Book Review: Daily Rituals

Daily Rituals is a superficial book, a collection of “facts” with little analysis or synergy of its constituent parts. Mason Currey says so right in the introduction, so we know the author’s intent right away.

There is no illusion that what Currey is about to present is somehow a compilation of how to’s and instructions for creating. But, regardless of the author’s goals, to walk away from Daily Rituals without at least a few themes is impossible. Here are some.

Art and routine go hand in hand. Even avoiding routine is in some way its own routine. Have you ever tried not doing the same thing two days in a row? Each day? It’s difficult, perhaps harder even then simply settling into a comfortable cadence. The instability of non-routine produces its own set results. Finding a routine quickly becomes its own strange ritual and as Nicholson Baker put it:

…the most useful thing is to have one that feels new. It can almost be arbitrary… there’s something to just the excitement of coming up with a slightly different routine.

At its core, art is craft. Steven Pressfield says the same in The War of Art and Stephen King agrees in On Writing. Daily Rituals overflows with tales of creatives who get up and get to work using the tools they have to do what they know. Good or bad they do the work. Currey’s collection goes a long way in dispelling the myth and mysticism of creation. Artists are working stiffs like the rest of us. They clock in and they clock out. When the mist evaporates, whats left is you, your circumstances and what you make of them. Tolstoy had thirteen kids and wrote War and Peace. Stephen King wrote most of his first novels in a laundry room. What are you doing with your time and circumstance?

Your ritual is itself a creation. The individual routines of Currey’s subjects range from the mundane (Hemingway) to the eccentric (David Lynch and Andy Warhol). Thinking about how you work best is work. The process of creation is a creation, some kind of feedback loop that you experiment with, exploit or erase and start over. Different routines beget different results. Like creative constraints, your routine sets boundaries. You create your unique time and your unique environment; your results will be similarly unique.

So, as a collection of mundane facts about creatives and their daily work, Currey’s work is a success. Its not a rulebook, and its only inspirational if you let it free you to create your own routine (or non-routine). Currey strategically ends Daily Rituals with a quote from Bernand Malamud:

There’s no one way…You are who you are, not Fitzgerald or Thomas Wolfe. You write by sitting down and writing. There’s no particular time of place…How one works, assuming he’s disciplined, doesn’t matter. If he or she is not disciplined, no sympathetic magic will help… Eventually everyone learns his or her own best way. The real mystery to crack is you.

Instagram Gets Surreal

A year ago on a trip to NYC I had the chance to view a piece of art by Jason Salavon that averaged portraits together into one portrait. The results are uncanny. A portrait is so predictable that the shape of the objects and negative space of the painting are so obviously a portrait that even expressed as the average of several it still reads as a portrait. Its as though you took off your glasses and stood far enough away that the face simply became blurred. Salavon has similar works, such as the average of Every Playboy Centerfold, and 100 Special Moments. Kids with Santa is particularly cool:

Kids With Santa

Salavon’s work inspired me to create something similar.

Instagram receives thousands of photographs a day. They’re liked, and some become very popular. Enough so that they hit the ‘most popular’ page on Instagram. I asked, what does the average ‘most popular’ Instagram photo look like? I started by using my client key to download a group of them and average it up with ImageJ. I quickly realized that the most popular list changes. Frequently.

To truly capture what the average most popular photograph on instagram looks like it must be done realtime, at the request of the user and in the moment. I wanted to try some client-side image-processing with Javascript so I set out to create a beautiful time-waster that would allow a user to get the most recent popular photographs on instagram, choose a blend mode, and see the average photo right now. The result was Surrealgram:

Screen Shot 2013-09-30 at 10.48.40 PM

Surrealgram uses my forks of some existing software, like Pixastic and connect-image-proxy, along with a jquery-mobile and backbone interface, with a super-slim node.js backend to handle proxied image requests (until Instagram supports CORS). Technology selection followed the sacred rule of “this is what I want to play with right now”. Using it is simple:

Go to

The latest ‘most popular’ photos will load automatically. Check out the result.

To get the latest photographs, click ‘Refresh’

To change the blend options, click the toolbar in the top right-hand corner.


You can adjust the blend mode, amount, and number of pictures.


16 is currently the max, but I’m working to get that up without angering the instagram infrastructure.

Save your photo. This can unfortunately only be done on a desktop browser for now.

It was a few hours of work, but its become and addiction to play with. Check out some of my surrealgrams:




I have some additional features planned if I can find the time to implement them:

  1. Share to Facebook, Twitter, Tumblr, blah blah blah.
  2. Allow users to search by hashtag
  3. More pictures!

The code is under active revision, you can find it here

Keep Your Eyes on Your Keyboard

I recently read Accidental Genius by Mark Levy. I did so begrudgingly; I usually don’t go for books that promise to unlock the power of my mind through special techniques. I’m glad that I could put aside my stubbornness because the book contained a wealth of advice on tapping into ideas that you may not even be aware you had.

Accidental Genius advocates a practice called freewriting. Freewriting is just timed bouts of word excess. Sit down with pen and paper, or your favorite full screen editor, and go to town. Don’t think, write. This seems counter-intuitive until you understand that writing is thinking. By turning your hands into your own personal dictation device you engage that part of the brain the controls motor neurons freeing your mind to wander into deeper recesses.

I’ve been doing this to some extent intuitively for years. I first started “journaling” a few years back based on the 750 words meme that rolled over the internet. It advocated writing 750 words a day. Didn’t matter what they were, observations, stories, thoughts, feelings, etc. Just get it all out on paper. I figured if it works for Hemingway it will work for me. Every night for months on end I did this as a means of “brain-dumping”; just get it all out on paper. You can come back later and edit it into something worthwhile if you want…or don’t.

Think of it as making bread. You knead your brain with these 750 words or freewriting sessions, forming new connections between synapses you didn’t even know were there. After you knead and rest your dough (mind) for a while, you can come back and form your thoughts into rolls suitable for baking and serving.

One tip of my own to add:

Keep your eyes on your keyboard

Mavis Beacon will of course disagree, but I’m not trying to teach you QWERTY typing. The act of writing is different than the act of editing. When you write do it with reckless abandon. Ignore punctuation, spelling and typing mistakes. When you look at your screen your internal editor is watching what you put on the page, backspacing, deleting, correcting and moving forward. Backtracking into an idea to correct something as minuscule as a dropped comma forces your brain into the parallel tasks of writing and editing at the same time.

Try This:

Write stream-of-conscious for 5 minutes while looking at your screen. Do what you normally would, correct your errors and keep going.

Then Try this:

Write for 5 minutes looking at your keyboard. You may have made a typo back there or forgotten to type a comma but who the hell cares, your typing at the speed of your brain and not your stupid fingers. Just write, you can come back and clean it up later.

Now Compare

Did you write more in the latter 5 minutes than the former? I always do and I always end up with more usable material than when I edit as I go. Separating the acts of writing and editing is the most important lesson I learned from Accidental Genius.

In the past six months I’ve spent less time dumping my brain on the page, but with the kick start from Accidental Genius I think I’ll start the practice up again with more regularity and include some of the tips and prompts from the book.

Coffee Roasting: Build or Buy?

For the last five years I’ve been roasting coffee in this:

I got 5 years out of my old machine, the Frankenstein Turbo Crazy, home grown of course

My Frankenstein Turbo Crazy.

But alas, after five years of operating “outside of normal temperature ranges”, this happened:

Before this happened. Half a decade of operating "outside of normal temperatures" melted the convection heater...

It seems that convection ovens weren’t meant to have their temperature limiters removed and run for hours on end. The handle, which controls the reed switch to turn the heating unit off and on, melted right off the base.

I knew this would happen someday, and I had planned to build another machine with a leaf blower and a commercial heating element, with robot arms and a positron brain. Alas, the unhappy melting happened right in the middle of rebuilding a fence, writing a bunch of software and getting through several releases at the office. I was posed with the classic question all technology households are posed with: build or buy?

A guy has got to have his home-roasted morning brew. I made a rash decision. I ordered one of these:

The Muller House gets a new coffee roaster

A GeneCafe from Sweet Maria’s.

After a week of waiting the GeneCafe finally arrived so after fulfilling my daily obligations I came home and took it for a test run on some Rwanda NKanka Kinyaga. In Benjamin Franklin style, here is how five years of DIY roaster technology stacks up to the commercial grade:

GeneCafe Frankenstein
  • Configurable Temperature
  • Configurable Time
  • Integrated cooling unit
  • Excellent chaff removal
  • Single unit
  • Easy to clean (so far)
  • Very even roast
  • Requires less monitoring
  • No coasting
  • Extremely high temperatures
  • Infinitely configurable
  • Very low cost
  • Long coast time
  • Small batch size
  • Long roast/cool times
  • Temperature
  • Very high coast
  • No integrated cooling unit; long cooling times
  • Requires constant monitoring
  • Occasionally uneven roasts
  • Poor chaff removal

The verdict. After the initial two test runs I’ll give the win to the GeneCafe. If only for the sweet analoguish knobs. We’ll see how it holds up after half a decade.

What’s the plan for my beleaguered Frankenstein Turbo Crazy? Well, I’ve always wanted an outdoor water heater…

Update: The coasting issue I complained about previously is no longer a problem. Seems I just needed to read the instructions…

Seven Languages in Seven Weeks

Think about the way you think. Think about that thought, and this one. Did you think using words? Did you see the words? Sound them out mentally? If someone asked you describe yourself, you would probably think of a series of adjectives (at least if you’re an English speaker).

We think via language, spoken or written. It’s the source of our intelligence and in some ways the root of our consciousness. Helen Keller is quoted with communicating that:

When I learned the meaning of ‘I’ and ‘me’ and found that I was something, I began to think. Then consciousness first existed for me

The languages you learn are the languages you express yourself with. They mold the way that you think about things and create who you are within your own mind. I’ve written about this before and it’s not an entirely new concept.

Recently I’ve gone to great lengths to change the way I think. Finding new ways to solve problems, especially software problems, often involves learning new languages, syntaxes or paradigms. You can force Java or C to do just about anything, just as you can force the English language to describe just about anything, but it might be that by using Java instead of Haskell, you’re using the wrong tool for the job.

I wanted to expose myself to a breadth of different software paradigms in as little time as possible. Rather than reading dozens of tutorials, or poring through hundreds of pages of reference manuals to get maximum exposure, I bought a book I called Seven Languages in Seven Weeks. Packed into this dense little tome is an overview of seven syntaxes from different families and programming paradigms.


The book begins with Ruby. It’s a fairly common syntax and I considered skipping this chapter. Indeed, with the relative ubiquity of the language I wondered why it had been included at all. In the spirit of playing along with the author I read through the sections and did the exercises as described. It turned out to be a good idea; some of the concepts around using method_missing as a DSL generator I had never put into practice.

From a comfort standpoint starting with a language you’re familiar with is also a bit like reading the introduction to a Latin grammar text book in English. I know the language and therefore the author can present his approach to me with words I can understand before I try to make my way through the rest of his presentation.

Speaking of presentation, Tate clearly has a grasp of basic pedagogy. From the beginning he uses a mneumonic device to help the reader put a face to the chapter and the methodology. For Tate, every language is like a character in a movie. They have their own personalities; something that makes them unique within the dozens of lexical environments out there. For Ruby it’s Mary Poppins. You know, syntactical sugar. Get it.


After Ruby Tate introduces a language I had never heard of, Io. Just try searching for information about this little language on the web. You won’t exactly find the throbbing community that surrounds java or ruby to back you up. No, if you choose to use Io to solve something new, you’ll likely find yourself in uncharted terrority. Not necessarily a bad thing if your approach to the text is to learn new ways to think.

A prototype language, Io is described by Tate as Ferris Bueller. In use I got the distinct impression that Io was heavily influenced by Smalltalk; everything you send is a message, and their are nothing but senders and receivers of messages. Method or function? Not really, there are ‘slots’ with message handlers. Can they be construed as the same thing, abstractly yes, but that is to avoid thinking in a way that make the language unique. Sending messages between objects is a powerful concept, and will help you better understand Objective-C and Smalltalk.

Using Io feels a bit like working in JavaScript, the only other prototype language I have any experience with. The concurrency framework is dead simple and provides the reader with a taste of things to come from languages like Scala and Closure. In fact, the actor framework in Io is so simple and impressive it feels like a great environment in which to teach concepts of asynchronous behavior and concurrent development.


After Io we get to Prolog, the most frustrating language paradigm for me to grasp in the book. Tate says Prolog is like Rainman. That must make me Tom Cruise.

The logic programming paradigm was at once the most fascinating and frustrating for me to study. At first I was enthralled. A language that I can plug values into and simply query against to get the answer like a super-powered database? Sign me up. I immediately found myself fighting the syntax. It took me some time to grasp the recursive nature of the language as well; no looping structures.

Solving the sudoku problem at the end is the best example of the power of Prolog and languages like it. Reducing a game to a couple of line of syntax, injecting the rules and simply asking questions is a beautiful way to solve many of the problems modern engineers are presented with …if Rainman doesnt drive you nuts along the way.


With Scala we take a detour back to familiar territory. Scala is the first variant on the java language I’d had the opportunity to use, so when I began the chapter I had some exposure to it. Most of the concepts in this language sunk right in.

Tate says we can think of Scala as Edward Scissorhands. He is the construction of spare parts and a lot of paradigms that already exist. I prefer to think of Scala as MacGuyver; It can do pretty much anything in a pinch. Scala was a comfortable environment to take a break in for a while. It sports functional programming paradigms like higher-order functions, while retaining many imperative concepts held over from C-based languages. Its also completely interoperable with Java, so all of those libraries we’ve grown attached to like joda and jsyn can be reused in the same lexical environment.

For concurrency Scala provides an actor system, much like Io. Tate clearly planned the book to address concurrency in a methodical way, first by introducing simple examples with Io, then advancing to Scala before diving headlong into the deep waters of Erlang and Clojure.


Things get uncomfortable again as Tate introduces erlang. From the get go Erlang baffled me, and when it was revealed that it was modeled after Prolog, I understood why. The only language compared to an antagonist in a movie, Tate describes Erlang as Agent Smith from the Matrix. Tate says that this is due to the self-replicating capabilities of Agent Smith in relation to the fail-safes built into Erlang, allowing the user to build highly fault tolerant concurrent systems that “just won’t die”. I think it’s because Erlang is evil.

Erlang is clearly very powerful, so as with Prolog I struggled through the examples and problem sets. I still don’t feel like I fully grasp how to do anything useful with it. Of the languages in the book, I feel like this is the one I need to spend the most time with to really understand.


Next we get a lisp. Clojure, a language fully compatible with the jvm is a lisp not at all unlike Scheme, minus a few parentheses. For Tate this language is like Yoda, no doubt due to the “reverse” notation of the arguments and the “inside-outness” of the code construction, at least compared to C.

Surprisingly, I took right to it. Of the new lexical environments this felt the most comfortable, but then, I’ve played with emacs a bit. The concurrency framework is not at all unlike scala with some notable additions. The concept of STM was awkward at first, but after fiddling with it for a while I was comfortable producing usable code.

The interoperability with Java is another major benefit to using Clojure. For Dijkstra’s Sleeping Barber problem, rather than struggle through writing a queue from scratch, I just borrowed the existing Java LinkedBlockingQueue, cranking up one actor to poll it, and another to deliver to it:

In just under 1000 parentheses the barbershop problem was solved. The wrapper around it is unnecessary, but then the whole solution is a little bit wordy for Clojure.


Impressed as I was with Clojure, it was time to study the final language in the book, Haskell. I originally selected the book based on the inclusion of Haskell. For some time now I’ve wanted to take a crack at this pure functional, almost entirely mathematical language.

Compared with the ever logical Spock, I’m still dazzled by Haskell. Having read the chapter and gone through the exercises, I feel like I’ve only scratched the surface of what it can do. It’s unofficial tag is that it makes hard things easy, and easy things hard. That ain’t no lie. Try reading a file with it. Do something simple, like open a socket. I feels like pulling teeth. Now go write a Fibonacci solver. Chances are you’ll have cooked up something that can’t be done as succinctly or quickly as Haskell can do it. Of all the languages in the book, this is the one I intend to dig the deepest with.


When learning anything, I generally feel like a breadth-first overview is the best method of getting started. When learning new ways to think, this breadth-first search seems even more important. Get all your options on the table, see what’s been discovered before deciding how to tackle the problem. Selecting a strategy to go deeper with is a decision that can always be deferred until you know what your strategies are (Of course, you can only defer for so long before you just need to make a damned decision based on what you already know).

The real value of Seven Languages is that it provides this kind of breadth-first overview. You may know Java or C already. That’s great. What else is out there? What can a language like Io make easy? Clojure will help you understand lisp. Haskell will help you understand any functional and improve your understanding of modern math. Scala will let you build damn near anything.

Tate’s progression makes a lot of sense as well. If I was creating a curriculum to prepare a developer for the real world, I would start a youngster out with something like Ruby. This is an obvious ramp into Java and C. Then I might introduce something like Io to explain prototype languages and concurrency in a simple way. This is an step towards a better understanding of both Javascript and Objective-C. Then I might start them on Scala. It’s maximum exposure to as many concepts as possible. From scala, Learning a functional language is made easier if the programmer has been using Scala’s higher-order stuff like fold and map, and is used to immutable variables. Tate’s text provides a decent way to do all of this, introducing a young developer not only to the syntaxes but to paradigms that are broad enough provide insight to damn near any language out there.

If you’re interested in seeing my solutions to the exercises and problem sets, you can find them here. I learned a lot along the way, and I think I achieved the goal I had set out to achieve: Learning new ways to think.

Be Careful With your Redis BitSets and Java

Fast, easy, realtime metrics using Redis Bitmaps

A while back a popular article hit Hacker News. Written by the guys over at Spool, it contained a slick methodology for storing metrics such as user logins per day, song plays by user, etc using using Redis BitSets.

How about a basic example. When a user logs in, set a bit in a bitset at the location of that user’s ID number. If you have a bitset allocated for each day, you can tell for any given day how many users logged in by looking at the cardinality of the bitset. Want to see if a particular user logged in on a particular day? Just check the location in the bitset for that user’s ID for the day in question for a 1 value. You can also perform more advanced logging, taking the union of multiple sets, or the disunion, to determine various statistics.

The theory behind it is simple and sound. It’s faster than hitting an RDBMS for values that are binary in nature, and the ability to apply basic set theory to your bitsets to analyze your metrics is quite powerful.

I began to use this method and the code examples on the Spool blog to create metrics in a variety of systems, not to mention create silly stuff like prime number tables. It only took a few implementations to realize that the code examples, taken at face value, don’t really work.

The Problem with BitSet.valueOf() and BitSet.toByteArray()

The heart of the problem lies in the output of Java’s default BitSet.valueOf() method. Here is one of the examples on the page:

import redis.clients.jedis.Jedis;
import java.util.BitSet;
  Jedis redis = new Jedis("localhost");
  public int uniqueCount(String action, String... dates) {
    BitSet all = new BitSet();
    for (String date : dates) {
      String key = action + ":" + date;
      BitSet users = BitSet.valueOf(redis.get(key.getBytes()));
    return all.cardinality();
If you use the Jedis setbit method to set all of your individual bits, then read the entire set out with BitSet.valueOf(), Java reads the bytes as though they were right to left, whereas Redis stores the values in a straight line. Left to right. The bit sex, as it is called, is reversed in this case, and you can’t possibly get an accurate bitset out of Redis if you retrieve it and convert it using plain ol’ BitSet.valueOf(). You have to have a ‘tweener method to flip the bit sex for you.

You might also think, though it isn’t in the examples, that simply performing a BitSet.toByteArray() would create a byte array appropriate for storage in Redis to be read back via redis.getbit(); Not so. Java uses its native byte order for each call. This confuses things greatly, because if you set the bitset using BitSet.toByteArray() and read it back using BitSet.valueOf(), everything looks correct. Try to read a bit out of this array and be prepared for a surprise.

Some helper methods to get you through…

I reported this to the guys over at Jedis and they are considering adding some helper methods in their Redis client to alleviate this.

Until then, you can use the helper methods that the guys at Jedis and myself created to get you through.

To get a BitSet out:

public static BitSet fromByteArrayReverse(final byte[] bytes) {
        final BitSet bits = new BitSet();
        for (int i = 0; i <; bytes.length * 8; i++) {
            if ((bytes[i / 8] &amp; (1 <;<; (7 - (i % 8)))) != 0) {
        return bits;

To put a BitSet in:

public static byte[] toByteArrayReverse(final BitSet bits) {
        final byte[] bytes = new byte[bits.length() / 8 + 1];
        for (int i = 0; i <; bits.length(); i++) {
            if (bits.get(i)) {
                final int value = bytes[i / 8] | (1 <;<; (7 - (i % 8)));
                bytes[i / 8] = (byte) value;
        return bytes;

And you can see the gist I created to read bytes out and put bytes in, retaining the integrity both ways, and show how things do and don’t work:

You can run that locally to get something like a code story…

So, whether or not the guys over at Spool have an unfortunately named helper method that looks exactly like the native Java one, or use some other methodology to maintain bit order in their bitsets I can’t say. It goes without saying that you should check and double-check any ol’ method you pull off the streets.

A Big Day In Banos

We met Franco El Blanco in the lobby at 4:30 AM. After a few checks to make sure we had everything we needed Frank introduced us to our ride. It seemed that Cary and I couldn’t escape from Ecudar’s two primary modes of transportation: buses and single cab trucks. Cary rode up front, three across with Frank and our driver; I just hopped in the back.

Luckily, the baths were just a short ride away. Situated just north of town, Termas El Salado are a bit newer than most of the other local baths, owing to the fact that they were completely destroyed by a volcanic eruption in 1997. Rebuilt on it’s ashes, you can see the remains of the former site if you look closely at the surroundings.

“We can have a nice soak if we get there at opening time, before the the crowds.” Frank told us.

In America only a few events can illicit a crowd at 5AM. A new Harry Potter book. An iPhone release. In Ecuador, the daily opening of the baths during Carnival in Banos is equivalent. When we arrived the hot pool’s slurry of yellow sulphur and tan-skinned inhabitants was already beginning to look like human soup. The two warm pools were filled with children on flotation devices. Only the cold pool was left alone, save for the occasional contrast bather passing from take a quick dip to cool off.

We hung out for a while, moving from pool to pool to try them out. I did some contrast bathing myself. When I get back I’ll have to engineer a way to do this at home. An hour later when we left the sun was rising and so were the real bath-goers; we walked out passing a line of latecomers who cared very little about beating the crowd. After a quick breakfast at the Hostal we headed out for our next event: Canyoning.

UntitledCanyoning is simple. You hike to the edge of a cliff, attach some ropes to yourself and rappel down. Then you find another cliff and do it again. Think of it as the opposite of climbing (though you have to do some of that to get to the cliffs). In Banos, canyoning usually meant descending into the canyons created by the many waterfalls.

We met up with a group, donned our wet suits harnesses and performed our first descent. It was little more than a practice round to get us started. Our second drop consisted of being dropped off a sheer cliff into the mouth of a roaring cascade. It was fun, but so far the guides were doing all the work. I was beginning to wonder if they knew that Cary and I weren’t exactly amateurs at this. We took a long hike out of the canyon and met up as a group close to where we started.

“Ok, now we go to the next waterfall.” Announced Jonny, one of our guides.

At this point the rest of our group descended the hill off into the morning, while Cary and I climbed even higher with Jonny to another waterfall. This is where we got to do a couple of real drops into waterfalls with a little movement. We made a few more descents, then thoroughly soaked called it a morning on canyoning. We headed back into Banos to get cleaned up, grab a quick lunch and head off for our next little adventure: Cycling on the narrow, bus-filled roads of Ecuador.

Ecuador2-606Las Rutas de Cascadas, or the Route of the Waterfalls, is a cycling path from the city of Banos to nearby Puyo. You ride out of Banos on the main highway heading East and along the way pass eleven or so waterfalls.

Cary and I didn’t intend to make the entire ride to Puyo, which usually takes a day. We instead rode out assuming we’d stop about halfway. In what became another adventure in “Cary and Grant Don’t Know What The Hell They’re Doing”, we pedaled out of town with little more than a vague photocopy of a map that sort of showed you where to go. After riding a few miles without seeing any cascades, it became obvious that our map wasn’t to scale.

Yet we rode on into the waning afternoon sun, eventually stopping at our first waterfall, which was a roadside attraction equivalent to Rock City. There were food vendors everywhere. A zip line ran from one cliff launching tourists headfirst over the deep valley to the other side. There was also a tarabina, or cable car, for the less adventurous. We watched a few of the zipliners superman over the cut in the Andes before jumping on our bikes and heading on.

As we made the route, we passed several of these tarabina pitstops at each waterfall. I noticed several derelict and rusted out tarabinas, indicators of a tourist boom the area couldn’t sustain, perhaps even remnants of the country’s economic bust a decade prior. Ecuador2-609

There are other attractions along the way. Much of the local power is generated from a small hydro plant nearby, and the ride across the bridge provides a view in the maw of the dam. There are several tunnels, though only one that cyclists are allowed to pedal through. After two dozen buses pass you by at an ear’s breadth, the sparsely populated detours around the tunnels are a welcome retreat from the stress of riding on main road. Small towns dot the route, where other tourist industries have found a foothold. In one town visitors can bungee jump from the bridge into one of the canyons. Cary and I rode past, tempted but not enough to risk a trip to the hospital in Ecuador.

Side Note – Healthcare in Ecuador: Frank informed us that for an Ecuadorian, healthcare is quite expensive. A trip to the local clinic costs $30, and in a country where a couple hundred a month is the living wage, that’s a big chunk. Often, Frank will loan the cash to one of his many employees in the hostal to take their children to the clinic. Often, the trip to the clinic takes a detour to the local shaman instead.

Ecuador2-615“There are buses running to take you and your bike back to Banos along the way until 8:00” the agent at the bicycle rental shop assured us. We hadn’t seen a single bus, truck or car carrying any bikes back to Banos and we’d ridden the better part of three hours. Darkness was descending and Cary and I were beginning to wonder how we were going to get back. We consulted our poorly scaled map at intervals to guage our progress. We had a decision to make. Ride on hoping we came across one of these mythical buses to take us back, or turn around and start riding back to avoid riding too late into the night on a narrow road in the Andes frequented by brake-averse bus drivers.

We rolled the dice and rode on.

An hour or so later we came across the little town of Rio Verde, which was too wrapped up in it’s own Carnival celebrations to pay any mind to two gringos on bicycles. We rode around for a while, certain that this had to be the place where we would meet one of these mythical buses. After making a few confused circles in what looked to be the most crowded area of town, we shrugged and rolled the dice again.

“A Banos?” A mustached man jumped up as we approached and pointed to his pickup truck. We must have nodded hard, he quickly opened the back and started to pull the bikes out from under us an throw them in the back. We sat down on the makeshift bench in the back and breathed a little easier knowing we wouldn’t be out on an unknown road in the middle of the Andes in the dark again.

Back in Banos we returned our bikes and grabbed dinner at a little parillada we’d been eyeballing called Le Chiminea. It was a fine end to our time in Banos, which in only two days managed to feel like a week. Our trip to the Helen of Ecaudor complete, we fell into bed, ready for our last bus ride, which would take us out of the Andes and towards the sea.

RPM 2012: Year Of King Richard

2188404253-1Occasionally, between the software, traveling, work and more work, I get a rare opportunity to play the drums. The call usually comes at the end of January, and has become the most welcome distraction in February in years.

It’s The RPM Challenge

In February 2011, Tim Alexander asked me to "play on a few tracks" for his Letter Seventeen album. I hadn’t had a chance to record in over a year, so I eagerly accepted and contributed a few tracks. It was fun as hell.

This year, when Tim again asked me to "play on a few tracks", I unknowingly agreed to play on almost all of them. With an additional wrinkle, I would only be here half the month. It would turn into a whirlwind two weeks as I raced to record drums for eight of the ten songs (nine if you count the one I failed on), prepare to leave the country and grow another year older. Cutting it a little close for comfort, I uploaded the last of the tracks from my lodgings in Quito over a frustratingly slow internet connection.

Two weeks later Tim mailed the final cut of The Year of King Richard to Portsmouth, NH and another RPM challenge was complete.

Let’s Talk about the tracks:

YOKR opens with So Social, the signature track of the album and easily the most tiring to play. Sprinting in with a 16th note roll and an easy to spot homage to "The Knack", the energy of this song was an exciting way to kick things off. I’d obviously taken a year off from the drums as I approached the end of this song out of breath, and it goes without saying that it took more than one take.

With the warm up out of the way, we move into Dancing Machine, a post-disco inspired open-hat affair. It’s tragic that most drummers, rythm aside, can’t dance to save their lives. Throwing a tom roll into the middle of the chorus was wacky at first, but turned out great in retrospect. Keep your ears open for the 16th note open-hat beat in the bridge; that machine-gun hat pattern once peppered the entire song but proved to be too distracting.

Tired from dancing, Tim takes a step back with Time Bomb. "Think R.E.M." Tim told me when he first introduced the song. I went back and listened to some Dead Letter Office and gave him my spin on it. As usual, I took things too far and played the heavily syncopated beat you hear at the end throughout the entire song. Tim reeled me in though, and the album is better for it.

Year of King Richard, the title track, would be the song that got away. After hearing it once I was desperate to play on it, and after several takes of what I thought was a good beat, I simply couldn’t get the sound I was looking for. After turning in a few disappointing scratch tracks to Tim, I had to admit the song did not need me. I made a few suggestions and took a back seat on this one. Still, it’s my favorite song on the album.

YOKR behind us, Tim sidesteps any notion of being locked into a genre or era and we find ourselves back in the 80’s. Law of Motion is another open-hat dance number, this time with a significant synthesizer presence. The arpeggiated line in the bridge is classic. I almost never do splices, preferring to do one or two takes of a track all the way through and just get it right. I was made to play Laws of Motion it seems, as I did exactly one take of the song.

Next is Deep Hole, a song that any project manager I know can relate to, and certainly anyone who’s ever "bitten off more than they can chew" will understand. At first, the drum track on this song was a busy double-time beat that seemed a bit too cheery. I miced my toms and took the song into a deeper hole, preferring the ominous half-time gloom to set the mood. That and I really wanted to play my 16" tom like a hi-hat.

If you want me to go is primarily Tim and his guitar. At first I intended to play on it, but Tim looked at me like I had an elbow growing from my face when I mentioned it, so I went off and did some more failed takes of Year of King Richard.

"Can you play a Motown beat?", Tim asked me when he introduced Number Q. "Sure," I answered while googling "Motown beat" to figure out what it was. What came out was somewhere between Beast of Burden and swamp rock. So I didn’t exactly nail the Detroit thing, but Number Q did turn out to be one of my favorites on the album. You’ll wanna come out and see this one live when I can talk Tim out of the safety of the studio.

On Summer Nights I couldn’t help myself. I had to throw a rolling tom beat into this easy going, California pop number. I intentionally dropped in and out of the song to draw the listener into the simple strumming of the guitar and de-emphasize the presence of the drums. Did I mention the toms?

"Just go listen to Tomorrow Never Dies on Revolver." Tim told me after a few failed attempts at the last song on the album, Lavender Haze. After the Beatles’ refresher, I approached this song with a bit more freedom, a lot more ride, and enough ghost notes to fill a haunted house. Of, um, snare drums. The addition of Amit Chabukswar’s tabla rhythms and Gary’s sitar really made the point. It was an open end.

So that’s the album. It still amazes me how much you can accomplish in less than a month. Someday we’ll be as good as Beck and record it all in 48 hours. So go buy Year of King Richard on iTunes, CD Baby, or download it from bandcamp. Oh, and visit the Letter Seventeen site and tell us what you thought, or like Letter Seventeen on Facebook.

Ruby, Let’s Take a Break. I Wanna Date Node.js For a While.

Ruby you’re great. No really, I love your terse syntax, iterating is easy, and the community that supports you is quite large. But, I think we need to take a break.

Wait, don’t cry. Let me explain.

It’s just that I’m tired of having to remember so many syntaxes, especially one so different than the others I work with. I have to use C# or Java for my enterprisey stuff, then switch to Javascript for client-side, then switch to whatever templating engine I’m using. It gets…confusing. I caught myself writing a for loop in a file that ended with rb. Seriously.

What’s that? How will I write server-side scripts?

Well, I’ve thought about it and I think Node.js and I are going to start a relationship. Don’t be like that, Ruby. Try to understand. Node is supported on all the platforms I use. I can write scripts in javascript. It’s familiar.

Node and I had our first date last night. I was looking at a Project Euler problem and after working out something that made sense on paper, I glanced over at node and said “Let’s do it”.

We started going at it. Things were looking great at the start but then the night got rocky. My solution on paper just wasn’t working out in code. I wrote and rewrote but just couldn’t make anything work with Node. To be fair Star Trek was playing in the background and my wife was working on her latest project in the same room. The way Spock says “sensors” and the grinding sound of eggshells on sandpaper didn’t really set the mood for solving any problems.

I smiled at node. “I’ll, uh, call you in the morning,” I said, and went to bed.

The next morning I took a long walk with my dogs and thought about what had transpired the night before. Within minutes I had the solution worked out in my head, and I realized it wasn’t node’s fault the night went sour, it was mine. I just needed to sleep on it.

I rushed back to the house, cracked open emacs and tried again with node. It was instant harmony. Here is the brute force solution to problem #3 on Project Euler:

So you see, you’ve been a fun fling Ruby, and we may get together again someday. You know how fickle I am with programming languages. Let’s just take some time off and see where it goes. Node and I may have something here.

Donde esta el Banos?

Ecuador2-577"Fraaaaaaancoooooo, Ingles" The woman behind the counter at the Hostal Abalorio cooed. A man rustled a little on the couch in the lobby under a heap of blankets. She called Franco’s name a few more times until he rose from the couch. Half asleep, Franco hobbled towards us. Struggling to do two things at once in his stupor, his put the small round glasses on his face and asked if we spoke German before resorting to English.

"Sorry, I’ve been up all night, I’m normally not a lazy boy. We’ve been very busy with the Carnival.” Franco apologized.

We noticed.

Six hours before arriving at the Hostal Abalorio Cary and I had hopped on yet another exciting bus ride to the unfortunately named Banos. Nestled in the valley’s of the Andes, Banos is named for you guessed it, baths. Hot springs are plentiful in the area and at least four bath houses have been built to take advantage of the natural wonder. Additionally, a small city has grown up in the area to accommodate the incoming tourists.

We had announced to several people that we’d be heading to Banos at some point in this trip. Responses had varied.

"Banos? Ah, well you’re young, you’ll like it"


"Really? Well, you should do the bike ride"

I got the distinct impression that Banos wasn’t exactly a place that locals expected Gringos to go.

Our bus ride was once again fraught with excitement. First, after confirming with a bus attendant that we were on the right bus, we found out that we were on the wrong bus. As it was taking off towards another city. The attendant who previously assured us that we were on the right bus was kind enough to almost stop the bus before kicking us off so that we could board the correct one.

A few minutes and lessons later we discovered the correct bus and settled in for the three hour trip. Some notes about buses in Ecuador:

  1. They are never full. There’s always room for one more.
  2. There is no reason to bring food, someone will sell it to you later.
  3. There will be one passenger who vomits on every trip. Guaranteed.

All of the above occurred on every single bus trip we took. We seemed to go out of our way to pick up additional passengers, especially the food vendors. If someone vomited, it was not out of the ordinary for another passenger entering the bus later to throw a few newspapers down and take a seat on top of it. Unique to the ride to Banos however was the sheer length of time if took to get there. Banos was a mere three hour ride on a good day. We happened to be arriving towards the tail end of Carnival, and if traffic was any indicator, all of Ecuador had descended into the little valley for the party. Our ride dragged from three hours to six, and if you recall bus rule number 1, our bus was packed full of Carnival-goers. It was easily the most miserable commute I’ve ever made.

Which is why I wasn’t particularly in the mood to make conversation with Franco, the English speaking proprietor of Hostal Abalorio. Frank Fix, known locally as "Franco El Blanco", was a pharmacist in his home country of Germany before becoming part owner of the little hostel in Banos. He spends his winters operating the hostel to avoid the German cold, translating for the rest of the staff when necessary. We helped Frank flex his English for a few minutes, dumped our backpacks in the hostel and set out for the city to stretch our legs.

Ecuador2-558There is a little place in Georgia called Helen. It is affectionately known as ‘Alpine Helen’. Every year in September Helen hosts its own little Oktoberfest. At the height of the celebrations traffic into Helen comes to a complete standstill, and the streets become so clogged with stein-swinging Georgians that even walking around without getting beer-soaked is impossible.

Banos is to Ecuador as Helen is to Georgia.

Ecuador2-552It was clear that this was the tourist getaway for the natives of Ecuador. The streets were jam-packed with Carnival goers. Where Helen has fudge Banos has taffy-pullers, who stretch lengths of melted sugar sometimes eight to ten feet in length from the street to their shop, pulling the candy just millimeters before it touched the sidewalk.

Cary and I stopped at a street-side bar to take it all in, and realized that it was getting awfully crowded on our particular street. Eventually a live band started up and the street was alive with dancing and drinking. I wandered into a bar to see if we could get a balcony seat, only to be chased out by a teenager wearing a huge pair of earphones around his neck. He tried to tell me they were about to film a promotion inside, and to come back in ten minutes.

It was getting late so Cary and I headed back to the hostel instead. Frank had mentioned that he would like to take a trip to the baths in the morning before it got too crowded, and asked if we’d like to to join him. At 4:30 am. We actually agreed to this, and I still don’t know why. We had a full day of soaking, canyoning and cycling in store for us, it was time to crash.