UNDERDOG of PERFECTION

For the past couple of summers we’ve been members of a local CSA, and this summer we’re back to trying our hand at growing vegetables in pots in our backyard as well. (We’ve learned that we can basically grow herbs, cherry tomatoes and — especially — chili peppers. Oh so many chili peppers.)

This week we got some corn on the cob and a bunch of tomatoes, plus a head of fresh garlic, from the CSA (amongst a bazillion other things… August is when the CSA boxes really start to get heavy). And our backyard banana peppers and jalapeños are nearing their peak as well. This morning I wanted to make myself a breakfast burrito, as I often do, but I got sidetracked turning all of the above into a roasted corn salsa. I was totally winging it, but the results turned out pretty tasty, so I decided I should write up the recipe. Here goes!

Ingredients

1 cob fresh sweet corn
8 small or 4 large tomatoes
3 fresh banana peppers
1 fresh jalapeño
2 cloves garlic
a few slices of onion
fresh cilantro (optional)
salt and pepper
vegetable oil

Preparation

1. Preheat oven to 400ºF (convection if possible).
2. Shuck and rinse the corn, leave on cob. Slice the tomatoes in half, and remove the hard stem area if needed. Leave the chili peppers and garlic whole.
3. Rub the corn with some oil, then salt and pepper as desired.
4. Place the corn, half of the tomato halves (cut side up), the chili peppers, garlic and onion on parchment paper on a baking sheet and place in oven.
5. Check the progress every few minutes; rotate the corn and peppers as needed. Note that some things may take longer to roast than others. As each item appears to be “done” (starting to char), remove from the oven and place on a plate to cool. (I found the banana peppers were ready really fast; the corn took the longest.)
6. Once cooled, cut off and discard the stems of the banana peppers and jalapeños. Peel the skin off if it is loose. (In my case, the jalapeño needed to be peeled but the banana peppers did not.) Slice each in half. Remove the seeds/pulp from the banana peppers, and from the jalapeños if you don’t want the salsa very spicy. (My jalapeño had already turned bright red and I left all of the seeds in — the salsa is very hot. At least by Minnesota Scandinavian standards.)
7. Finely dice all of the chili peppers and place them in a mason jar or medium-sized bowl. (Be sure to wash your hands well after handling the jalapeños!)
8. Finely chop the onion and add it to the jar.
9. Without peeling, squeeze the roasted garlic bulbs into the jar. The insides should have a mashed potato-like consistency and come out fairly easily. Be sure none of the papery skin gets into the jar!
10. Cut the corn off the cob and add to the jar.
11. Place the roasted tomato halves, along with the remaining uncooked tomato halves, into a food processor and process just until broken up. Pour into the jar. (Depending on the size of your tomatoes, you may have too much, or possibly too little. For me, 8 small tomatoes was just perfect. If your jar isn’t mostly filled, purée another fresh tomato or two, as needed.)
12. If you are using cilantro, wash and dry it, finely chop (removing tough stems), and add to the jar.
13. Lid it, then shake vigorously to mix all ingredients. Taste and add more salt and pepper if desired. (I didn’t need to.)

This salsa tasted pretty good right away, but it will get better after it’s been in the fridge for a few hours. I should also note that I didn’t use cilantro, because we didn’t have any on hand. The salsa doesn’t really need it, but if you have it, I would use it.

I’m going to talk about the 1975 Rush album Caress of Steel for a minute. Unless you’re the roughly one person who is interested in this, feel free to move on.

Whenever I think of this album, I think about the cassette version, which was my introduction to it. Back then, record labels were less interested in preserving the integrity of the album than in cutting every possible cost, so it was common to rearrange the order of the songs on cassettes and 8-tracks, to even out the sides/”programs” (4 total on an 8-track), to use as little tape as possible. (Granted, this may have been because people complained that they’d been cheated when there was a lot of blank tape on one side.)

Anyway… this particular album presented a weird scenario. Side one was four songs, but side two was a side-long suite. (OK, it could be broken up into six separate songs, but they really needed to be together, in a specific order.)

Well, that all made side one a couple of minutes longer than side two, which just wouldn’t do. So the label decided to swap the second song on each side. That meant moving side one’s “I Think I’m Going Bald,” definitely the most absurd track on the album, into a spot right after the first part of the side two suite, and it also meant sticking in side two’s bizarre “Didacts and Narpets” (really just a drum solo and a few guitar chord stabs, plus some random words shouted out representing an argument between the young hero of the suite’s story and his restrictive elders) as the second track on side one, with no context.

All of which made for me having a very warped understanding of what this album was supposed to be, until I finally got it on CD, with the tracks in the right order — and the full side two “Fountain of Lamneth” suite actually acknowledged as such.

Now on streaming services, the album just has 5 tracks… “The Fountain of Lamneth” is one uninterrupted 20-minute song. Today’s nerdy high school sophomores will never understand what I experienced when I was their age.

Last night our son graduated from Minneapolis South High School. We are incredibly proud of him, and also greatly appreciate the experience he was able to have going to a racially and socio-economically diverse school. Here’s the amazing commencement speech delivered via pre-recorded video last night (most of the speaking was pre-recorded, because it wasn’t clear until fairly recently that an in-person ceremony was going to be possible), given by 1999 South High alumna Junauda Petrus-Nasah.

South is a place with great academic and arts opportunities, and the faculty and staff are deeply committed to empowering students to make their voices heard in the world. It’s also a place where one can’t look away from the stark divides in opportunity between students of different races and economic backgrounds, and where there is still a long way to go towards equity.

South is less than a mile from where George Floyd was murdered last year, and just a couple of blocks from the police precinct that burned in the days after. It’s a majority non-white school, and I feel like it’s a place where real change can be fostered, where we don’t shy away from the challenges our society faces.
Anyway, don’t listen to me. Watch the video. It’s excellent.

I originally posted this on Facebook, but for what should be obvious reasons, I think it’s worth reposting here.

John Gruber, today: Bing Censors Image Search for ‘Tank Man’, Even in U.S.

Interesting that Gruber mentions 1984‘s “memory holes” here. I think I’ve been affected by 1984 more than any other book I’ve read, and I re-read it at least once a decade.

Something I didn’t grasp when I read it back in high school: the long-term effects of the memory hole. I distinctly remember Tiananmen Square in 1989. I remember where I was when the news came on — my maternal grandparents’ house. You can “memory hole” something like that without ever erasing it from my memory, or countless others of us who experienced it first-hand.

But what of later generations? What do my kids know of events like this? And if actions are being taken to restrict access to information about events that people don’t remember first-hand, eventually it might as well have never happened. It’s been successfully memory-holed.

Please place this in your mind beside the link I shared yesterday, about bills being considered in many states (including Wisconsin) that will make it illegal to teach critical race theory. When I read that yesterday I thought about another element of 1984: Newspeak. The government was systematically re-engineering the English language to remove words it deemed problematic. As in, the kinds that could undermine its absolute authority.

The only thing Orwell got wrong was the year.

I’ve been using WordPress for 15 years, and have made it my go-to platform for all new websites I’ve built since 2014. So how is it that it took me three years to discover that ClassicPress exists, especially since its whole raison d’être is to keep the pre-Gutenberg dream of WordPress alive?

On one hand, being a solo developer — even before the pandemic — has always kept me a bit out-of-the-loop, especially since I don’t attend conferences. But I suspect the fact that I knew nothing of this also speaks negatively to the project’s future.

Is it gaining enough traction to continue to exist? Is it really a viable option to use on new professional projects in 2021?

Has the Gutenberg ship sailed? Well, yes, it has. But my issues with the current and future state of WordPress go beyond Gutenberg, to the nature of Automattic’s role in steering the ship, the greater vision of what WordPress is and should become, and… well… Matt Mullenweg’s personality. I feel like the future of WordPress is increasingly diverging from what I hoped to get out of it as a platform, and it’s clear that I’m not alone. That’s why ClassicPress exists.

There are a lot of things to like about ClassicPress, right out of the gate, besides the most obvious element, which is the absence of anything Gutenberg. It does away with a lot of the cutesy crap that’s rolled into WordPress by default, not least of which being the annoying proliferation of the word “howdy” and the beyond-pointless-to-actively-detrimental* plugin Hello Dolly.

As I look to my own future with WordPress and/or ClassicPress, I am primarily thinking about two things: 1) how/if I will continue to use it as the platform of choice for client projects, and 2) what the future will be for the plugins I have contributed to the WordPress community, and more specifically, my commercial plugin, ICS Calendar Pro.

I’ve been struggling with these matters for almost four years now, ever since Gutenberg emerged on the scene and went through its early phases of absolutely sucking, to its too-soon release as the default WordPress editor, to its current state as a mostly good but highly quirky and weirdly limited page building tool.

The timing was not great for me, as I had just recently gone “all-in” on 34 Blocks, my own block-based starter theme that I have been using to create all of my client sites since 2017. It started from a series of one-off client themes beginning around 2015 and is built around Advanced Custom Fields and its “Flexible Content” fields. It’s all much more in line with what “WordPress” has always meant to me. But as WordPress becomes Gutenberg, my vision of what this tool is and the reality of what it has become are increasingly at odds.

In those four years I’ve been bouncing around between several different ideas:

• Suck it up and finally embrace Gutenberg development, learning a bunch of new stuff like React, in which I am not only wholly disinterested but with which I philosophically disagree?
• Cling for dear life to Classic Editor and pray the gods of Automattic keep it on life support?
• Switch to an entirely new platform, whether that might be another open source or commercial CMS, or a complete SaaS approach like Squarespace?
• Get out of the web development business entirely?

So far, I’ve mostly stuck with “cling for dear life to Classic Editor” although I have been tempted a great many times to “get out entirely.” My enthusiasm for this field hasn’t been helped by things like the caustic toxicity of social media, the rise of absolutely godawful and not-at-all-intuitive-regardless-of-their-claims-to-such interface concepts (see: Google’s Material Design), and technical snafus like Digital Ocean’s entire subnet getting spam blacklisted and them doing absolutely zero to rectify the situation.

I’ve been taking baby steps towards making sure I’m not caught out when/if they pull the plug on Classic Editor. My 34 Blocks theme is to the point where it works adequately in the Gutenberg environment, and I’m even moving it towards a potential future where I would scrap my ACF Flexible Content blocks altogether, in favor of Gutenberg blocks.

But I’ve also made sure ICS Calendar is backward-compatible with WordPress 4.9, so it works with ClassicPress. And I’m still looking at other tools, now and again, in case I need to switch directions entirely.

It’s happened before. After the first half of my career consisted largely of building “bespoke” CMSes for corporate overlords, I went out on my own. From 2008 to 2014 I sunk thousands of hours into the development of a feature-rich, completely custom-built CMS based on the CakePHP framework, which I used to create about 10 client sites per year throughout that period.

But the writing was on the wall for that project when I found it impractical to upgrade the CakePHP core past version 1.3, which was incompatible with PHP 7. (CakePHP is currently up to version 4.1 and now requires a minimum of PHP 7.2, for an indication of just how doomed my old CMS project was.) By 2014 I gave up on it and switched to WordPress. Has the time come to move on again? If so, I feel like in some ways, switching to ClassicPress would be a step backwards, or at best a lateral move, and would not set me up well for the future.

Where does that leave me? I don’t know. There are options. But embracing Gutenberg and the future of WordPress is not at the top of the list. If anything, it’s never been lower.

* Why is Hello Dolly detrimental? The justification for its inclusion in the default WordPress build is that it is a demo for new developers to learn how to build a WordPress plugin. The problem is, it’s a terrible, no good, entirely wrong example of a plugin. It’s ancient and doesn’t conform to any modern WordPress coding standards, and it’s so rudimentary that there’s no useful structure to build on for people who want to create an actually useful plugin. So why is it still included? I don’t buy the “demo” argument. It’s still there because Matt wants it to be, and that in a nutshell is my problem with Automattic running the show. (I mean look, he even “cleverly” misspelled the company name so his own fucking name is embedded in it. That annoys me every damn time I see it… almost as much as “howdy.”)