this has got to be my favorite though:
Sunday, December 30, 2007
Saturday, December 22, 2007
Patton:
Tonight, I ate at a Mediterranean restaurant with Mediterranean music. The food was good but the music drove me nuts. All I could think about was getting home to watch Mike Patton Youtubers. I was in search of this:
but instead, found this!:
and was at ease with this:
OUT.
but instead, found this!:
and was at ease with this:
OUT.
Sunday, December 09, 2007
Deployed, this video had my 'mates and I nearly peeing ourselves:
...with mainly the beginning and very end. Noodling = unique.
Monday, November 26, 2007
Holy ____!:
http://rail-videos.net/video/view.php?id=1217
Whoa!
the front end of the tractor trailer gets pulled back a bit.
Whoa!
the front end of the tractor trailer gets pulled back a bit.
Friday, November 23, 2007
More Gooderer Guy:
I never even thought about how, because of how one makes sound in flutes, one could beat box and play at the same time. I'm especially excited about this video because of last weekend's trip to Key West - bar. DJ playing great music (Cake to Neil Diamond to Dispatch to '90's alternative). DJ then beat boxing AND sampling himself to the likes of Rahzel. Very unassuming too. Best DJ I've seen/heard. He'd be hired at my wedding and be allowed to play as little music as he wanted and beat box as much as he wanted.
Tuesday, November 13, 2007
Tuesday, November 06, 2007
Music Recommends:
‘I Don’t Know’ off of Beastie Boys’ Hello Nasty. I may have recommended this before (I think I have) but I got that mushy feeling inside I get when a really good song comes on out of nowhere.
I recently got this album, Check Your Head, and The Mix Up (Beastie’s instrumental album!). In addition, new Prince, Kanye West, and The Dillinger Escape Plan are in the mix as post-deployment gifts to myself.
I recently got this album, Check Your Head, and The Mix Up (Beastie’s instrumental album!). In addition, new Prince, Kanye West, and The Dillinger Escape Plan are in the mix as post-deployment gifts to myself.
Saturday, October 27, 2007
Silent Trio:
Was the other band I was playing in this year. I miss them. Here's a killer recording session at my house. Nathan has so much awesome equipment, as seen.
Sunday, October 07, 2007
Monday, October 01, 2007
Doo doo doo, looking out my _____
This is from my bedroom. 'Twas a nice morning, and the backyard was looking especially ...lush...
Sunday, September 23, 2007
Hector Berlioz's Symphonie Fantastique, Op. 14
There I was 20 minutes ago, relaxing after a bike ride. A bike ride where I broke my chain, blindly rode toughing out the painful hail, scurried across the intercoastal on a causeway divinely avoiding lightening (thanks be to God…and also with you), and stopped at two cafés adding 1.5 hours to a 1.5 hour bike ride.
I was relaxing in the Jacuzzi tub my house came with…STOCK!. Bubble bath, Harry Connick, Jr. in the vacant-sounding other room, sunflower seeds and pretzels, magazines, and soaking up the ambiance of the incense candle burning.
I switched from Spin magazine to the CD jacket of Berlioz’s Symphonie Fantastique, Op.14.
I always used to say, ‘when I’m feeling down and want to feel worse, I listen to Symphonie Fantastique.’ You’ll read why; the symphony’s story is pasted below. Recently Matt, Mare’s Nest guitarist, and I were discussing the band’s message. The band’s theme, BTW, is inherent in the band name. I expressed my desire, especially as a non-lyricist, to portray our message musically as well as lyrically. My example, Symphonie Fantastique.
Sitting in Mr. Bubble’s warmth, I got chills rereading Berlioz’s symphony program notes. What a story… Upon first listen, the layperson will not HEAR what s/he READS. After listening to the symphony about 15 times, I’m hearing new characters/figures/ideas every time.
There are sites like http://members.aol.com/fausttiger/fantastique.html, that have cheesy midi versions of the piece. That site hyperlinks midi files amongst the writeup so one can more easily discern what Berlioz was conveying. I’m not thrilled with this synopsis, but it gives you the point:
The symphony is a piece of program music which tells the story of "an artist gifted with a lively imagination" who has "poisoned himself with opium" in the "depths of despair" because of "hopeless love." There are five movements, instead of the four movements which were conventional for symphonies at the time:
0. Rêveries - Passions (Dreams - Passions)
0. Un bal (A Ball)
0. Scène aux champs (Scene at the Country)
0. Marche au supplice (March to the Scaffold)
0. Songe d'une nuit de sabbat (Dream of a Witches' Sabbath)
[edit]
First movement: "Rêveries - Passions"
The movement is radical in its harmonic outline, building a vast arch back to the home key, which, while similar to the Sonata Form of classical composition, was taken as a departure by Parisian critics. It is here that the listener is introduced to the theme of the artist's beloved, or the idée fixe. Throughout the movement, there is a simplicity of presentation of the melody and themes, which Schumann compared to "Beethoven's epigrams", ideas which could be extended, had the composer chosen to. In part, it is because Berlioz rejected writing the very symmetrical melodies then in academic fashion, and instead looked for melodies which were, "so intense in every note, as to defy normal harmonization", as Schumann put it.
The theme itself was taken from Berlioz's scène lyrique "Herminie", composed in 1828.
[edit]
Second movement: "Un bal"
The second movement takes a rather plain waltz theme, again, derived from the idée fixe at first, and then transforming it. It is filled with running ascending and descending figures. While one critic called it "vulgar"[citation needed], the intent was to portray a single lonely soul amidst gaiety, as Berlioz wrote while composing it.
[edit]
Third movement: "Scène aux champs"
The third movement opens with the English horn and offstage oboe tossing back and forth a characteristic melody meant to evoke the horns in the mountains. The English horn represents the artist and the oboe his beloved. The melodies of these instruments represent the artist and his beloved calling back-and-forth. This intent, to evoke a spirit of the country side inhabited by, not mere rustics, but people who were one with their place is part of Romanticism and can be traced back to the ideas of such writers as Goethe. The idée fixe comes back. The movement swells to a peak, as if the artist is pushing away the idea of his beloved, the dramatic sounds fall away. The sound of distant thunder comes, in an innovative passage for four timpani players on two sets of timpani: it ends without resolution.
[edit]
Fourth movement: "Marche au supplice"
The fourth movement, which Berlioz claimed to have written in a single night (but which he actually took from an unfinished project, the opera Les Francs-juges), is filled with blaring horns and rushing passages, and scurrying figures which would later show up again in the last movement. The movement describes a dream, in which the artist is executed for killing the love of his life. It uses a grotesque version of the theme by Berlioz's extraordinary technique of orchestration, mixing string pizzicato, woodwind staccato, brass chords and a single loud stroke of percussion, forming a highly unusual series of tone colors. The scene ends with a single short fortissimo G-minor chord that represents the fatal blow: the dropping of the trap door, or perhaps the guillotine blade; the series of pizzicato notes following can be seen to represent the rolling of the severed head into the basket. Immediately prior to the musical depiction of the beheading, there is a brief, nostalgic recollection of the idée fixe in a solo clarinet, as though representing the last conscious thought of the executed man; after his death, the final nine bars of the movement contain a victorious series of tutti G major chords, seemingly intended to convey the cheering of the onlooking throng.
[edit]
Fifth movement: "Songe d'une nuit de sabbat"
The last movement, often played as a tone poem by itself, has a brooding opening, the sound of spirits marching through the graveyard. There follows, in turn, a familiar E-flat clarinet solo presenting the idée fixe as a vulgar dance tune; the call of church bells; a burlesque of a famous plainchant, the Dies Irae; and a fugue meant to represent, as Berlioz privately admitted, a giant orgy. There are a host of effects (including eerie col legno playing in the strings), from the bubbling of the witches' cauldron to the blasts of wind. The climactic finale of the symphony combines the somber Dies Irae melody with the wild fugue of the Ronde du Sabbat (Sabbath Round).
I was relaxing in the Jacuzzi tub my house came with…STOCK!. Bubble bath, Harry Connick, Jr. in the vacant-sounding other room, sunflower seeds and pretzels, magazines, and soaking up the ambiance of the incense candle burning.
I switched from Spin magazine to the CD jacket of Berlioz’s Symphonie Fantastique, Op.14.
I always used to say, ‘when I’m feeling down and want to feel worse, I listen to Symphonie Fantastique.’ You’ll read why; the symphony’s story is pasted below. Recently Matt, Mare’s Nest guitarist, and I were discussing the band’s message. The band’s theme, BTW, is inherent in the band name. I expressed my desire, especially as a non-lyricist, to portray our message musically as well as lyrically. My example, Symphonie Fantastique.
Sitting in Mr. Bubble’s warmth, I got chills rereading Berlioz’s symphony program notes. What a story… Upon first listen, the layperson will not HEAR what s/he READS. After listening to the symphony about 15 times, I’m hearing new characters/figures/ideas every time.
There are sites like http://members.aol.com/fausttiger/fantastique.html, that have cheesy midi versions of the piece. That site hyperlinks midi files amongst the writeup so one can more easily discern what Berlioz was conveying. I’m not thrilled with this synopsis, but it gives you the point:
The symphony is a piece of program music which tells the story of "an artist gifted with a lively imagination" who has "poisoned himself with opium" in the "depths of despair" because of "hopeless love." There are five movements, instead of the four movements which were conventional for symphonies at the time:
0. Rêveries - Passions (Dreams - Passions)
0. Un bal (A Ball)
0. Scène aux champs (Scene at the Country)
0. Marche au supplice (March to the Scaffold)
0. Songe d'une nuit de sabbat (Dream of a Witches' Sabbath)
[edit]
First movement: "Rêveries - Passions"
The movement is radical in its harmonic outline, building a vast arch back to the home key, which, while similar to the Sonata Form of classical composition, was taken as a departure by Parisian critics. It is here that the listener is introduced to the theme of the artist's beloved, or the idée fixe. Throughout the movement, there is a simplicity of presentation of the melody and themes, which Schumann compared to "Beethoven's epigrams", ideas which could be extended, had the composer chosen to. In part, it is because Berlioz rejected writing the very symmetrical melodies then in academic fashion, and instead looked for melodies which were, "so intense in every note, as to defy normal harmonization", as Schumann put it.
The theme itself was taken from Berlioz's scène lyrique "Herminie", composed in 1828.
[edit]
Second movement: "Un bal"
The second movement takes a rather plain waltz theme, again, derived from the idée fixe at first, and then transforming it. It is filled with running ascending and descending figures. While one critic called it "vulgar"[citation needed], the intent was to portray a single lonely soul amidst gaiety, as Berlioz wrote while composing it.
[edit]
Third movement: "Scène aux champs"
The third movement opens with the English horn and offstage oboe tossing back and forth a characteristic melody meant to evoke the horns in the mountains. The English horn represents the artist and the oboe his beloved. The melodies of these instruments represent the artist and his beloved calling back-and-forth. This intent, to evoke a spirit of the country side inhabited by, not mere rustics, but people who were one with their place is part of Romanticism and can be traced back to the ideas of such writers as Goethe. The idée fixe comes back. The movement swells to a peak, as if the artist is pushing away the idea of his beloved, the dramatic sounds fall away. The sound of distant thunder comes, in an innovative passage for four timpani players on two sets of timpani: it ends without resolution.
[edit]
Fourth movement: "Marche au supplice"
The fourth movement, which Berlioz claimed to have written in a single night (but which he actually took from an unfinished project, the opera Les Francs-juges), is filled with blaring horns and rushing passages, and scurrying figures which would later show up again in the last movement. The movement describes a dream, in which the artist is executed for killing the love of his life. It uses a grotesque version of the theme by Berlioz's extraordinary technique of orchestration, mixing string pizzicato, woodwind staccato, brass chords and a single loud stroke of percussion, forming a highly unusual series of tone colors. The scene ends with a single short fortissimo G-minor chord that represents the fatal blow: the dropping of the trap door, or perhaps the guillotine blade; the series of pizzicato notes following can be seen to represent the rolling of the severed head into the basket. Immediately prior to the musical depiction of the beheading, there is a brief, nostalgic recollection of the idée fixe in a solo clarinet, as though representing the last conscious thought of the executed man; after his death, the final nine bars of the movement contain a victorious series of tutti G major chords, seemingly intended to convey the cheering of the onlooking throng.
[edit]
Fifth movement: "Songe d'une nuit de sabbat"
The last movement, often played as a tone poem by itself, has a brooding opening, the sound of spirits marching through the graveyard. There follows, in turn, a familiar E-flat clarinet solo presenting the idée fixe as a vulgar dance tune; the call of church bells; a burlesque of a famous plainchant, the Dies Irae; and a fugue meant to represent, as Berlioz privately admitted, a giant orgy. There are a host of effects (including eerie col legno playing in the strings), from the bubbling of the witches' cauldron to the blasts of wind. The climactic finale of the symphony combines the somber Dies Irae melody with the wild fugue of the Ronde du Sabbat (Sabbath Round).
Friday, August 31, 2007
Saturday, August 18, 2007
Thursday, August 16, 2007
1.5 weeks ago, this is the bodacious bass I bought:
Spector Euro 5 LX Natural Oil Left Handed Bass Guitar
Carved Solid Alder Body (for better fundamental), a slice of walnut, and a Figured Maple Top.
Active EMG USA Pickups with Spector Active TonePump™ Circuit. TonePump active tone controls feature boost only EQ controls, and have an internal voltage doubler so one 9v battery operates them at 18v!
Legendary Spector Neck-Thru Body Design, designed for Spector by Ned Steinberger in 1977.
• Graphite Reinforced 3 Piece Rock Maple Neck, 24 Fret Rosewood Fingerboard with Spector Crown Pearl Inlays
• Gold Plated Hardware: Spector Solid Brass Bridge,Schaller Tuners and locking strap buttons
http://www.adirondackguitar.com/lefty/spector/euro5lx.htm is the stats link from Adirondack Guitar, a rock'n store with great employees.
Sunday, August 12, 2007
Tuesday, July 17, 2007
4-Square Rules:
4-Square Rules
Updated July, 2007 for Hidden Oaks Place adaptation
Overview: Four players play at once. Each player occupies his/her square. A playground ball is served to start each round of play. The ball is then hit from square to square until a player is out. When a higher square becomes available, players advance to the next sequential square.
Objective: The primary objective of the game is to have fun. The secondary objective is to advance squares or stay in square 4 as long as possible.
Rotation: Four players compete in squares numbered 1-4. When a player exits, the players in lower numbered squares move up and a new player enters in square 1. Player in square 4 decides who serves.
Serving: The server must stand with both feet behind the marked “service” line, bounce the ball and hit it underhand, with two hands, into one of the other squares.
The Gentlemen’s Serve: Is a serve that is reasonable to return and merely initiates ball into play so as to not end play on a serve. The person whose square a ball bounces in or is about to bounce in (if a Netsy is used) is the only player who may legally hit the ball.
Returns: When a ball enters a player's square, the receiver must hit the ball into another square. This may be done on the fly (called, A Netsy) or after one bounce. A player may go wherever necessary to track down and hit a ball that has bounced in their square.
Legal hits: Any part of the body may be used to hit the ball. Obvious "carries" are not allowed. In addition, the hit must form a parallel, but opposite vector to the force upon contact (perpendicular to the mean plane of the hitting surface). An exception to this rule is using Spins.
Spins: A spin may be done using one or two hands. NOTE: carries are not authorized. The ball shall travel in a similar trajectory as a hit and be in contact with a player’s hand/s for a minimal amount of time.
In-bounds objects: Except on a serve, buildings, fences, benches, trees, etc. are in-bounds objects, considered to be neutrally in play as if the ball was still in the air, and do not count as a hit, a bounce, or out-of-bounds. Sidewalks, steps, players in line, etc. are out-of-bounds. Bystanders who have little/no concept of the game are considered in-bounds objects if the ball bounces off them. If the line-standers actively get the ball before the player attempts to play it and the player is reasonably capable of hitting in bounds, a Do-Over will transpire.
Interceptions: Except on a serve, players may intercept a hit that is over another square and hit the ball into any other square except their own, as long as they do not step into another square. However, the person whose square a ball bounces in may travel anywhere to return the hit. You do not need to let the serve bounce to return it. Reasonable judgement is required to decide whose square the ball would have ended up in had it bounced before it was hit.
Saves: Players may "save" a ball that has bounced in another square and was missed by that square’s player. The ball is then hit into any square except their own. Once a player touches the ball, in this situation, the continuance of play becomes that player’s responsibility, and not the responsibility of the player in whose square the ball originally bounced in. If a player touches the ball with the intention of catching it or blocking it from rolling away at the end of play, the play is considered out-of-bounds and does not count as a save. Reasonable judgment applies.
Disputes: If disputes cannot be agreed upon by the current players, the conflict will fall on the players in line (that know 4-square). If the linees cannot decide, a Do-Over will commence. Do-Overs are not to become commonplace, but exist as only a last resort.
Lines: Exterior lines are considered part of the square. If a ball is hit on an interior line, it is the responsibility of the adjoining players to go after the play. If neither player plays the ball, the person who’s square the ball bounced mostly into, is out. If the ball hits exactly on the center juncture of lines and no one plays it, a Do-Over is in order.
Getting Out: This list is not all-inclusive. The aforementioned rules apply. A player is out if:
1) the ball hits in their own square after s/he touches it (no saving)
2) the ball is hit out-of-bounds
3) the ball bounces in his/her square and then bounces a second time in any square or out-of-bounds. There is no saving a ball that bounces out-of-bounds.
(a) Another player or on-looker may catch the ball to stop play as long as the potentially-out-player would not have reasonably been able to return the ball in play and/or doesn’t attempt to play the ball.
(b) A Save cannot be a scapegoat for another player to be out. In other words, if a player attempts to legally save another player and fails, the saver is out. Claiming the savee’s potential out as an argument for the attempted-saver to not be out - is prohibited.
4) the ball travels to an unreachable/irretrievable location due to player’s avoidable play.
Chasing the ball at the end of play: In general, the player now out shall chase the ball, although bystanders and other players may do so.
Penalties: If the ball cannot be recovered, the penalty is buying a new ball as soon as possible.
Referee: Consensus of players with a working understanding of the rules will regulate all rules. Upon dispute, the consensus of those players in line that have a working knowledge of the rules shall decide. Members of the Board of Trustee’s shall decide on disputes. In the rare event where a member of the Board of Trustee’s is not present, the first player in line will act as the referee in case of disputes. They may make one of two calls: 1) calling a player out or 2) calling for Do Overs. The referee's decision is final, but is also subject to retribution on the court in the course of play.
The Rules: ALL rules are subject to change in the name of fun. Fun is paramount in 4-square. If a proposition to maximize 4-square player’s utility is proposed, The Board will vote. 2/3 majority puts propositions into action. Game on!
Updated July, 2007 for Hidden Oaks Place adaptation
Overview: Four players play at once. Each player occupies his/her square. A playground ball is served to start each round of play. The ball is then hit from square to square until a player is out. When a higher square becomes available, players advance to the next sequential square.
Objective: The primary objective of the game is to have fun. The secondary objective is to advance squares or stay in square 4 as long as possible.
Rotation: Four players compete in squares numbered 1-4. When a player exits, the players in lower numbered squares move up and a new player enters in square 1. Player in square 4 decides who serves.
Serving: The server must stand with both feet behind the marked “service” line, bounce the ball and hit it underhand, with two hands, into one of the other squares.
The Gentlemen’s Serve: Is a serve that is reasonable to return and merely initiates ball into play so as to not end play on a serve. The person whose square a ball bounces in or is about to bounce in (if a Netsy is used) is the only player who may legally hit the ball.
Returns: When a ball enters a player's square, the receiver must hit the ball into another square. This may be done on the fly (called, A Netsy) or after one bounce. A player may go wherever necessary to track down and hit a ball that has bounced in their square.
Legal hits: Any part of the body may be used to hit the ball. Obvious "carries" are not allowed. In addition, the hit must form a parallel, but opposite vector to the force upon contact (perpendicular to the mean plane of the hitting surface). An exception to this rule is using Spins.
Spins: A spin may be done using one or two hands. NOTE: carries are not authorized. The ball shall travel in a similar trajectory as a hit and be in contact with a player’s hand/s for a minimal amount of time.
In-bounds objects: Except on a serve, buildings, fences, benches, trees, etc. are in-bounds objects, considered to be neutrally in play as if the ball was still in the air, and do not count as a hit, a bounce, or out-of-bounds. Sidewalks, steps, players in line, etc. are out-of-bounds. Bystanders who have little/no concept of the game are considered in-bounds objects if the ball bounces off them. If the line-standers actively get the ball before the player attempts to play it and the player is reasonably capable of hitting in bounds, a Do-Over will transpire.
Interceptions: Except on a serve, players may intercept a hit that is over another square and hit the ball into any other square except their own, as long as they do not step into another square. However, the person whose square a ball bounces in may travel anywhere to return the hit. You do not need to let the serve bounce to return it. Reasonable judgement is required to decide whose square the ball would have ended up in had it bounced before it was hit.
Saves: Players may "save" a ball that has bounced in another square and was missed by that square’s player. The ball is then hit into any square except their own. Once a player touches the ball, in this situation, the continuance of play becomes that player’s responsibility, and not the responsibility of the player in whose square the ball originally bounced in. If a player touches the ball with the intention of catching it or blocking it from rolling away at the end of play, the play is considered out-of-bounds and does not count as a save. Reasonable judgment applies.
Disputes: If disputes cannot be agreed upon by the current players, the conflict will fall on the players in line (that know 4-square). If the linees cannot decide, a Do-Over will commence. Do-Overs are not to become commonplace, but exist as only a last resort.
Lines: Exterior lines are considered part of the square. If a ball is hit on an interior line, it is the responsibility of the adjoining players to go after the play. If neither player plays the ball, the person who’s square the ball bounced mostly into, is out. If the ball hits exactly on the center juncture of lines and no one plays it, a Do-Over is in order.
Getting Out: This list is not all-inclusive. The aforementioned rules apply. A player is out if:
1) the ball hits in their own square after s/he touches it (no saving)
2) the ball is hit out-of-bounds
3) the ball bounces in his/her square and then bounces a second time in any square or out-of-bounds. There is no saving a ball that bounces out-of-bounds.
(a) Another player or on-looker may catch the ball to stop play as long as the potentially-out-player would not have reasonably been able to return the ball in play and/or doesn’t attempt to play the ball.
(b) A Save cannot be a scapegoat for another player to be out. In other words, if a player attempts to legally save another player and fails, the saver is out. Claiming the savee’s potential out as an argument for the attempted-saver to not be out - is prohibited.
4) the ball travels to an unreachable/irretrievable location due to player’s avoidable play.
Chasing the ball at the end of play: In general, the player now out shall chase the ball, although bystanders and other players may do so.
Penalties: If the ball cannot be recovered, the penalty is buying a new ball as soon as possible.
Referee: Consensus of players with a working understanding of the rules will regulate all rules. Upon dispute, the consensus of those players in line that have a working knowledge of the rules shall decide. Members of the Board of Trustee’s shall decide on disputes. In the rare event where a member of the Board of Trustee’s is not present, the first player in line will act as the referee in case of disputes. They may make one of two calls: 1) calling a player out or 2) calling for Do Overs. The referee's decision is final, but is also subject to retribution on the court in the course of play.
The Rules: ALL rules are subject to change in the name of fun. Fun is paramount in 4-square. If a proposition to maximize 4-square player’s utility is proposed, The Board will vote. 2/3 majority puts propositions into action. Game on!
Friday, June 01, 2007
Thursday, May 31, 2007
This island (Greater Inagua, where we're deployed) makes for some interesting photography:
I liked the wood/block dams. I didn't like the polution. I liked the irony of the sign. This place is really removed from town. I got chansed by the same dog as a few days ago. Here, I'm most safe in the air, not the sea or land.
Tuesday, May 29, 2007
Spear fishing again today:
I saw, in this order, a barracuda, a turtle, a nurse shark, and a stingray. I didn’t particularly like any of them. They all seemed mean... except maybe the turtle. But that turtle was fast; we had all we could do to keep up. I had to hydrodraft off the rescue swimmer I was fishing with. And I just made up the word, ‘hydrodraft.’
Sunday, May 27, 2007
Saturday, May 26, 2007
Thursday, May 24, 2007
Sunday, May 20, 2007
Monday, May 14, 2007
Saturday, April 28, 2007
New Machine:
13-inch: White
MacBook
2.0GHz Intel Core 2 Duo
4MB shared L2 cache
1GB (two SODIMMs)
Option: Up to 2GB
80GB Serial ATA, 5400rpm
Option: Up to 200GB, 4200rpm
6x double-layer SuperDrive (DVD+R DL/DVD±RW/CD-RW)
Built-in iSight camera
Mini-DVI video out with support for DVI, VGA, S-video, and composite video output via adapters (sold separately)
Combined optical digital/headphone out, combined optical digital/audio line in, microphone, speakers
Battery life Up to 6 hours
5.2 pounds
2.36 kg
...and Military gets Microsoft Office for the cost of s&h!
MacBook
2.0GHz Intel Core 2 Duo
4MB shared L2 cache
1GB (two SODIMMs)
Option: Up to 2GB
80GB Serial ATA, 5400rpm
Option: Up to 200GB, 4200rpm
6x double-layer SuperDrive (DVD+R DL/DVD±RW/CD-RW)
Built-in iSight camera
Mini-DVI video out with support for DVI, VGA, S-video, and composite video output via adapters (sold separately)
Combined optical digital/headphone out, combined optical digital/audio line in, microphone, speakers
Battery life Up to 6 hours
5.2 pounds
2.36 kg
...and Military gets Microsoft Office for the cost of s&h!
Wednesday, April 25, 2007
J. S. Bach has confused me again!:
What is the difference between ‘Cantata No. 29, “We Thank Thee Lord”' and 'Partita No. 3?' I've been familiar with the Cantata for a while now, as it's my favorite in Michael Murry's 'Bach Organ Blaster' CD. I'm on duty at 3:20AM listening to my new Bela Fleck classical disc confused at the title of the same tune being different from that of the Murry CD.
?!
?!
Monday, April 16, 2007
Saturday, March 31, 2007
I am diving:
http://www.tamug.edu/cavebiology/Bahamas/caves/GuardianBlueHole.html here today. Interesting how there is a fresh/salt water spread.
Saturday, February 24, 2007
I had to make a CD for one of the new bands I'm in of what music influences me. Primus will always be my favorite band. Here's the list:
The Toadies ‘Away’
Alice In Chains ‘Don’t Follow’
The Darkness ‘I Believe In a Thing Called Love’
Blinker The Star ‘Pretty Pictures’
Keller Williams ‘Gate Crashers Suck’
Frankie Vallie & the Four Seasons ‘Opus 17 (Don't You Worry 'Bout Me)’
Scarface ‘My Block’
Jazz CD ‘Track 1’
The Toadies ‘You’ll Come Down’
Mr. Bungle ‘Merry Go Bye Bye/Nothing’
Mr. Bungle ‘Retrovertigo’
Pantera ‘Revolution is My Name’
The Moody Blues ‘Lean On Me (Tonight)’
Mr. Bungle ‘The Girls of Porn’
Crack Sabboth ‘Bar Slut’
Cake ‘Dime’
The Beatles ‘Don’t Let Me Down’
Creedence Clearwater Revival ‘Who’ll Stop The Rain’
Bach ‘Cantata No. 29, “We Thank Thee Lord”’
Faith No More ‘A Small Victory’
Primus ‘Tommy The Cat’
The Roots ‘Seed 2.0’
Tower of Power ‘So Very Hard To Go’
Ted Leo & The Pharmacists ‘Me and Mia’
Ted Leo & The Pharmacists ‘The Angels’ Share’
Ted Leo & The Pharmacists ‘Timorous Me’
Ted Leo & The Pharmacists ‘Counting Down the Hours’
Ted Leo & The Pharmacists ‘The Sword In The Stone’
Jimmy Chamberlin Complex ‘Streetcrawler’
The Dillinger Escape Plan ‘When Good Dogs Do Bad Things’
The Dillinger Escape Plan ‘43% Burnt’
The Dillinger Escape Plan ‘Pig Latin’
The Dillinger Escape Plan ‘Sunshine The Werewolf’
Louis Armstrong ‘What a Wonderful World’
The Mars Volta ‘L’Via L’Viaquez
The Killers ‘All These Things That I’ve Done’
The Mighty Mighty Bosstones ‘Almost Anything Goes’
Phil Collins ‘This Is The World We Live In’
Bela Fleck & the Flecktones ‘New South Africa’
Bela Fleck & the Flecktones ‘Sunset Road’
Alice In Chains ‘Don’t Follow’
The Darkness ‘I Believe In a Thing Called Love’
Blinker The Star ‘Pretty Pictures’
Keller Williams ‘Gate Crashers Suck’
Frankie Vallie & the Four Seasons ‘Opus 17 (Don't You Worry 'Bout Me)’
Scarface ‘My Block’
Jazz CD ‘Track 1’
The Toadies ‘You’ll Come Down’
Mr. Bungle ‘Merry Go Bye Bye/Nothing’
Mr. Bungle ‘Retrovertigo’
Pantera ‘Revolution is My Name’
The Moody Blues ‘Lean On Me (Tonight)’
Mr. Bungle ‘The Girls of Porn’
Crack Sabboth ‘Bar Slut’
Cake ‘Dime’
The Beatles ‘Don’t Let Me Down’
Creedence Clearwater Revival ‘Who’ll Stop The Rain’
Bach ‘Cantata No. 29, “We Thank Thee Lord”’
Faith No More ‘A Small Victory’
Primus ‘Tommy The Cat’
The Roots ‘Seed 2.0’
Tower of Power ‘So Very Hard To Go’
Ted Leo & The Pharmacists ‘Me and Mia’
Ted Leo & The Pharmacists ‘The Angels’ Share’
Ted Leo & The Pharmacists ‘Timorous Me’
Ted Leo & The Pharmacists ‘Counting Down the Hours’
Ted Leo & The Pharmacists ‘The Sword In The Stone’
Jimmy Chamberlin Complex ‘Streetcrawler’
The Dillinger Escape Plan ‘When Good Dogs Do Bad Things’
The Dillinger Escape Plan ‘43% Burnt’
The Dillinger Escape Plan ‘Pig Latin’
The Dillinger Escape Plan ‘Sunshine The Werewolf’
Louis Armstrong ‘What a Wonderful World’
The Mars Volta ‘L’Via L’Viaquez
The Killers ‘All These Things That I’ve Done’
The Mighty Mighty Bosstones ‘Almost Anything Goes’
Phil Collins ‘This Is The World We Live In’
Bela Fleck & the Flecktones ‘New South Africa’
Bela Fleck & the Flecktones ‘Sunset Road’
Friday, February 09, 2007
Thursday, February 01, 2007
Perspective:
A while back, my neighbor and I were BMXing around. One of these noisy buggers flew overhead and I groaned how living so close to the AirStation, I can never escape work - through the sheer volume of the aircraft. He didn't let me get too much more out as he, at the time, hated his office-occupying job. 
Excellent perspective; I love my job and it's different every day. This picture, this is my office and I have no complaints.
You get the gold star if you can name this city.
Wednesday, January 31, 2007
It's been 2 years
(and a day) since I intoxicated myself. I'm feeling proud. This past year has been different than the first year. I originally quit as somewhat of an experiment. I figured I'd drink a toast of champagne at weddings, or wine at communion, etc. Special occasions drinking.
I've since had a change of heart and became more strict with myself. In the words of George Thorogood, 'Do it right or don't do it at all!'
Big whoop.
I've since had a change of heart and became more strict with myself. In the words of George Thorogood, 'Do it right or don't do it at all!'
Big whoop.
Sunday, January 28, 2007
You remember me saying:
how much I couldn't wait to get back in the Coast Guard command out of flight school. Well, I adore this job.
I'm on duty at a desk right now, which normally stinks. I do, however, get to listen to one of our C-130's and H-60's practice formation flight over UHF. I'm kicking myself for not volunteering but listening in fun too. For us Coasties, formation flights are a rarity but they’re flying it today for a memorial service.
It’s pretty sweet that they’re matching air speeds and giving a good showing. Both aircraft are really loud.
I'm on duty at a desk right now, which normally stinks. I do, however, get to listen to one of our C-130's and H-60's practice formation flight over UHF. I'm kicking myself for not volunteering but listening in fun too. For us Coasties, formation flights are a rarity but they’re flying it today for a memorial service.
It’s pretty sweet that they’re matching air speeds and giving a good showing. Both aircraft are really loud.
Friday, January 26, 2007
Daily annoyances:
I'm just glad I figured out how to post pictures again. The new, and much better, blogger format had the best of me...
This sink sucks. It's at work. Please conduct a brief survey of the sink setup. Notice: the soap's on the left. The hot handle is all the way in the what-would-appear-to-be the open position (NAY!). The cold handle looks promising (ALSO NAY; doesn't work). Think, how would you wash your hands here? Yes, you'd use your left hand to get foam soap (just about the only good
thing in this hand-washing experience) and then probably just use the cold water since the hot handle looks effed. You'd then find that no water comes out. Discouraged, you'd go for the hot water. Of course you'd want to use your left hand for that handle but if you did so, you'd get soap all over the handle. So alas, you're stuck reaching for the left handle with your right hand. This is tedious and annoying because it's a huge-ass handicapped sink. Not only are you peeved that you had to reach across, but now your sleeve and entire right arm gets soaked from the hot-ass water stream that surprised you with its Niagra-force.
Lastly, there are no paper towels in this stall 90% of the time.
AH-nnoying!
This sink sucks. It's at work. Please conduct a brief survey of the sink setup. Notice: the soap's on the left. The hot handle is all the way in the what-would-appear-to-be the open position (NAY!). The cold handle looks promising (ALSO NAY; doesn't work). Think, how would you wash your hands here? Yes, you'd use your left hand to get foam soap (just about the only good
thing in this hand-washing experience) and then probably just use the cold water since the hot handle looks effed. You'd then find that no water comes out. Discouraged, you'd go for the hot water. Of course you'd want to use your left hand for that handle but if you did so, you'd get soap all over the handle. So alas, you're stuck reaching for the left handle with your right hand. This is tedious and annoying because it's a huge-ass handicapped sink. Not only are you peeved that you had to reach across, but now your sleeve and entire right arm gets soaked from the hot-ass water stream that surprised you with its Niagra-force. Lastly, there are no paper towels in this stall 90% of the time.
AH-nnoying!
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