Class files are identified by the following 4 byte header (in hexadecimal): CA FE BA BE (the first 4 entries in the below table). The history of this magic number was explained by James Gosling:^[2]

"We used to go to lunch at a place called St Michael's Alley. According to local legend, in the deep dark past, the Grateful Dead used to perform there before they made it big. It was a pretty funky place that was definitely a Grateful Dead Kinda Place. When Jerry died, they even put up a little Buddhist-esque shrine. When we used to go there, we referred to the place as Cafe Dead. Somewhere along the line it was noticed that this was a HEX number. I was re-vamping some file format code and needed a couple of magic numbers: one for the persistent object file, and one for classes. I used CAFEDEAD for the object file format, and in grepping for 4 character hex words that fit after "CAFE" (it seemed to be a good theme) I hit on BABE and decided to use it. At that time, it didn't seem terribly important or destined to go anywhere but the trash-can of history. So CAFEBABE became the class file format, and CAFEDEAD was the persistent object format. But the persistent object facility went away, and along with it went the use of CAFEDEAD - it was eventually replaced by RMI."

http://www.amazon.com/Counterculture-Cyberculture-Stewart-Network-Utopianism/dp/0226817415

freedom of information, education as barriers wikipedia

higher education is blocking learning in this day and age, everyone should be able to be able to dive into any disipline they want, and ammature, may offer a fresh perspective in physics than someone who has been in it since freshman year of college. this is how science used to be, thomas edison,galeleo. its the hippie internet freedom of information theory
conor: that's why norton makes textbooks and charges so much
velvetunderlmont: its barriers to knowledge
conor: um
velvetunderlmont: anyway
conor: if you dont have an expert writing the knowledge, it isnt knowledge
velvetunderlmont: true
conor: and any expert that would write for free, is clearly inferior to the ones we pay 400k
velvetunderlmont: but with wikipedia who is the expert?
conor: exactly
velvetunderlmont: who reads wikipedia?
conor: everyone
velvetunderlmont: exactly
conor: it's great for pop culture stuff
conor: it's worthless for learning advanced theories
velvetunderlmont: i guess...
velvetunderlmont: but people still turn to it for that i think
conor: but, that's not your point
velvetunderlmont: no but its an additional thought
conor: your point is people dont need education or to pay for high quality informative books
velvetunderlmont: in a related thread
velvetunderlmont: or classes

learn everything about programming off wikipedia.

Summary

detaching people and bringing them together

print to web information architecture live music blog

nomadic/travel/good life
very american

silicon valley techno utopia

internet stations set up at coventary

bonnaroo

festivals as incubator for ideas. the farm

time line of technology internet high level thinking and live music community
techno utopia, pandoras box has been opened now how do we deal with it

MOG

relix/jambands redesign more hip

jambase/phantasy tour/blogs

phish twitter gone popular

http://www.glidemagazine.com/hiddentrack/phish-jones-beach-setlist-night-1/

streaming iphone

http://www.psfk.com/2009/06/phish-fan-live-streams-entire-concert-via-iphone.html

http://phishtube.com/2009-12-5.html

http://www.ustream.tv/

"The number of people streaming last nightâ€™s show reached almost 3,500 people â€“ Jones Beachâ€™s capacity is 15,000. On ustream/phishtube you were able to watch a video of the show while reading the live twitter feeds, simultaneously side by side."

"Just wanted to warn you that cyber-criminals are using the popularity of the Phish concerts to trick phans into clicking on malicious links. According to PandaLabs research just released, if Twitter users click on the â€œPhishTube Broadcastâ€� Trending Topic link on Twitter, they will see malicious comments published in the accounts created by the cyber-crooks. More details on this scam are here: http://bit.ly/17EJnr"

"The convergence is coming. Are we ready?

What happened last night was incredible in terms of the mindshift that took place. http://www.ryangetz.net/

As others have noted, this wasn’t the first time a live stream went up of a show, but it was the first time we saw what happened from the perspective of someone who was there. No edits. No cuts. You saw what he saw. It wasn’t front row, hell when the lights went on you couldn’t even tell what it was. But all the phans did, and hopefully spread the word that this is what we’ve been waiting for. I swear I heard him mention sponsorship, which takes it to an entirely new level.

At the end of the show, He states something like “if i turn it off I’ll lose them” and at this point I got it. It wasn’t just about the show. I liked this guy. I felt I had shared the experience with him. It didn’t go to commercial. It didn’t pan out on a huge crane over the crowd (jet packs next time bro?)

As we think about our personal rights in these interesting times, at what point is our live, personal stream ours, and what part of it is owned by others? As smaller and ubiquitous tech (the only thing keeping this from happening more is the learning curve to jailbreak an iphone) becomes more prevalent, at what point does it become impossible, or even unnecessary, to try to squelch, as the volume of oncoming stream is simply more astounding. If “they” can watch and record us, any time, with no notification (if you’re in public, assume you’re being watched), when is that a right available to us?

A day not far off will enable this fairly simple exchange of bits (we’re just talking about audio/video streams, not transporter tech here) through a pair of glasses or contact lens, available instantly thru something like ustream to as many people as their bandwidth can handle. With this coming access, at what point is the drama of a tv show lost in a sea of HD-quality streams with positional surround and a full 180-degree field of view? If it works for a phish show, imagine all the peeps who would love to see the met streamed? Or some really hilarious guy at a wings game. Or your grandma, spending time with you and your kids. You get the picture.

I am on a personal search to develop this technology here in michigan to present this not only as a cheap web feed, but an immersive experience that requires only broadband. I seek any others out to help develop this idea further, or just let it help someone smarter with more money to take the idea and run with it. If you’re interested in moving this forward, please contact me. Jason, I’d love to have you on the board."

Archive.org

Dead and jamband had permissive rules about recording, open information and sharing

among tapers see quote,

universal access to all knowledge

Brewster Kahle

quote on jamband tradition of open trading and taping

"How much is there?
Almost all of the published works of audio is music. They consist of 2-3 million titles (78s, LPs, CDs). That's storage-wise a doable number, but published music is right now a very litigated and restricted area, so we just can't go and give access to it.
Instead, TIA has started to work on other areas of music. They've been working with bootleg recorders. There's an ongoing tradition, started by the Grateful Dead, amongst jam bands that you are allowed to tape and trade recordings of live performances as long as you don't make profit out of it. The trading has moved to Internet, but the traders have had problems with bandwidth. One concert takes about gigabyte, losslessly compressed, so it's not so light on downloading or uploading.
So the people at The Internet Archive offered the live recorders "unlimited storage, unlimited bandwidth, forever, for free.", which is just what the traders wanted. Now they have archived over 12000 concerts; mostly from the "guys with guitars genre" and lately also from the "guys with mandolins genre." The only requirement is that the recordings are under Creative Commons license. If you are in a band, or know people who are in bands, join the action; uploading gigabytes of concerts is no sweat to The Internet Archive. Upload away.
Legislation concerning recorded performances in the US is really hard to figure out. But in the Europe there's a 50 (or 70) year rule: the works are placed under public domain 50 years after the performer has died. This basically implies that the contents of 78 rpm records are public domain, so if you have any 78s, rip them and send the contents to The Internet Archive. It would be kind of fun to have hip-hop songs built out of scratches of 78s.
Archive.org also hosts around 50 netlabels. These netlabels have their content on the archive and they point straight to the downloadable files, meaning that you don't have to go through archive.org's branding or anything.
So, all in all, archiving music and making it available is also possible.:"

JohnMarkoff

http://en.wikipedia.org/wiki/File:JohnMarkoff041306part1.ogg

http://news.cnet.com/Fighting-to-protect-copyright-orphans/2008-1025_3-6154860.html

Kahle: For the Web, we followed the structure of the search engines and the opt-out system for doing the first-level archiving. If folks write to us not wanting to be archived, then we take them out. For music, we offered free unlimited storage and bandwidth, forever, for the recording of "trader friendly" bands in the tradition of the Grateful Dead.

http://www.ted.com/talks/brewster_kahle_builds_a_free_digital_library.html

In November 2005, free downloads of Grateful Dead concerts were removed from the site. John Perry Barlow identified Bob Weir, Mickey Hart, and Bill Kreutzmann as the instigators of the change, according to a New York Times article.[25] Phil Lesh commented on the change in a November 30, 2005, posting to his personal website:It was brought to my attention that all of the Grateful Dead shows were taken down from Archive.org right before Thanksgiving. I was not part of this decision making process and was not notified that the shows were to be pulled. I do feel that the music is the Grateful Dead's legacy and I hope that one way or another all of it is available for those who want it.[26]A November 30 forum post from Brewster Kahle summarized what appeared to be the compromise reached among the band members. Audience recordings could be downloaded orstreamed, but soundboard recordings were to be available for streaming only. Concerts have since been re-added.[27]

liberal ideas like free access to knowledge

The Live Music Archive sub-collection includes over 50,000 concert recordings from independent artists, as well as more established artists and musical ensembles with permissive rules about recording their concerts such as the Grateful Dead, and more recently, The Smashing Pumpkins.

Electronic Frontier Foundation (EFF)

http://www.eff.org/about/history
In an electronic community called the Whole Earth 'Lectronic Link (now WELL.com) several informed technologists understood exactly what civil liberties issues were involved. Mitch Kapor, former president of Lotus Development Corporation, John Perry Barlow, Wyoming cattle rancher and lyricist for the Grateful Dead, and John Gilmore, an early employee of Sun Microsystems, decided to do something about it. They formed an organization to work on civil liberties issues raised by new technologies. And on the day they formally announced the organization, they announced that they were representing Steve Jackson Games and several of the company's bulletin board users in a lawsuit they were bringing against the United States Secret Service. The Electronic Frontier Foundation was born!
The Steve Jackson Games case turned out to be an extremely important one in the development of a proper legal framework for cyberspace. For the first time, a court held that electronic mail deserves at least as much protection as telephone calls. We take for granted today that law enforcement must have a warrant that particularly describes all electronic mail messages before seizing and reading them. The Steve Jackson Games case established that principle.

Whole Earth Catalog

People to Interview

John Perry BarlowAndy GadielBrewster Kahle, JohnMarkoff

Stewart Brand

-->

The internet, the well and its parallels to sustainable living and back to the land movement.

Whole earth

The well

Wired

Modern communities

Technology and back to the land living

Since the late fifties and 1960’s people have made the choice to move away from the urban and suburban lifestyles and establish their own communities and living spaces “off the grid.” This is done often by purchasing a large portion of land and by then building everything you would need to live comfortably. this includes water filtration and reticulation, gardening and food supplementation, power generation and sustainable architecture. Over the past 50 years through combining the knowledge of indiginouse cultures and modern technology, there have been systems that have been put in place to make off the grid living possible, disciplines such as permaculture, organic farming, strawbail techniques and other sustainable architecture practices and wind and solar power.

During the 1960’s when interest in non traditional life choices was peeking, the seeds for the personal computer and eventually the internet were being planted, in silicon valley with influences from the back to the land movement from nearby san fransciso. The whole earth catalog, was a popular magazine developed for people interested in sustainable living, and included the tools and supplies one would need to make a move back to the land, alongside the most high tech devices at the time such as simple digital cacluclators which at the time costed around $4900 (not accounting for inflation)

Thanks to everyone who came out this weekend and helped create four magical nights at the Fox Theatre. We always have such a blast out in Colorado and this time was no different. As we look towards the Summer, we are really proud to announce the lineup for Bisco Inferno 2010. This year's event will take place on Saturday, May 29th at Red Rocks Amphitheatre and will feature our friends The Glitch Mob, Booka Shade, The Crystal Method (DJ Set), Pnuma Trio, and Aeroplane . The combination of these bands/DJ's and the setting at Red Rocks promises to create a magical event that we are beyond excited to once again host. We will be playing 2 shows leading into Red Rocks: May 27th, 2010 - Boulder Theater, Boulder, CO May 28th, 2010 - Ogden Theatre, Denver, CO Leading into... May 29th, 2010 - Red Rocks Amphitheatre, Morrison, CO The Presale for all 3 shows will begin at Noon MST on Wednesday, February 3rd at BiscoTix. There will be a limited number of 3 Day Passes (Boulder Theatre, Ogden Theatre and Red Rocks) available for $99.75 and a limited number of 2 Day Passes (Ogden Theatre and Red Rocks) available for $69.75. We expect these to go quickly. There will be no single day tickets sold on Wednesday for Red Rocks, just 2 and 3 day passes. You will only be able to get Boulder Theater and Ogden Theatre tickets as part of a 2 or 3 day pass through the presale at BiscoTix. Single Day Red Rocks tickets will be available for $39.75 and only through Ticketmaster starting at 10 AM MST on Saturday, February 20th. Once again our friends at CID Entertainment are offering Bisco Inferno VIP Travel Packages which include tickets for all shows, VIP section at Red Rocks, shuttle transportation, hotel accommodations, and much more. Travel packages go on sale Wednesday, February 3rd at Noon MT.

Partyin' Peeps

Thursday, February 4, 2010

Relix/Jambands.com Relaunch Party

Wednesday, February 3, 2010

Clean Vibes 2010 Season

Tuesday, February 2, 2010

web 2.0 and the music community

JohnMarkoff

Stewart Brand

Bisco Inferno Details

Monday, February 1, 2010

Disco Biscuits 2010 Tour Dates

Macpodz @ Sullivan Hall NYC