If you liked it, let us know and we may make a follow up!Video outline:[ 03:50 ] Threads[ 05:29 ] Data races... [ 05:50 ] Mutexes [ 08:08 ] Locks [ 10:23 ] Atomics [ 14:48 ] Condition Variables[ 16:30 ] Example using threads, mutexes, condition variables, and atomics (link to source code)[ 32:36 ] Mutex types[ 36:34 ] Closing thoughtsSTL video lecture series:Standard Template Library (STL)Advanced STL

John is joined by Dan Greenfield of 13th Dimension to talk with comic artist Michael Allred.  Allred recently completed his run as cover artist for the Batman 66 comic series.  In this interview, he discusses how Batman and 60s television influenced his artistic endeavours, how he approached the assignment of cover artist, favorite cover assignments, and working with his family in the comics field.  Take a listen and enjoy.   Michael 'Doc' Allred grew up in the 60's and 70's and was surrounded with the best in pop culture and a steady diet of music, movies and comic books including the three B's: Beatles, Bond and Batman to the point of obsession.    So it should come as no surprise that he keeps a hand in film and music (He's the lead singer and guitarist for The Gear), but comic books have always been a seminal source of joy for Mike and that joy remains the main ingredient in most of his work.  Allred first tasted success in the comics field with his wildly popular MADMAN series, which is currently being developed for a live action film with filmmaker Robert Rodriguez. His earlier work from GRAFIK MUZIK was turned into the cult hit movie G-Men from Hell directed by Christopher Coppola (featuring Robert Goulet as the Devil). Other work includes Red Rocket 7, his history of Rock and Roll told in the context of a sci-fi adventure storyl the Madman spin-off THE ATOMICS and his magnum opus, THE GOLDEN PLATES, where he's illustrating the entire Book of Mormon.  Mike counts the secret to his success to be his wife, and creative partner, Laura Allred, who is is considered to be one of the best colorists in the business.  

This week on The Derek Diamond Experience,Derek reads the iconic holiday story 'Twas the Night Before Christmas, with special Christmas songs performed by indie rock band The Unicorn Wranglers. Providing vocals is the lovely and talented Brooke Fleming, who is also making her podcast debut!Follow the show on Twitter @DDE_PodcastFollow Derek Diamond on Twitter @Derek_Diamond Music: Tomorrow's Plan by The Unicorn WranglersFind them on Facebook and Twitter

This week on The Derek Diamond Experience,We take another look back at some of the shows previous interviews, which include comic book artist Steve Scott (Batman, JLA, Smallville), video game FX designer Jeffrey Larkin (Mortal Kombat X, Injustice), indie rock band The Unicorn Wranglers (Murder Mystery Night, Atomics), former NFL quarterback Jake Plummer (Denver Broncos, Arizona Cardinals), and podcaster Nicole Welch (Real Time: Real Men Only).Follow the show on Twitter @DDE_PodcastFollow Derek Diamond on Twitter @Derek_Diamond Music: Tomorrow's Plan by The Unicorn WranglersFind them on Facebook and Twitter

This week on The Derek Diamond Experience, Adam Waldron, Ian Waldron, and Joey Truncale of The Unicorn Wranglers return to promote their new EP Atomics, Joey's vocal background and why he joined the band, why their new EP is different than their other records, and some of their upcoming shows. Follow the show on Twitter @DDE_PodcastFollow Derek Diamond on Twitter @Derek_Diamond Music: Tomorrow's Plan by The Unicorn WranglersFind them on Facebook and Twitter

This week on the Major Spoilers Podcast, Good Ol' Charlie Brown… how I hate that kid! Plus, The Doctor gets a name, Conan takes drugs, and Zach takes a look at The Regular Show. NEWS The Name of the Doctor released early LINK REVIEWS STEPHEN Conan the Barbarian #16
Writer: Brian Wood Artist: Davide Gianfelice Publisher: Dark Horse Comics Cover Price: $3.50 SOLICITATION: After a series of trials that nearly tore them apart, Conan and Bêlit use a brief respite to embark on a vision quest. But with violence, pain, and death their constant companions, the vision quickly becomes a nightmare! [rating:3/5] MATTHEW It Girl and the Atomics #10 BETWEEN GEARS creator NATALIE NOURIGAT joins the Atomics team! Someone broke into Flem's lab and stole a dangerous invention. It Girl picks up the crooks' trail, only to discover it leads to a team of underage secret agents - though the real criminal mastermind is centuries older than all of them. [rating:4.5/5] RODRIGO Akaneiro #1 Writer: Justin Aclin Artist: Vasilis Lolos From the brilliant imagination of video game auteur American McGee comes a dazzling reenvisioning of Red Riding Hood set in the wondrous world of Japanese folklore! Justin Aclin and Vasilis Lolos take Kani a young woman torn between two cultures on an epic adventure battling devious yokai for the fate of her world! [rating:3.5/5] ZACH REGULAR SHOW #1 Writer: K.C. Green Artist: Allison Strejlau Publisher: Boom! Cover Price: $3.99 SOLICITATION: REGULAR SHOW…IT’S ANYTHING BUT! Cartoon Network’s powerhouse series now has its own comic book series! Hot on the heels of the smash hit adaptation, ADVENTURE TIME, KaBOOM! unveils the next all-ages comic phenomenon! Join Mordecai the Bluejay and Rigby the Raccoon, a couple of best bros in their twenties just tryin’ to chill for a bit, man. But when you’re livin’ in as crazy a world as they are, no day can be called…regular! Ask your retailer about the pre-order variant by Chris Houghton (ADVENTURE TIME, REED GUNTHER) and the incentive variant by Dustin Nguyen (BATMAN, L’IL GOTHAM)! [rating:2.5/5] Major Spoilers Poll of the Week This week, many of us at Major Spoilers are preoccupied with our jobs as educators and students. That means final exams, final projects, and of course the walk across the stage during graduation. Some will seek immediate employment, while others will go to graduate school to further their education, and some will return to their parents’ basement to live out the rest of their lives. LINK Discussion: The Complete Peanuts 1950-1952 This first volume, covering the first two and a quarter years of the strip, will be of particular fascination to Peanuts aficionados worldwide: Although there have been literally hundreds of Peanuts books published, many of the strips from the series’ first two or three years have never been collected before — in large part because they showed a young Schulz working out the kinks in his new strip and include some characterizations and designs that are quite different from the cast we’re all familiar with. (Among other things, three major cast members — Schroeder, Lucy, and Linus — initially show up as infants and only “grow” into their final “mature” selves as the months go by. Even Snoopy debuts as a puppy!) Thus The Complete Peanuts offers a unique chance to see a master of the art form refine his skills and solidify his universe, day by day, week by week, month by month. Contact us at podcast@majorspoilers.com Call the Major Spoilers Hotline at (785) 727-1939. A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends about the podcast, get them to subscribe and, be sure to visit the Major Spoilers site and forums.

This week on the Major Spoilers Podcast, Good Ol' Charlie Brown… how I hate that kid! Plus, The Doctor gets a name, Conan takes drugs, and Zach takes a look at The Regular Show. NEWS The Name of the Doctor released early LINK REVIEWS STEPHEN Conan the Barbarian #16
 Writer: Brian Wood Artist: Davide Gianfelice Publisher: Dark Horse Comics Cover Price: $3.50 SOLICITATION: After a series of trials that nearly tore them apart, Conan and Bêlit use a brief respite to embark on a vision quest. But with violence, pain, and death their constant companions, the vision quickly becomes a nightmare! [rating:3/5] MATTHEW It Girl and the Atomics #10 BETWEEN GEARS creator NATALIE NOURIGAT joins the Atomics team! Someone broke into Flem's lab and stole a dangerous invention. It Girl picks up the crooks' trail, only to discover it leads to a team of underage secret agents - though the real criminal mastermind is centuries older than all of them. [rating:4.5/5] RODRIGO Akaneiro #1 Writer: Justin Aclin Artist: Vasilis Lolos From the brilliant imagination of video game auteur American McGee comes a dazzling reenvisioning of Red Riding Hood set in the wondrous world of Japanese folklore! Justin Aclin and Vasilis Lolos take Kani a young woman torn between two cultures on an epic adventure battling devious yokai for the fate of her world! [rating:3.5/5] ZACH REGULAR SHOW #1 Writer: K.C. Green Artist: Allison Strejlau Publisher: Boom! Cover Price: $3.99 SOLICITATION: REGULAR SHOW…IT’S ANYTHING BUT! Cartoon Network’s powerhouse series now has its own comic book series! Hot on the heels of the smash hit adaptation, ADVENTURE TIME, KaBOOM! unveils the next all-ages comic phenomenon! Join Mordecai the Bluejay and Rigby the Raccoon, a couple of best bros in their twenties just tryin’ to chill for a bit, man. But when you’re livin’ in as crazy a world as they are, no day can be called…regular! Ask your retailer about the pre-order variant by Chris Houghton (ADVENTURE TIME, REED GUNTHER) and the incentive variant by Dustin Nguyen (BATMAN, L’IL GOTHAM)! [rating:2.5/5] Major Spoilers Poll of the Week This week, many of us at Major Spoilers are preoccupied with our jobs as educators and students. That means final exams, final projects, and of course the walk across the stage during graduation. Some will seek immediate employment, while others will go to graduate school to further their education, and some will return to their parents’ basement to live out the rest of their lives. LINK Discussion: The Complete Peanuts 1950-1952 This first volume, covering the first two and a quarter years of the strip, will be of particular fascination to Peanuts aficionados worldwide: Although there have been literally hundreds of Peanuts books published, many of the strips from the series’ first two or three years have never been collected before — in large part because they showed a young Schulz working out the kinks in his new strip and include some characterizations and designs that are quite different from the cast we’re all familiar with. (Among other things, three major cast members — Schroeder, Lucy, and Linus — initially show up as infants and only “grow” into their final “mature” selves as the months go by. Even Snoopy debuts as a puppy!) Thus The Complete Peanuts offers a unique chance to see a master of the art form refine his skills and solidify his universe, day by day, week by week, month by month. Contact us at podcast@majorspoilers.com Call the Major Spoilers Hotline at (785) 727-1939. A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends about the podcast, get them to subscribe and, be sure to visit the Major Spoilers site and forums.

JKs Happy Hour podcast link In this episode we head straight over to the Pub to talk to artist phenom, Mike Norton about his myriad of projects. http://www.ihatemike.com/ http://battlepug.com/ http://revivalcomic.com/ http://www.comixology.com/It-Girl-the-Atomics/comics-series/8368 http://doublefeaturecomics.com/ Then we talk studios, being homeless, Hobo Sprite... and then it just gets strange. Listen, Laugh and Learn! Follow us on twitter @jkshappyhour http://jkwoodwardart.blogspot.com/ Discount Comic Book Services http://www.dcbservice.com/index.aspx Instock Trades http://www.instocktrades.com/ Join us on the forums at http://www.forumforgeeks.com http://thetaylornetwork.wordpress.com/

JKs Happy Hour podcast link We start out talking comic geek In this episode we head straight over to the Pub to talk to artist phenom, Mike Norton about his myriad of projects. http://www.ihatemike.com/ http://battlepug.com/ http://revivalcomic.com/ http://www.comixology.com/It-Girl-the-Atomics/comics-series/8368 http://doublefeaturecomics.com/ Then we talk studios, being homeless, Hobo Sprite... and then it just gets strange. Liusten, Laugh and Learn! Follow us on twitter @jkshappyhour http://jkwoodwardart.blogspot.com/ Discount Comic Book Services http://www.dcbservice.com/index.aspx Instock Trades http://www.instocktrades.com/ Join us on the forums at http://www.forumforgeeks.com http://thetaylornetwork.wordpress.com/

Slim and Jake sat down via Sattelite with Jamie S. Rich to talk Portland, John Bryne, [It Girl & the Atomics](http://www.comixology.com/It-Girl-the-Atomics/comics-series/8368), and what he's reading!

Ride shotgun with Stephen, Griffin and Riley as they reflect on the great times they had at Baltimore Comic Con 2012 and regale you with all of the highlights of the rural Virginia scenery! Then Jermaine, Griffin, Michael and Jody bring you your regular weekly helping of Comics at the Table! Show Notes: Griffin with All Star Superman artist Frank Quitely! Riley with Carol Danvers herself, Captain Marvel! View from the cheap seats at Friday's Yankees/ Orioles game at Camden Yards! Sunset over the BWI Business District Light Rail station on Saturday night! Riley gnawing on his one and only bone at Buzz & Ned's BBQ in Richmond! Comics at the Table - Avengers vs. X-Men #11, New Avengers #30, Uncanny X-Men #18, Manhattan Projects #6, Batman #0, Stumptown #1 and It Girl & the Atomics #2!

On this episode of the podcast, we travel back in time to listen to one of my first big interviews at a show I was attending alone! It's the first time I got to talk with Mike Allred (the longer interview being episode #27) and we talked about everything from his career at that point, to the creation of X-statix and the evolution of Madman to so much. So pull up a chair, grab your Tardis and go back in time as we travel to my first Boston Comic (2009) to talk to Mike Allred! Mike on Twitter! Mike's Blog! Follow me on twitter! Like the show on facebook! Subscribe and review the show on itunes! Subscribe to my youtube page! Check out my awesome webcomic, new comic day! Listen to Kirby Krackle! Check out theouthousers.com and comicrelated.com for all your nerd/geek news! Next week....Ben Blacker!

YOUR NERDFIGHTERS: Mikey Neilson (Chronicles of the Nerds, Comic CONversations), Jamie S. Rich (It Girl & The Atomics), Jonah Rose (Asteroid M), Kielen King (Star Pilot’s Lament/Star Pilot’s Revenge), Andrew Mcintire (Things From Another World), Sean Wynn (Things From Another World, Star Pilot’s Revenge) and your moderator/Instigator Bobby “Fatbot” Roberts (cortandfatboy, Geek: Remixed). Your NERDFIGHTS: [...]

It's Wednesday and in addition that meaning it's new comics day, it also means that it's time for a new Talking Comics podcast. We've all missed you since last time and as such, we take the time to answer some questions from our wonderful listeners and we discuss a big topic: what makes a perfect comic... according to us. Before we get into that though, we start things off the good ol' fashioned way, with our Books of the Week. Steve can't pick just one comic and talks Lenore #6, The Creep #0 and Jeff Lemire's Lost Dogs, Bobby loves Spider-Men #4 and Bob talks about Go Girl #3, It Girl and the Atomics #1 and Wonder Woman Adventures 100-Page Spectacular. Last but not least, Stephanie (who has returned!), in obscure webcomics fashion, talks about one of her new favourite digital series', The Abominable Charles Christopher by Karl Kerschl, which can be found at  www.abominable.cc.

Stephen, Griffin and Michael kick things off promptly to discuss this past week's Marvel NOW! creative team announcements, take questions from YOU, the listener, and dig into a full stack of first issues! Lord Retail joins promptly 15 minutes in. =) Show Notes: "Marvel Teases Four More Marvel NOW! Relaunches" at Comics Alliance.com. "Marvel Teases Brian Posehn, Gerry Duggan, Tony Moore on 'Deadpool'" at Comics Alliance.com. "Rescue plane leaves Antarctica after picking up patient" at CNN.com, which Stephen references while talking about Whiteout during the first listener question. Comics at the Table - Archer & Armstrong #1, It Girl & the Atomics #1, Godzilla Half Century War #1, Gambit #1, Batman #12 and New Avengers #29!

Worst Little Podcast – Episode 019 BONUS EPISODE!!! EXTRA LONG!!!! The saying goes, “No place to go but up from here.” They’re wrong. Part two includes music from Werm, Sprout, Mudsharks, Cranium, Phat Couch, The Atomiks, and Gunshot Licker So this is Part Two of the Memorial Day Meltdown. I still say it’s a bad idea.  BUT […]

Atomic operations in CUDA and the associated hardware are discussed. (April 6, 2010)

In this issue: The Merc With A Mouth Becomes The Merc With A Movie... Mysteries, Wrapped In Enigmas, Within Quandaries, surrounded by bacon and deep-fried for Tempura... Men In Jodhpurs and Men In Masks, Working Together for a Better Tomorrow. Plus! The redhead wasn't thrown off a bridge throws down with the the brunette who didn't turn into a giant bug! Wolverine and Ripclaw: If They Touch, Will The Universes Collapse? And The Return of Tainted Rice... NEWS Doc Savage and The Spirit? LINKAGE REVIEWS Rodrigo Fusion #1 (of 3) Starring Cyberforce/Hunter-Killer/Avengers/Thunderbolts (W) Dan Abnett & Andy Lanning (A) Tyler Kirkham (Cov) Mike Choi & Sonia Oback When a rapid and unregistered Ripclaw starts tearing through a small Northeast town, the Mighty Avengers move in to stop him. When the feral hero escapes, they’re drawn into an inevitable conflict with Cyberforce. A crossover event too massive to be contained in a single issue brought to you by the writing team of Dan Abnett and Andy Lanning (Guardians of the Galaxy, Nova) and Top Cow favorite artist Tyler Kirkham (Ultimate Fantastic Four, Broken Trinity: Aftermath). Matthew MADMAN ATOMIC COMICS #15 (RES) story MICHAEL ALLRED art & cover MICHAEL ALLRED “MISTER GRINNING SOUL!” A crazed cel phone salesman is being compelled to kill by some unseen force. Frank “Madman” Einstein and his groovy pals, the Atomics, receive “the call” to stop the horror. Stephen Unknown #1 Written by Mark Waid Drawn by Minck Oosterveer She has solved every mystery known to man. But there is one mystery that remains… UNKNOWN! Revered as the smartest person alive, Catherine Allingham is the world’s most famous private investigator. Follow her adventures as she sets out to solve the one mystery she’s never been able to crack! A new original mini-series from Mark (KINGDOM COME) Waid in the vein of RUSE with international superstar Minck Oosterveer. MAJOR SPOILERS POLL OF THE WEEK Superman and Spider-Man have each had their share of love interests over the years, but two have captured their hearts. This week, we toss Lois Lane and Mary Jane Watson into the ring and have them fight for the love and affection of their big beaus. Of course this would be pre-One More Day for Mary Jane and pre-New Krypton for Lois, but you get the idea... FIGHT! A) Lois Lane B) Mary Jane Watson VOTE MAJOR SPOILERS DISCUSSION Rising Stars is a 24-issue comic book limited series by J. Michael Straczynski about 113 people (called "Specials") born with special abilities following the appearance of a mysterious light in the sky above Pederson, Illinois. The series explores how society may react to the advent of superpowers, and how those who are Specials may react towards society and each other. Rising Stars was one of the first comics produced under Straczynski's own Joe's Comics imprint for Top Cow Productions. Contact us at podcast@majorspoilers.com Music from this episode comes from Armin Brewer (intro) and James Kennison (closing) from the Nobody's Listening Podcast. A big thanks to both of these guys for creating kick-ass music for the show! A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends about the podcast, get them to subscribe and, be sure to visit the Major Spoilers site and forums.

In this issue: The Merc With A Mouth Becomes The Merc With A Movie... Mysteries, Wrapped In Enigmas, Within Quandaries, surrounded by bacon and deep-fried for Tempura... Men In Jodhpurs and Men In Masks, Working Together for a Better Tomorrow. Plus! The redhead wasn't thrown off a bridge throws down with the the brunette who didn't turn into a giant bug! Wolverine and Ripclaw: If They Touch, Will The Universes Collapse? And The Return of Tainted Rice... NEWS Doc Savage and The Spirit? LINKAGE REVIEWS Rodrigo Fusion #1 (of 3) Starring Cyberforce/Hunter-Killer/Avengers/Thunderbolts (W) Dan Abnett & Andy Lanning (A) Tyler Kirkham (Cov) Mike Choi & Sonia Oback When a rapid and unregistered Ripclaw starts tearing through a small Northeast town, the Mighty Avengers move in to stop him. When the feral hero escapes, they’re drawn into an inevitable conflict with Cyberforce. A crossover event too massive to be contained in a single issue brought to you by the writing team of Dan Abnett and Andy Lanning (Guardians of the Galaxy, Nova) and Top Cow favorite artist Tyler Kirkham (Ultimate Fantastic Four, Broken Trinity: Aftermath). Matthew MADMAN ATOMIC COMICS #15 (RES) story MICHAEL ALLRED art & cover MICHAEL ALLRED “MISTER GRINNING SOUL!” A crazed cel phone salesman is being compelled to kill by some unseen force. Frank “Madman” Einstein and his groovy pals, the Atomics, receive “the call” to stop the horror. Stephen Unknown #1 Written by Mark Waid Drawn by Minck Oosterveer She has solved every mystery known to man. But there is one mystery that remains… UNKNOWN! Revered as the smartest person alive, Catherine Allingham is the world’s most famous private investigator. Follow her adventures as she sets out to solve the one mystery she’s never been able to crack! A new original mini-series from Mark (KINGDOM COME) Waid in the vein of RUSE with international superstar Minck Oosterveer. MAJOR SPOILERS POLL OF THE WEEK Superman and Spider-Man have each had their share of love interests over the years, but two have captured their hearts. This week, we toss Lois Lane and Mary Jane Watson into the ring and have them fight for the love and affection of their big beaus. Of course this would be pre-One More Day for Mary Jane and pre-New Krypton for Lois, but you get the idea... FIGHT! A) Lois Lane B) Mary Jane Watson VOTE MAJOR SPOILERS DISCUSSION Rising Stars is a 24-issue comic book limited series by J. Michael Straczynski about 113 people (called "Specials") born with special abilities following the appearance of a mysterious light in the sky above Pederson, Illinois. The series explores how society may react to the advent of superpowers, and how those who are Specials may react towards society and each other. Rising Stars was one of the first comics produced under Straczynski's own Joe's Comics imprint for Top Cow Productions. Contact us at podcast@majorspoilers.com Music from this episode comes from Armin Brewer (intro) and James Kennison (closing) from the Nobody's Listening Podcast. A big thanks to both of these guys for creating kick-ass music for the show! A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends about the podcast, get them to subscribe and, be sure to visit the Major Spoilers site and forums.