PX Stuff

Subterranean Modern with a cover by Gary Panter.

Don’t worry — I’m not going to include all the album covers done by these artists in this blog series, but I’m gonna do a couple.

This one is interesting because it was released by Ralph Records in 1979 — Ralph had included Gary Panter’s Rozz Tox manifesto in the catalogue they published the year after.

The album is cool, too: It’s got four versions of I Left My Heart In San Francisco.

Here’s Tuxedomoon.

MX-80.

Chrome.

And of course The Residents themselves.

I also find this British import tax thing amusing (or whatever it is).

It’s Rozz Tox approved.

This blog post is part of the Punk Comix series.

PX78: A Disturbing Evening and Other Stories

A Disturbing Evening by Mark Beyer (215x280mm)

Look what I found! I’ve been trying to get a copy of this book for decades, and it finally popped up on ebay the other week. Serendipidee-doo.

So I’ve never read this before, and my heart is actually racing — I’m all excited!

Oh, wow. These comics were drawn in 76-78, and I don’t think I’ve seen any Beyer stuff that’s that early. He clearly had his design sense already at that point, but his figures aren’t as assured as they’d become later.

This is just wild. It’s even more far out than his later work. I mean, look at Amy on the couch being arrested… that’s mind blowing.

Beyer’ favourite topics are in full effect.

“Muteman”. Beyer’s strips often have a nightmarish quality, but I think this is the only overt dream retelling I can remember?

The bulk of Beyer’s comics work is the Amy + Jordan strip series, and he’s experimenting with the form already in 1978.

What the… I think that’s Mark Beyer himself? It looks very similar to how he’s drawn himself in the one other strip I remember him drawing himself in… and “mother” isn’t named here, but the son is Jordan, so is this a proto-Amy + Jordan strip? In several of the later strips, Jordan is also very young, but they become the same age as the years go by…

Well! It’s a really interesting book. The artwork is gorgeous, of course, and the stories are fun/scary, and it’s really weird that nobody has reprinted this thing.

The ebay seller kindly included a Beyer postcard from 1987 (printed by Lambiek).

It doesn’t seem like The Comics Journal reviewed this book at the time — the only mention I can find is in this ad from #44. And there’s that SohoZat store again.

This blog post is part of the Punk Comix series.

PX88: Bad News #3

Bad News #3 edited by Paul Karasik (206x260mm)

This is the third and final issue of the magazine that started as a class assignment at the School of Visual Arts, but I think by this point, it wasn’t that at all… although it featured many people who had gone to the SVA (or been a teacher there). (Kaz above, and a quite stylish contents page.)

Here we have Jerry Moriarty (a teacher at the SVA, I think?) and a Ben Katchor thing that’s quite amusing to read — it spirals inwards in a quite natural fashion. In the lower right hand corner, there’s even a street corner to guide the eyes in the right direction.

Robert Sikoryak retells a bunch of John Cage anecdotes as if they were comic strips. It’s fun.

Ooh! Jayr Pulga! I think he’s been featured in at least half a dozen of the books I’ve been covering in this blog series, but I know nothing about him. Let’s google! Hm… He doesn’t seem to ever have published a stand-alone book, which is a shame, because he does all these interesting things, storytelling-wise, and his artwork is gorgeous, of course, and quite a bit unnerving… Here’s his web site; looks like he went into illustration? Probably a wise choice. I mean, illustration is something you can make a living from.

Ida Marx channels Nancy. As one does.

This book has a great flow — each piece seems to relate to the next one, but not in an overt fashion. The Ida Marx page, for instance, which told a very personal, heartbreaking story in a distanced, formal way, echoes nicely in this longer piece by Thomas B. Dutcher, which is also about heartbreak, and is also told in this distanced way… They’re very different stories, of course, and you kinda wish somebody would just say to Dutcher “well, you could ask her to, like, clarify”… but anyway.

Oooh! I remember this one so well! I re-read it a gazillion times and adapted it for the Amiga. It’s such a simple conceit, and it’s so disturbing.

This was apparently not the piece Mark Newgarden had planned on including in this issue: Art Spiegelman famously (and allegedly) threatened Paul Karasik and made him hand over two pieces meant for Bad News #3 to Spiegelman: The Newgarden Nancy piece (the best thing in Raw #8) and Richard McGuire’s Here (the best thing, I vaguely remember, in Raw vol 2 #1).

Perhaps for the best, in some ways: McGuire’s Here had a huge impact over in Raw, and is one of the most influential single art comics pieces ever, and that may not have happened in this book (which I assume had tiny sales, and in the comics speciality market only). (And since this is Fantagraphics in 1988, the paper stock is absolutely horrendous — there’s a lot of bleed-through on these pages, which makes everything look kinda… meh…)

McGuire does a pretty amusing strip about his grandfather instead here.

(Oh, and a tiny little thing from Gary Panter here, too.)

Spiegelman shows up himself with a page from his sketchbook. Perhaps as a consolation prize for stealing the two pieces?

Anyway. This is a solid anthology. I only wish it had been printed on better paper.

Robert Boyd writes in The Comics Journal #200, page 20:

Bad News fell right between RAWs
arty refinement and Weirdo’s primitive
kookiness. Curiously enough, neither Bad
News#l nor Bad News#3 was nearly as good
— the first issue was too amateurish, and
the third felt like an afterthought. Bad News
#2 perfectly embodied a punk, post-mod-
ern approach to comics. Its urban “fuck you”
sensibility now informs a big segment of the
alternative comics scene today (Hate, Steven,
Underworld, Zero Zero, etc.). Thirteen years
later, Bad News#2 still strikes me as one of
the finest anthologies ever done.

Sikoryak is interviewed in The Comics Journal #255, page 95:

KELLY: HOW did first meet up With
Art and Franf0ise?
SIKORYAK: When I in Parsons, I
took a satirical illustration class taught by
Steven Guarnaccia. He did the cover Of the
last Drawn and Quarterly, volume At
Parsons, he exposed me to a lot Of obscure
artists and magazines. I already knew’ and
loved Raw, and he hooked me up With
them. At that point in the ’80s, they were
often looking for help of one kind or
another. I started working for them at the
release party for Raw #8, Which I believe
was also the release party Of the first
Pantheon edition of Maw. So I started
working for them just as Art was becoming
a real public figure. I helped out a little
around the office on and Of While I was
going to school and then slowly became
more involved.
KELLY: was Mark Neu,garden still
involved With them at that point?
SIKORYAK: Yeah. That was interesting,
because I took a lecture class that Art
teaching at SVA I was sitting in on a lot of
classes at SVA at this point While I was also
getting my degree at Parsons. When Art’s
class ended, I found out about a class
that Paul Karasik and Mark Newgarden
were teaching. While in their class, I began
drawing a strip that ended up in Bad News
#3. That was the first place I was pub-
fished. so in a sense, Art got me into their
class, and then Art saw my piece in Bad
News, and that led to my work appearing
in Raw. At that point, in 1988, it never
would have occurred to me to try to get in
to Raw, because everything in there
seemed so much more accomplished than
What I was capable of. And that class With
Paul and Mark got me focused on the par-
ody approach that I’m doing now. My Bad
Neus Story, the John Cage strip, incorpo-
rated a lot Of different styles and helped get
me interested in adaptations and this par-
ticular Mirt Of parody.
KELLY: that even just sort Ofa gen-
end assignment at SVA rhe rime? I think
that Mark’sfirsr Raw piece was the Pep Boys
strip, Which came from a class assignment,
Iin preny sure: Taking familiar tbamcrers
and purring rhem in strange situations …
SIKORYAK: well, certainly it was in the
air. Also in that class with Paul and Mark,
we had to draw a story about an early
experience with death using the characters
from Nancy. That was right up my alley,
although it •,vas an alley that I hadn’t quite
explored yet. But, the ’80s were the era of
post-modernism. I guess we’re still in that
era. Sometimes it seems like it’s passed,
Other times it seems alive and well. I cer-
tainly felt like I part of it. But the
John Cage story was an assignment to cre-
ate a biographical strip about someone
you admired. Only as I worked on it, I hit
upon the idea of drawing it in a dozen dif-
ferent styles, which really clicked for me.
You u.orkea at years?
SIKORYAK: Yeah. Well, I first met them
at that Raw release party. I think I was sell-
ing books or something that night. I was
kind of in awe of them. This was1986.
For the first couple years I worked there,
they were in between new issues of Raw
and were publishing books with Pantheon
at that point. They did the Read Yourself
RAW collection, Mark Beye€s Agony,
Garis Jimbo and Charles Burns’ Hard
Boiled Defective Stories.
KELLY: Drew Friedman’s Warts and
collection one of rhe books?
SIKORYAK_: NO, that Was With Penguin, a
few’ years later. But the first year or two I
working for Raw, I was packing boxes,
filling orders and doing chores. I may have
spent a day cutting overlays for the Jimbo
book. Very minimal production work, but
helping out around the office, whatever
needed to be done. It pretty much all I
wanted to do, to work at Raw, as far as day
jobs go. They also put out an annual SoHo
Map. I know ifyoud remember it. I
was very involved in the production of that.
This was a money-making project, before
Art and Franqoise urre co-publishing with
Penguin and HarperCollins. The profits
from selling advertisements in the Soho
Map kept the Raw office running.
At the same time, I weas doing a little
work for Topps. I wrote a few gags for the
backs of Garbage Pail Kids cards. I also
wrote a whole bunch Of Bazooka Joe
comics that never came out. I think they
decided to revamp the character right after
they bought all my strips. That was fun
while it lasted.
KELLY: This was the Howard Cruse era?
SIKORYAK: It was right at the end of the
Cruse era. I think Howard was going to
draw another round Of them, and I was
submitting gags for that for several
months. I was making a living between
Raw, Topps and a couple illustration jobs
here and there. I did something for
Esquire around that time, and did some
textbook illustration. Anyway, I was get-
ting by with that, when Penguin started
putting out the digest-sized Raws I was
working there “full time.” For me, that
meant a few days a week, but I was heavi-
ly involved in the production of those. I
shot stats, I did coloring, I did lettering. I
did some really bad lettering for them; I’m
surprised they printed it. (Laughter.] I was
just looking at some the other day. Some
of my lettering was substandard, I think.
KELLY: What would that be for? The
SIKORYAK: WI. Like Marti, Mariscal,
I forget Who else. These were strips that
were translated into English. I would also
retouch some of the reprints. There was a
Gustave Dore story in Raw #3 that I
extensively retouched. We were making
Photostats from reprints in Other books,
so the line-work had gotten all blotchy and
filled in. I went in with an X-acto blade
and Rapidographs, and would scratch out
areas and straighten out lines. Very care-
fully trying to match what the artist had
done originally, making the lines cleaner.
But I wasn’t the only one there. There
were several people at that point, from ’89
to , When we were doing the Rau,s With
Penguin. James Sturm was there, Steve
Marcus, Mike Rex — a lot Of people
worked on those issues. I would still do
the day-to-day stuff, all sorts Of things.
Answering the phones and keeping people
from camping out on the doorstep (laugh-
red because people would still come by
and ask, “Can I see anybody?” I was often
the only one there, luckily. I could honest-
ly say I didlft have the authority to get
them published in RAW. [Laughter.]
KELLY: Where was office?
SIKORYAK: On Greene Street, in Soho.
The office used to be in their loft, back in
the mid ’80s. Around ’85, when I was in
school, I actually went by their Office
because I was trying to track down Gary
panter. I was hoping I could get him to
give a lecture in one my classes. But I
find his or their number, so I pro-
ceded to do what I heard people did for
12 years afterward; I just showed up at
their door, buzzed them and said, “I’m
trying to contact Gary Panter. Is there
some way I can get a hold of him?” Of
course, no one there let me in. [Laughter.]
have no idea who was manning the door
that day; this was long before I d met any
of them. It was pathetic. “Can I leave a
note for him? Can I contact him some-
how?” As if he lived there. [Laughter.] so
afterwards, I could always sympathize
with whoever showed up.

Sorry for quoting so much here, but I just found this bit about the Raw offices interesting.

This blog post is part of the Punk Comix series.

The Best Greatest Albums of All Time Ever

I was looking at Noah Bertlasky’s book about the best ever (that is, it hasn’t been released yet, but I’ve looked at a couple of the things that will be included when it’s released in a couple of days), and while falling asleep yesterday, I thought “I wonder what my list would look like”…

So I spent half an hour compiling this. I’ve got data on what albums I love already, so it was just a matter of whittling the list down.

Here’s my random rules: 1) Not more than one album per band. 2) These have to be albums that I really love, not just stuff I think is cool. 3) Not more than 100 albums.

So I totally failed 3), because my brains just started hurting too much when I had whittled it down to 160, and by 150 I gave up. So it’s 150 instead.

Enjoy. And make your own list, too. If you’re into that sort of thing.

1968Alice ColtraneA Monastic Trio
1969Fairport ConventionUnhalfbricking
1970Vashti BunyanJust Another Diamond Day
1972Lal & Mike WatersonBright Phoebus
1975Joni MitchellThe Hissing Of Summer Lawns
1977David BowieLow
1980David Byrne and Brian EnoMy Life In The Bush Of Ghosts
1980Grace JonesWarm Leatherette
1980Joe JacksonBeat Crazy
1980Joy DivisionCloser
1980Peter GabrielPeter Gabriel 3
1980Talking HeadsRemain In Light
1980The ClashSandinista!
1981Deutsch Amerikanische FreundschaftAlles Ist Gut
1981JapanTin Drum
1981King CrimsonDiscipline
1981KraftwerkComputer World
1981The CureFaith
1981Tom Tom ClubTom Tom Club
1981VariousThe Fruit of the Original Sin
1981Yukihiro TakahashiNeuromantic
1982EurythmicsSweet Dreams (Are Made Of This)
1982Kate BushThe Dreaming
1982New MusikWarp
1983Kissing the PinkNaked
1983New OrderPower, Corruption & Lies
1983Zazou, Bikaye & Cy1Noir et Blanc
1984Blaine L. ReiningerNight Air
1984Cocteau TwinsTreasure
1984The SmithsHatful Of Hollow
1985ColourboxColourbox
1985Hector ZazouReivax au Congo
1985PhrancFolksinger
1985PropagandaA Secret Wish
1985Winston TongTheoretically Chinese
1986The Wolfgang PressStanding Up Straight
1986This Mortal CoilFiligree & Shadow
1986TuxedomoonShip Of Fools
1987Bel KantoWhite-out conditions
1987Chris & CoseyExotika
1987David SylvianSecrets of the Beehive
1987Pieter Nooten & Michael BrookSleeps With The Fishes
1987Sussan Deyhim & Richard HorowitzDesert Equations: Azax Attra
1987VariousLonely is an Eyesore
1988Pet Shop BoysIntrospective
1988Throwing MusesHouse Tornado
1989Jane SiberryBound By The Beauty
1989Pink IndustryRetrospective
1989The ResidentsThe King and Eye
1990Cabaret VoltaireGroovy, Laidback and Nasty
1990CoilLove’s Secret Domain
1990Dead Can DanceAion
1990Kitchens of DistinctionStrange Free World
1990Meat Beat Manifesto99%
1990MinistryIn Case You Didn’t Feel Like Showing Up (LIVE)
1990The BreedersPod
1990Two Nice GirlsLike A Version
1991ESGESG
1991Heidi BerryLove
1991His Name Is AliveHome is in Your Head
1992ConsolidatedPlay More Music
1992Red House PaintersDown Colorful Hill
1992Skinny PuppyLast Rights
1992Suzanne Vega99.9 F°
1993BjörkDebut
1993Leslie WinerWitch
1994Bark PsychosisHex
1994Laurie AndersonBright Red – Tightrope
1994PortisheadDummy
1994Stina NordenstamAnd She Closed Her Eyes
1995Black Dog ProductionsBytes
1995LiquoriceListening Cap
1995MobyEverything Is Wrong
1995TarnationGentle Creatures
1995Yoko Ono & IMARising
1996Bob HundOmslag: Martin Kann
1996Oval94diskont
1996Team DreschCaptain My Captain
1996TortoiseMillions Now Living Will Never Die
1997Liquid LiquidSuccessive Reflexes
1997Robert WyattShleep
1997Stephan MathieuWurmloch Variationen
1997StereolabDots and Loops
1998Antony and the JohnsonsAntony and the Johnsons
1998MimiSoak
1998MolokoI Am Not A Doctor
1998Vinicius CantuáriaTucumã
1999Arto LindsayPrize
1999Everything But The GirlTemperamental
2000Barbara MorgensternFjorden
2000David GrubbsThe Spectrum Between
2000EnsembleSketch Proposals
2000Jim BlackAlasnoaxis
2000Juana MolinaSegundo
2000Kid606Ruin It, Ruin Them, Ruin Yourself, Then Ruin Me
2000Sidsel EndresenUndertow
2001HerbertBodily Functions
2001HoodCold House
2001Jenny ToomeyAntidote
2001Missy “Misdemeanor” ElliottMiss E …So Addictive
2001Soft CellThe Twelve Inch Singles
2001VariousDisco Not Disco
2001VariousFreakbitchlickfly
2002DJ RuptureGold Teeth Thief
2002Max TundraMastered By Guy At The Exchange
2002MolokoStatues
2002Nobukazu Takemura10th
2002PeachesThe Teaches of Peaches
2002Rhythm King And Her FriendsRhythm King And Her Friends
2002The NotwistNeon Golden
2002Tujiko NorikoMake me Hard
2003Cat PowerYou Are Free
2003Dizzee RascalBoy In Da Corner
2003Other People’s ChildrenDelete.Control.Escape: The Selective Memory of OPC 2000-2003
2003VariousCrammed Global Soundclash 1980-89, Part One: World Fusion
2003Xiu XiuA Promise
2004Arthur RussellCalling Out of Context
2004ElectrelaneThe Power Out
2005CocoRosieNoah’s Ark
2005Gang Gang DanceGod’s Monkey
2005LCD SoundsystemLCD Soundsystem
2005Róisin MurphyRuby Blue
2006James FigurineMistake Mistake Mistake Mistake
2006The KnifeSilent Shout
2007Boris with Michio KuriharaRainbow
2007Hans AppelqvistSifantin och mörkret
2007Tracey ThornOut Of The Woods
2008Laura JeanEden Land
2008Sam AmidonAll Is Well
2009CirclesquareSongs About Dancing And Drugs
2010ClogsThe Creatures in the Garden of Lady Walton
2010Wildbirds & PeacedrumsIris
2011Ford & LopatinChannel Pressure
2011MachinedrumRoom(s)
2011Macintosh PlusFloral Shoppe
2011MenTalk About Body
2011TelebossaTelebossa
2012DeerhoofBreakup Song
2012Django DjangoDjango Django
2012Janka Nabay & The Bubu GangEn yah say
2012LeilaU&I
2012Maria & The MirrorsGemini Enjoy My Life
2012Neneh Cherry & The ThingThe Cherry Thing
2016AnohniHopelessness
2017DeathcrushThe Single Series
2017Jung BodyReal Eternal Bliss
2017Sudan ArchivesSudan Archives
2017Zola JesusOkovi
2019Kokoko!Fongola
2019Trash KitHorizon

10×10%

Hey, that took only a month, which means that it’s time, once again, to display some Emacs charts.

And since this is the tenth post in this series, I thought I’d natter on even more than usual. And perhaps some more about… having some vague goals as being the Emacs co-maintainer? OK, let’s see how this post goes.

So: This is the tenth time I’ve posted about closing 10% of the open Emacs bugs, which begs the question… Isn’t ten times ten percent, like… 100%? But there’s still bugs in the bug tracker!? THIS IS ALL A SWINDLE.

But for each stretch, I’m doing 10% of the remaining bugs in the bug tracker, so best case scenario would have been… er… maths is hard; let’s iterate:

(cl-loop with sum = 0
         and total = 100
         for i from 1 upto 10
         do (cl-incf sum (* total 0.1))
         (setq total (* total 0.9))
         finally (return (list sum total)))
=> (65.13215599000002 34.86784401000001)

Closing 65% of the bugs would have been the absolute max with this methodology, and no matter how many iterations I’m doing, I’m not getting to zero. It’s like that paradox.

Instead we’re down about 45%, from about 4400 bugs to 2690 bugs.

Looking at the charts a bit:

I think you can pretty much pinpoint the date I didn’t have to work any more after the startup I was a co-owner of was bought and found myself with a lot of free time on my hands? Kinda? So I’ve been basically working full time on Emacs bug fixing (and triage) for a couple years (with some holidays at random) instead.

This last 10% stretch started July 13th at 2820 open bugs, and we’re down to 2690 today.

And 50% of issues are closed within a week, which isn’t too bad.

The rate of bugs reported seems to be roughly linear over the years.

I love programming myself, and applying patches from other people is… er… not as viscerally pleasant as writing code? But applying patches scales a lot better, so I’m trying to have a quick turnover on patch submissions (having a Forge-like thing with pull requests would be nice *cough* *cough*), but let’s look at the stats for bugs that are tagged with “patch”.

Yeah, there’s usually a lot of bug reports that have patches that are works in progress, and then nobody actually applies them. So I’ve been making it my business to whittle down this category of bug reports: Either by getting it applied, or ruling out applying them. (The vast majority is in the former camp.)

Let’s look at the last year:

We seem to be getting down to 60, but then bouncing back up… It’s not like this is static: New patches are submitted all the time and applied, but the backlog seems to be constant(ish). Since I’m a veteran stock broker, let’s do some technical analysis:

So I imported the image into LibreOffice, then took a screenshot, and then printed that out, and then took a picture of the print-out. (This is industry best practices.)

We’re really seeing lot of support for the 60 level, and as an analyst, I’d say that it’s impossible to break through that level.

WE DID IT! WE BROKE THE RESISTANCE! WE”RE DOWN TO 51!!!!

To zoom out a bit: How are we doing in the activity dept?

This is the number of commits per month (mangled to remove merges and other artefacts, and then smoothed a bit). We’re currently at about 400 per month, which, if my knowledge of the philosophy of mathematics is correct, is a bit more than ten per day.

In itself, it doesn’t really say that much: I mean, I myself could just be committing a lot of junk and then fixing it, and that’d make the graph go up.

Emacs switched to git (from bzr) in 2014 to get… more contributors. But… It didn’t really seems that that had much of an effect — perhaps we just lost a lot of people who really hate git?

Of course, Emacs still has a fleet of people responsible for various sub-systems, and they’re working away efficiently on those, and co-maintainer Eli Zaretskii is handling all the difficult internal Emacs things that I don’t quite know how actually work, even after all these years…

But what I really, really want to see happening is that we get an increase in the number of “drive by” contributions: That is, contributions from people who aren’t living on the emacs-devel mailing list, but just see some problem, fix it, and then submit a patch or two.

Because that’s what I think makes for a healthy development environment: I’ve been using Emacs since the late 80s — yes, I’m really old — and we need young people to come in and do new stuff. This is totally happening in the wider Emacs culture (creating packages for GNU ELPA/Melpa, for instance), but I definitely feel like there’s a perceived barrier to submitting stuff to Emacs itself.

So I want to, ideally, have a super-quick turn-around on patches from “out there”: Either feedback on why it’s not the quite right thing, or getting it into Emacs toot sweet.

Is my nefarious strategy working? I’ve got the data, so let’s p-hack the shit out of it until it makes me look good. I mean… apply… sound statistical analysis to the data. Yeah. That’s the ticket.

This is the number of commits, per month, from people who do less than five commits per months.

Look at that chart! By just extrapolating that line a few years, it’s clear that by the year 2049, we’ll have nine million contributions from drive-bys per month! Whoho!

(I’m sure that’s correct.)

And this is people contributing one patch per month.

I think we’re on the right track here? At least it seems hopeful.

Zooming way out to the entire history of Emacs, it would seem that we kinda have as many contributors as ever before, but this chart is grossly misleading: In the olden days, many things were developed externally, and then applied in one single commit, under a single name, which makes it look like there weren’t many contributors in the 90s, for instance.

And here’s the same with commits instead of contributors, which shows that the rate of development is, indeed, slower than it was in the 90s. (And again, this chart is also misleading because of the jumbo-application strategy of many of the major sub-systems in the 90s.)

But it’s certainly not looking bad or gloomy or anything: Emacs is mature and stable, but we’re still getting a lot of stuff done, and new functionality is added to the Emacs core all the time. (The thriving Emacs package system is totally separate from this, of course.) I think that about a decade ago, people were feeling that Emacs was a bit stagnant, but that’s not the feeling I’m getting now.

The Emacs 28 release branch will be cut (according to plan) in mid-September, and we’ll get the release out some months after that. The major new bits will be the native-compilation, pure GTK stuff, and all of the in-tree Emacs code now uses lexical binding. (But I guess the tree-sitter/LSP stuff will be more of an Emacs 29 thing.)

But there’s a whole bunch of other stuff in Emacs 28.

And there could be more!

(Just a reminder: Working on the development version of Emacs is easy on most operating systems. It’s trivial on Debian, Ubuntu and Redhat, of course, but it’s also easy on Windows, MacOS (and with Brew), OpenBSD, FreeBSD and even NetBSD.)

Patches welcome.