Podcasts about Haskell

Corks or screw caps? What's better? Learn more from Jack Farrell with Haskell's Wines and Spirits. haskells.com

David Haskell is a professor of biology and environmental studies at the University of the South and a Guggenheim Fellow. His 2017 book The Songs of Trees won the John Burroughs Medal for Distinguished Natural History Writing. His 2012 book The Forest Unseen was a finalist for the Pulitzer Prize and the PEN/E.O. Wilson Literary Science Writing Award, and won the 2013 Best Book Award from the National Academies, the National Outdoor Book Award, and the Reed Environmental Writing Award. His new book, Sounds Wild and Broken is out now and I was thrilled to have a chance to sit down in person with him in my studio here Nashville to discuss it briefly. Here's a quick summary of the book from the official press release: Starting with the origins of animal song and traversing the whole arc of Earth history, Haskell illuminates and celebrates the emergence of the varied sounds of our world. In mammoth ivory flutes from Paleolithic caves, violins in modern concert halls, and electronic music in earbuds, we learn that human music and language belong within this story of ecology and evolution. Yet we are also destroyers, now silencing or smothering many of the sounds of the living Earth. Haskell takes us to threatened forests, noise-filled oceans, and loud city streets, and shows that sonic crises are not mere losses of sensory ornament. Sound is a generative force, and so the erasure of sonic diversity makes the world less creative, just, and beautiful. The appreciation of the beauty and brokenness of sound is therefore an important guide in today's convulsions and crises of change and inequity. Here's a link to the book in all it's various formats (the link is slow but it works) I can highly recommend you give it a read. It's just a wonderful read and full of insights that will stay with you. There's a Soundcloud link with sounds pertinent to the chapters which you can check out here ______________ I also wanted to give a shout out to pod listener Simon Taylor and his book AUDIO MASTERING IN A PROJECT STUDIO: A PRACTICAL APPROACH FOR A PROFESSIONAL SOUND Some great ideas and knowledge that's not too overwhelming check these whee links: US  Or UK  ______________ As always send music and stuff to lidellmakeswaves@gmail.com :)

Welcome to DST 1031 Essentials with Kay Properties — An in-depth look at the many recurring themes and nuances of the Delaware Statutory Trust (DST) investment process.   Topics will cover 1031 exchanges, ins and outs of the Delaware Statutory Trust structure, timing, cash investing, REITS, funds, real estate, and more.   The kpi1031.com platform not only provides access to these 25+ different sponsor companies, but also custom DSTs only available to Kay clients, full due diligence, and vetting on each DST property on the platform (typically 20-40 DSTs), and an active DST secondary market. Kay Properties team members collectively have over 150 years of real estate experience, are licensed in all 50 states, and have participated in over 30 Billion of DST 1031 investments   In this week's episode, Senior Vice President Matt McFarland and Senior Vice President Steve Haskell discuss what they're seeing in the market today and how investors can recession-proof their assets. Should they sell? Should they hold? What's the best move for them right now? Matt and Steve discuss possible action paths, but as always consult with your Kay Properties advisor for more information about your specific situation.    Key Takeaways: [1:05] Risks and disclosures. [4:00] A little bit about Kay properties. [4:50] Matt introduces Steve and today's topic. [5:55] What are some of the changes the market is experiencing right now? [7:00] A lot of people are holding onto their properties right now. [7:45] Interest rates are going up, but the prices are remaining somewhat stable. [7:55] What is Steve seeing in his debt-free properties? [9:00] There's still a lot of good opportunities out there. [9:35] Is it a good time to sell right now? [12:15] Steve likes long-term debt on DST. He explains why. [15:15] What is a 721? [20:15] What is Steve's concern with REITs right now? [25:00] Matt and team like to prepare for the worst.   Resources Website: https://www.kpi1031.com/ Call Kay Properties at 855-899-4597 Meet the Kay Properties Team: kpi1031.com/meet-our-team   About Kay Properties and www.kpi1031.com    Securities offered through FNEX Capital member FINRA, SIPC. Potential returns and appreciation are never guaranteed and loss of principal is possible. Please speak with your CPA and attorney for tax and legal advice.

In this episode Jesper Cockx, one of the main Agda developers, is interviews by Niki Vazou and Matthias Pall. They talk about how to explain dependent types to one's father, how Agda's automation and proof search work, and how Agda can be used to verify Haskell code bases.

Hearty comfort foods deserve hearty wine. Learn more from Jack Farrell with Haskell's Wines and Spirits. haskells.com

I am dealing with deranged people ,for years ,trying to terrorize me , stalk me around to ventura for no reason --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

New to wine? Here's 5 thing you should know when learning about win from Jack Farrell with Haskell's Wines and Spirits. haskells.com

Nigel Bocanegra-Speed and Kevin McLain host Legendary Legacies, looking into the legacy of stand-out Survivor players. This week, they are joined by Rob Cesternino. The post Survivor | You Thought You Knew Colleen Haskell appeared first on RobHasAwebsite.com.

Nigel Bocanegra-Speed and Kevin McLain host Legendary Legacies, looking into the legacy of stand-out Survivor players. This week, they are joined by Rob Cesternino. The post Survivor | You Thought You Knew Colleen Haskell appeared first on RobHasAwebsite.com.

At the close of a harvest day in the summer of 1832, on Toland's Prairie, Kalamazoo County, Michigan a farmer named Hiram Moore strolled over to a neighbor, John Haskell and had a conversation that would ultimately change the agricultural world. Haskell, tired after a hard day's labor in gleaning wheat, remarked to Moore "Why cannot some machine, drawn by horses, be made to cut the grain and ave all of this sweat and hard work?" Hiram, being an inventive genius, used the suggestion create such a machine. By 1845, he had created his vision of a perfect grain harvester and gave a trial on the Climax Prairie which hundreds of people came from all over Southern Michigan to witness. It was the progenitor of all modern harvesters, drawn by a team of twenty horses. This is the story of Hiram Moore, the man who invented the grain harvester, and who also lost rights to all his patents as others profited from his inventions. For more information on Michael Delaware, visit: https://www.michaeldelaware.com --- Support this podcast: https://anchor.fm/michael-delaware/support

Nigel Bocanegra-Speed and Kevin McLain host Legendary Legacies, looking into the legacy of stand-out Survivor players. This week, they are joined by Rob Cesternino. The post Survivor | You Thought You Knew Colleen Haskell appeared first on RobHasAwebsite.com.

1-1-23 |

Victor is a software consultant in Tokyo who describes himself as a yak shaver. He writes on his blog at vadosware and curates Awesome F/OSS, a mailing list of open source products. He's also a contributor to the Open Core Ventures blog. Before our conversation Victor wrote a structured summary of how he works on projects. I recommend checking that out in addition to the episode. Topics covered: Most people should use Dokku or CapRover But he uses Kubernetes anyways Hosting a Database in Kubernetes Learning technology You don't really know a thing until something goes wrong History of Frontend Development Context from lower layers of the stack and historical projects Good project pages have comparisons to other products Choosing technologies Language choice affects maintainability Knowing an ecosystem Victor's preferred stack Technology bake offs Posting findings means you get free corrections Why people use medium instead of personal sites Victor VADOSWARE - Blog How Victor works on Projects - Companion post for this episode Awesome FOSS - Curated list of OSS projects NimbusWS - Hosted OSS built on top of budget cloud providers Unvalidated Ideas - Startup ideas for side project inspiration PodcastSaver - Podcast index that allows you to choose Postgres or MeiliSearch and compare performance and results of each Victor's preferred stack Docker - Containers Kubernetes - Container provisioning (Though at the beginning of the episode he suggests Dokku for single server or CapRover for multiple) TypeScript - JavaScript with syntax for types. Victor's default choice. Rust - Language he uses if doing embedded work, performance is critical, or more correctness is desired Haskell - Language he uses if correctness and type system is the most important for the project Postgresql - General purpose database that's good enough for most use cases including full text search. KeyDB - Redis compatible database for caching. Acquired by Snap and then made open source. Victor uses it over Redis because it is multi threaded and supports flash storage without a Redis Enterprise license. Pulumi - Provision infrastructure with the languages you're already using instead of a specialized one or YAML Svelte and SvelteKit - Preferred frontend stack. Previously used Nuxt. Search engines Postgres Full Text Search vs the rest Optimizing Postgres Text Search with Trigrams OpenSearch - Amazon's fork of Elasticsearch typesense meilisearch sonic Quickwit JavaScript build tools Babel SWC Webpack esbuild parcel Vite Turbopack JavaScript frameworks React Vue Svelte Ember Frameworks built on top of frameworks Next - React Nuxt - Vue SvelteKit - Svelte Astro - Multiple Historical JavaScript tools and frameworks Underscore jQuery MooTools Backbone AngularJS Knockout Aurelia GWT Bower - Frontend package manager Grunt - Task runner Gulp - Task runner Related Links Dokku - Open source single-host alternative to Heroku Cloud Native Buildpacks - Buildpacks created by Heroku and Pivotal and used by Dokku CapRover - An open source PaaS-like abstraction built on top of Docker Swarm Kelsey Hightower's tweet about being cautious about running databases on Kubernetes Settling the Myth of Transparent HugePages for Databases Kubernetes Container Storage Interface (CSI) Kubernetes Local Persistent Volumes Longhorn - Distributed block storage for Kubernetes Postgres docs Postgres TOAST Everything I've seen on optimizing Postgres on ZFS Kubernetes Workload Resources Kubernetes Network Plugins Kubernetes Ingress Traefik Kubernetes the Hard Way (Setting up a cluster in a way that optimizes for learning) How does TLS work Let's Encrypt Cert manager for Kubernetes Choose Boring Technology A Linux user's guide to Logical Volume Management Docker networking overview Kubernetes Scheduler Tauri - Build desktop applications with web technology and Rust ripgrep - CLI tool to recursively search directory for a regex pattern (Meant to be a rust replacement for grep) angle-grinder / ag - CLI tool to parse and process log files written in rust Object.observe ECMAScript Proposal to be Withdrawn Ruby on Rails - Ruby web framework Django - Python web framework Laravel - PHP web framework Adonis - JavaScript NestJS - JavaScript What is a NullPointerException, and how do I fix it? Mastodon Clap - CLI argument parser for Rust AWS CDK - Provision AWS infrastructure using programming languages Terraform - Provision infrastructure with terraform language URL canonicalization of duplicate pages and the use of the canonical tag - Used by dev.to to send google traffic to the original blogpost instead of dev.to Transcript You can help edit this transcript on GitHub. [00:00:00] Jeremy: This episode, I talk to Victor Adossi who describes himself as a yak shaver. Someone who likes trying a whole bunch of different technologies, seeing the different options. We talk about what he uses, the evolution of front end development, and his various projects. Talking to just different people it's always good to get where they're coming from because something that works for Google at their scale is going to be different than what you're doing with one of your smaller projects. [00:00:31] Victor: Yeah, the context. Of course in direct conflict with that statement, I definitely use Google technology despite not needing to at all right? Like, you know, 99% of people who are doing like people like to call it indiehacking or building small products could probably get by with just Dokku. If you know Dokku or like CapRover. Are two projects that'll be like, Oh, you can just push your code here, we'll build it up like a little mini Heroku PaaS thing and just go on one big server, right? Like 99% of the people could just use that. But of course I'm not doing that. So I'm a bit of a hypocrite in that sense. I know what I should be doing, but I'm not doing that. I am writing a Kubernetes cluster with like five nodes for no reason. Uh, yeah, I dunno, people don't normally count the controllers. [00:01:24] Jeremy: Dokku and CapRover, I think those are where it's supposed to create a heroku like experience I think it's based off of the heroku buildpacks right? At least Dokku is? [00:01:36] Victor: Yeah Buildpacks has actually been spun out into like a community thing so like pivotal and heroku, it's like buildpacks.io, they're trying to build a wider standard around it so that more people can get involved. And buildpacks are actually obviously fantastic as a technology and as a a process piece. There's not much else like them and you know, that's obvious from like Heroku's success and everything. I know Dokku uses that. I don't know that Caprover does, but I haven't, I haven't really run Caprover that much. They, they probably do. Like at this point if you're going to support building from code, it seems silly to try and build your own buildpacks. Cause that's what you will do, eventually. So you might as well use what's there. Anyway, this is like just getting to like my personal opinions at this point, but like, if you think containers are a bad idea in 2022, You're wrong, you should, you should stop. Like you should, you should stop. Think about it. I mean, obviously there's not, um, I got a really great question at an interview once, which is, where are containers a bad idea? That's probably one of the best like recent interview questions I've ever gotten cause I was like, Oh yeah, I mean, like, you can't, it can't be perfect everywhere, right? Nothing's perfect everywhere. So it's like, where is it? Uh, and of course the answer was networking, right? (unintelligible) So if you need absolute performance, but like for just about everything else. Containers are kind of it at this point. Like, time has born it out, I think. So yeah, I always just like bias at taking containers at this point. So I'm probably more of a CapRover person than a Dokku person, even though I have not used, I don't use CapRover. [00:03:09] Jeremy: Well, like something that I've heard with containers, and maybe it's changed recently, but, but something that was kind of holdout was when people would host a database sometimes they would oh we just don't wanna put this in a container and I wonder if like that matches with your thinking or if things have changed. [00:03:27] Victor: I am not a database administrator right like I read postgres docs and I read the, uh, the Postgres documentation, and I think I know a bit about postgres but I don't commit right like so and I also haven't, like, oh, managed X terabytes on one server that you are making sure never goes down kind of deal. But the stickiness for me, at least from when I've run, So I've done a lot of tests with like ZFS and Postgres and like, um, and also like just trying to figure out, and I run Postgres in Kubernetes of course, like on my cluster and a lot of the stuff I found around is, is like fiddly kernel things like sort of base kernel settings that you need to have set. Like, you know, stuff like should you be using transparent huge pages, like stuff like that. But once you have that settled. Containers are just processes with name spacing and resource control, right? Like, that's it. there are some other ins and outs, but for the most part, if you're fine running a process, so people ran processes, right? And they were just completely like unprotected. Then people made users for the processes and they limited the users and ran the processes, right? Then the next step is now you can run a process and then do the limiting the name spaces in cgroups dynamically. Like there, there's, there's sort of not a humongous difference, unless you're hitting something very specific. Uh, but yeah, databases have been a point of contention, but I think, Kelsey Hightower had that tweet yeah. That was like, um, don't run databases in Kubernetes. And I think he called it back. [00:04:56] Victor: I don't know, but I, I know that was uh, was one of those things that people were really unsure about at first, but then after people sort of like felt it out, they were like, Oh, it's actually fine. Yeah. [00:05:06] Jeremy: Yeah I vaguely remember one of the concerns having to do with persistent storage. Like there were challenges with Kubernetes and needing to keep that storage around and I don't know if that's changed yeah or if that's still a concern. [00:05:18] Victor: Uh, I'd say that definitely has changed. Uh, and it was, it was a concern, depending on where you were. Mostly people who are running AKS or EKS or you know, all those other managed Kubernetes, they're just using EBS or like whatever storage provider is like offering for storage. Most of those people don't actually have that much of a problem with, storage in general. Now, high performance storage is obviously different, right? So like, so you'll, you're gonna have to start doing manual, like local volume management and stuff like that. it was a problem, because obviously CSI (Kubernetes Container Storage Interface) didn't exist for some period of time, and like there was, it was hard to know what to do for if you were just running a Kubernetes cluster. I think a lot of people were just using local, first of all, local didn't even exist for a bit. Um, they were just using host path, right? And just like, Oh, it's on the disk somewhere. Where do we, we have to go get it right? Or we have to like, sort of manage that. So that was something most people weren't ready for, especially if you were just, if you weren't like sort of a, a, a traditional sysadmin and used to doing that stuff. And then of course local volumes came out, but I think they still had to be, um, pre-provisioned. So that's sysadmin stuff that most people, you know, maybe aren't, aren't necessarily ready for. Uh, and then most of the general solutions were slow. So like, I used Longhorn (https://longhorn.io) for a long time and Longhorn, Longhorn's great. And super easy to set up, but it can be slower and you can have some, like, delays in mount time. it wasn't ideal for, for most people. So yeah, I, overall it's true. Databases, Databases in Kubernetes were kind of fraught with peril for a while, but it wasn't for the reason that, it wasn't for the fundamental reason that Kubernetes was just wrong or like, it wasn't the reason most people think of, which is just like, Oh, you're gonna break your database. It's more like, running a database is hard and Kubernetes hasn't solved all the hard problems. Like, cuz that's what Kubernetes does. It basically solves a lot of problems in a very generic way. Right. So it just hadn't solved all those problems yet at this point. I think it's got decent answers on a lot of them. So I, I mean, I don't know. I I do it. Don't, don't take what I'm saying to your, you know, PM meeting or your standup meeting, uh, anyone who's listening. But it's more like if you could solve the problems with databases in the sense before. You could probably solve 'em on Kubernetes now with a good understanding of Kubernetes. Cause at the end of the day, it's all the same stuff. Just Kubernetes makes it a little easier to, uh, do it dynamically. [00:07:50] Jeremy: It sounds like you could do it before, but some of the, I guess the tools or the ways of doing persistent storage were not quite there yet, or they were difficult to use. And so that was why people at the start were like, Okay, maybe it's not a good idea, but, now maybe there's some established practices for how you should run a database in Kubernetes. And I, I suppose the other aspect too is that, like you were saying, Kubernetes is its own thing. You gotta learn Kubernetes and all its intricacies. And then running a database is also its own challenge. So if you stack the two of them together and, and the path was not really clear then maybe at the start it wasn't the best idea. Um, uh, if somebody was going to try it out now, was there like a specific resource you looked at or a specific path to where like okay this is is how I'm going to do it. [00:08:55] Victor: I'll just say what I normally recommend to everybody. Cause it depends on which path you wanna go right? If you wanna go down like running a database path first and figure that out, fill out that skill tree. Like go read the Postgres docs. Well, first of all, use Postgres. That's the first tip there. But like, read those documents. And obviously you don't have to understand everything. You won't understand everything. But knowing the big pieces and sort of letting your brain see the mention of like a whole bunch of things, like what is toast? Oh, you can do compression on columns. Like, you can do some, some things concurrently. Um, you know, what ALTER TABLE looks like. You get all that stuff kind of in your head. Um, and then I personally really believe in sort of learning by building and just like iterating. you won't get it right the first time. It's just like, it's not gonna happen. You're get, you can, you can get better the first time, right? By being really prepared and like, and leave yourself lots of outs, but you kind of have to like, get it out there. Do do your best to make sure that you can't fail, uh, catastrophically, right? So this is like, goes back to that decision to like use ZFS as the bottom of this I'm just like, All right, well, I, I'm not a file systems expert, but if I. I could delegate some of that, you know, some of that, I can get some of that knowledge from someone else. Um, and I can make it easier for me to not fail catastrophically. For the database side, actually read documentation on Postgres or the whatever database you're going to use, make sure you at least understand that. Then start running it like locally or whatever. Again, Docker use, use Docker locally. It's, it's, it's fine. and then, you know, sort of graduate to running sort of more progressively, more complicated versions. what I would say for the Kubernetes side is actually similar. the Kubernetes docs are really good. they're very large. but they're good. So you can actually go through and know all the, like, workload, workload resources, know, like what a config map is, what a secret is, right? Like what etcd is doing in this whole situation. you know, what a kublet is versus an API server, right? Like the, the general stuff, like if you go through all that, you should have like a whole bunch of ideas at least floating around in your head. And then once you try and start setting up a server, they will all start to pop up again, right? And they'll all start to like, you, like, Oh, okay, I need a CNI (Container Networking) plugin because something needs to make the services available, right? Or something needs to power the ingress, right? Like, if I wanna be able to get traffic, I need an ingress object. But what listens, what does that, what makes that ingress object do anything? Oh, it's an ingress controller. nginx, you know, almost everyone's heard of nginx, so they're like, okay. Um, nginx, has an ingress control. Actually there's, there used to be two, I assume there's still two, but there's like one that's maintained by Kubernetes, one that's maintained by nginx, the company or whatever. I use traefik, it's fantastic. but yeah, so I think those things kind of fall out and that is almost always my first way to explain it and to start building. And tinkering iteratively. So like, read the documentation, get a good first grasp of it, and then start building yourself because you'll, you'll get way more questions that way. Like, you'll ask way more questions, you won't be able to make progress. Uh, and then of course you can, you know, hop into slacks or like start looking around and, and searching on the internet. oh, one of the things that really helped me out early learning Kubernetes was, Kelsey Hightower's, um, learn Kubernetes the hard way. I'm also a big believer in doing things the hard way, at least knowing what you're choosing to not know, right? distributing file system, Deltas, right? Or like changes to a file system over the network is not a new problem. Other people have solved it. There's a lot of complexity there. but if you at least know the sort of surface level of what the thing does and what it's supposed to do and how it's supposed to do it, you can make a decision on, Oh, how deep am I going to go? Right? To prevent yourself from like, making a mistake or going too deep in the rabbit hole. If you have an idea of the sort of ecosystem and especially like, Oh, here, like the basics of how I can use this thing, that's generally very good. And doing things the hard way is a great way to get a, a feel for that, right? Cause if you take some chunk and like, you know, the first level of doing things the hard way, uh, or, you know, Kelsey Hightower's guide is like, get a machine, right? Like, so, like, if you somehow were like, Oh, I wanna run a Kubernetes cluster. but, you know, I don't want use necessarily EKS and you wanna learn it the hard way. You have to go get a machine, right? If you, if you're not familiar, if you run on Heroku the whole time, like you didn't manage your own machines, you gotta go like, figure out EC2, right? Or, I personally use, hetzner I love hetzner, so you have to go figure out hetzner, digital ocean, whatever. Right. And then the next thing's like, you know, the guide's changed a lot, and I haven't, I haven't looked at it in like, in years, actually a while since I, since I've sort of been, I guess living it, but it's, it's like generate certificates, right? So if you've never dealt with SSL and like, sort of like, or I should say TLS uh, and generating certificates and how that whole dance works, right? Which is fascinating because it's like, oh, right, nothing's secure on the internet, except that we distribute root certificates on computers that are deployed in every OS, right? Like, that's a sort of fundamental understanding you may not go deep enough to realize, but if you are fascinated by it, trying to do it manually would lead you down that path. You'd be like, Oh, what, like what is this thing? What is a CSR? Like, why, who is signing my request? Right? And it's like, why do we trust those people? Right? And it's like, you know, that kind of thing comes out and I feel like you can only get there from trying to do it, you know, answering the questions you can. Right. And again, it takes some judgment to know when you should not go down a rabbit hole. uh, and then iterating. of course there are people who are excellent at explaining. you can find some resources that are shortcuts. But, uh, I think particularly my bread and butter has been just to try and do it the hard way. Avoid pitfalls or like rabbit holes when you can. But know that the rabbit hole is there, and then keep going. And sometimes if something's just too hard, you're not gonna get it the first time. Like maybe you'll have to wait like another three months, you'll try again and you'll know more sort of ambiently about everything else. You get a little further that time. that's how I feel about that. Anyway. [00:15:06] Jeremy: That makes sense to me. I think sometimes when people take on a project, they try to learn too many things at the same time. I, I think the example of Kubernetes and Postgres is pretty good example, where if you're not familiar with how do I install Postgres on bare metal or a vm, trying to make sense of that while you're trying to into is probably gonna be pretty difficult. So, so splitting them up and learning them individually, that makes a lot of sense to me. And the whole deciding how deep you wanna go. That's interesting too, because I think that's very specific to the person right because sometimes you wanna go a little deeper because otherwise you don't understand how the two things connect together. But other times it's just like with the example with certificates, some people they may go like, I just put in let's encrypt it gives me my cert I don't care right then, and then, and some people they wanna know like okay how does the whole certificate infrastructure work which I think is interesting, depending on who you are, maybe you go ahh maybe it doesn't really matter right. [00:16:23] Victor: Yeah, and, you know, shout out to Let's Encrypt . It's, it's amazing, right? think Singlehandedly the most, most of the deployment of HTTPS that happens these days, right? so many so many of like internet providers and uh, sort of service providers will use it right? Under the covers. Like, Hey, we've got you free SSL through Let's Encrypt, right? Like, kind of like under the, under the covers. which is awesome. And they, and they do it. So if you're listening to this, donate to them. I've done it. So now that, now the pressure is on whoever's listening, but yeah, and, and I, I wanna say I am that person as well, right? Like, I use, Cert Manager on my cluster, right? So I'm just like, I don't wanna think about it, but I, you know, but I, I feel like I thought about it one time. I have a decent grasp. If something changes, then I guess I have to dive back in. I think it, you've heard the, um, innovation tokens idea, right? I can't remember the site. It's like, um, do, like do boring tech or something.com (https://boringtechnology.club/) . Like it shows up on sort of hacker news from time to time, essentially. But it's like, you know, you have a certain amount of tokens and sort of, uh, we'll call them tokens, but tolerance for complexity or tolerance for new, new ideas or new ways of doing things, new processes. Uh, and you spend those as you build any project, right? you can be devastatingly effective by just sticking to the stack, you know, and not introducing anything new, even if it's bad, right? and there's nothing wrong with LAMP stack, I don't wanna annoy anybody, but like if you, if you're running LAMP or if you run on a hostgator, right? Like, if you run on so, you know, some, some service that's really old but really works for you isn't, you know, too terribly insecure or like, has the features you need, don't learn Kubernetes then, right? Especially if you wanna go fast. cuz you, you're spending tokens, right? You're spending, essentially brain power, right? On learning whatever other thing. So, but yeah, like going back to that, databases versus databases on Kubernetes thing, you should probably know one of those before you, like, if you're gonna do that, do that thing. You either know Kubernetes and you like, at least feel comfortable, you know, knowing Kubernetes extremely difficult obviously, but you feel comfortable and you feel like you can debug. Little bit of a tangent, but maybe that's even a better, sort of watermark if you know how to debug a thing. If, if it's gone wrong, maybe one or five or 10 or 20 times and you've gotten out. Not without documentation, of course, cuz well, if you did, you're superhuman. But, um, but you've been able to sort of feel your way out, right? Like, Oh, this has gone wrong and you have enough of a model of the system in your head to be like, these are the three places that maybe have something wrong with them. Uh, and then like, oh, and then of course it's just like, you know, a mad dash to kind of like, find, find the thing that's wrong. You should have confidence about probably one of those things before you try and do both when it's like, you know, complex things like databases and distributed systems management, uh, and orchestration. [00:19:18] Jeremy: That's, that's so true in, in terms of you are comfortable enough being able to debug a problem because it's, I think when you are learning about something, a lot of times you start with some kind of guide or some kind of tutorial and you follow the steps. And if it all works, then great. Right? But I think it's such a large leap from that to something went wrong and I have to figure it out. Right. Whether it's something's not right in my Dockerfile or my postgres instance uh, the queries are timing out. so many things that could go wrong, that is the moment where you're forced to figure out, okay, what do I really know about this not thing? [00:20:10] Victor: Exactly. Yeah. Like the, the rubber's hitting the road it's uh you know the car's about to crash or has already crashed like if I open the bonnet, do I know what's happening right or am I just looking at (unintelligible). And that's, it's, I feel sort a little sorry or sad for, for devs that start today because there's so much. Complexity that's been built up. And a lot of it has a point, but you need to kind of have seen the before to understand the point, right? So I like, I like to use front end as an example, right? Like the front end ecosystem is crazy, and it has been crazy for a very long time, but the steps are actually usually logical, right? Like, so like you start with, you know, HTML, CSS and JavaScript, just plain, right? And like, and you can actually go in lots of directions. Like HTML has its own thing. CSS has its own sort of evolution sort of thing. But if we look at JavaScript, you're like, you're just writing JavaScript on every page, right? And like, just like putting in script tags and putting in whatever, and it's, you get spaghetti, you get spaghetti, you start like writing, copying the same function on multiple pages, right? You just, it, it's not good. So then people, people make jquery, right? And now, now you've got like a, a bundled set of like good, good defaults that you can, you can go for, right? And then like, you know, libraries like underscore come out for like, sort of like not dom related stuff that you do want, you do want everywhere. and then people go from there and they go to like backbone or whatever. it's because Jquery sort of also becomes spaghetti at some point and it becomes hard to manage and people are like, Okay, we need to sort of like encapsulate this stuff somehow, right? And like the new tools or whatever is around at the same timeframe. And you, you, you like backbone views for example. and you have people who are kind of like, ah, but that's not really good. It's getting kind of slow. Uh, and then you have, MVC stuff comes out, right? Like Angular comes out and it's like, okay, we're, we're gonna do this thing called dirty checking, and it's gonna be, it's gonna be faster and it's gonna be like, it's gonna be less sort of spaghetti and it's like a little bit more structured. And now you have sort of like the rails paradigm, but on the front end, and it takes people to get a while to get adjusted to that, but then that gets too heavy, right? And then dirty checking is realized to be a mistake. And then, you get stuff like MVVM, right? So you get knockout, like knockout js and you got like Durandal, and like some, some other like sort of front end technologies that come up to address that problem. Uh, and then after that, like, you know, it just keeps going, right? Like, and if you come in at the very end, you're just like, What is happening? Right? Like if it, if it, if someone doesn't sort of boil down the complexity and reduce it a little bit, you, you're just like, why, why do we do this like this? Right? and sometimes there's no good reason. Sometimes the complexity is just like, is unnecessary, but having the steps helps you explain it, uh, or helps you understand how you got there. and, and so I feel like that is something younger people or, or newer devs don't necessarily get a chance to see. Cause it just, it would take, it would take very long right? And if you're like a new dev, let's say you jumped into like a coding bootcamp. I mean, I've got opinions on coding boot camps, but you know, it's just like, let's say you jumped into one and you, you came out, you, you made it. It's just, there's too much to know. sure, you could probably do like HTML in one month. Well, okay, let's say like two weeks or whatever, right? If you were, if you're literally brand new, two weeks of like concerted effort almost, you know, class level, you know, work days right on, on html, you're probably decently comfortable with it. Very comfortable. CSS, a little harder because this is where things get hard. Cause if you, if you give two weeks for, for HTML, CSS is harder than HTML kind of, right? Because the interactions are way more varied. Right? Like, and, and maybe it's one of those things where you just, like, you, you get somewhat comfortable and then just like know that in the future you're gonna see something you don't understand and have to figure it out. Uh, but then JavaScript, like, how many months do you give JavaScript? Because if you go through that first like, sort of progression that I, I I, I, I mentioned everyone would have a perfect sort of, not perfect but good understanding of the pieces, right? Like, why did we start transpiling at all? Right? Like, uh, or why did you know, why did we adopt libraries? Like why did Bower exist? No one talks about Bower anymore, obviously, but like, Bower was like a way to distribute front end only packages, right? Um, what is it? Um, Uh, yes, there's grunt. There's like the whole build system thing, right? Once, once we decide we're gonna, we're gonna do stuff to files before we, before we push. So there's grunt, there's, uh, gulp, which is like grunt, but like, Oh, we're gonna do it all in memory. We're gonna pipe, we're gonna use this pipes thing to make sure everything goes fast. then there's like, of course that leads like the insanity that's webpack. And then there's like parcel, which did better. There's vite there's like, there's all this, there's this progression, but how many months would it take to know that progression? It, it's too long. So they end up just like, Hey, you're gonna learn react. Which is the right thing because it's like, that's what people hire for, right? But then you're gonna be in react and be like, What's webpack, right? And it's like, but you can't go down. You can't, you don't have the time. You, you can't sort of approach that problem from the other direction where you, which would give you better understanding cause you just don't have the time. I think it's hard for newer devs to overcome this. Um, but I think there are some, there's some hope on the horizon cuz some things are simpler, right? Like some projects do reduce complexity, like, by watching another project sort of innovate so like react. Wasn't the first component, first framework, right? Like technically, I, I think, I think you, you might have to give that to like, to maybe backbone because like they had views and like marionette also went with that. Like maybe, I don't know, someone, someone I'm sure will get in like, send me an angry email, uh, cuz I forgot you Moo tools or like, you know, Ember Ember. They've also, they've also been around, I used to be a huge Ember fan, still, still kind of am, but I don't use it. but if you have these, if you have these tools, right? Like people aren't gonna know how to use them and Vue was able to realize that React had some inefficiencies, right? So React innovates the sort of component. So Reintroduces the component based model component first, uh, front end development model. Vue sees that and it's like, wait a second, if we just export this like data object, and of course that's not the only innovation of Vue, but if we just export this data object, you don't have to do this fine grained tracking yourself anymore, right? You don't have to tell React or tell your the system which things change when other things change, right? Like you, you don't have to set up this watching and stuff, right? Um, and that's one of the reasons, like Vue is just, I, I, I remember picking up Vue and being like, Oh, I'm done. I'm done with React now. Because it just doesn't make sense to use React because they Vue essentially either, you know, you could just say they learned from them or they, they realize a better way to do things that is simpler and it's much easier to write. Uh, and you know, functionally similar, right? Um, similar enough that it's just like, oh they boil down some of that complexity and we're a step forward and, you know, in other ways, I think. Uh, so that's, that's awesome. Every once in a while you get like a compression in the complexity and then it starts to ramp up again and you get maybe another compression. So like joining the projects that do a compression. Or like starting to adopting those is really, can be really awesome. So there's, there's like, there's some hope, right? Cause sometimes there is a compression in that complexity and you you might be lucky enough to, to use that instead of, the thing that's really complex after years of building on it. [00:27:53] Jeremy: I think you're talking about newer developers having a tough time making sense of the current frameworks but the example you gave of somebody starting from HTML and JavaScript going to jquery backbone through the whole chain, that that's just by nature of you've put in a lot of time right you've done a lot of work working with each of these technologies you see the progression as if someone is starting new just by nature of you being new you won't have been able to spend that time [00:28:28] Victor: Do you think it could work? again, the, the, the time aspect is like really hard to get like how can you just avoid spending time um to to learn things that's like a general problem I think that problem is called education in the general sense. But like, does it make sense for a, let's say a bootcamp or, or any, you know, school right? To attempt to guide people through the previous solutions that didn't work, right? Like in math, you don't start with calculus, right? It just wouldn't, it doesn't make sense, right? But we try and start with calculus in software, right? We're just like, okay, here's the complexity. You've got all of it. Don't worry. Just look at this little bit. If, you know, if the compiler ever spits out a weird error uh oh, like, you're, you're, you're in for trouble cuz you, you just didn't get the. get the basics. And I think that's maybe some of what is missing. And the thing is, it is like the constraints are hard, right? No one has infinite time, right? Or like, you know, even like, just tons of time to devote to learning, learning just front end, right? That's not even all of computing, That's not even the algorithm stuff that some companies love to throw at you, right? Uh, or the computer sciencey stuff. I wonder if it makes more sense to spend some time taking people through the progression, right? Because discovering that we should do things via components, let's say, or, or at least encapsulate our functionality to components and compose that way, is something we, we not everyone knew, right? Or, you know, we didn't know wild widely. And so it feels like it might make sense to touch on that sort of realization and sort of guide the student through, you know, maybe it's like make five projects in a week and you just get progressively more complex. But then again, that's also hard cause effort, right? It's just like, it's a hard problem. But, but I think right now, uh, people who come in at the end and sort of like see a bunch of complexity and just don't know why it's there, right? Like, if you've like, sort of like, this is, this applies also very, this applies to general, but it applies very well to the Kubernetes problem as well. Like if you've never managed nginx on more than one machine, or if you've never tried to set up a, like a, to format your file system on the machine you just rented because it just, you know, comes with nothing, right? Or like, maybe, maybe some stuff was installed, but, you know, if you had to like install LVM (Logical Volume Manager) yourself, if you've never done any of that, Kubernetes would be harder to understand. It's just like, it's gonna be hard to understand. overlay networks are hard for everyone to understand, uh, except for network people who like really know networking stuff. I think it would be better. But unfortunately, it takes a lot of time for people to take a sort of more iterative approach to, to learning. I try and write blog posts in this way sometimes, but it's really hard. And so like, I'll often have like an idea, like, so I call these, or I think of these as like onion, onion style posts, right? Where you either build up an onion sort of from the inside and kind of like go out and like add more and more layers or whatever. Or you can, you can go from the outside and sort of take off like layers. Like, oh, uh, Kubernetes has a scheduler. Why do they need a scheduler? Like, and like, you know, kind of like, go, go down. but I think that might be one of the best ways to learn, but it just takes time. Or geniuses and geniuses who are good at two things, right? Good at the actual technology and good at teaching. Cuz teaching is a skill and it's very hard. and, you know, shout out to teachers cuz that's, it's, it's very difficult, extremely frustrating. it's hard to find determinism in, in like methods and solutions. And there's research of course, but it's like, yeah, that's, that's a lot harder than the computer being like, Nope, that doesn't work. Right? Like, if you can't, if you can't, like if you, if the function call doesn't work, it doesn't work. Right. If the person learned suboptimally, you won't know Right. Until like 10 years down the road when, when they can't answer some question or like, you know, when they, they don't understand. It's a missing fundamental piece anyway. [00:32:24] Jeremy: I think with the example of front end, maybe you don't have time to walk through the whole history of every single library and framework that came but I think at the very least, if you show someone, or you teach someone how to work with css, and you have them, like you were talking about components before you have them build a site where there's a lot of stuff that gets reused, right? Maybe you have five pages and they all have the same nav bar. [00:33:02] Victor: Yeah, you kind of like make them do it. [00:33:04] Jeremy: Yeah. You make 'em do it and they make all the HTML files, they copy and paste it, and probably your students are thinking like, ah, this, this kind of sucks [00:33:16] Victor: Yeah [00:33:18] Jeremy: And yeah, so then you, you come to that realization, and then after you've done that, then you can bring in, okay, this is why we have components. And similarly you brought up, manual dom manipulation with jQuery and things like that. I, I'm sure you could come up with an example of you don't even necessarily need to use jQuery. I think people can probably skip that step and just use the the, the API that comes with the browser. But you can have them go in like, Oh, you gotta find this element by the id and you gotta change this based on this, and let them experience the. I don't know if I would call it pain, but let them experience like how it was. Right. And, and give them a complex enough task where they feel like something is wrong right. Or, or like, there, should be something better. And then you can go to you could go straight to vue or react. I'm not sure if we need to go like, Here's backbone, here's knockout. [00:34:22] Victor: Yeah. That's like historical. Interesting. [00:34:27] Jeremy: I, I think that would be an interesting college course or something that. Like, I remember when, I went through school, one of the classes was programming languages. So we would learn things like, Fortran and stuff like that. And I, I think for a more frontend centered or modern equivalent you could go through, Hey, here's the history of frontend development here's what we used to do and here's how we got to where we are today. I think that could be actually a pretty interesting class yeah [00:35:10] Victor: I'm a bit interested to know you learned fortran in your PL class. I, think when I went, I was like, lisp and then some, some other, like, higher classes taught haskell but, um, but I wasn't ready for haskell, not many people but fortran is interesting, I kinda wanna hear about that. [00:35:25] Jeremy: I think it was more in terms of just getting you exposed to historically this is how things were. Right. And it wasn't so much of like, You can take strategies you used in Fortran into programming as a whole. I think it was just more of like a, a survey of like, Hey, here's, you know, here's Fortran and like you were saying, here's Lisp and all, all these different languages nd like at least you, you get to see them and go like, yeah, this is kind of a pain. [00:35:54] Victor: Yeah [00:35:55] Jeremy: And like, I understand why people don't choose to use this anymore but I couldn't take away like a broad like, Oh, I, I really wish we had this feature from, I think we were, I think we were using Fortran 77 or something like that. I think there's Fortran 77, a Fortran 90, and then there's, um, I think, [00:36:16] Victor: Like old fortran, deprecated [00:36:18] Jeremy: Yeah, yeah, yeah. So, so I think, I think, uh, I actually don't know if they're, they're continuing to, um, you know, add new things or maintain it or it's just static. But, it's, it's more, uh, interesting in terms of, like we were talking front end where it's, as somebody who's learning frontend development who is new and you get to see how, backbone worked or how Knockout worked how grunt and gulp worked. It, it's like the kind of thing where it's like, Oh, okay, like, this is interesting, but let us not use this again. Right? [00:36:53] Victor: Yeah. Yeah. Right. But I also don't need this, and I will never again [00:36:58] Jeremy: yeah, yeah. It's, um, but you do definitely see the, the parallels, right? Like you were saying where you had your, your Bower and now you have NPM and you had Grunt and Gulp and now you have many choices [00:37:14] Victor: Yeah. [00:37:15] Jeremy: yeah. I, I think having he history context, you know, it's interesting and it can be helpful, but if somebody was. Came to me and said hey I want to learn how to build websites. I get into front end development. I would not be like, Okay, first you gotta start moo tools or GWT. I don't think I would do that but it I think at a academic level or just in terms of seeing how things became the way they are sure, for sure it's interesting. [00:37:59] Victor: Yeah. And I, I, think another thing I don't remember who asked or why, why I had to think of this lately. um but it was, knowing the differentiators between other technologies is also extremely helpful right? So, What's the difference between ES build and SWC, right? Again, we're, we're, we're leaning heavy front end, but you know, just like these, uh, sorry for context, of course, it's not everyone a front end developer, but these are two different, uh, build tools, right? For, for JavaScript, right? Essentially you can think of 'em as transpilers, but they, I think, you know, I think they also bundle like, uh, generally I'm not exactly sure if, if ESbuild will bundle as well. Um, but it's like one is written in go, the other one's written in Rust, right? And sort of there's, um, there's, in addition, there's vite which is like vite does bundle and vite does a lot of things. Like, like there's a lot of innovation in vite that has to have to do with like, making local development as fast as possible and also getting like, you're sort of making sure as many things as possible are strippable, right? Or, or, or tree shakeable. Sorry, is is is the better, is the better term. Um, but yeah, knowing, knowing the, um, the differences between projects is often enough to sort of make it less confusing for me. Um, as far as like, Oh, which one of these things should I use? You know, outside of just going with what people are recommending. Cause generally there is some people with wisdom sometimes lead the crowd sometimes, right? So, so sometimes it's okay to be, you know, a crowd member as long as you're listening to the, to, to someone worth listening to. Um, and, and so yeah, I, I think that's another thing that is like the mark of a good project or, or it's not exclusive, right? It's not, the condition's not necessarily sufficient, but it's like a good projects have the why use this versus x right section in the Readme, right? They're like, Hey, we know you could use Y but here's why you should use us instead. Or we know you could use X, but here's what we do better than X. That might, you might care about, right? That's, um, a, a really strong indicator of a project. That's good cuz that means the person who's writing the project is like, they've done this, the survey. And like, this is kind of like, um, how good research happens, right? It's like most of research is reading what's happening, right? To knowing, knowing the boundary you're about to push, right? Or try and sort of like push one, make one step forward in, um, so that's something that I think the, the rigor isn't in necessarily software development everywhere, right? Which is good and bad. but someone who's sort of done that sort of rigor or, and like, and, and has, and or I should say, has been rigorous about knowing the boundary, and then they can explain that to you. They can be like, Oh, here's where the boundary was. These people were doing this, these people were doing this, these people were doing this, but I wanna do this. So you just learned now whether it's right for you and sort of the other points in the space, which is awesome. Yeah. Going to your point, I feel like that's, that's also important, it's probably not a good idea to try and get everyone to go through historical artifacts, but if just a, a quick explainer and sort of, uh, note on the differentiation, Could help for sure. Yeah. I feel like we've skewed too much frontend. No, no more frontend discussion this point. [00:41:20] Jeremy: It's just like, I, I think there's so many more choices where the, the mental thought that has to go into, Okay, what do I use next I feel is bigger on frontend. I guess it depends on the project you're working on but if you're going to work on anything front end if you haven't done it before or you don't have a lot of experience there's so many build tools so many frameworks, so many libraries that yeah, but we [00:41:51] Victor: Iterate yeah, in every direction, like the, it's good and bad, but frontend just goes in every direction at the same time Like, there's so many people who are so enthusiastic and so committed and and it's so approachable that like everyone just goes in every direction at the same time and like a lot of people make progress and then unfortunately you have try and pick which, which branch makes sense. [00:42:20] Jeremy: We've been kind of talking about, some of your experiences with a few things and I wonder if you could explain the the context you're thinking of in terms of the types of projects you typically work on like what are they what's the scale of them that sort of thing. [00:42:32] Victor: So I guess I've, I've gone through a lot of phases, right? In sort of what I use in in my tooling and what I thought was cool. I wrote enterprise java like everybody else. Like, like it really doesn't talk about it, but like, it's like almost at some point it was like, you're either a rail shop or a Java shop, for so many people. And I wrote enterprise Java for a, a long time, and I was lucky enough to have friends who were really into, other kinds of computing and other kinds of programming. a lot of my projects were wrapped around, were, were ideas that I was expressing via some new technology, let's say. Right? So, I wrote a lot of haskell for, for, for a while, right? But what did I end up building with that was actually a job board that honestly didn't go very far because I was spending much more time sort of doing, haskell things, right? And so I learned a lot about sort of what I think is like the pinnacle of sort of like type development in, in the non-research world, right? Like, like right on the edge of research and actual usability. But a lot of my ideas, sort of getting back to the, the ideas question are just things I want to build for myself. Um, or things I think could be commercially viable or like do, like, be, be well used, uh, and, and sort of, and profitable things, things that I think should be built. Or like if, if I see some, some projects as like, Oh, I wish they were doing this in this way, Right? Like, I, I often consider like, Oh, I want, I think I could build something that would be separate and maybe do like, inspired from other projects, I should say, Right? Um, and sort of making me understand a sort of a different, a different ecosystem. but a lot of times I have to say like, the stuff I build is mostly to scratch an itch I have. Um, and or something I think would be profitable or utilizing technology that I've seen that I don't think anyone's done in the same way. Right? So like learning Kubernetes for example, or like investing the time to learn Kubernetes opened up an entire world of sort of like infrastructure ideas, right? Because like the leverage you get is so high, right? So you're just like, Oh, I could run an aws, right? Like now that I, now that I know this cuz it's like, it's actually not bad, it's kind of usable. Like, couldn't I do that? Right? That kind of thing. Right? Or um, I feel like a lot of the times I'll learn a technology and it'll, it'll make me feel like certain things are possible that they, that weren't before. Uh, like Rust is another one of those, right? Like, cuz like Rust will go from like embedded all the way to WASM, which is like a crazy vertical stack. Right? It's, that's a lot, That's a wide range of computing that you can, you can touch, right? And, and there's, it's, it's hard to learn, right? The, the, the, the, uh, the, the ramp to learning it is quite steep, but, it opens up a lot of things you can write, right? It, it opens up a lot of areas you can go into, right? Like, if you ever had an idea for like a desktop app, right? You could actually write it in Rust. There's like, there's, there's ways, there's like is and there's like, um, Tauri is one of my personal favorites, which uses web technology, but it's either I'm inspired by some technology and I'm just like, Oh, what can I use this on? And like, what would this really be good at doing? or it's, you know, it's one of those other things, like either I think it's gonna be, Oh, this would be cool to build and it would be profitable. Uh, or like, I'm scratching my own itch. Yeah. I think, I think those are basically the three sources. [00:46:10] Jeremy: It's, it's interesting about Rust where it seems so trendy, I guess, in lots of people wanna do something with rust, but then in a lot of they also are not sure does it make sense to write in rust? Um, I, I think the, the embedded stuff, of course, that makes a lot of sense. And, uh, you, you've seen a sort of surge in command line apps, stuff ripgrep and ag, stuff like that, and places like that. It's, I think the benefits are pretty clear in terms of you've got the performance and you have the strong typing and whatnot and I think where there's sort of the inbetween section that's kind of unclear to me at least would I build a web application in rust I'm not sure that sort of thing [00:47:12] Victor: Yeah. I would, I characterize it as kind of like, it's a tool toolkit, so it really depends on the problem. And think we have many tools that there's no, almost never a real reason to pick one in particular right? Like there's, Cause it seems like just most of, a lot of the work, like, unless you're, you're really doing something interesting, right? Like, uh, something that like, oh, I need to, I need to, like, I'm gonna run, you know, billions and billions of processes. Like, yeah, maybe you want erlang at that point, right? Like, maybe, maybe you should, that should be, you know, your, your thing. Um, but computers are so fast these days, and most languages have, have sort of borrowed, not borrowed, but like adopted features from others that there's, it's really hard to find a, a specific use case, for one particular tool. Uh, so I often just categorize it by what I want out of the project, right? Or like, either my goals or project goals, right? Depending on, and, or like business goals, if you're, you know, doing this for a business, right? Um, so like, uh, I, I basically, if I want to go fast and I want to like, you know, reduce time to market, I use type script, right? Oh, and also I'm a, I'm a, like a type zealot. I, I'd say so. Like, I don't believe in not having types, right? Like, it's just like there's, I think it's crazy that you would like have a function but not know what the inputs could be. And they could actually be anything, right? , you're just like, and then you have to kind of just keep that in your head. I think that's silly. Now that we have good, we, we have, uh, ways to avoid the, uh, ceremony, right? You've got like hindley Milner type systems, like you have a way to avoid the, you can, you know, predict what types of things will be, and you can, you don't have to write everything everywhere. So like, it's not that. But anyway, so if I wanna go fast, the, the point is that going back to that early, like the JS ecosystem goes everywhere at the same time. Typescript is excellent because the ecosystem goes everywhere at the same time. And so you've got really good ecosystem support for just about everything you could do. Um, uh, you could write TypeScript that's very loose on the types and go even faster, but in general it's not very hard. There's not too much ceremony and just like, you know, putting some stuff that shows you what you're using and like, you know, the objects you're working with. and then generally if I wanna like, get it really right, I I'll like reach for haskell, right? Cause it's just like the sort of contortions, and again, this takes time, this not fast, but, right. the contortions you can do in the type system will make it really hard to write incorrect code or code that doesn't, that isn't logical with itself. Of course interfacing with the outside world. Like if you do a web request, it's gonna fail sometimes, right? Like the network might be down, right? So you have to, you basically pull that, you sort of wrap that uncertainty in your system to whatever degree you're okay with. And then, but I know it'll be correct, right? But and correctness is just not important. Most of like, Oh, I should , that's a bad quote. Uh, it's not that correct is not important. It's like if you need to get to market, you do not necessarily need every single piece of your code to be correct, Right? If someone calls some, some function with like, negative one and it's not an important, it's not tied to money or it's like, you know, whatever, then maybe it's fine. They just see an error and then like you get an error in your back and you're like, Oh, I better fix that. Right? Um, and then generally if I want to be correct and fast, I choose rust these days. Right? Um, these days. and going back to your point, a lot of times that means that I'm going to write in Typescript for a lot of projects. So that's what I'll do for a lot of projects is cuz I'll just be like, ah, do I need like absolute correctness or like some really, you know, fancy sort of type stuff. No. So I don't pick haskell. Right. And it's like, do I need to be like mega fast? No, probably not. Cuz like, cuz so I don't necessarily don't necessarily need rust. Um, maybe it's interesting to me in terms of like a long, long term thing, right? Like if I, if I'm think, oh, but I want x like for example, tight, tight, uh, integration with WASM, for example, if I'm just like, oh, I could see myself like, but that's more of like, you know, for a fun thing that I'm doing, right? Like, it's just like, it's, it's, you don't need it. You don't, that's premature, like, you know, that's a premature optimization thing. But if I'm just like, ah, I really want the ability to like maybe consider refactoring some of this out into like a WebAssembly thing later, then I'm like, Okay, maybe, maybe I'll, I'll pick Rust. Or like, if I, if I like, I do want, you know, really, really fast, then I'll like, then I'll go Rust. But most of the time it's just like, I want a good ecosystem so I don't have to build stuff myself most of the time. Uh, and you know, type script is good enough. So my stack ends up being a lot of the time just in type script, right? Yeah. [00:52:05] Jeremy: Yeah, I think you've encapsulated the reason why there's so many packages on NPM and why there's so much usage of JavaScript and TypeScript in general is that it, it, it fits the, it's good enough. Right? And in terms of, in terms of speed, like you said, most of the time you don't need of rust. Um, and so typescript I think is a lot more approachable a lot of people have to use it because they do front end work anyways. And so that kinda just becomes the I don't know if I should say the default but I would say it's probably the most common in terms of when somebody's building a backend today certainly there's other languages but JavaScript and TypeScript is everywhere. [00:52:57] Victor: Yeah. Uh, I, I, I, another thing is like, I mean, I'm, of ignored the, like, unreasonable effectiveness of like rails Cause there's just a, there's tons of just like rails warriors out there, and that's great. They're they're fantastic. I'm not a, I'm not personally a huge fan of rails but that's, uh, that's to my own detriment, right? In, in some, in some ways. But like, Rails and Django sort of just like, people who, like, I'm gonna learn this framework it's gonna be excellent. It most, they have a, they have carved out a great ecosystem for themselves. Um, or like, you know, even php right? PHP and like Laravel, or whatever. Uh, and so I'm ignoring those, like, those pockets of productivity, right? Those pockets of like intense productivity that people like, have all their needs met in that same way. Um, but as far as like general, general sort of ecosystem size and speed for me, um, like what you said, like applies to me. Like if I, if I'm just like, especially if I'm just like, Oh, I just wanna build a backend, Like, I wanna build something that's like super small and just does like, you know, maybe a few, a couple, you know, endpoints or whatever and just, I just wanna throw it out there. Right? Uh, I, I will pick, yeah. Typescript. It just like, it makes sense to me. I also think note is a better. VM or platform to build on than any of the others as well. So like, like I, by any of the others, I mean, Python, Perl, Ruby, right? Like sort of in the same class of, of tool. So I I am kind of convinced that, um, Node is better, than those as far as core abilities, right? Like threading Right. Versus the just multi-processing and like, you know, other, other, other solutions and like, stuff like that. So, if you want a boring stack, if I don't wanna use any tokens, right? Any innovation tokens I reach for TypeScript. [00:54:46] Jeremy: I think it's good that you brought up. Rails and, and Django because, uh, personally I've done, I've done work with Rails, and you're right in that Rails has so many built in, and the ways to do them are so well established that your ability to be productive and build something really fast hard to compete with, at least in my experience with available in the Node ecosystem. Um, on the other hand, like I, I also see what you mean by the runtimes. Like with Node, you're, you're built on top of V8 and there's so many resources being poured into it to making it fast and making it run pretty much everywhere. I think you probably don't do too much work with managed services, but if you go to a managed service to run your code, like a platform as a service, they're gonna support Node. Will they support your other preferred language? Maybe, maybe not, You know that they will, they'll be able to run node apps so but yeah I don't know if it will ever happen or maybe I'm just not familiar with it, but feel like there isn't a real rails of javascript. [00:56:14] Victor: Yeah, you're, totally right. There are, there are. It's, it's weird. It's actually weird that there, like Uh, but, but, I kind of agree with you. There's projects that are trying it recently. There's like Adonis, um, there is, there are backends that also do, like, will do basic templating, like Nest, NestJS is like really excellent. It's like one of the best sort of backend, projects out there. I I, I but like back in the day, there were projects like Sails, which was like very much trying to do exactly what Rails did, but it just didn't seem to take off and reach that critical mass possibly because of the size of the ecosystem, right? Like, how many alternatives to Rails are there? Not many, right? And, and now, anyway, maybe let's say the rest of 'em sort of like died out over the years, but there's also like, um, hapi HAPI, uh, which is like also, you know, similarly, it was like angling themselves to be that, but they just never, they never found the traction they needed. I think, um, or at least to be as wide, widely known as Rails is for, for, for the, for the Ruby ecosystem, um, but also for people to kind of know the magic, cause. Like I feel like you're productive in Rails only when you imbibe the magic, right? You, you, know all the magic context and you know the incantations and they're comforting to you, right? Like you've, you've, you have the, you have the sort of like, uh, convention. You're like, if you're living and breathing the convention, everything's amazing, right? Like, like you can't beat that. You're just like, you're in the zone but you need people to get in that zone. And I don't think node has, people are just too, they're too frazzled. They're going like, there's too much options. They can't, it's hard to commit, right? Like, imagine if you'd committed to backbone. Like you got, you can't, It's, it's over. Oh, it's not over. I mean, I don't, no, I don't wanna, you know, disparage the backbone project. I don't use it, but, you know, maybe they're still doing stuff and you know, I'm sure people are still working on it, but you can't, you, it's hard to commit and sort of really imbibe that sort of convention or, or, or sort of like, make yourself sort of breathe that product when there's like 10 products that are kind of similar and could be useful as well. Yeah, I think that's, that's that's kind of big. It's weird that there isn't a rails, for NodeJS, but, but people are working on it obviously. Like I mentioned Adonis, there's, there's more. I'm leaving a bunch of them out, but that's part of the problem. [00:58:52] Jeremy: On, on one hand, it's really cool that people are trying so many different things because hopefully maybe they can find something that like other people wouldn't have thought of if they all stick same framework. but on the other hand, it's ... how much time have we spent jumping between all these different frameworks when what we could have if we had a rails. [00:59:23] Victor: Yeah the, the sort of wasted time is, is crazy to think about it uh, I do think about that from time to time. And you know, and personally I waste a lot of my own time. Like, just, just rec

To start 2023 off, our first guest of the year is Jade in Arizona, who will be sharing an experience she remembers from the early 1980s, involving a strange night followed by men in hazmat suits around the property taking readings on a geiger counter.More information on this episode on the podcast website:https://ufochroniclespodcast.com/ep-209-a-family-experience/Want to share your encounter on the show? Email: UFOChronicles@gmail.comOr Fill out Guest Form: https://forms.gle/WMX8JMxccpCG...Podcast Merchandise:https://www.teepublic.com/user...Help Support UFO CHRONICLES by becoming a Patron:https://www.patreon.com/UFOChr...Twitter: https://twitter.com/UFOchronpo...Thank you for listening!Please leave a review if you enjoy the show, and everyone that leaves a rating and review on Apple Podcasts or Spotify will get a shout out on the following show.Like share and subscribe it really helps me when people share the show on social media, it means we can reach more people and more witnesses and without your amazing support, it wouldn't be possible.

To start 2023 off, our first guest of the year is Jade in Arizona, who will be sharing an experience she remembers from the early 1980s, involving a strange night followed by men in hazmat suits around the property taking readings on a geiger counter.More information on this episode on the podcast website:https://ufochroniclespodcast.com/ep-209-a-family-experience/Want to share your encounter on the show? Email: UFOChronicles@gmail.comOr Fill out Guest Form: https://forms.gle/WMX8JMxccpCG...Podcast Merchandise:https://www.teepublic.com/user...Help Support UFO CHRONICLES by becoming a Patron:https://www.patreon.com/UFOChr...Twitter: https://twitter.com/UFOchronpo...Thank you for listening!Please leave a review if you enjoy the show, and everyone that leaves a rating and review on Apple Podcasts or Spotify will get a shout out on the following show.Like share and subscribe it really helps me when people share the show on social media, it means we can reach more people and more witnesses and without your amazing support, it wouldn't be possible.

Learn more about sparkling wine for your New Year's celebrqation from Jack Farrell with Haskell's Wines and Spirits. haskells.com

Amazon Scalpers selling raspberry pi 4: $219.00 pi4 8gb $285.99 iUniker pi 4 8gb kit $285.99 pi 4 8gb compute module $145.99 pi 400 $235.99 pi 3 kit Software and documentation mentioned during the show. git-annex git-annex allows managing large files with git, without storing the file contents in git. It can sync, backup, and archive your data, offline and online. Taskwarrior Taskwarrior is Free and Open Source Software that manages your TODO list from the command line. Haskell.org An advanced, purely functional programming language. Haskell wiki Haskell Book: Learn you a Haskell for great good! tutorto ← insert battle music from Skyrim Because dnt must answer for his crimes against Haskell. Radicale Radicale is a small but powerful CalDAV (calendars, to-do lists) and CardDAV (contacts) server. SSH Documentation port 22 and info on non-privileged or non-root ports sshd config: checkout AllowUsers and DenyUsers for your config. Fail2Ban iptables How attackers find ip addresses nmap scanning internet for random targets: for learning purposes only!!! Pagekite Windows Subsystem for Linux Figma Raspberry pi focus on businesses first ETA Prime PineTab 2 risc-v building the first open, collaborative community of software and hardware innovators powering innovation at the edge forward. arm architecture

About GeneGene Kim is a multiple award-winning CTO, researcher and author, and has been studying high-performing technology organizations since 1999. He was founder and CTO of Tripwire for 13 years. He has written six books, including The Unicorn Project (2019), The Phoenix Project (2013), The DevOps Handbook (2016), the Shingo Publication Award winning Accelerate (2018), and The Visible Ops Handbook (2004-2006) series. Since 2014, he has been the founder and organizer of DevOps Enterprise Summit, studying the technology transformations of large, complex organizations.Links: The Phoenix Project: https://www.amazon.com/Phoenix-Project-DevOps-Helping-Business/dp/1942788290/ The Unicorn Project: https://www.amazon.com/Unicorn-Project-Developers-Disruption-Thriving/dp/B0812C82T9 The DevOps Enterprise Summit: https://events.itrevolution.com/ @RealGeneKim TranscriptAnnouncer: Hello, and welcome to Screaming in the Cloud with your host, Cloud Economist Corey Quinn. This weekly show features conversations with people doing interesting work in the world of cloud, thoughtful commentary on the state of the technical world, and ridiculous titles for which Corey refuses to apologize. This is Screaming in the Cloud.Corey: If you asked me to rank which cloud provider has the best developer experience, I'd be hard-pressed to choose a platform that isn't Google Cloud. Their developer experience is unparalleled and, in the early stages of building something great, that translates directly into velocity. Try it yourself with the Google for Startups Cloud Program over at cloud.google.com/startup. It'll give you up to $100k a year for each of the first two years in Google Cloud credits for companies that range from bootstrapped all the way on up to Series A. Go build something, and then tell me about it. My thanks to Google Cloud for sponsoring this ridiculous podcast.Corey: This episode is brought to us by our friends at Pinecone. They believe that all anyone really wants is to be understood, and that includes your users. AI models combined with the Pinecone vector database let your applications understand and act on what your users want… without making them spell it out. Make your search application find results by meaning instead of just keywords, your personalization system make picks based on relevance instead of just tags, and your security applications match threats by resemblance instead of just regular expressions. Pinecone provides the cloud infrastructure that makes this easy, fast, and scalable. Thanks to my friends at Pinecone for sponsoring this episode. Visit Pinecone.io to understand more.Corey Quinn: Welcome to Screaming in the Cloud. I'm Corey Quinn. I'm joined this week by a man who needs no introduction but gets one anyway. Gene Kim, most famously known for writing The Phoenix Project, but now the Wall Street Journal best-selling author of The Unicorn Project, six years later. Gene, welcome to the show.Gene Kim: Corey so great to be on. I was just mentioning before how delightful it is to be on the other side of the podcast. And it's so much smaller in here than I had thought it would be.Corey Quinn: Excellent. It's always nice to wind up finally meeting people whose work was seminal and foundational. Once upon a time, when I was a young, angry Unix systems administrator—because it's not like there's a second type of Unix administrator—[laughing] The Phoenix Project was one of those texts that was transformational, as far as changing the way I tended to view a lot of what I was working on and gave a glimpse into what could have been a realistic outcome for the world, or the company I was at, but somehow was simultaneously uplifting and incredibly depressing all at the same time. Now, The Unicorn Project does that exact same thing only aimed at developers instead of traditional crusty ops folks.Gene Kim: [laughing] Yeah, yeah. Very much so. Yeah, The Phoenix Project was very much aimed at ops leadership. So, Bill Palmer, the protagonist of that book was the VP of Operations at Parts Unlimited, and the protagonist in The Unicorn Project is Maxine Chambers, Senior Architect, and Developer, and I love the fact that it's told in the same timeline as The Phoenix Project, and in the first scene, she is unfairly blamed for causing the payroll outage and is exiled to The Phoenix Project, where she recoils in existential horror and then finds that she can't do anything herself. She can't do a build, she can't run her own tests. She can't, God forbid, do her own deploys. And I just love the opening third of the book where it really does paint that tundra that many developers find themselves in where they're just caught in decades of built-up technical debt, unable to do even the simplest things independently, let alone be able to independently develop tests or create value for customers. So, it was fun, very much fun, to revisit the Parts Unlimited universe.Corey Quinn: What I found that was fun about—there are few things in there I want to unpack. The first is that it really was the, shall we say, retelling of the same story in, quote/unquote, “the same timeframe”, but these books were written six years apart.Gene Kim: Yeah, and by the way, I want to first acknowledge all the help that you gave me during the editing process. Some of your comments are just so spot on with exactly the feedback I needed at the time and led to the most significant lift to jam a whole bunch of changes in it right before it got turned over to production. Yeah, so The Phoenix Project is told, quote, “in the present day,” and in the same way, The Unicorn Project is also told—takes place in the present day. In fact, they even start, plus or minus, on the same day. And there is a little bit of suspension of disbelief needed, just because there are certain things that are in the common vernacular, very much in zeitgeist now, that weren't six years ago, like “digital disruption”, even things like Uber and Lyft that feature prominently in the book that were just never mentioned in The Phoenix Project, but yeah, I think it was the story very much told in the same vein as like Ender's Shadow, where it takes place in the same timeline, but from a different perspective.Corey Quinn: So, something else that—again, I understand it's an allegory, and trying to tell an allegorical story while also working it into the form of a fictional work is incredibly complicated. That's something that I don't think people can really appreciate until they've tried to do something like it. But I still found myself, at various times, reading through the book and wondering, asking myself questions that, I guess, say more about me than they do about anyone else. But it's, “Wow, she's at a company that is pretty much scapegoating her and blaming her for all of us. Why isn't she quitting? Why isn't she screaming at people? Why isn't she punching the boss right in their stupid, condescending face and storming out of the office?” And I'm wondering how much of that is my own challenges as far as how life goes, as well as how much of it is just there for, I guess, narrative devices. It needed to wind up being someone who would not storm out when push came to shove.Gene Kim: But yeah, I think she actually does the last of the third thing that you mentioned where she does slam the sheet of paper down and say, “Man, you said the outage is caused by a technical failure and a human error, and now you're telling me I'm the human error?” And just cannot believe that she's been put in that position. Yeah, so thanks to your feedback and the others, she actually does shop her resume around. And starts putting out feelers, because this is no longer feeling like the great place to work that attracted her, eight years prior. The reality is for most people, is that it's sometimes difficult to get a new job overnight, even if you want to. But I think that Maxine stays because she believes in the mission. She takes a great deal of pride of what she's created over the years, and I think like most great brands, they do create a sense of mission and there's a deep sense of the customers they serve. And, there's something very satisfying about the work to her. And yeah, I think she is very much, for a couple of weeks, very much always thinking about, she won't be here for long, one way or another, but by the time she stumbles into the rebellion, the crazy group of misfits, the ragtag bunch of misfits, who are trying to find better ways of working and willing to break whatever rules it takes to take over the very ancient powerful order, she falls in love with a group. She found a group of kindred spirits who very much, like her, believe that developer productivity is one of the most important things that we can do as an organization. So, by the time that she looks up with that group, I mean, I think she's all thoughts of leaving are gone.Corey Quinn: Right. And the idea of, if you stick around, you can theoretically change things for the better is extraordinarily compelling. The challenge I've seen is that as I navigate the world, I've met a number of very gifted employees who, frankly wind up demonstrating that same level of loyalty and same kind of loyalty to companies that are absolutely not worthy of them. So my question has always been, when do I stick around versus when do I leave? I'm very far on the bailout as early as humanly possible side of that spectrum. It's why I'm a great consultant but an absolutely terrible employee.Gene Kim: [laughing] Well, so we were honored to have you at the DevOps Enterprise Summit. And you've probably seen that The Unicorn Project book is really dedicated to the achievements of the DevOps Enterprise community. It's certainly inspired by and dedicated to their efforts. And I think what was so inspirational to me were all these courageous leaders who are—they know what the mission is. I mean, they viscerally understand what the mission is and understand that the ways of working aren't working so well and are doing whatever they can to create better ways of working that are safer, faster, and happier. And I think what is so magnificent about so many of their journeys is that their organization in response says, “Thank you. That's amazing. Can we put you in a position of even more authority that will allow you to even make a more material, more impactful contribution to the organization?” And so it's been my observation, having run the conference for, now, six years, going on seven years is that this is a population that is being out promoted—has been promoted at a rate far higher than the population at large. And so for me, that's just an incredible story of grit and determination. And so yeah, where does grit and determination becomes sort of blind loyalty? That's ultimately self-punishing? That's a deep question that I've never really studied. But I certainly do understand that there is a time when no amount of perseverance and grit will get from here to there, and that's a fact.Corey Quinn: I think that it's a really interesting narrative, just to see it, how it tends to evolve, but also, I guess, for lack of a better term, and please don't hold this against me, it seems in many ways to speak to a very academic perspective, and I don't mean that as an insult. Now, the real interesting question is why I would think, well—why would accusing someone of being academic ever be considered as an insult, but my academic career was fascinating. It feels like it aligns very well with The Five Ideals, which is something that you have been talking about significantly for a long time. And in an academic setting that seems to make sense, but I don't see it thought of or spoken of in the same way on the ground. So first, can you start off by giving us an intro to what The Five Ideals are, and I guess maybe disambiguate the theory from the practice?Gene Kim: Oh for sure, yeah. So The Five Ideals are— oh, let's go back one step. So The Phoenix Project had The Three Ways, which were the principles for which you can derive all the observed DevOps practices from and The Four Types of Work. And so in The Five Ideals I used the concept of The Five Ideals and they are—the first—Corey Quinn: And the next version of The Nine whatever you call them at that point, I'm sure. It's a geometric progression.Gene Kim: Right or actually, isn't it the pri—oh, no. four isn't, four isn't prime. Yeah, yeah, I don't know. So, The Five Ideals is a nice small number and it was just really meant to verbalize things that I thought were very important, things I just gravitate towards. One is Locality and Simplicity. And briefly, that's just, to what degree can teams do what they need to do independently without having to coordinate, communicate, prioritize, sequence, marshal, deconflict, with scores of other teams. The Second Ideal is what I think the outcomes are when you have that, which is Focus, Flow and Joy. And so, Dr. Mihaly Csikszentmihalyi, he describes flow as a state when we are so engrossed in the work we love that we lose track of time and even sense of self. And that's been very much my experience, coding ever since I learned Clojure, this functional programming language. Third Ideal is Improvement of Daily Work, which shows up in The Phoenix Project to say that improvement daily work is even more important than daily work itself. Fourth Ideal is Psychological Safety, which shows up in the State of DevOps Report, but showed up prominently in Google's Project Oxygen, and even in the Toyota production process where clearly it has to be—in order for someone to pull the andon cord that potentially stops the assembly line, you have to have an environment where it's psychologically safe to do so. And then Fifth Ideal is Customer Focus, really focus on core competencies that create enduring, durable business value that customers are willing to pay for, versus context, which is everything else. And yeah, to answer your question, Where did it come from? Why do I think it is important? Why do I focus on that? For me, it's really coming from the State of DevOps Report, that I did with Dr. Nicole Forsgren and Jez Humble. And so, beyond all the numbers and the metrics and the technical practices and the architectural practices and the cultural norms, for me, what that really tells the story of is of The Five Ideals, as to what one of them is very much a need for architecture that allows teams to work independently, having a higher predictor of even, continuous delivery. I love that. And that from the individual perspective, the ideal being, that allows us to focus on the work we want to do to help achieve the mission with a sense of flow and joy. And then really elevating the notion that greatness isn't free, we need to improve daily work, we have to make it psychologically safe to talk about problems. And then the last one really being, can we really unflinchingly look at the work we do on an everyday basis and ask, what the customers care about it? And if customers don't care about it, can we question whether that work really should be done or not. So that's where for me, it's really meant to speak to some more visceral emotions that were concretized and validated through the State of DevOps Report. But these notions I am just very attracted to.Corey Quinn: I like the idea of it. The question, of course, is always how to put these into daily practice. How do you take these from an idealized—well, let's not call it a textbook, but something very similar to that—and apply it to the I guess, uncontrolled chaos that is the day-to-day life of an awful lot of people in their daily jobs.Gene Kim: Yeah. Right. So, the protagonist is Maxine and her role in the story, in the beginning, is just to recognize what not great looks like. She's lived and created greatness for all of her career. And then she gets exiled to this terrible Phoenix project that chews up developers and spits them out and they leave these husks of people they used to be. And so, she's not doing a lot of problem-solving. Instead, it's this recoiling from the inability for people to do builds or do their own tests or be able to do work without having to open up 20 different tickets or not being able to do their own deploys. She just recoil from this spending five days watching people do code merges, and for me, I'm hoping that what this will do, and after people read the book, will see this all around them, hopefully, will have a similar kind of recoiling reaction where they say, “Oh my gosh, this is terrible. I should feel as bad about this as Maxine does, and then maybe even find my fellow rebels and see if we can create a pocket of greatness that can become like the sublimation event in Dr. Thomas Kuhn's book, The Structure of Scientific Revolutions.” Create that kernel of greatness, of which then greatness then finds itself surrounded by even more greatness.Corey Quinn: What I always found to be fascinating about your work is how you wind up tying so many different concepts together in ways you wouldn't necessarily expect. For example, when I was reviewing one of your manuscripts before this went to print, you did reject one of my suggestions, which was just, retitle the entire thing. Instead of calling it The Unicorn Project. Instead, call it Gene Kim's Love Letter to Functional Programming. So what is up with that?Gene Kim: Yeah, to put that into context, for 25 years or more, I've self-identified as an ops person. The Phoenix Project was really an ops book. And that was despite getting my graduate degree in compiler design and high-speed networking in 1995. And the reason why I gravitated towards ops, because that was my observation, that that's where the saves were made. It was ops who saved the customer from horrendous, terrible developers who just kept on putting things into production that would then blow up and take everyone with it. It was ops protecting us from the bad adversaries who were trying to steal data because security people were so ineffective. But four years ago, I learned a functional programming language called Clojure and, without a doubt, it reintroduced the joy of coding back into my life and now, in a good month, I spend half the time—in the ideal—writing, half the time hanging out with the best in the game, of which I would consider this to be a part of, and then 20% of time coding. And I find for the first time in my career, in over 30 years of coding, I can write something for years on end, without it collapsing in on itself, like a house of cards. And that is an amazing feeling, to say that maybe it wasn't my inability, or my lack of experience, or my lack of sensibilities, but maybe it was just that I was sort of using the wrong tool to think with. That comes from the French philosopher Claude Lévi-Strauss. He said of certain things, “Is it a good tool to think with?” And I just find functional programming is such a better tool to think with, that notions like composability, like immutability, what I find so exciting is that these things aren't just for programming languages. And some other programming languages that follow the same vein are, OCaml, Lisp, ML, Elixir, Haskell. These all languages that are sort of popularizing functional programming, but what I find so exciting is that we see it in infrastructure and operations, too. So Docker is fundamentally immutable. So if you want to change a container, we have to make a new one. Kubernetes composes these containers together at the level of system of systems. Kafka is amazing because it usually reveals the desire to have this immutable data model where you can't change the past. Version control is immutable. So, I think it's no surprise that as our systems get more and more complex and distributed, we're relying on things like immutability, just to make it so that we can reason about them. So, it is something I love addressing in the book, and it's something I decided to double down on after you mentioned it. I'm just saying, all kidding aside is this a book for—Corey Quinn: Oh good, I got to make it worse. Always excited when that happens.Gene Kim: Yeah, I mean, your suggestion really brought to the forefront a very critical decision, which was, is this a book for technology leaders, or even business leaders, or is this a book developers? And, after a lot of soul searching, I decided no, this is a book for developers, because I think the sensibilities that we need to instill and the awareness we need to create these things around are the developers and then you just hope and pray that the book will be good enough that if enough engineers like it, then engineering leaders will like it. And if enough engineering leaders like it, then maybe some business leaders will read it as well. So that's something I'm eagerly seeing what will happen as the weeks, months, and years go by. Corey Quinn: This episode is sponsored in part by DataStax. The NoSQL event of the year is DataStax Accelerate in San Diego this May from the 11th through the 13th. I've given a talk previously called the myth of multi-cloud, and it's time for me to revisit that with... A sequel! Which is funny given that it's a NoSQL conference, but there you have it. To learn more, visit datastax.com that's D-A-T-A-S-T-A-X.com and I hope to see you in San Diego. This May.Corey Quinn: One thing that I always admired about your writing is that you can start off trying to make a point about one particular aspect of things. And along the way you tie in so many different things, and the functional programming is just one aspect of this. At some point, by the end of it, I half expected you to just pick a fight over vi versus Emacs, just for the sheer joy you get in effectively drawing interesting and, I guess, shall we say, the right level of conflict into it, where it seems very clear that what you're talking about is something thing that has the potential to be transformative and by throwing things like that in you're, on some level, roping people in who otherwise wouldn't weigh in at all. But it's really neat to watch once you have people's attention, just almost in spite of what they want, you teach them something. I don't know if that's a fair accusation or not, but it's very much I'm left with the sense that what you're doing has definite impact and reverberations throughout larger industries.Gene Kim: Yeah, I hope so. In fact, just to reveal this kind of insecurity is, there's an author I've read a lot of and she actually read this blog post that she wrote about the worst novel to write, and she called it The Yeomans Tour of the Starship Enterprise. And she says, “The book begins like this: it's a Yeoman on the Starship Enterprise, and all he does is admire the dilithium crystals, and the phaser, and talk about the specifications of the engine room.” And I sometimes worry that that's what I've done in The Unicorn Project, but hopefully—I did want to have that technical detail there and share some things that I love about technology and the things I hate about technology, like YAML files, and integrate that into the narrative because I think it is important. And I would like to think that people reading it appreciate things like our mutual distaste of YAML files, that we've all struggled trying to escape spaces and file names inside of make files. I mean, these are the things that are puzzles we have to solve, but they're so far removed from the business problem we're trying to solve that really, the purpose of that was trying to show the mistake of solving puzzles in our daily work instead of solving real problems.Corey Quinn: One thing that I found was really a one-two punch, for me at least, was first I read and give feedback on the book and then relatively quickly thereafter, I found myself at my first DevOps Enterprise Summit, and I feel like on some level, I may have been misinterpreted when I was doing my live-tweeting/shitposting-with-style during a lot of the opening keynotes, and the rest, where I was focusing on how different of a conference it was. Unlike a typical DevOps Days or big cloud event, it wasn't a whole bunch of relatively recent software startups. There were serious institutions coming out to have conversations. We're talking USAA, we're talking to US Air Force, we're talking large banks, we're talking companies that have a 200-year history, where you don't get to just throw everything away and start over. These are companies that by and large, have, in many ways, felt excluded to some extent, from the modern discussions of, well, we're going to write some stuff late at night, and by the following morning, it's in production. You don't get to do that when you're a 200-year-old insurance company. And I feel like that was on some level interpreted as me making fun of startups for quote/unquote, “not being serious,” which was never my intention. It's just this was a different conversation series for a different audience who has vastly different constraints. And I found it incredibly compelling and I intend to go back.Gene Kim: Well, that's wonderful. And, in fact, we have plans for you, Mr. Quinn.Corey Quinn: Uh-oh.Gene Kim: Yeah. I think when I say I admire the DevOps Enterprise community. I mean that I'm just so many different dimensions. The fact that these, leaders and—it's not leaders just in terms of seniority on the organization chart—these are people who are leading technology efforts to survive and win in the marketplace. In organizations that have been around sometimes for centuries, Barclays Bank was founded in the year 1634. That predates the invention of paper cash. HMRC, the UK version of the IRS was founded in the year 1200. And, so there's probably no code that goes that far back, but there's certainly values and—Corey Quinn: Well, you'd like to hope not. Gene Kim: Yeah, right. You never know. But there are certainly values and traditions and maybe even processes that go back centuries. And so that's what's helped these organizations be successful. And here are a next generation of leaders, trying to make sure that these organizations see another century of greatness. So I think that's, in my mind, deeply admirable.Corey Quinn: Very much so. And my only concern was, I was just hoping that people didn't misinterpret my snark and sarcasm as aimed at, “Oh, look at these crappy—these companies are real companies and all those crappy SAS companies are just flashes in the pan.” No, I don't believe that members of the Fortune 500 are flash in the pan companies, with a couple notable exceptions who I will not name now, because I might want some of them on this podcast someday. The concern that I have is that everyone's work is valuable. Everyone's work is important. And what I'm seeing historically, and something that you've nailed, is a certain lack of stories that apply to some of those organizations that are, for lack of a better term, ossified into their current process model, where they there's no clear path for them to break into, quote/unquote, “doing the DevOps.”Gene Kim: Yeah. And the business frame and the imperative for it is incredible. Tesla is now offering auto insurance bundled into the car. Banks are now having to compete with Apple. I mean, it is just breathtaking to see how competitive the marketplaces and the need to understand the customer and deliver value to them quickly and to be able to experiment and innovate and out-innovate the competition. I don't think there's any business leader on the planet who doesn't understand that software is eating the world and they have to that any level of investment they do involves software at some level. And so the question is, for them, is how do they get educated enough to invest and manage and lead competently? So, to me it really is like the sleeping giant awakening. And it's my genuine belief is that the next 50 years, as much value as the tech giants have created: Facebook, Amazon, Netflix, Google, Microsoft, they've generated trillions of dollars of economic value. When we can get eighteen million developers, as productive as an engineer at a tech giant is, that will generate tens of trillions of dollars of economic value per year. And so, when you generate that much economic activity, all problems become solvable, you look at climate change, you take a look at the disparity between rich and poor. All things can be fixed when you significantly change the economic economy in this way. So, I'm extremely hopeful and I know that the need for things like DevOps are urgent and important.Corey Quinn: I guess that that's probably the best way of framing this. So you wrote one version that was aimed at operators back in 2013, this one was aimed at developers, and effectively retails and clarifies an awful lot of the same points. As a historical ops person, I didn't feel left behind by The Unicorn Project, despite not being its target market. So I guess the question on everyone's mind, are you planning on doing a third iteration, and if so, for what demographic?Gene Kim: Yeah, nothing at this point, but there is one thing that I'm interested in which is the role of business leaders. And Sarah is an interesting villain. One of my favorite pieces of feedback during the review process was, “I didn't think I could ever hate Sarah more. And yet, I did find her even to be more loathsome than before.” She's actually based on a real person, someone that I worked with.Corey Quinn: That's the best part, is these characters are relatable enough that everyone can map people they know onto various aspects of them, but can't ever disclose the entire list in public because that apparently has career consequences.Gene Kim: That's right. Yes, I will not say who the character is based on but there's, in the last scene of the book that went to print, Sarah has an interesting interaction with Maxine, where they meet for lunch. And, I think the line was, “And it wasn't what Maxine had thought, and she's actually looking forward to the next meeting.” I think that leaves room for it. So one of the things I want to do with some friends and colleagues is just understand, why does Sarah act the way she does? I think we've all worked with someone like her. And there are some that are genuinely bad actors, but I think a lot of them are doing something, based on genuine, real motives. And it would be fun, I thought, to do something with Elizabeth Henderson, who we decided to start having a conversation like, what does she read? What is her background? What is she good at? What does her resume look like? And what caused her to—who in technology treated her so badly that she treats technology so badly? And why does she behave the way she does? And so I think she reads a lot of strategy books. I think she is not a great people manager, I think she maybe has come from the mergers and acquisition route that viewed people as fungible. And yeah, I think she is definitely a creature of economics, was lured by an external investor, about how good it can be if you can extract value out of the company, squeeze every bit of—sweat every asset and sell the company for parts. So I would just love to have a better understanding of, when people say they work with someone like a Sarah, is there a commonality to that? And can we better understand Sarah so that we can both work with her and also, compete better against her, in our own organizations?Corey Quinn: I think that's probably a question best left for people to figure out on their own, in a circumstance where I can't possibly be blamed for it.Gene Kim: [laughing].That can be arranged, Mr. Quinn.Corey Quinn: All right. Well, if people want to learn more about your thoughts, ideas, feelings around these things, or of course to buy the book, where can they find you?Gene Kim: If you're interested in the ideas that are in The Unicorn Project, I would point you to all of the freely available videos on YouTube. Just Google DevOps Enterprise Summit and anything that's on the plenary stage are specifically chosen stories that very much informed The Unicorn Project. And the best way to reach me is probably on Twitter. I'm @RealGeneKim on Twitter, and feel free to just @ mention me, or DM me. Happy to be reached out in whatever way you can find me. Corey Quinn: You know where the hate mail goes then. Gene, thank you so much for taking the time to speak with me, I appreciate it.Gene Kim: And Corey, likewise, and again, thank you so much for your unflinching feedback on the book and I hope you see your fingerprints all over it and I'm just so delighted with the way it came out. So thanks to you, Corey. Corey Quinn: As soon as my signed copy shows up, you'll be the first to know.Gene Kim: Consider it done. Corey Quinn: Excellent, excellent. That's the trick, is to ask people for something in a scenario in which they cannot possibly say no. Gene Kim, multiple award-winning CTO, researcher, and author. Pick up his new book, The Wall Street Journal best-selling The Unicorn Project. I'm Cloud Economist Corey Quinn, and this is Screaming in the Cloud. If you've enjoyed this podcast, please leave a five-star review on Apple Podcasts. If you hated this podcast, please leave a five-star review on Apple Podcasts and leave a compelling comment.Announcer: This has been this week's episode of Screaming in the Cloud. You can also find more Corey at ScreamingintheCloud.com or wherever fine snark is sold.This has been a HumblePod production. Stay humble.

In this week's episode from the Institute's Vault, Molly Haskell talks about her 2009 book, Frankly, My Dear: "Gone with the Wind" Revisited, published by Yale University Press. Haskell grew up in Richmond, Virginia, and studied at the Sorbonne. She came to New York in the sixties to work for the French Film office, where she wrote a newsletter about French films. She wrote about movies for the Village Voice, Vogue, and New York magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this week's episode from the Institute's Vault, Molly Haskell talks about her 2009 book, Frankly, My Dear: "Gone with the Wind" Revisited, published by Yale University Press. Haskell grew up in Richmond, Virginia, and studied at the Sorbonne. She came to New York in the sixties to work for the French Film office, where she wrote a newsletter about French films. She wrote about movies for the Village Voice, Vogue, and New York magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In this week's episode from the Institute's Vault, Molly Haskell talks about her 2009 book, Frankly, My Dear: "Gone with the Wind" Revisited, published by Yale University Press. Haskell grew up in Richmond, Virginia, and studied at the Sorbonne. She came to New York in the sixties to work for the French Film office, where she wrote a newsletter about French films. She wrote about movies for the Village Voice, Vogue, and New York magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this week's episode from the Institute's Vault, Molly Haskell talks about her 2009 book, Frankly, My Dear: "Gone with the Wind" Revisited, published by Yale University Press. Haskell grew up in Richmond, Virginia, and studied at the Sorbonne. She came to New York in the sixties to work for the French Film office, where she wrote a newsletter about French films. She wrote about movies for the Village Voice, Vogue, and New York magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In this week's episode from the Institute's Vault, Molly Haskell talks about her 2009 book, Frankly, My Dear: "Gone with the Wind" Revisited, published by Yale University Press. Haskell grew up in Richmond, Virginia, and studied at the Sorbonne. She came to New York in the sixties to work for the French Film office, where she wrote a newsletter about French films. She wrote about movies for the Village Voice, Vogue, and New York magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In this week's episode from the Institute's Vault, Molly Haskell talks about her 2009 book, Frankly, My Dear: "Gone with the Wind" Revisited, published by Yale University Press. Haskell grew up in Richmond, Virginia, and studied at the Sorbonne. She came to New York in the sixties to work for the French Film office, where she wrote a newsletter about French films. She wrote about movies for the Village Voice, Vogue, and New York magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this week's episode from the Institute's Vault, Molly Haskell talks about her 2009 book, Frankly, My Dear: "Gone with the Wind" Revisited, published by Yale University Press. Haskell grew up in Richmond, Virginia, and studied at the Sorbonne. She came to New York in the sixties to work for the French Film office, where she wrote a newsletter about French films. She wrote about movies for the Village Voice, Vogue, and New York magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

In this week's episode from the Institute's Vault, Molly Haskell talks about her 2009 book, Frankly, My Dear: "Gone with the Wind" Revisited, published by Yale University Press. Haskell grew up in Richmond, Virginia, and studied at the Sorbonne. She came to New York in the sixties to work for the French Film office, where she wrote a newsletter about French films. She wrote about movies for the Village Voice, Vogue, and New York magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-south

In this week's episode from the Institute's Vault, Molly Haskell talks about her 2009 book, Frankly, My Dear: "Gone with the Wind" Revisited, published by Yale University Press. Haskell grew up in Richmond, Virginia, and studied at the Sorbonne. She came to New York in the sixties to work for the French Film office, where she wrote a newsletter about French films. She wrote about movies for the Village Voice, Vogue, and New York magazine. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Array Cast - December 23, 2022 Show NotesThanks to Bob Therriault, Adám Brudzewsky, Marshall Lochbaum and John Earnest for gathering these links:[01] 00:02:00 Naming the APLNAATOT podcast twitter https://twitter.com/a_brudz/status/1607653845445873664[02] 00:03:54 John Earnest Arraycast episode 41 https://www.arraycast.com/episodes/episode41-john-earnest Michal Wallace Arraycast episode 40 https://www.arraycast.com/episodes/episode40-michal-wallace[03] 00:04:20 John's website https://beyondloom.com/[04] 00:05:10 iKe https://github.com/JohnEarnest/ok/tree/gh-pages/ike[05] 00:07:02 oK http://johnearnest.github.io/ok/index.html[06] 00:10:20 iKe Vector article https://vector.org.uk/a-graphical-sandbox-for-k-2/[07] 00:10:39 Lindenmayer fractals https://en.wikipedia.org/wiki/L-system[08] 00:15:57 k programming language https://aplwiki.com/wiki/K[09] 00:16:40 turtle graphics https://docs.python.org/3/library/turtle.html[10] 00:17:44 Swift Playgrounds https://en.wikipedia.org/wiki/Swift_Playgrounds Bret Victor http://worrydream.com/ Processing programming language https://processing.org/ Arduino https://www.arduino.cc/[11] 00:19:27 Dzaima APL -https://github.com/dzaima/APL/blob/master/APLP5/docs Dzaima BQN - https://github.com/dzaima/BQN/blob/master/app/readme.md[12] 00:25:08 Arthur Whitney https://en.wikipedia.org/wiki/Arthur_Whitney_(computer_scientist)[13] 00:25:30 APL wiki Naming https://aplwiki.com/wiki/The_name_APL Adin Falkoff https://aplwiki.com/wiki/Adin_Falkoff[14] 00:27:48 Dyalog https://aplwiki.com/wiki/Dyalog_APL Dyadic https://aplwiki.com/wiki/Dyalog_Ltd. Zylog processor https://en.wikipedia.org/wiki/Zilog[15] 00:30:32 Special k https://beyondloom.com/tools/specialk.html Fragment shader https://www.khronos.org/opengl/wiki/Fragment_Shader GLSL shader language https://learnopengl.com/Getting-started/Shaders[16] 00:33:25 NVIDIA https://learnopengl.com/Getting-started/Shaders[17] 00:37:00 Decker https://beyondloom.com/decker/index.html Lil programming language https://beyondloom.com/decker/lil.html macPaint https://en.wikipedia.org/wiki/MacPaint[18] 00:39:06 Interface builder https://en.wikipedia.org/wiki/Interface_Builder Visual Basic https://en.wikipedia.org/wiki/Visual_Basic Lua programming language https://www.lua.org/ q programming language https://aplwiki.com/wiki/Q[19] 00:44:29 APL# https://aplwiki.com/wiki/APL-sharp[20] 00:45:08 Rescript programming language https://rescript-lang.org/[21] 00:47:10 Niladic functions https://aplwiki.com/wiki/Niladic_function[22] 00:48:30 HyperCard https://en.wikipedia.org/wiki/HyperCard HyperTalk https://en.wikipedia.org/wiki/HyperTalk[23] 00:54:36 JavaScript programming language https://www.javascript.com/[24] 00:57:21 MacOS system 6 https://en.wikipedia.org/wiki/System_6[25] 01:02:12 Excel spreadsheet https://en.wikipedia.org/wiki/Microsoft_Excel[26] 01:04:02 J viewmat https://code.jsoftware.com/wiki/Studio/Viewmat[27] 01:05:40 regex https://en.wikipedia.org/wiki/Regular_expression[28] 01:06:10 Nick Psaris Arraycast episode 42 embedding languages https://www.arraycast.com/episodes/episode42-nick-psaris-q[29] 01:07:00 Python programming language https://www.python.org/[30] 01:18:21 Haskell programming language https://www.haskell.org/[31] 01:22:50 Myst video game https://en.wikipedia.org/wiki/Myst[32] 01:23:32 Decktember https://itch.io/jam/decktember

Mulled wine, hot toddies and more hot drink ideas from Jack Farrell with Haskell's Wines and Spirits. haskells.com

Jack Farrell with Haskell's Wines and Spirits gives us a couple of suggestions for toasting the World Cup finalist participants France and Argentina.. Plus, more gifts for the wine lover.

Wikileaks and Human Trafficking on the Ed Opperman Report with Kurt Richard Haskell and William Ramsey (2017) The Ed Opperman Report Podcast: https://podcasts.apple.com/us/podcast/the-opperman-report/id975926302 Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to DST 1031 Essentials with Kay Properties — An in-depth look at the many recurring themes and nuances of the Delaware Statutory Trust (DST) investment process.   Topics will cover 1031 exchanges, ins and outs of the Delaware Statutory Trust structure, timing, cash investing, REITS, funds, real estate, and more.   The kpi1031.com platform not only provides access to these 25+ different sponsor companies, but also custom DSTs only available to Kay clients, full due diligence, and vetting on each DST property on the platform (typically 20-40 DSTs), and an active DST secondary market. Kay Properties team members collectively have over 115 years of real estate experience, are licensed in all 50 states, and have participated in over 21 Billion of DST 1031 investments   In this week's episode, Senior Vice President Matt McFarland and Senior Vice President Steve Haskell address some fears investors are having about the uncertain market. Right now, investors are looking for safe ways to store their cash while bracing for the upcoming market hit. In this episode, Matt and Steve talk about some unseen tax pitfalls that might come up in the next few months and what investors should be aware of if they were to sell their properties.   Key Takeaways: [0:55] Risks and disclosures. [3:50] A little bit about Kay properties. [4:40] Matt introduces Steve and today's topic.  [7:40] Interest rates are going up! Is a recession soon to follow?  [9:30] The stock market always goes up, right?  [11:30] One of Steve's clients lost money because of poor CPA financial advice.  [12:00] What should investors ask their CPAs about when it comes to their 1031 exchange? [15:30] What is the true cost of taking the cash and using it to pay taxes? Matt runs some numbers. [17:50] When there's fear in the market, it's important to have the bigger picture.   [20:25] Financial advisors are telling clients to cash out. Is this a good idea?  [27:20] Investors have to do what's right for their situation and their family.  [28:20] Real estate is a longer term strategy than stocks are.    Resources Website: https://www.kpi1031.com/ Call Kay Properties at 855-899-4597 Meet the Kay Properties Team: kpi1031.com/meet-our-team   About Kay Properties and www.kpi1031.com    Securities offered through FNEX Capital member FINRA, SIPC. Potential returns and appreciation are never guaranteed and loss of principal is possible. Please speak with your CPA and attorney for tax and legal advice.

The Underwear Bomber attack has fundamentally changed my life. Not in the way most would think, but it has destroyed any faith I've had in the U.S. Government, the media and this country as a whole. To say that I believe the government is corrupt and the media is complicit doesn't fully explain my beliefs. Not only have I come to those conclusions, but I've witnessed that an ordinary person who sees something important can be silenced despite his efforts to spread the truth. Such is the Underwear Bomber case. I can do nothing but laugh at the TSA's new policy of "If you see something say something." That is exactly what I did, and not only did the U.S. Government not want to hear what I had to say, but it actively lied about it, attempted to get me to change my story, and hid, by withholding (secret government) evidence or putting a protective order on the evidence and nearly everything that would support my eyewitness account. 

The Underwear Bomber attack has fundamentally changed my life. Not in the way most would think, but it has destroyed any faith I've had in the U.S. Government, the media and this country as a whole. To say that I believe the government is corrupt and the media is complicit doesn't fully explain my beliefs. Not only have I come to those conclusions, but I've witnessed that an ordinary person who sees something important can be silenced despite his efforts to spread the truth. Such is the Underwear Bomber case. I can do nothing but laugh at the TSA's new policy of "If you see something say something." That is exactly what I did, and not only did the U.S. Government not want to hear what I had to say, but it actively lied about it, attempted to get me to change my story, and hid, by withholding (secret government) evidence or putting a protective order on the evidence and nearly everything that would support my eyewitness account. 

Give the gift they never return...Wine and Spirits. Timely suggestions from Jack Farrell with Haskell's Wines and Spirits.

Думаю, многие слышали такие понятия, как SOLID, Clean Architecture, “слоистая модель” и другие, без которых не обходится ни один спор об архитектуре. Но все эти термины родились в процессе эволюции объектно-ориентированных подходов. Что это время происходит с архитектурой в функциональном мире, разбираемся с Александром Граниным. Поддержи лучший подкаст про IT: www.patreon.com/podlodka Также ждем вас, ваши лайки, репосты и комменты в мессенджерах и соцсетях!
 Telegram-чат: https://t.me/podlodka Telegram-канал: https://t.me/podlodkanews Страница в Facebook: www.facebook.com/podlodkacast/ Twitter-аккаунт: https://twitter.com/PodlodkaPodcast Ведущие в выпуске: Женя Кателла, Стас Цыганов Полезные ссылки: Alexander Granin, Functional Design and Architecture, 2е издание, Manning Publications https://www.manning.com/books/functional-design-and-architecture Scott Wlaschin, Domain Modeling Made Functional Tackle Software Complexity with Domain-Driven Design https://www.amazon.com/Domain-Modeling-Made-Functional-Domain-Driven/dp/1680502549 Yehonathan Sharvit, Data-Oriented Programming: Reduce software complexity https://www.amazon.com/Data-Oriented-Programming-Unlearning-Yehonathan-Sharvit/dp/1617298573 Will Kurt, Get Programming with Haskell https://www.amazon.ae/Get-Programming-Haskell-Will-Kurt/dp/1617293768 Vitaly Bragilevsky, Haskell in Depth https://www.amazon.com/Haskell-Depth-Vitaly-Bragilevsky/dp/161729540X Michael Bevilacqua-Linn, Functional Programming Patterns in Scala and Clojure: Write Lean Programs for the JVM https://www.amazon.com/Functional-Programming-Patterns/s?k=Functional+Programming+Patterns Много докладов Александра об архитектуре и дизайне в ФП и ООП https://graninas.com/talks-eng/ Соцсети гостя: Twitter: https://twitter.com/graninas YouTube: https://www.youtube.com/@AlexanderGranin TikTok: https://www.tiktok.com/@graninas LinkedIn: https://www.linkedin.com/in/graninas/

Holiday gifts for the wine lover. It's so easy! Learn more from Jack Farrell with Haskell's Wines and Spirits.

Join Ellen and Jennifer and making her debut as their 3rd co host is tiny human Kaeda! You have been warned now that there will be some cute baby noises in this episode! They will be chatting all about the book: The Forest Unseen by David George Haskell ⭐Why Stories From the Earth? Humankind's relationship to the natural world is as diverse and dynamic as each individual plant, animal, mineral, and piece of geography. There are many ways that we can engage with our living planet, be it through herbalism, gardening, hiking and other explorations, meditation and observation, and even artistic expressions. There are many ways for us to connect, and it is important to do so, as the human species is not a separate entity from the whole web of life. Each takes their own path. This series explores some of the many ways in which people may weave a tapestry of meaning in coexistence and mutuality with what surrounds us, these are Stories From the Earth. ⭐From the cover: Visiting a one square meter patch of old growth Tennessee forest almost daily for 1 year, biologist David Haskell traces nature's oath through the seasons and brings the forest and it's inhabitants to vivid life. Beginning with simple observations - a salamander scuttling across the leaf litter; the first blossom of spring wildflowers - Haskell spins a brilliant web of biology, ecology, and poetry. He explains the science that binds together the tiniest microbes in the largest mammals, and describes the ecosystems that have cycled for thousands - sometimes millions - of years. Written with remarkable grace and empathy, The Forest Unseen is a grand tour of nature and all its beauty and complexity. ⭐As mentioned in the Podcast Fall of Civilizations https://www.youtube.com/@FallofCivilizations ⭐The Unruly Podcast https://soundcloud.com/unrulystories/ren-hurst

On today's Q&A episode, we have Desiree Streight back on with us to talk about Professional Development! Click here to join the KCCTO Virtual Peer Network Facebook group. Click here for more information on the Child Care Providers Coalition of Kansas. Click here to join the CCPC Region 1 Provider Facebook Group (Thomas, Sherman, Scott, Logan, Ness, Rawlins, Sheridan, Norton, Graham, Trego, Cheyenne, Gove, Greeley, Lane, Wallace, Wichita)Click here to join the CCPC Region 2 Provider Facebook Group (Saline, Ellis, Barton, McPherson, Dickinson, Cloud, Washington, Russell, Republic, Clay, Ottawa, Mitchell, Phillips, Rooks, Smith, Marion, Ellsworth, Osborne, Lincoln, Rice, Rush, Jewell)Click here to join the CCPC Region 3 East Provider Facebook Group (Johnson, Wyandotte, Douglas, Leavenworth, Miami, Franklin, Jefferson, Atchison, Brown, Doniphan)Click here to join the CCPC Region 3 West Provider Facebook Group (Marshall, Nemaha, Riley, Pottawatomie, Jackson, Geary, Wabaunsee, Shawnee, Morris, Osage)Click here to join the CCPC Region 4 Provider Facebook Group (Lyon, Crawford, Montgomery, Neosho, Labette, Cherokee, Allen, Bourbon, Linn, Coffey, Anderson, Wilson, Greenwood, Woodson, Chase, Chautauqua, Elk)Click here to join the CCPC Region 5 Provider Facebook Group (Sedgwick, Reno, Butler, Cowley, Sumner, Harvey, Pratt, Pawnee, Harper, Kingman, Stafford, Barber, Edwards, Kiowa, Comanche)Click here to join the CCPC Region 6 Provider Facebook Group (Finney, Ford, Grant, Seward, Kearny, Meade, Gray, Stevens, Clark, Hodgeman, Haskell, Hamilton, Morton, Stanton)Cheery Monday by Kevin MacLeodLink: https://incompetech.filmmusic.io/song/3495-cheery-mondayLicense: https://filmmusic.io/standard-licenseKids These Days is a co-production of the KCCTO-KITS Infant Toddler Specialist Network (ITSN) and KCCTO Workforce Development (WFD) programs.The KCCTO-KITS Infant-Toddler Specialist Network is a program of the Kansas Child Care Training Opportunities, Inc. (KCCTO) and the university of Kansas Life Span Institute at Parsons. The Workforce Development Project is a program of KCCTO. Each program is supported through a grant from the Kansas Department For Children And Families' Child Care And Early Education Services. However, information or opinions expressed herein do not necessarily reflect the position or policy of the agency and no official endorsement should be inferred.To learn more about the Infant Toddler Specialist Network, please visit: http://kskits.org/technical-assistance-0.To learn more about KCCTO and Workforce Development, please visit: https://kccto.org/Contact us via email at – kidsthesedayspod@gmail.comFollow and tag us on Instagram & Facebook @kidsthesedayspod & Twitter @ktdpodMusic credit: Link: https://incompetech.filmmusic.io/song/3843-hackbeat License: http://creativecommons.org/licenses/by/4.0/

11-27-22 | Welcome our Youth Pastor, Tommy Haskell, as he shares the Word today!

What to do with those holiday leftovers and what wine to pair. Learn more from Jack Farrell with Haskell's Wines and Spirits.

Episode one hundred and fifty-eight of A History of Rock Music in Five Hundred Songs looks at “White Rabbit”, Jefferson Airplane, and the rise of the San Francisco sound. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three-minute bonus episode available, on "Omaha" by Moby Grape. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum I refer to Back to Methuselah by Robert Heinlein. This is of course a play by George Bernard Shaw. What I meant to say was Methuselah's Children. Resources I hope to upload a Mixcloud tomorrow, and will edit it in, but have had some problems with the site today. Jefferson Airplane's first four studio albums, plus a 1968 live album, can be found in this box set. I've referred to three main books here. Got a Revolution!: The Turbulent Flight of Jefferson Airplane by Jeff Tamarkin is written with the co-operation of the band members, but still finds room to criticise them. Jefferson Airplane On Track by Richard Molesworth is a song-by-song guide to the band's music. And Been So Long: My Life and Music by Jorma Kaukonen is Kaukonen's autobiography. Some information on Skip Spence and Matthew Katz also comes from What's Big and Purple and Lives in the Ocean?: The Moby Grape Story, by Cam Cobb, which I also used for this week's bonus. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, I need to confess an important and hugely embarrassing error in this episode. I've only ever seen Marty Balin's name written down, never heard it spoken, and only after recording the episode, during the editing process, did I discover I mispronounce it throughout. It's usually an advantage for the podcast that I get my information from books rather than TV documentaries and the like, because they contain far more information, but occasionally it causes problems like that. My apologies. Also a brief note that this episode contains some mentions of racism, antisemitism, drug and alcohol abuse, and gun violence. One of the themes we've looked at in recent episodes is the way the centre of the musical world -- at least the musical world as it was regarded by the people who thought of themselves as hip in the mid-sixties -- was changing in 1967. Up to this point, for a few years there had been two clear centres of the rock and pop music worlds. In the UK, there was London, and any British band who meant anything had to base themselves there. And in the US, at some point around 1963, the centre of the music industry had moved West. Up to then it had largely been based in New York, and there was still a thriving industry there as of the mid sixties. But increasingly the records that mattered, that everyone in the country had been listening to, had come out of LA Soul music was, of course, still coming primarily from Detroit and from the Country-Soul triangle in Tennessee and Alabama, but when it came to the new brand of electric-guitar rock that was taking over the airwaves, LA was, up until the first few months of 1967, the only city that was competing with London, and was the place to be. But as we heard in the episode on "San Francisco", with the Monterey Pop Festival all that started to change. While the business part of the music business remained centred in LA, and would largely remain so, LA was no longer the hip place to be. Almost overnight, jangly guitars, harmonies, and Brian Jones hairstyles were out, and feedback, extended solos, and droopy moustaches were in. The place to be was no longer LA, but a few hundred miles North, in San Francisco -- something that the LA bands were not all entirely happy about: [Excerpt: The Mothers of Invention, "Who Needs the Peace Corps?"] In truth, the San Francisco music scene, unlike many of the scenes we've looked at so far in this series, had rather a limited impact on the wider world of music. Bands like Jefferson Airplane, the Grateful Dead, and Big Brother and the Holding Company were all both massively commercially successful and highly regarded by critics, but unlike many of the other bands we've looked at before and will look at in future, they didn't have much of an influence on the bands that would come after them, musically at least. Possibly this is because the music from the San Francisco scene was always primarily that -- music created by and for a specific group of people, and inextricable from its context. The San Francisco musicians were defining themselves by their geographical location, their peers, and the situation they were in, and their music was so specifically of the place and time that to attempt to copy it outside of that context would appear ridiculous, so while many of those bands remain much loved to this day, and many made some great music, it's very hard to point to ways in which that music influenced later bands. But what they did influence was the whole of rock music culture. For at least the next thirty years, and arguably to this day, the parameters in which rock musicians worked if they wanted to be taken seriously – their aesthetic and political ideals, their methods of collaboration, the cultural norms around drug use and sexual promiscuity, ideas of artistic freedom and authenticity, the choice of acceptable instruments – in short, what it meant to be a rock musician rather than a pop, jazz, country, or soul artist – all those things were defined by the cultural and behavioural norms of the San Francisco scene between about 1966 and 68. Without the San Francisco scene there's no Woodstock, no Rolling Stone magazine, no Rock and Roll Hall of Fame, no hippies, no groupies, no rock stars. So over the next few months we're going to take several trips to the Bay Area, and look at the bands which, for a brief time, defined the counterculture in America. The story of Jefferson Airplane -- and unlike other bands we've looked at recently, like The Pink Floyd and The Buffalo Springfield, they never had a definite article at the start of their name to wither away like a vestigial organ in subsequent years -- starts with Marty Balin. Balin was born in Ohio, but was a relatively sickly child -- he later talked about being autistic, and seems to have had the chronic illnesses that so often go with neurodivergence -- so in the hope that the dry air would be good for his chest his family moved to Arizona. Then when his father couldn't find work there, they moved further west to San Francisco, in the Haight-Ashbury area, long before that area became the byword for the hippie movement. But it was in LA that he started his music career, and got his surname. Balin had been named Marty Buchwald as a kid, but when he was nineteen he had accompanied a friend to LA to visit a music publisher, and had ended up singing backing vocals on her demos. While he was there, he had encountered the arranger Jimmy Haskell. Haskell was on his way to becoming one of the most prominent arrangers in the music industry, and in his long career he would go on to do arrangements for Bobby Gentry, Blondie, Steely Dan, Simon and Garfunkel, and many others. But at the time he was best known for his work on Ricky Nelson's hits: [Excerpt: Ricky Nelson, "Hello Mary Lou"] Haskell thought that Marty had the makings of a Ricky Nelson style star, as he was a good-looking young man with a decent voice, and he became a mentor for the young man. Making the kind of records that Haskell arranged was expensive, and so Haskell suggested a deal to him -- if Marty's father would pay for studio time and musicians, Haskell would make a record with him and find him a label to put it out. Marty's father did indeed pay for the studio time and the musicians -- some of the finest working in LA at the time. The record, released under the name Marty Balin, featured Jack Nitzsche on keyboards, Earl Palmer on drums, Milt Jackson on vibraphone, Red Callender on bass, and Glen Campbell and Barney Kessell on guitars, and came out on Challenge Records, a label owned by Gene Autry: [Excerpt: Marty Balin, "Nobody But You"] Neither that, nor Balin's follow-up single, sold a noticeable amount of copies, and his career as a teen idol was over before it had begun. Instead, as many musicians of his age did, he decided to get into folk music, joining a vocal harmony group called the Town Criers, who patterned themselves after the Weavers, and performed the same kind of material that every other clean-cut folk vocal group was performing at the time -- the kind of songs that John Phillips and Steve Stills and Cass Elliot and Van Dyke Parks and the rest were all performing in their own groups at the same time. The Town Criers never made any records while they were together, but some archival recordings of them have been released over the decades: [Excerpt: The Town Criers, "900 Miles"] The Town Criers split up, and Balin started performing as a solo folkie again. But like all those other then-folk musicians, Balin realised that he had to adapt to the K/T-event level folk music extinction that happened when the Beatles hit America like a meteorite. He had to form a folk-rock group if he wanted to survive -- and given that there were no venues for such a group to play in San Francisco, he also had to start a nightclub for them to play in. He started hanging around the hootenannies in the area, looking for musicians who might form an electric band. The first person he decided on was a performer called Paul Kantner, mainly because he liked his attitude. Kantner had got on stage in front of a particularly drunk, loud, crowd, and performed precisely half a song before deciding he wasn't going to perform in front of people like that and walking off stage. Kantner was the only member of the new group to be a San Franciscan -- he'd been born and brought up in the city. He'd got into folk music at university, where he'd also met a guitar player named Jorma Kaukonen, who had turned him on to cannabis, and the two had started giving music lessons at a music shop in San Jose. There Kantner had also been responsible for booking acts at a local folk club, where he'd first encountered acts like Mother McCree's Uptown Jug Champions, a jug band which included Jerry Garcia, Pigpen McKernan, and Bob Weir, who would later go on to be the core members of the Grateful Dead: [Excerpt: Mother McCree's Uptown Jug Champions, "In the Jailhouse Now"] Kantner had moved around a bit between Northern and Southern California, and had been friendly with two other musicians on the Californian folk scene, David Crosby and Roger McGuinn. When their new group, the Byrds, suddenly became huge, Kantner became aware of the possibility of doing something similar himself, and so when Marty Balin approached him to form a band, he agreed. On bass, they got in a musician called Bob Harvey, who actually played double bass rather than electric, and who stuck to that for the first few gigs the group played -- he had previously been in a band called the Slippery Rock String Band. On drums, they brought in Jerry Peloquin, who had formerly worked for the police, but now had a day job as an optician. And on vocals, they brought in Signe Toley -- who would soon marry and change her name to Signe Anderson, so that's how I'll talk about her to avoid confusion. The group also needed a lead guitarist though -- both Balin and Kantner were decent rhythm players and singers, but they needed someone who was a better instrumentalist. They decided to ask Kantner's old friend Jorma Kaukonen. Kaukonen was someone who was seriously into what would now be called Americana or roots music. He'd started playing the guitar as a teenager, not like most people of his generation inspired by Elvis or Buddy Holly, but rather after a friend of his had shown him how to play an old Carter Family song, "Jimmy Brown the Newsboy": [Excerpt: The Carter Family, "Jimmy Brown the Newsboy"] Kaukonen had had a far more interesting life than most of the rest of the group. His father had worked for the State Department -- and there's some suggestion he'd worked for the CIA -- and the family had travelled all over the world, staying in Pakistan, the Philippines, and Finland. For most of his childhood, he'd gone by the name Jerry, because other kids beat him up for having a foreign name and called him a Nazi, but by the time he turned twenty he was happy enough using his birth name. Kaukonen wasn't completely immune to the appeal of rock and roll -- he'd formed a rock band, The Triumphs, with his friend Jack Casady when he was a teenager, and he loved Ricky Nelson's records -- but his fate as a folkie had been pretty much sealed when he went to Antioch College. There he met up with a blues guitarist called Ian Buchanan. Buchanan never had much of a career as a professional, but he had supposedly spent nine years studying with the blues and ragtime guitar legend Rev. Gary Davis, and he was certainly a fine guitarist, as can be heard on his contribution to The Blues Project, the album Elektra put out of white Greenwich Village musicians like John Sebastian and Dave Van Ronk playing old blues songs: [Excerpt: Ian Buchanan, "The Winding Boy"] Kaukonen became something of a disciple of Buchanan -- he said later that Buchanan probably taught him how to play because he was such a terrible player and Buchanan couldn't stand to listen to it -- as did John Hammond Jr, another student at Antioch at the same time. After studying at Antioch, Kaukonen started to travel around, including spells in Greenwich Village and in the Philippines, before settling in Santa Clara, where he studied for a sociology degree and became part of a social circle that included Dino Valenti, Jerry Garcia, and Billy Roberts, the credited writer of "Hey Joe". He also started performing as a duo with a singer called Janis Joplin. Various of their recordings from this period circulate, mostly recorded at Kaukonen's home with the sound of his wife typing in the background while the duo rehearse, as on this performance of an old Bessie Smith song: [Excerpt: Jorma Kaukonen and Janis Joplin, "Nobody Loves You When You're Down and Out"] By 1965 Kaukonen saw himself firmly as a folk-blues purist, who would not even think of playing rock and roll music, which he viewed with more than a little contempt. But he allowed himself to be brought along to audition for the new group, and Ken Kesey happened to be there. Kesey was a novelist who had written two best-selling books, One Flew Over The Cuckoo's Nest and Sometimes A Great Notion, and used the financial independence that gave him to organise a group of friends who called themselves the Merry Pranksters, who drove from coast to coast and back again in a psychedelic-painted bus, before starting a series of events that became known as Acid Tests, parties at which everyone was on LSD, immortalised in Tom Wolfe's book The Electric Kool-Aid Acid Test. Nobody has ever said why Kesey was there, but he had brought along an Echoplex, a reverb unit one could put a guitar through -- and nobody has explained why Kesey, who wasn't a musician, had an Echoplex to hand. But Kaukonen loved the sound that he could get by putting his guitar through the device, and so for that reason more than any other he decided to become an electric player and join the band, going out and buying a Rickenbacker twelve-string and Vox Treble Booster because that was what Roger McGuinn used. He would later also get a Guild Thunderbird six-string guitar and a Standel Super Imperial amp, following the same principle of buying the equipment used by other guitarists he liked, as they were what Zal Yanovsky of the Lovin' Spoonful used. He would use them for all his six-string playing for the next couple of years, only later to discover that the Lovin' Spoonful despised them and only used them because they had an endorsement deal with the manufacturers. Kaukonen was also the one who came up with the new group's name. He and his friends had a running joke where they had "Bluesman names", things like "Blind Outrage" and "Little Sun Goldfarb". Kaukonen's bluesman name, given to him by his friend Steve Talbot, had been Blind Thomas Jefferson Airplane, a reference to the 1920s blues guitarist Blind Lemon Jefferson: [Excerpt: Blind Lemon Jefferson, "Match Box Blues"] At the band meeting where they were trying to decide on a name, Kaukonen got frustrated at the ridiculous suggestions that were being made, and said "You want a stupid name? Howzabout this... Jefferson Airplane?" He said in his autobiography "It was one of those rare moments when everyone in the band agreed, and that was that. I think it was the only band meeting that ever allowed me to come away smiling." The newly-named Jefferson Airplane started to rehearse at the Matrix Club, the club that Balin had decided to open. This was run with three sound engineer friends, who put in the seed capital for the club. Balin had stock options in the club, which he got by trading a share of the band's future earnings to his partners, though as the group became bigger he eventually sold his stock in the club back to his business partners. Before their first public performance, they started working with a manager, Matthew Katz, mostly because Katz had access to a recording of a then-unreleased Bob Dylan song, "Lay Down Your Weary Tune": [Excerpt: Bob Dylan, "Lay Down Your Weary Tune"] The group knew that the best way for a folk-rock band to make a name for themselves was to perform a Dylan song nobody else had yet heard, and so they agreed to be managed by Katz. Katz started a pre-publicity blitz, giving out posters, badges, and bumper stickers saying "Jefferson Airplane Loves You" all over San Francisco -- and insisting that none of the band members were allowed to say "Hello" when they answered the phone any more, they had to say "Jefferson Airplane Loves You!" For their early rehearsals and gigs, they were performing almost entirely cover versions of blues and folk songs, things like Fred Neil's "The Other Side of This Life" and Dino Valenti's "Get Together" which were the common currency of the early folk-rock movement, and songs by their friends, like one called "Flower Bomb" by David Crosby, which Crosby now denies ever having written. They did start writing the odd song, but at this point they were more focused on performance than on writing. They also hired a press agent, their friend Bill Thompson. Thompson was friends with the two main music writers at the San Francisco Chronicle, Ralph Gleason, the famous jazz critic, who had recently started also reviewing rock music, and John Wasserman. Thompson got both men to come to the opening night of the Matrix, and both gave the group glowing reviews in the Chronicle. Record labels started sniffing around the group immediately as a result of this coverage, and according to Katz he managed to get a bidding war started by making sure that when A&R men came to the club there were always two of them from different labels, so they would see the other person and realise they weren't the only ones interested. But before signing a record deal they needed to make some personnel changes. The first member to go was Jerry Peloquin, for both musical and personal reasons. Peloquin was used to keeping strict time and the other musicians had a more free-flowing idea of what tempo they should be playing at, but also he had worked for the police while the other members were all taking tons of illegal drugs. The final break with Peloquin came when he did the rest of the group a favour -- Paul Kantner's glasses broke during a rehearsal, and as Peloquin was an optician he offered to take them back to his shop and fix them. When he got back, he found them auditioning replacements for him. He beat Kantner up, and that was the end of Jerry Peloquin in Jefferson Airplane. His replacement was Skip Spence, who the group had met when he had accompanied three friends to the Matrix, which they were using as a rehearsal room. Spence's friends went on to be the core members of Quicksilver Messenger Service along with Dino Valenti: [Excerpt: Quicksilver Messenger Service, "Dino's Song"] But Balin decided that Spence looked like a rock star, and told him that he was now Jefferson Airplane's drummer, despite Spence being a guitarist and singer, not a drummer. But Spence was game, and learned to play the drums. Next they needed to get rid of Bob Harvey. According to Harvey, the decision to sack him came after David Crosby saw the band rehearsing and said "Nice song, but get rid of the bass player" (along with an expletive before the word bass which I can't say without incurring the wrath of Apple). Crosby denies ever having said this. Harvey had started out in the group on double bass, but to show willing he'd switched in his last few gigs to playing an electric bass. When he was sacked by the group, he returned to double bass, and to the Slippery Rock String Band, who released one single in 1967: [Excerpt: The Slippery Rock String Band, "Tule Fog"] Harvey's replacement was Kaukonen's old friend Jack Casady, who Kaukonen knew was now playing bass, though he'd only ever heard him playing guitar when they'd played together. Casady was rather cautious about joining a rock band, but then Kaukonen told him that the band were getting fifty dollars a week salary each from Katz, and Casady flew over from Washington DC to San Francisco to join the band. For the first few gigs, he used Bob Harvey's bass, which Harvey was good enough to lend him despite having been sacked from the band. Unfortunately, right from the start Casady and Kantner didn't get on. When Casady flew in from Washington, he had a much more clean-cut appearance than the rest of the band -- one they've described as being nerdy, with short, slicked-back, side-parted hair and a handlebar moustache. Kantner insisted that Casady shave the moustache off, and he responded by shaving only one side, so in profile on one side he looked clean-shaven, while from the other side he looked like he had a full moustache. Kantner also didn't like Casady's general attitude, or his playing style, at all -- though most critics since this point have pointed to Casady's bass playing as being the most interesting and distinctive thing about Jefferson Airplane's style. This lineup seems to have been the one that travelled to LA to audition for various record companies -- a move that immediately brought the group a certain amount of criticism for selling out, both for auditioning for record companies and for going to LA at all, two things that were already anathema on the San Francisco scene. The only audition anyone remembers them having specifically is one for Phil Spector, who according to Kaukonen was waving a gun around during the audition, so he and Casady walked out. Around this time as well, the group performed at an event billed as "A Tribute to Dr. Strange", organised by the radical hippie collective Family Dog. Marvel Comics, rather than being the multi-billion-dollar Disney-owned corporate juggernaut it is now, was regarded as a hip, almost underground, company -- and around this time they briefly started billing their comics not as comics but as "Marvel Pop Art Productions". The magical adventures of Dr. Strange, Master of the Mystic Arts, and in particular the art by far-right libertarian artist Steve Ditko, were regarded as clear parallels to both the occult dabblings and hallucinogen use popular among the hippies, though Ditko had no time for either, following as he did an extreme version of Ayn Rand's Objectivism. It was at the Tribute to Dr. Strange that Jefferson Airplane performed for the first time with a band named The Great Society, whose lead singer, Grace Slick, would later become very important in Jefferson Airplane's story: [Excerpt: The Great Society, "Someone to Love"] That gig was also the first one where the band and their friends noticed that large chunks of the audience were now dressing up in costumes that were reminiscent of the Old West. Up to this point, while Katz had been managing the group and paying them fifty dollars a week even on weeks when they didn't perform, he'd been doing so without a formal contract, in part because the group didn't trust him much. But now they were starting to get interest from record labels, and in particular RCA Records desperately wanted them. While RCA had been the label who had signed Elvis Presley, they had otherwise largely ignored rock and roll, considering that since they had the biggest rock star in the world they didn't need other ones, and concentrating largely on middle-of-the-road acts. But by the mid-sixties Elvis' star had faded somewhat, and they were desperate to get some of the action for the new music -- and unlike the other major American labels, they didn't have a reciprocal arrangement with a British label that allowed them to release anything by any of the new British stars. The group were introduced to RCA by Rod McKuen, a songwriter and poet who later became America's best-selling poet and wrote songs that sold over a hundred million copies. At this point McKuen was in his Jacques Brel phase, recording loose translations of the Belgian songwriter's songs with McKuen translating the lyrics: [Excerpt: Rod McKuen, "Seasons in the Sun"] McKuen thought that Jefferson Airplane might be a useful market for his own songs, and brought the group to RCA. RCA offered Jefferson Airplane twenty-five thousand dollars to sign with them, and Katz convinced the group that RCA wouldn't give them this money without them having signed a management contract with him. Kaukonen, Kantner, Spence, and Balin all signed without much hesitation, but Jack Casady didn't yet sign, as he was the new boy and nobody knew if he was going to be in the band for the long haul. The other person who refused to sign was Signe Anderson. In her case, she had a much better reason for refusing to sign, as unlike the rest of the band she had actually read the contract, and she found it to be extremely worrying. She did eventually back down on the day of the group's first recording session, but she later had the contract renegotiated. Jack Casady also signed the contract right at the start of the first session -- or at least, he thought he'd signed the contract then. He certainly signed *something*, without having read it. But much later, during a court case involving the band's longstanding legal disputes with Katz, it was revealed that the signature on the contract wasn't Casady's, and was badly forged. What he actually *did* sign that day has never been revealed, to him or to anyone else. Katz also signed all the group as songwriters to his own publishing company, telling them that they legally needed to sign with him if they wanted to make records, and also claimed to RCA that he had power of attorney for the band, which they say they never gave him -- though to be fair to Katz, given the band members' habit of signing things without reading or understanding them, it doesn't seem beyond the realms of possibility that they did. The producer chosen for the group's first album was Tommy Oliver, a friend of Katz's who had previously been an arranger on some of Doris Day's records, and whose next major act after finishing the Jefferson Airplane album was Trombones Unlimited, who released records like "Holiday for Trombones": [Excerpt: Trombones Unlimited, "Holiday For Trombones"] The group weren't particularly thrilled with this choice, but were happier with their engineer, Dave Hassinger, who had worked on records like "Satisfaction" by the Rolling Stones, and had a far better understanding of the kind of music the group were making. They spent about three months recording their first album, even while continually being attacked as sellouts. The album is not considered their best work, though it does contain "Blues From an Airplane", a collaboration between Spence and Balin: [Excerpt: Jefferson Airplane, "Blues From an Airplane"] Even before the album came out, though, things were starting to change for the group. Firstly, they started playing bigger venues -- their home base went from being the Matrix club to the Fillmore, a large auditorium run by the promoter Bill Graham. They also started to get an international reputation. The British singer-songwriter Donovan released a track called "The Fat Angel" which namechecked the group: [Excerpt: Donovan, "The Fat Angel"] The group also needed a new drummer. Skip Spence decided to go on holiday to Mexico without telling the rest of the band. There had already been some friction with Spence, as he was very eager to become a guitarist and songwriter, and the band already had three songwriting guitarists and didn't really see why they needed a fourth. They sacked Spence, who went on to form Moby Grape, who were also managed by Katz: [Excerpt: Moby Grape, "Omaha"] For his replacement they brought in Spencer Dryden, who was a Hollywood brat like their friend David Crosby -- in Dryden's case he was Charlie Chaplin's nephew, and his father worked as Chaplin's assistant. The story normally goes that the great session drummer Earl Palmer recommended Dryden to the group, but it's also the case that Dryden had been in a band, the Heartbeats, with Tommy Oliver and the great blues guitarist Roy Buchanan, so it may well be that Oliver had recommended him. Dryden had been primarily a jazz musician, playing with people like the West Coast jazz legend Charles Lloyd, though like most jazzers he would slum it on occasion by playing rock and roll music to pay the bills. But then he'd seen an early performance by the Mothers of Invention, and realised that rock music could have a serious artistic purpose too. He'd joined a band called The Ashes, who had released one single, the Jackie DeShannon song "Is There Anything I Can Do?" in December 1965: [Excerpt: The Ashes, "Is There Anything I Can Do?"] The Ashes split up once Dryden left the group to join Jefferson Airplane, but they soon reformed without him as The Peanut Butter Conspiracy, who hooked up with Gary Usher and released several albums of psychedelic sunshine pop. Dryden played his first gig with the group at a Republican Party event on June the sixth, 1966. But by the time Dryden had joined, other problems had become apparent. The group were already feeling like it had been a big mistake to accede to Katz's demands to sign a formal contract with him, and Balin in particular was getting annoyed that he wouldn't let the band see their finances. All the money was getting paid to Katz, who then doled out money to the band when they asked for it, and they had no idea if he was actually paying them what they were owed or not. The group's first album, Jefferson Airplane Takes Off, finally came out in September, and it was a comparative flop. It sold well in San Francisco itself, selling around ten thousand copies in the area, but sold basically nothing anywhere else in the country -- the group's local reputation hadn't extended outside their own immediate scene. It didn't help that the album was pulled and reissued, as RCA censored the initial version of the album because of objections to the lyrics. The song "Runnin' Round This World" was pulled off the album altogether for containing the word "trips", while in "Let Me In" they had to rerecord two lines -- “I gotta get in, you know where" was altered to "You shut the door now it ain't fair" and "Don't tell me you want money" became "Don't tell me it's so funny". Similarly in "Run Around" the phrase "as you lay under me" became "as you stay here by me". Things were also becoming difficult for Anderson. She had had a baby in May and was not only unhappy with having to tour while she had a small child, she was also the band member who was most vocally opposed to Katz. Added to that, her husband did not get on well at all with the group, and she felt trapped between her marriage and her bandmates. Reports differ as to whether she quit the band or was fired, but after a disastrous appearance at the Monterey Jazz Festival, one way or another she was out of the band. Her replacement was already waiting in the wings. Grace Slick, the lead singer of the Great Society, had been inspired by going to one of the early Jefferson Airplane gigs. She later said "I went to see Jefferson Airplane at the Matrix, and they were making more money in a day than I made in a week. They only worked for two or three hours a night, and they got to hang out. I thought 'This looks a lot better than what I'm doing.' I knew I could more or less carry a tune, and I figured if they could do it I could." She was married at the time to a film student named Jerry Slick, and indeed she had done the music for his final project at film school, a film called "Everybody Hits Their Brother Once", which sadly I can't find online. She was also having an affair with Jerry's brother Darby, though as the Slicks were in an open marriage this wasn't particularly untoward. The three of them, with a couple of other musicians, had formed The Great Society, named as a joke about President Johnson's programme of the same name. The Great Society was the name Johnson had given to his whole programme of domestic reforms, including civil rights for Black people, the creation of Medicare and Medicaid, the creation of the National Endowment for the Arts, and more. While those projects were broadly popular among the younger generation, Johnson's escalation of the war in Vietnam had made him so personally unpopular that even his progressive domestic programme was regarded with suspicion and contempt. The Great Society had set themselves up as local rivals to Jefferson Airplane -- where Jefferson Airplane had buttons saying "Jefferson Airplane Loves You!" the Great Society put out buttons saying "The Great Society Really Doesn't Like You Much At All". They signed to Autumn Records, and recorded a song that Darby Slick had written, titled "Someone to Love" -- though the song would later be retitled "Somebody to Love": [Excerpt: The Great Society, "Someone to Love"] That track was produced by Sly Stone, who at the time was working as a producer for Autumn Records. The Great Society, though, didn't like working with Stone, because he insisted on them doing forty-five takes to try to sound professional, as none of them were particularly competent musicians. Grace Slick later said "Sly could play any instrument known to man. He could have just made the record himself, except for the singers. It was kind of degrading in a way" -- and on another occasion she said that he *did* end up playing all the instruments on the finished record. "Someone to Love" was put out as a promo record, but never released to the general public, and nor were any of the Great Society's other recordings for Autumn Records released. Their contract expired and they were let go, at which point they were about to sign to Mercury Records, but then Darby Slick and another member decided to go off to India for a while. Grace's marriage to Jerry was falling apart, though they would stay legally married for several years, and the Great Society looked like it was at an end, so when Grace got the offer to join Jefferson Airplane to replace Signe Anderson, she jumped at the chance. At first, she was purely a harmony singer -- she didn't take over any of the lead vocal parts that Anderson had previously sung, as she had a very different vocal style, and instead she just sang the harmony parts that Anderson had sung on songs with other lead vocalists. But two months after the album they were back in the studio again, recording their second album, and Slick sang lead on several songs there. As well as the new lineup, there was another important change in the studio. They were still working with Dave Hassinger, but they had a new producer, Rick Jarrard. Jarrard was at one point a member of the folk group The Wellingtons, who did the theme tune for "Gilligan's Island", though I can't find anything to say whether or not he was in the group when they recorded that track: [Excerpt: The Wellingtons, "The Ballad of Gilligan's Island"] Jarrard had also been in the similar folk group The Greenwood County Singers, where as we heard in the episode on "Heroes and Villains" he replaced Van Dyke Parks. He'd also released a few singles under his own name, including a version of Parks' "High Coin": [Excerpt: Rick Jarrard, "High Coin"] While Jarrard had similar musical roots to those of Jefferson Airplane's members, and would go on to produce records by people like Harry Nilsson and The Family Tree, he wasn't any more liked by the band than their previous producer had been. So much so, that a few of the band members have claimed that while Jarrard is the credited producer, much of the work that one would normally expect to be done by a producer was actually done by their friend Jerry Garcia, who according to the band members gave them a lot of arranging and structural advice, and was present in the studio and played guitar on several tracks. Jarrard, on the other hand, said categorically "I never met Jerry Garcia. I produced that album from start to finish, never heard from Jerry Garcia, never talked to Jerry Garcia. He was not involved creatively on that album at all." According to the band, though, it was Garcia who had the idea of almost doubling the speed of the retitled "Somebody to Love", turning it into an uptempo rocker: [Excerpt: Jefferson Airplane, "Somebody to Love"] And one thing everyone is agreed on is that it was Garcia who came up with the album title, when after listening to some of the recordings he said "That's as surrealistic as a pillow!" It was while they were working on the album that was eventually titled Surrealistic Pillow that they finally broke with Katz as their manager, bringing Bill Thompson in as a temporary replacement. Or at least, it was then that they tried to break with Katz. Katz sued the group over their contract, and won. Then they appealed, and they won. Then Katz appealed the appeal, and the Superior Court insisted that if he wanted to appeal the ruling, he had to put up a bond for the fifty thousand dollars the group said he owed them. He didn't, so in 1970, four years after they sacked him as their manager, the appeal was dismissed. Katz appealed the dismissal, and won that appeal, and the case dragged on for another three years, at which point Katz dragged RCA Records into the lawsuit. As a result of being dragged into the mess, RCA decided to stop paying the group their songwriting royalties from record sales directly, and instead put the money into an escrow account. The claims and counterclaims and appeals *finally* ended in 1987, twenty years after the lawsuits had started and fourteen years after the band had stopped receiving their songwriting royalties. In the end, the group won on almost every point, and finally received one point three million dollars in back royalties and seven hundred thousand dollars in interest that had accrued, while Katz got a small token payment. Early in 1967, when the sessions for Surrealistic Pillow had finished, but before the album was released, Newsweek did a big story on the San Francisco scene, which drew national attention to the bands there, and the first big event of what would come to be called the hippie scene, the Human Be-In, happened in Golden Gate Park in January. As the group's audience was expanding rapidly, they asked Bill Graham to be their manager, as he was the most business-minded of the people around the group. The first single from the album, "My Best Friend", a song written by Skip Spence before he quit the band, came out in January 1967 and had no more success than their earlier recordings had, and didn't make the Hot 100. The album came out in February, and was still no higher than number 137 on the charts in March, when the second single, "Somebody to Love", was released: [Excerpt: Jefferson Airplane, "Somebody to Love"] That entered the charts at the start of April, and by June it had made number five. The single's success also pushed its parent album up to number three by August, just behind the Beatles' Sgt Pepper's Lonely Hearts Club Band and the Monkees' Headquarters. The success of the single also led to the group being asked to do commercials for Levis jeans: [Excerpt: Jefferson Airplane, "Levis commercial"] That once again got them accused of selling out. Abbie Hoffman, the leader of the Yippies, wrote to the Village Voice about the commercials, saying "It summarized for me all the doubts I have about the hippie philosophy. I realise they are just doing their 'thing', but while the Jefferson Airplane grooves with its thing, over 100 workers in the Levi Strauss plant on the Tennessee-Georgia border are doing their thing, which consists of being on strike to protest deplorable working conditions." The third single from the album, "White Rabbit", came out on the twenty-fourth of June, the day before the Beatles recorded "All You Need is Love", nine days after the release of "See Emily Play", and a week after the group played the Monterey Pop Festival, to give you some idea of how compressed a time period we've been in recently. We talked in the last episode about how there's a big difference between American and British psychedelia at this point in time, because the political nature of the American counterculture was determined by the fact that so many people were being sent off to die in Vietnam. Of all the San Francisco bands, though, Jefferson Airplane were by far the least political -- they were into the culture part of the counterculture, but would often and repeatedly disavow any deeper political meaning in their songs. In early 1968, for example, in a press conference, they said “Don't ask us anything about politics. We don't know anything about it. And what we did know, we just forgot.” So it's perhaps not surprising that of all the American groups, they were the one that was most similar to the British psychedelic groups in their influences, and in particular their frequent references to children's fantasy literature. "White Rabbit" was a perfect example of this. It had started out as "White Rabbit Blues", a song that Slick had written influenced by Alice in Wonderland, and originally performed by the Great Society: [Excerpt: The Great Society, "White Rabbit"] Slick explained the lyrics, and their association between childhood fantasy stories and drugs, later by saying "It's an interesting song but it didn't do what I wanted it to. What I was trying to say was that between the ages of zero and five the information and the input you get is almost indelible. In other words, once a Catholic, always a Catholic. And the parents read us these books, like Alice in Wonderland where she gets high, tall, and she takes mushrooms, a hookah, pills, alcohol. And then there's The Wizard of Oz, where they fall into a field of poppies and when they wake up they see Oz. And then there's Peter Pan, where if you sprinkle white dust on you, you could fly. And then you wonder why we do it? Well, what did you read to me?" While the lyrical inspiration for the track was from Alice in Wonderland, the musical inspiration is less obvious. Slick has on multiple occasions said that the idea for the music came from listening to Miles Davis' album "Sketches of Spain", and in particular to Davis' version of -- and I apologise for almost certainly mangling the Spanish pronunciation badly here -- "Concierto de Aranjuez", though I see little musical resemblance to it myself. [Excerpt: Miles Davis, "Concierto de Aranjuez"] She has also, though, talked about how the song was influenced by Ravel's "Bolero", and in particular the way the piece keeps building in intensity, starting softly and slowly building up, rather than having the dynamic peaks and troughs of most music. And that is definitely a connection I can hear in the music: [Excerpt: Ravel, "Bolero"] Jefferson Airplane's version of "White Rabbit", like their version of "Somebody to Love", was far more professional, far -- and apologies for the pun -- slicker than The Great Society's version. It's also much shorter. The version by The Great Society has a four and a half minute instrumental intro before Slick's vocal enters. By contrast, the version on Surrealistic Pillow comes in at under two and a half minutes in total, and is a tight pop song: [Excerpt: Jefferson Airplane, "White Rabbit"] Jack Casady has more recently said that the group originally recorded the song more or less as a lark, because they assumed that all the drug references would mean that RCA would make them remove the song from the album -- after all, they'd cut a song from the earlier album because it had a reference to a trip, so how could they possibly allow a song like "White Rabbit" with its lyrics about pills and mushrooms? But it was left on the album, and ended up making the top ten on the pop charts, peaking at number eight: [Excerpt: Jefferson Airplane, "White Rabbit"] In an interview last year, Slick said she still largely lives off the royalties from writing that one song. It would be the last hit single Jefferson Airplane would ever have. Marty Balin later said "Fame changes your life. It's a bit like prison. It ruined the band. Everybody became rich and selfish and self-centred and couldn't care about the band. That was pretty much the end of it all. After that it was just working and living the high life and watching the band destroy itself, living on its laurels." They started work on their third album, After Bathing at Baxter's, in May 1967, while "Somebody to Love" was still climbing the charts. This time, the album was produced by Al Schmitt. Unlike the two previous producers, Schmitt was a fan of the band, and decided the best thing to do was to just let them do their own thing without interfering. The album took months to record, rather than the weeks that Surrealistic Pillow had taken, and cost almost ten times as much money to record. In part the time it took was because of the promotional work the band had to do. Bill Graham was sending them all over the country to perform, which they didn't appreciate. The group complained to Graham in business meetings, saying they wanted to only play in big cities where there were lots of hippies. Graham pointed out in turn that if they wanted to keep having any kind of success, they needed to play places other than San Francisco, LA, New York, and Chicago, because in fact most of the population of the US didn't live in those four cities. They grudgingly took his point. But there were other arguments all the time as well. They argued about whether Graham should be taking his cut from the net or the gross. They argued about Graham trying to push for the next single to be another Grace Slick lead vocal -- they felt like he was trying to make them into just Grace Slick's backing band, while he thought it made sense to follow up two big hits with more singles with the same vocalist. There was also a lawsuit from Balin's former partners in the Matrix, who remembered that bit in the contract about having a share in the group's income and sued for six hundred thousand dollars -- that was settled out of court three years later. And there were interpersonal squabbles too. Some of these were about the music -- Dryden didn't like the fact that Kaukonen's guitar solos were getting longer and longer, and Balin only contributed one song to the new album because all the other band members made fun of him for writing short, poppy, love songs rather than extended psychedelic jams -- but also the group had become basically two rival factions. On one side were Kaukonen and Casady, the old friends and virtuoso instrumentalists, who wanted to extend the instrumental sections of the songs more to show off their playing. On the other side were Grace Slick and Spencer Dryden, the two oldest members of the group by age, but the most recent people to join. They were also unusual in the San Francisco scene for having alcohol as their drug of choice -- drinking was thought of by most of the hippies as being a bit classless, but they were both alcoholics. They were also sleeping together, and generally on the side of shorter, less exploratory, songs. Kantner, who was attracted to Slick, usually ended up siding with her and Dryden, and this left Balin the odd man out in the middle. He later said "I got disgusted with all the ego trips, and the band was so stoned that I couldn't even talk to them. Everybody was in their little shell". While they were still working on the album, they released the first single from it, Kantner's "The Ballad of You and Me and Pooneil". The "Pooneil" in the song was a figure that combined two of Kantner's influences: the Greenwich Village singer-songwriter Fred Neil, the writer of "Everybody's Talkin'" and "Dolphins"; and Winnie the Pooh. The song contained several lines taken from A.A. Milne's children's stories: [Excerpt: Jefferson Airplane, "The Ballad of You and Me and Pooneil"] That only made number forty-two on the charts. It was the last Jefferson Airplane single to make the top fifty. At a gig in Bakersfield they got arrested for inciting a riot, because they encouraged the crowd to dance, even though local by-laws said that nobody under sixteen was allowed to dance, and then they nearly got arrested again after Kantner's behaviour on the private plane they'd chartered to get them back to San Francisco that night. Kantner had been chain-smoking, and this annoyed the pilot, who asked Kantner to put his cigarette out, so Kantner opened the door of the plane mid-flight and threw the lit cigarette out. They'd chartered that plane because they wanted to make sure they got to see a new group, Cream, who were playing the Fillmore: [Excerpt: Cream, "Strange Brew"] After seeing that, the divisions in the band were even wider -- Kaukonen and Casady now *knew* that what the band needed was to do long, extended, instrumental jams. Cream were the future, two-minute pop songs were the past. Though they weren't completely averse to two-minute pop songs. The group were recording at RCA studios at the same time as the Monkees, and members of the two groups would often jam together. The idea of selling out might have been anathema to their *audience*, but the band members themselves didn't care about things like that. Indeed, at one point the group returned from a gig to the mansion they were renting and found squatters had moved in and were using their private pool -- so they shot at the water. The squatters quickly moved on. As Dryden put it "We all -- Paul, Jorma, Grace, and myself -- had guns. We weren't hippies. Hippies were the people that lived on the streets down in Haight-Ashbury. We were basically musicians and art school kids. We were into guns and machinery" After Bathing at Baxter's only went to number seventeen on the charts, not a bad position but a flop compared to their previous album, and Bill Graham in particular took this as more proof that he had been right when for the last few months he'd been attacking the group as self-indulgent. Eventually, Slick and Dryden decided that either Bill Graham was going as their manager, or they were going. Slick even went so far as to try to negotiate a solo deal with Elektra Records -- as the voice on the hits, everyone was telling her she was the only one who mattered anyway. David Anderle, who was working for the label, agreed a deal with her, but Jac Holzman refused to authorise the deal, saying "Judy Collins doesn't get that much money, why should Grace Slick?" The group did fire Graham, and went one further and tried to become his competitors. They teamed up with the Grateful Dead to open a new venue, the Carousel Ballroom, to compete with the Fillmore, but after a few months they realised they were no good at running a venue and sold it to Graham. Graham, who was apparently unhappy with the fact that the people living around the Fillmore were largely Black given that the bands he booked appealed to mostly white audiences, closed the original Fillmore, renamed the Carousel the Fillmore West, and opened up a second venue in New York, the Fillmore East. The divisions in the band were getting worse -- Kaukonen and Casady were taking more and more speed, which was making them play longer and faster instrumental solos whether or not the rest of the band wanted them to, and Dryden, whose hands often bled from trying to play along with them, definitely did not want them to. But the group soldiered on and recorded their fourth album, Crown of Creation. This album contained several songs that were influenced by science fiction novels. The most famous of these was inspired by the right-libertarian author Robert Heinlein, who was hugely influential on the counterculture. Jefferson Airplane's friends the Monkees had already recorded a song based on Heinlein's The Door Into Summer, an unintentionally disturbing novel about a thirty-year-old man who falls in love with a twelve-year-old girl, and who uses a combination of time travel and cryogenic freezing to make their ages closer together so he can marry her: [Excerpt: The Monkees, "The Door Into Summer"] Now Jefferson Airplane were recording a song based on Heinlein's most famous novel, Stranger in a Strange Land. Stranger in a Strange Land has dated badly, thanks to its casual homophobia and rape-apologia, but at the time it was hugely popular in hippie circles for its advocacy of free love and group marriages -- so popular that a religion, the Church of All Worlds, based itself on the book. David Crosby had taken inspiration from it and written "Triad", a song asking two women if they'll enter into a polygamous relationship with him, and recorded it with the Byrds: [Excerpt: The Byrds, "Triad"] But the other members of the Byrds disliked the song, and it was left unreleased for decades. As Crosby was friendly with Jefferson Airplane, and as members of the band were themselves advocates of open relationships, they recorded their own version with Slick singing lead: [Excerpt: Jefferson Airplane, "Triad"] The other song on the album influenced by science fiction was the title track, Paul Kantner's "Crown of Creation". This song was inspired by The Chrysalids, a novel by the British writer John Wyndham. The Chrysalids is one of Wyndham's most influential novels, a post-apocalyptic story about young children who are born with mutant superpowers and have to hide them from their parents as they will be killed if they're discovered. The novel is often thought to have inspired Marvel Comics' X-Men, and while there's an unpleasant eugenic taste to its ending, with the idea that two species can't survive in the same ecological niche and the younger, "superior", species must outcompete the old, that idea also had a lot of influence in the counterculture, as well as being a popular one in science fiction. Kantner's song took whole lines from The Chrysalids, much as he had earlier done with A.A. Milne: [Excerpt: Jefferson Airplane, "Crown of Creation"] The Crown of Creation album was in some ways a return to the more focused songwriting of Surrealistic Pillow, although the sessions weren't without their experiments. Slick and Dryden collaborated with Frank Zappa and members of the Mothers of Invention on an avant-garde track called "Would You Like a Snack?" (not the same song as the later Zappa song of the same name) which was intended for the album, though went unreleased until a CD box set decades later: [Excerpt: Grace Slick and Frank Zappa, "Would You Like a Snack?"] But the finished album was generally considered less self-indulgent than After Bathing at Baxter's, and did better on the charts as a result. It reached number six, becoming their second and last top ten album, helped by the group's appearance on the Ed Sullivan Show in September 1968, a month after it came out. That appearance was actually organised by Colonel Tom Parker, who suggested them to Sullivan as a favour to RCA Records. But another TV appearance at the time was less successful. They appeared on the Smothers Brothers Comedy Hour, one of the most popular TV shows among the young, hip, audience that the group needed to appeal to, but Slick appeared in blackface. She's later said that there was no political intent behind this, and that she was just trying the different makeup she found in the dressing room as a purely aesthetic thing, but that doesn't really explain the Black power salute she gives at one point. Slick was increasingly obnoxious on stage, as her drinking was getting worse and her relationship with Dryden was starting to break down. Just before the Smothers Brothers appearance she was accused at a benefit for the Whitney Museum of having called the audience "filthy Jews", though she has always said that what she actually said was "filthy jewels", and she was talking about the ostentatious jewellery some of the audience were wearing. The group struggled through a performance at Altamont -- an event we will talk about in a future episode, so I won't go into it here, except to say that it was a horrifying experience for everyone involved -- and performed at Woodstock, before releasing their fifth studio album, Volunteers, in 1969: [Excerpt: Jefferson Airplane, "Volunteers"] That album made the top twenty, but was the last album by the classic lineup of the band. By this point Spencer Dryden and Grace Slick had broken up, with Slick starting to date Kantner, and Dryden was also disappointed at the group's musical direction, and left. Balin also left, feeling sidelined in the group. They released several more albums with varying lineups, including at various points their old friend David Frieberg of Quicksilver Messenger Service, the violinist Papa John Creach, and the former drummer of the Turtles, Johnny Barbata. But as of 1970 the group's members had already started working on two side projects -- an acoustic band called Hot Tuna, led by Kaukonen and Casady, which sometimes also featured Balin, and a project called Paul Kantner's Jefferson Starship, which also featured Slick and had recorded an album, Blows Against the Empire, the second side of which was based on the Robert Heinlein novel Back to Methuselah, and which became one of the first albums ever nominated for science fiction's Hugo Awards: [Excerpt: Jefferson Starship, "Have You Seen The Stars Tonite"] That album featured contributions from David Crosby and members of the Grateful Dead, as well as Casady on two tracks, but  in 1974 when Kaukonen and Casady quit Jefferson Airplane to make Hot Tuna their full-time band, Kantner, Slick, and Frieberg turned Jefferson Starship into a full band. Over the next decade, Jefferson Starship had a lot of moderate-sized hits, with a varying lineup that at one time or another saw several members, including Slick, go and return, and saw Marty Balin back with them for a while. In 1984, Kantner left the group, and sued them to stop them using the Jefferson Starship name. A settlement was reached in which none of Kantner, Slick, Kaukonen, or Casady could use the words "Jefferson" or "Airplane" in their band-names without the permission of all the others, and the remaining members of Jefferson Starship renamed their band just Starship -- and had three number one singles in the late eighties with Slick on lead, becoming far more commercially successful than their precursor bands had ever been: [Excerpt: Starship, "We Built This City on Rock & Roll"] Slick left Starship in 1989, and there was a brief Jefferson Airplane reunion tour, with all the classic members but Dryden, but then Slick decided that she was getting too old to perform rock and roll music, and decided to retire from music and become a painter, something she's stuck to for more than thirty years. Kantner and Balin formed a new Jefferson Starship, called Jefferson Starship: The Next Generation, but Kantner died in January 2016, coincidentally on the same day as Signe Anderson, who had occasionally guested with her old bandmates in the new version of the band. Balin, who had quit the reunited Jefferson Starship due to health reasons, died two years later. Dryden had died in 2005. Currently, there are three bands touring that descend directly from Jefferson Airplane. Hot Tuna still continue to perform, there's a version of Starship that tours featuring one original member, Mickey Thomas, and the reunited Jefferson Starship still tour, led by David Frieberg. Grace Slick has given the latter group her blessing, and even co-wrote one song on their most recent album, released in 2020, though she still doesn't perform any more. Jefferson Airplane's period in the commercial spotlight was brief -- they had charting singles for only a matter of months, and while they had top twenty albums for a few years after their peak, they really only mattered to the wider world during that brief period of the Summer of Love. But precisely because their period of success was so short, their music is indelibly associated with that time. To this day there's nothing as evocative of summer 1967 as "White Rabbit", even for those of us who weren't born then. And while Grace Slick had her problems, as I've made very clear in this episode, she inspired a whole generation of women who went on to be singers themselves, as one of the first prominent women to sing lead with an electric rock band. And when she got tired of doing that, she stopped, and got on with her other artistic pursuits, without feeling the need to go back and revisit the past for ever diminishing returns. One might only wish that some of her male peers had followed her example.