Subversion 1.1.4 released.

It was announced yesterday that version 1.1.4 of the Subversion Version Control System has been released. According to the announcement, the following changes were made for this release:

Version 1.1.4
(1 April 2005, from /branches/1.1.x)
http://svn.collab.net/repos/svn/tags/1.1.4

User-visible-changes:
– Client:
* fixed: win32 not ignoring versioned symlinks (issue #2173)
* fixed: ‘svn merge’ can cause broken working copy (issue #2222)
* fixed: ‘svn commit’ fails when schedule-delete dir has local mod (r11980)
* fixed: ‘svn st -u nonexistent_file’ segfault (issue #2127)
* fixed: ‘svn cp wc wc’ utf8 conversion error (r13111)
* fixed: confusing error message about “wc not locked” (issue #2174)
* many translation updates for localized client messages

– Server:
* fixed: nasty (though unusual) performance bug in FSFS commits (r13222-3)
* fixed: FSFS memory leak when auto-merging large tree (r13193)
* fixed: FSFS memory leak in ‘svnadmin hotcopy’ (r13218, 13465, 13468)
* fixed: FSFS segfault when encountering empty data reps (r13683)
* fixed: two dataloss bugs in svndumpfilter (r12630, r12636)
* fixed: wasteful memory usage in svndumpfilter (r12637, r12640)
* fixed: mod_dav_svn segfaults when client sends bogus paths (issue #2199)

– Both:
* fixed: (win32) retry file operation if sharing violation (r12983, r12986)

Developer-visible-changes:
* add SWIG 1.3.24 and .25 compatibility (r12551, r12717-9, r12722, r13504)
* make mailer.py work on win32 (r12499, r12542, r12670)
* fixed: JavaHL run-time link error (r12576), path/url cleanups (r13090)
* fixed: python bindings log_receiver failure with SWIG 1.3.24 (r13487)
* build system tweaks: add install dependencies for fs & fs_base (r11050)

You can get the source tarballs for this release from the download area.

Talking Guitars – A Masterclass with the World’s Greats

Talking Guitars : A Masterclass with the World's Greats Over the weekend I picked up Talking Guitars : A Masterclass with the Worlds Greats by David Mead. This book is, essentially, an aggregated set of interviews that David has done over the years working with two guitar magazines in the UK with some of the guitars greatest players. Every base is covered here from rock players (including Frank Zappa, Steve Vai, Joe Satriani, Eddie Van Halen, and Paul Gilbert), to blues players (Eric Clapton, Leslie West, Robert Cray, and John Lee Hooker), to jazz players (Pat Matheny, John Scofield, and Larry Carlton), to accoustic players (John Williams, Michael Chapman, Bob Brozman).

When you are learning anything, it is really interesting to get the point of view of those who have gotten to where you want to be. In many instances, you find when reading interviews like these that these players, whom you respect for all they have accomplished, were at one time in the same place you were, making you feel like your at least on the right track. For example, in an interview with Paul Gilbert, a guitarist widely respected for his technical abilities, he reveals that it took him “eight years before I could do anything related to fast picking”. This one revelation was completely mind blowing for me, considering his abilities as a guitarist just from a technical perspective today.

Another really interesting piece of the Paul Gilbert interview was when he was asked how much theory one should know. This was a particularly interesting question for me because I started guitar lessons back in November and summarily quit because all the teacher wanted me to learn was theory and couterpoint rules, which I didn’t understand yet. Pauls answer was really cool – so much so that I want to quote it here verbatim:

An analogy that I always make is that it is like taking an English course in school for learning to speak. Before you go to school you can talk, you learn from imitating your parents, watching TV and from example. You do this without even opening a book or learning to read, but by the time you are three years old, you’ve learned a lot of the basics of speech and you can communicate pretty well. From then on you start learning grammar and begin to fine tune what you’ve learned with a set of specific rules; you learn spelling, how to write, how to read, and so on. Applied to music, I think the order that you learn those things is very important: the ears come first, and then after a certain number of years you can start labelling the things you’ve learned. For instance, you learn that this series of notes that you’ve been playing is now called a major scale. Otherwise it makes so little sense, because you’re labelling something that you don’t know how to use yet, and it’s more confusing than anything.

For people who are just learning to play guitar, I think it would be really helpful to read books like this before you start. There is a whole mentality you have to have before even going in so that you understand what your expectations should be in order to not get discouraged. Learning an instrument like guitar can be very fun, but it can also tax your ego. Progress isn’t as quick as you think it is going to be — it isn’t as easy as it looks and it can get very discouraging. Reading this kind of stuff really puts things in perspective for you, especially when all of these magazine interviews have been aggregated in one place for you to take a nice big dose of.

I have to say, out of all of the interviews present in this book, the most enthralling was the first one in the book – Frank Zappa. Listening to Zappa talk about music is like listening to God talk about creation. One of the most interesting things about listening to someone like Frank Zappa talk about their craft is the realization that with all the rules that exist, the music isn’t all about the rules, and the best musicians break them. Take this piece from the Zappa interview:

There was a story about you finding something in a harmony book that conventional wisdom said should never be done and you tried it and liked what you heard …

It wasn’t a harmony textbook, it was a counterpoint book. It was on the first page and what it said was, ‘You may not write the following intervals’. The intervals were F and A, a major third, expanding to E and B, a fifth. It also said you could not write G and B, a major third, expanding to F and C, a fifth. So I played these things on the piano and said ‘Why? Why can’t we do this? This sounds great!

And so you closed the book?

Yeah, I mean, I figured that if on the first page they were telling me that I would have to be going against something my ear immediately liked, then why should I learn this stuff?

The two things I’ve quoted here are just two of a ton of different perspectives you get on the guitar and music in general from reading this book. In total, the book contains interviews with 48 guitarists. As I said earlier, if you are thinking about learning the guitar, or any musical instrument, grab this book before you grab the Mel Bay books. The perspectives of real players who have gone through the same things you are going through now will have a major effect on your perspective and approach to the instrument.

If there is one thing I got out of this book, it’s something my brother Ed has been trying to tell me for years. Music is not supposed to be a source of frustration or stress. It’s supposed to be fun. You do it because you love it, not because you are competing or trying to accomplish something. It’s all about making music and loving what you are doing. Its about being “in the moment”. It doesn’t really matter if you suck or not, its whether you are having fun doing what you are doing.

I think I’m finally starting to get it.

Hardware Upgrade At the Labs

About two years ago I bought a Compaq Presario 3000 laptop computer as my primary machine. It started overheating whenever I would try to check things out of a source repository or build software on it. I had it dual booting Windows XP and SuSE Linux 9.1. The overheating would cause it to just plain shutdown on Linux, or completely freeze under Windows XP. It was impossible to get anything of any substance done on the machine past email and web browsing, but I stuck it out because I didn’t want to spend more money on a new machine — and I didn’t want to be without a machine for 4-6 weeks while they sent it in for repairs.

At the time I bought it, it was brand new on the market and the poor customer reviews weren’t available. By the time I called support, the machine was on Compaq’s “classic” list.

Last month I got completely frustrated and decided to go out and find a laptop. I settled on the GATEWAY 7422GX Notebook Computer. It’s a 64-bit AMD chip with built in wireless, universal card reader, and DVD-RW drive. To be honest, I was actually too cheap to settle on this one and bought a cheaper model. However, that model I soon found had a known defect with the system restore, and they let me trade up for this model for the same price. You have to love Best Buy.

My first inclination was to again dual boot the machine running Linux and Windows XP. I need XP because my Digitech GNX4 software does not run on the Linux environment. However, once I got Linux on the machine, I found that the wireless card wasn’t supported on the distribution of Linux that I was installing (or if it was, I couldn’t figure out how to get it running after hours and hours).

VMWare on Windows Rather than spending my time wrestling with the machine and operating system for hours on end, and realizing that I actually wanted both Windows and Linux without having to reboot every time I wanted to change operating systems, I grabbed VMWARE WORKSTATION 4.X for Windows NT/2000/XP and installed it.

I decided that this time around, I was going to try out Fedora Core 3 as my Linux operating system. Having VMWare at my disposal was great, as I could muck about with the configuration as much as I needed to without hosing the machine. Once I found the documentation on getting the VMWare tools installed under Fedora, the machine has worked great.

In addition to being able to run multiple Linux distributions at my whim, the virtual machine is also able to piggy back on the hardware drivers for the Windows operating system, giving me access to my wireless network from my Linux installation. For each virtual machine installation, I now have the ability to snapshot the environment before making any major changes, guaranteeing that I can get back to a working installation.

This is truly the best of both worlds. If you want a truly safe way to run Linux on newer hardware and have any questions as to whether it will run or not, I highly recommend VMWare as a platform to integrate Linux into your daily work. I haven’t been happier.

95% of IT Not Delivering

While browsing Slashdot this morning, I found an article that states that “95% of all IT groups are not delivering some amount of projects on time or to the full satisfaction of the business executive”. The most interesting part of the article for me was that while a survey of the projects stated understaffing, unrealistic timeframes, and poorly defined project scope as the cause, the article takes a different perspective and talks about how much of the “lateness” could account for vendors overpromising the ability of their software in order to make sales, causing IT departments to not be able to deliver.

This is an interesting perspective, but I have another one.

Wednesday night we watched The Incredibles. The kids had set some pretty high expectations for the movie, but I went in skeptical. I didn’t think I was going to like it, but I went in with an open mind. I sat through the movie and absolutely loved it. Great story, great animation. The movie had everything.

Once the movie was over, we went through some of the extras. One was a “making of” in which the guy in charge of the project was talking about how difficult it is making movies, because all you have is an idea and you aren’t sure how you are going to do it. You are inventing things as you go along. He then compared it to an assembly line, where things are predictable, and stated that movie making like this wasn’t the same thing.

This statement hit me pretty hard, and I remember saying to myself, “That’s what we do in IT”.

I believe that the main problem with IT projects being late is that executives fail to realize that the development of an IT system is new product development, not assembly line work. IT is treated as though we are making cars, rather than as if we are creating something that hasn’t been done before. The funny thing is that if it had actually been done before, why aren’t they buying it rather than developing it themselves?

As I thought more about this over the last couple of days, and then read the article mentioned above, I realized that you never hear this kind of talk about Open Source projects. I remember when Subversion was at 0.34 and the only talk you ever heard about going to 1.0 was for people, like me, whose management wouldn’t settle for using software that was not 1.0. Otherwise, I and other people on the list were actually using it for production work, we just didn’t tell management we were doing so.

The same goes for SVK. I have started to have my staff look at it even though it not a 1.0 product yet. Why? Because it is useful the way it is. The “release early and often” model, and the responsiveness of the two development teams mentioned above make it irrelevant to anyone except the executives as to whether the product is 1.0. You know there are new features coming. You know there are bugs that will be fixed if you report them. The project is treated, by it’s developers and it’s users as an organic thing that grows over time, but is still useable in its current state.

Software projects do not have a defined ending. They are never done, they just change state. There is a lifecycle involved in software development and by the time a software project actually “ends” it is retired. Software development is a creative and ongoing process. This is why we have version numbers.

I think the main problem with IT “being late” or “not meeting expectations” lies with the people setting the expectations, not the people doing the work. Executives are stuck in a model that doesn’t work, and they are afraid to acknowledge it because it challenges everything they have been taught as executives. However, if they would spend some time in IT, they would realize that software projects never end, and it is quite difficult to meet expectations that do not understand the underlying problems or process involved in the software lifecycle.

Also, in order to incrementally develop software in a way that adds value, priorities for functional requirements must be set. The persons requesting the work would have to decide what is most important to have now, rather than just saying they want everything, now.

The way to do software development where everyone wins is to acknowledge that it is an ongoing process and release early and often, prioritizing the work based on what is most important at the time you set the priorities. You must also, as a business user, have the flexibility to change the priority at the end of each incremental release. Doing this allows you to begin to realize value from the project sooner, and the stress level goes down because you know there is always work to do, but it will get done. Corporations need to begin to acknowledge that the open source model works for a reason and that if you want your projects to be “on time” you have to redefine what your meaning of a software project is.

This is agile software development.

Eric Raymond as a great article called the Cathedral and the Bazzar, which explains the software development model used in the open source world. I would encourage everyone involved in software development (whether you are doing it or you interface with IT to get it done) to read it and really think about what your expectations are around the IT organization. If you don’t like reading these kinds of things online, you can always buy it at Amazon or pick it up at your local book store.

The bottom line is that in order for executives to feel that they are getting their moneys worth from IT, they have to acknowledge that the work is different than they think it is. The problem, in my opinion, has less to do with IT meeting expectations as it does the expectations being set based on a false set of assumptions.

Now, how to teach executives this is another story altogether. When I figure it out, I’ll let you know.

Kelsi’s First Concert Review

In December of 1998, for Kelsi’s 8th birthday, I took her to see KISS as a birthday present. While I’m not sure if this is her first concert, I do know for a fact that it is the first concert she ever reviewed on the web. The way cool title graphic was “photoshopped” by dad.

As I was digging around today I found it and thought it was so cute that I had to resurrect it. I have to say, it’s not bad for an 8 year old!

The Final Cut

The Final Cut On Saturday we rented The Final Cut on DVD. I have to say this was one of the most original movies I’ve seen in a while.

Robin Williams stars as Alan Hakman, a cutter in the future. In the not so distant future setting that the movie is portraying, a new technology has become popular called the “Zoe” chip. This chip is implanted in people and records everything that the person hears and sees. Upon death, it is the job of a “cutter” to take these years of memories and edit them down to a small film called a “rememory” to play at the memorial service and give to the family.

The film was written and directed by Omar Naim. The writing is awesome and the movie sucks you in from the first scene. First, just the thought of everything you do being recorded gives you the “heebie-jeebies”. Secondly, throughout the movie there are people protesting the Zoe chip as a violation of privacy, making the film just that more realistic.

The acting is awesome, the story is great. It had me riveted from start to finish. I’m not a big fan of “futuristic” types of movies (Terminator is the ultimate exception of course), but this one I would call a must see. The movie moves along at a pretty good clip, and Robin Williams, as always, is amazing.

I think the thing that I liked most about the movie was the “big brother-ish” world that it portrayed. Technology is moving at such a clip now that it is not too far from reality to have these implants available. The thought of that really makes you think. Is this something you would purchase for your child to have their life recorded from birth to death?

Just the thought of it is creepy and thats what made the movie so worth it for me. It really makes you think.

svk 1.0beta1 Released

In a message to the SVK dev list, Chia-liang Kao, original author and project maintainer for the SVK version control system, has announced that the software has hit beta stage.

According to the message there will be a three week beta period, followed by a two week release candidate release cycle, if everything goes well. The 1.o release would follow.

Posted in SVK

Randy Rhoads / Ozzy Issue of Guitar Legends Magazine at Newstands

Randy Rhoads - Guitar Legends I found the latest issue of Guitar Worlds Guitar Legends magazine at Borders this weekend. It’s a full on issue about Ozzy Osbourne and his career. The best part about it, however, is that there is a ton of content about Randy Rhoads, Osbournes first guitarist, who died in plane crash on May 19, 1982. Along with two great articles, one on Rhoads himself and the other with former Quiet Riot basis and Rhoads childhood friend Kelly Garni, this issue also includes a transcription of a guitar clinic Rhoads had just before his death.

Also included in this issue are transcriptions of the following songs:

  • Flying High Again – Osbourne / Rhoads
  • Over the Mountain – Osbourne/Rhoads
  • Mr. Crowley – Osbourne/Rhoads
  • The Wizard – Black Sabbath
  • War Pigs – Black Sabbath

Being the first day of my vacation yesterday, this issue came out just in time. I spent most of the day upstairs with my guitar just noodling through the tabulature. Aside from Vai, Randy Rhoads has always been one of my favorite guitar players (Mr. Crowley, if you remember, rated number 1 on my top ten guitar songs).

If your a Rhoads fan, this is definitely a magazine to pick up.

E-Mail Notification Added To The Site

I’ve been searching for a while for an easy to install email notificaton plugin. I finally found a plugin today at watershedstudio.com. It took about 15 minutes to install, but a little longer to test as it only sends notifications on publishing and not on updating, even though an option shows up on the editing page to notify subscribers when you are editing an entry.

The plugin allows people receiving notifications to unsubscribe as well.

Aside from the update vs. publish confusion, the plugin works really well. Download it here if you have been wanting to add this functionality to your WordPress site.

A long awaited update; Definition of Emo/Screamo.

Emo

  1. Music genre characterized by it’s trendy, mellow, emotive, and sometimes more intellectual and complicated sound.

Screamo

  1. Emotional post-hardcore music. Has a fast off beat sound, with screaming and an often dark mood.
  2. A mixture of “Emo” music with screamed (rather than, or as well as, sung) vocal parts.

Contrary to popular belief, it’s not easy to describe “Screamo/Emo” music, and the “lifestyle” that come hand-in-hand. Most people characterize the “Emo-kids” as being overly-depressed, whiny, and addicted to the woeful lifestyle that seems to constanty haunt them. But, most all that is said about these kids are just harsh stereotypes. Not all labeled ’emo-kids’ are constantly whining about their overly depressive lives. Emo is just a type of music; a way of life for some.

Emo is more a lighter type of music, which often has very well-written and emotional lyrics, while screamo is a heavier version of it’s Emo roots. There’s still the element of emotional, well-written lyrics, but along with that there’s screaming involved.

Not much else is to be said about Emo/Screamo music. It’s one of the rare, amazing genres of music that is difficult to describe, and easier to understand by taking the time to listen.

Example(s) of “Screamo Bands”:

Hawthorne Heights: A screamo band formed in Ohio, they now have a record deal with Victory Records.

Example(s) of “Emo bands”:

Something Corporate: A Cali-based emo band, known for their “Piano Rock.” Signed to Geffen Records.