The Daily Parker

Politics, Weather, Photography, and the Dog

Down to a Sunless Sea

Someone forwarded me a year-old short story by Neil Gaiman the Guardian published last spring. It begins:

The Thames is a filthy beast: it winds through London like a snake, or a sea serpent. All the rivers flow into it, the Fleet and the Tyburn and the Neckinger, carrying all the filth and scum and waste, the bodies of cats and dogs and the bones of sheep and pigs down into the brown water of the Thames, which carries them east into the estuary and from there into the North Sea and oblivion.

It is raining in London. The rain washes the dirt into the gutters, and it swells streams into rivers, rivers into powerful things. The rain is a noisy thing, splashing and pattering and rattling the rooftops. If it is clean water as it falls from the skies it only needs to touch London to become dirt, to stir dust and make it mud.

Read the rest here.

About this blog (v 4.2)

Parker, 14 weeksI'm David Braverman, this is my blog, and Parker is my 7½-year-old mutt. I last updated this About... page in September 2011, more than 1,300 posts back, so it's time for a refresh.

The Daily Parker is about:

  • Parker, my dog, whom I adopted on 1 September 2006.
  • Politics. I'm a moderate-lefty by international standards, which makes me a radical left-winger in today's United States.
  • The weather. I've operated a weather website for more than 13 years. That site deals with raw data and objective observations. Many weather posts also touch politics, given the political implications of addressing climate change, though happily we no longer have to do so under a president beholden to the oil industry.
  • Chicago (the greatest city in North America), and sometimes London, San Francisco, and the rest of the world.
  • Photography. I took tens of thousands of photos as a kid, then drifted away from making art until early 2011 when I finally got the first digital camera I've ever had whose photos were as good as film. That got me reading more, practicing more, and throwing more photos on the blog. In my initial burst of enthusiasm I posted a photo every day. I've pulled back from that a bit—it takes about 30 minutes to prep and post one of those puppies—but I'm still shooting and still learning.

I also write a lot of software, and will occasionally post about technology as well. I work for 10th Magnitude, a startup software consultancy in Chicago, I've got more than 20 years experience writing the stuff, and I continue to own a micro-sized software company. (I have an online resume, if you're curious.) I see a lot of code, and since I often get called in to projects in crisis, I see a lot of bad code, some of which may appear here.

I strive to write about these and other things with fluency and concision. "Fast, good, cheap: pick two" applies to writing as much as to any other creative process (cf: software). I hope to find an appropriate balance between the three, as streams of consciousness and literacy have always struggled against each other since the first blog twenty years ago.

If you like what you see here, you'll probably also like Andrew Sullivan, James Fallows, Josh Marshall, and Bruce Schneier. Even if you don't like my politics, you probably agree that everyone ought to read Strunk and White, and you probably have an opinion about the Oxford comma—punctuation de rigeur in my opinion.

Thanks for reading, and I hope you continue to enjoy The Daily Parker.

More evidence that David Cameron is a stooge

Shortly after my last trip to London I blogged that UK Prime Minister David Cameron's crowing about Britain's economic recovery entirely missed the point of how awfully and slowly that recovery was going. This morning Krugman freshens the evidence:

A couple of weeks ago I tried to get at what’s wrong with the latest tactic of the austerians in terms of a classic Three Stooges scene. Curly is seen banging his head against the wall; when Moe asks why, he replies, “Because it feels so good when I stop.”

As Simon Wren-Lewis tries to explain, this is exactly the basis of the Cameron government’s triumphalism now that UK GDP is growing again.

The basic fact of UK economic performance since the financial crisis is that it has been terrible — in fact, as the NIESR documents, GDP performance has been substantially worse than during the Great Depression.

It's tragic, really. The only question going into the May 2015 elections will be: do Britons understand how much better off they could have been?

The Weird Economics Behind London's Disappearing Pubs

From The Atlantic Cities blog:

Over the past decade, 1,300 London pubs have emptied their cellars and wiped down their tables for the last time. It's not just obscure, unloved bars that are dying. This winter, two well-known historic pubs, both open for over a century apiece, will likely be turned into private housing. One is the Old White Bear, a red-brick building hidden away in village-like Hampstead, a former spa town swallowed up by Victorian London. The other, just down the hill, is The Star, an inn dating back to the 1820s with a wood-lined interior (featured in this 1980s pop video) that makes drinking there feel rather like sitting inside a whiskey-soaked violin.

Under the British system, the pub "landlord" (in British pub terminology, this actually means a manager that rents a premises, rather than an owner) must buy their booze from the company they rent the pub from. With no competition, the prices they pay are generally inflated, meaning that even if landlords trim their profit margins, beer still comes out pricier than it otherwise needs to be. While pub companies turn a profit, individual landlords are pushed to the wall. The pub companies then sell off under-performing premises, even though pubs wouldn't actually be unsustainable if landlords got a better deal.

There's a silver lining, and not just from pubs like Southampton Arms: The City of London has taken steps to preserve some landmark pubs.

Problems with Boris Bikes?

The Atlantic Cities blog sounds the alarm about London's bike share program:

While the system recorded 726,893 journeys in November 2012, last month there were only 514,146. To cap these poor user figures, today Transport for London announced that the scheme's major sponsor, Barclays Bank, will pull out of its sponsorship deal in 2015. Given the bad publicity the system has received recently, it may be hard to find a replacement sponsor without some major changes.

None of this would matter much if London’s scheme was entirely self-sustaining. But while Paris's bike-share scheme actually makes money for the city, London's 4,000 bikes cost local taxpayers an average of £1,400 per bike per year. As the Daily Mail points out, this would be enough to buy each of the scheme's 38,000 registered users a £290 bike. Barclays has thus found its sponsorship deal a mixed publicity blessing – though the bank itself may be part of the problem. The £50 million it promised was never going to be enough, and the amount it has actually handed over so far suggests their ultimate contribution could be at little as half that.

So, Toronto and London are having problems; Chicago and Paris are booming. This is turning into a fascinating natural experiment.

Glow-in-the-dark bike path from the UK

This rocks:

The so-called "Starpath" is a type of solar-enhanced liquid and aggregate made by Pro-Teq Surfacing, a company headquartered southwest of London near the awesomely titled town of Staines-upon-Thames. It's in the prototype phase, with a test path running 460 feet in a Cambridge park called Christ's Pieces. (The British and their delightful names!) The material works by absorbing UV rays during the day and later releasing them as topaz light. In a weird feature, it can somehow adjust its brightness levels similar to the screen of an iPhone; the path gets dimmer on pitch-black nights "almost like it has a mind of its own," says Pro-Teq's owner, Hamish Scott.

Pro-Teq is hoping that governments will embrace its self-aware, supernatural-looking pathway for its energy-saving elements and the ease in which it goes down. The installation is fairly quick (the Cambridge job took about 4 hours), and because it's a resurfacing technique doesn't involve the burdensome disassembly and disposal of existing pathways. "The main bulk of the U.K. path network is tarmac, where perhaps it's coming toward the end of its useful life," says Pro-Teq pitchman Neil Blackmore in the below video. "We can rejuvenate it with our system, creating not only a practical but a decorative finish that's certainly with the Starpath also very, very unique."

From the company's press release:

This product has recently been sprayed onto the existing pathway that runs through Christ’s Pieces open space, Cambridge between the city centre and the Grafton Centre, and is used by pedestrians and cyclists during the day and night.

The Cambridge pathway measures 150 square metres, took only 30 minutes to spray the material on, and the surface was ready for use less than four hours after the job commenced. This short installation time allowed minimal disruption to the public.

Bike hike to Cambridge, anyone?

Favorite pubs in the world

The question just came up in an email exchange with a friend's friend's sister: what are my favorite pubs in the world?

After a couple minutes' thought, I got here:

1. Duke of Perth, Chicago. Obviously; it has been my remote office off and on for over 20 years.

2. Southampton Arms, London. If I ever live in the UK, this may switch places with the Duke. It's just hard to say a place is my favorite when it's 6,000 kilometers away and I only go there twice a year.

3. Tommy Nevin's, Evanston, Ill., my former remote office.

4. Nag's Head, Hoboken, N.J. Another that used to be my remote office—but in the days before Wi-Fi and ubiquitous laptops. I still visit if I have time while I'm in New York.

5. Guthrie's Tavern, Chicago. Since the Duke of Perth is halfway between my house and Guthrie's, I don't get there as often as I used to. But it's worth the trip.

Some honorable mentions:

  • Bucktown Pub, Chicago. I'm starting to warm to the place, especially after many trivia nights there. Unfortunately, I don't live in Bucktown.
  • Peddler's Daughter, Nashua, N.H. (A former temporary remote office.)
  • The Bridge, Amberley, England. A real, live English country pub.
  • Kennedy's, San Francisco. By day, on its patio, it's wonderful. At night, it gets a little too loud and crowded, and there are too many TVs. Still, I almost always stop in when I'm out there.
  • Tigin, Stamford, Conn. My then-girlfriend lived right around the corner.

And some that are no more, and missed: Abbey Tavern, New York, where I hung out weekly from 1997 to 2000; closed in 2006. And The King's Head, Earls Court, London—which was really great before the new owners turned it into a trendy gastro-pub.

I'm always looking for suggestions.

What Shakespeare sounded like

I live for this kind of thing:

What did Shakespeare’s English sound like to Shakespeare? To his audience? And how can we know such a thing as the phonetic character of the language spoken 400 years ago? These questions and more are addressed in the video above, which profiles a very popular experiment at London’s Globe Theatre, the 1994 reconstruction of Shakespeare’s theatrical home. As linguist David Crystal explains, the theater’s purpose has always been to recapture as much as possible the original look and feel of a Shakespearean production—costuming, music, movement, etc. But until recently, the Globe felt that attempting a play in the original pronunciation would alienate audiences. The opposite proved to be true, and people clamored for more. Above, Crystal and his son, actor Ben Crystal, demonstrate to us what certain Shakespearean passages would have sounded like to their first audiences, and in so doing draw out some subtle wordplay that gets lost on modern tongues.

[D]espite the strangeness of the accent, the language can sometimes feel more immediate, more universal, and more of the moment, even, than the sometimes stilted, pretentious ways of reading Shakespeare in the accent of a modern London stage actor or BBC news anchor.

Next trip to London, I want to catch an OP production at The Globe.