Twenty years ago, in the early days of the internet, a physics teacher with an interest in aviation history started building a list of U.S. aircraft serial numbers, matching them to the aircraft type, and researching the history and distribution of each individual plane. His list—and his name—became famous in the online aviation community as the go-to reference for what a plane was, where it was sent, and what happened to it. The list was always bare-bones: a tabbed HTML file with the barest of formatting, but he updated it frequently. I went looking for a serial number the other day and my decades-old bookmark led to a broken link; some further searching revealed Joe Baugher had passed away from cancer in 2023, and a new historian took over the list at a new URL.
There’s nothing like straight-ahead stoner rock played with energy and accompanied by a funny video. This is Wires by Red Fang, a Portland band with a history of this kind of thing. Some of their songs hit and some don’t—I tend to gravitate to their earlier stuff—but it’s all good and on the Spotify playlist. And even more appreciated, it knocked Wanna Be Starting Something out of my brain, which had been stuck there like tape to the bottom of a shoe, all day Thursday.
I spend a lot of time listening to historical podcasts about World War 2 while I’m working, which has always been an interest of mine. New scholarship about this subject is fascinating, and there are also multiple YouTube channels dedicated to particular events, ships, and people. This video popped up in my feed recently, and it’s catnip for a ship nerd like me: an ROV was sent down to the USS Yorktown, which was sunk during the Battle of Midway, and spent 4+ hours surveying the wreck with a high-def camera, including commentary from several historians. This is the clearest footage I’ve seen yet of any of these ships, and it is incredible.
See also: the recent discovery of the USS Samuel B. Roberts, one of the main combatants of the Battle off Samar, and the deepest shipwreck surveyed by a crewed submersible.
Finn and I were up in New York State to visit my family over the Easter break, and spent the majority of the time sitting, eating, and relaxing, which was lovely. Their seasons are about three weeks behind us, so it was nice to drive south toward home and watch the trees go from gray to green. All of the fields in Pennsylvania are that brilliant iridescent shade of Kelly green I remember from Ireland, and the daffodils have mostly given way to the second wave of bulbs blooming. Apparently Hazel has caught the springtime bug; because everything outside is waking up, she’s pacing the house whimpering and barking because she can smell it all and the FOLO is overwhelming.
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I went to the pharmacy yesterday to continue getting current on my vaccinations; we’ve decided to get as current on as many of them as possible before any political interference might occur, knowing who the current head of HHS is. I did a two-fer of Pneumococcal and Hepatitis B, both in the left arm, and I could clearly feel the needle in my muscle both times. Today it’s more sore than usual (I didn’t feel anything after the MMR shot two weeks ago) but I’m still able to move my arm, which is a relief. And so far I don’t feel any of the side-effects that a double-whammy might have brought, even with a suppressed immune system. BRING ON THE TYPHUS.
I don’t feel like I have a lot to share at the moment. Just trying to manage my anxiety and hang on to my sanity. I’m just going to keep focusing on the few things I can control, and try to do those things to the best of my ability.
Somehow I got this tune stuck in my head the other day and the guitar riff has been banging between my ears ever since. My sister bought this album when it came out and had it on heavy repeat for a summer; I wasn’t into the other tracks but Blue Light stood out. It’s a very ’80’s song with an even more unfortunate ’80’s music video, which is why I’m posting the reissue instead. At this point in time all of the musicians from the 70’s were releasing AOR-friendly, overproduced solo albums dripping with horns and reverb (see: Pete Townsend, Steve Winwood, that toothy guy from Chicago). This track isn’t bad, although he leans on the horns way too much and it sort of dies out before he starts jamming; the song fades out on the guy who soloed on Comfortably Numb and Time, which is baffling.
When I started learning graphic design, the program I worked in was Quark Xpress. From the earliest versions in black and white up through their disastrous switch over to V.5, I was a staunch Quark guy; I knew PageMaker but found it was inferior in many ways. In the early aughts I finally switched over to InDesign as it eventually was bundled as part of the Creative Suite and the IT support I was doing required me to know how to debug and troubleshoot it. I found that InDesign was relatively easy to learn and integrated easily with Photoshop and Illustrator, making the switch that much easier. All of my legacy files remain in Quark format, which is why I’ve still got at least two machines that run it reliably, but I haven’t booted it up in probably ten years.
I’ve been using Final Cut Pro ever since I got the gig at WRI, and it’s served me very well for that entire time. It was easy to learn, followed many of the same UI and conceptual frameworks I was already familiar with, and ran quickly (in 2014) on a 5-year-old Mac Pro. But as the length and breadth of the videos I’m producing have gotten longer and more involved, FCP has gotten slower and slower, making the editing process a slog. The latest video I worked on clocks in over an hour, with about 90 gigs of source files. Getting it to the finish line has been painful—it should have been finished several days ago, held up only by the spinning beach ball. I’m not using slow machines; my personal laptop is a M1 model, and my work laptop is a M4 with twice the memory. But I see no difference authoring on the work laptop than I do on my personal machine, which is ridiculous.
The guys at work both use Adobe Premiere and have been telling me to switch over for years, and I’ve been putting it off for that entire time. I’m going to make two big changes to see if it makes a difference in my editing workflow: I’m going to work off a solid state drive instead of a spinning disc to see if that helps at all, and if there’s no difference, I’m going to try using Premiere.
When I was in second and third grade, my friends and I were obsessed with Smokey and the Bandit, the Dukes of Hazzard, and CHiPs. We spent all our free time drawing pictures of cars and trucks—Convoy was a big deal too, but I was too young to see it. The other day I stumbled across this drawing I did back then, and figured I’d share it here.
#80 reflects an obsession with all of the things I thought a fast car needed, although it clearly has the aerodynamics of a brick: a square coupe body sporting a giant blower on the engine, a NASCAR style window barrier (ABC’s Wide World of Sports featured a lot of stock car racing back then), side pipes, a rear brake scoop, a moonroof, louvers on the rear window, and a gigantic wing on the rear deck. And, lots of stickers in the rear window, for speed.
#53 is more sedate. A blower on the hood and side pipes hint at a juiced up motor, but this car would suffer from instability at speed with that tall, flat front grille and no spoiler. Both cars sport CB whips, which were also an obsession in the late ’70’s.
It took me a couple of minutes to realize these two cars are lined up at a dragstrip—the vertical structure at the left is the light tree, the staging crew seem happy to be working, and are professionally dressed. I suspect I drew #80 and handed the drawing to one of my friends to add #53.
I’m glad my Mom saved these glimpses of what 8-year-old Bill was thinking about back then.
Turnstile, the Baltimore-based hardcore band, just announced a new album by releasing a video featuring the title track. As with their last album, they’re veering away from their hardcore roots and doing something…different. I’m glad to see them stretch their legs, and I hope the rest of the album is as good as Glow On was four years ago.
This morning I was elbow-deep in the hood of the Travelall, enjoying the warm afternoon breeze and sunshine poking out from behind the clouds. I looked up and saw a car drive slowly past the house and then stop at the curb in front of the neighbors’ house. I returned to my work for a few moments and looked up to see a woman walking up the driveway. I waved and greeted her; she nervously introduced herself as one of the daughters of the doctor who owned our house, who we bought it from 22 years ago. My face broke out in a huge smile and I shook her hand, and that seemed to break the ice. We talked a bit about the tulip tree exploding in color over the driveway, and she explained that she wanted to drive by and see it bloom—her mother had planted it years ago and she couldn’t get over how big it was. I walked her up to the house to met Jen at the door, and we took her inside for a tour of the first floor.
She was very happy to see what we’d done with the house, and told us it looked great (but a lot smaller than she remembered!) We asked after her family and caught her up on some of the neighbors, and traded some stories about the house. She asked if she could bring some of her brothers and sisters back, and we told her that would be fine—as long as we had a little time to clean up first. While she talked with Jen, I ran out to the front to take the glass DR W.E. McGRATH sign from the box next to the door out and give it to her. We’ve been talking about sending it to the family for years but never got around to it, so it was great to be able to hand it off in person. We said our goodbyes out on the front lawn and I went back to work, feeling more upbeat about the day.