Self-Hosting WordPress Even More

I know, I know; all blogs that’s hosted on WordPress inevitably turns into a blog about WordPress… Sorry! This is just a post of aimless complaining about an issue that’s so minor you won’t believe it, but these days there aren’t anybody on my lawn that I can shout at.

Sorry!

I started this blogging lark like a decade ago using WordPress.com, because I really didn’t want to host WordPress myself. WordPress.com is easy, safe, and the support from Automattic is unsurpassed.

But.

The problem is that the fine people at Automattic have a tendency to make changes.

I know, the outrage! How dare they improve their products!

But even small changes have annoying effects. Like, for instance, their Jetpack super-plugin, which I’ve used to post oh-so-interesting tweets so that the huddled mass over at Twitter can enjoy my oh-so-interesting blog posts. This is what they’ve looked like since when I started:

The tweets have the blog title, a link to the blog, and then the first image from the blog. Nice and simple and, most of all, predictable. I think the Tweet stream looks kinda purdy?

So then, the other week:

The horror!

They switched to a different format. Now the image is apparently a random one (they probably have Highly Advanced AI to pick it out, right?), and then there’s an excerpt of the text (which makes little sense of context, it seems to me), and the image is small and ugly.

Or even worse! From that movie log blog:

Perfection, right? Right? (I used So Much Math to compute the correct font size to get the same apparent director name size since the aspect ratios are different, and the X size on Twitter is constant, but not on my blog. I’m so proud.) It changed to:

Ack! Gasp! Sad!

So you’d think there’d be a way to customise the twittering in the Jetpack settings? I looked and I looked, and I found nothing.

Reader, you’ll never guess what I did next: I moved the site from WordPress.com to a self-hosted DigitalOcean droplet.

It’s probably more expensive, and it’s definitely a whole lot more work, but I just can’t deal.

I know, if you’re using a service like WordPress.com, you can’t expect to get everything your way, but there’s a feeling of being helplessly trapped in a system where you have no control over minor things — for instance, the snappy server-rendered WordPress dashboard suddenly becoming unavailable on some sites, and you have to use the slow, low-density React based interface, and having no way to switch back.

Oh, and not being able to post MP4s on a personal plan, which I just think is ridiculous — why force people to post enormous GIFs when MP4s are so much nicer and smaller? Yes, Automattic needs to make money, but that’s just churlish, these days.

So if anybody at Automattic is doing an A/B testing thing to determine the success of this Twittering feature, you can count my slightly lower invoice next month as a vote.

I Am So Observant

They’ve been … grinding away at the stairs in this building for the last few days. The house is from the late 1800s, and (apparently unusually) the tiles in the stairwell are made from concrete, not ceramics. So they’re porous, and grow ever-more dirty over the years?

I’m not an expert. I didn’t know that this was a thing.

So they’re “cleaning” the tiles (i.e., taking off the top layer) with a grinding thingie.

But I came home now and looked at the tiles and though “well, that was a lot of noise for no change at all”, and then I noticed that they hadn’t done the corners yet:

I guess… that’s… a slight difference? No?

I’m so observant.

Outline

I’ve just read the second book in Rachel Cusk’s Outline trilogy, and it’s fabulous — perhaps even better than the first?

Anyway, it reminded me that I read a shattering and hilarious parody of Cusk in a Norwegian newspaper a few months back.

So I translated it into English; I hope nobody minds? I think it’s too funny (and accurate) not to be translated. Hey, author, if you want this removed, just leave a comment and I’ll do so.

Here it is:

Rachel Cusk (abbreviated)

KNUT NÆRUM

A monthly column that saves you time by giving you the essence of stuff you think you ought to have read. This time: Rachel Cusk’s Outline trilogy.

Because it was the last night of the festival for literary realism, and the other participants had apparently decided to call it a night early, I chose to have a walk on the beach in this unspecified country. The fishing boats were beached on the shore, with the painted eyes on the bows angled toward the beach promenade’s many restaurants and bars. I stopped by the restaurants that looked most promising; that is those that had guests, but weren’t too busy and therefore too loud. After visiting five places where nobody had entrusted themselves to me, I needed, to my surprise, to visit a restroom and went into a sixth establishment. When I left the bathroom, a women in a dress with vertical stripes asked me to join her at her table — she was alone with a bottle of wine — and listen to her talk, which I naturally agreed to.

At eight years old, she had had her tonsils removed. When she was leaving the hospital, she told me, the surgeon had approached her with a screw-top mason jar, wherein her tonsils were preserved in alcohol, and asked her if she wanted to keep them. At home she placed the jar on a bookshelf in her room, where everybody could admire them. One day, however, the jar was gone, and when she asked her parents if they knew where her tonsils had disappeared to, her father had immediately admitted that he’d thrown them out, since they were gross and infectious. The girl had never forgiven her father his transgression, and eleven years later she left home.

Maybe, I thought, saving your tonsils in a mason jar on a shelf isn’t that different from writing. It’s something you cut from your own life and then store in a way that can be observed by others, and that some people consider that in poor taste and unhygienic. At the same time I couldn’t help thinking that if you look long enough, you find somebody that tells a story that sheds light on your own life.

On the way back I chose a different route, through the centre of town. On a cobbled street in the old town I heard commotion and gay noises from a cafe decorated with coloured light bulbs and windows open to the street. Inside were all the other authors, who had apparently gone to this place to celebrate the end of the festival.

I entered, and as my colleagues caught sight of me, they grew noticeably quieter. I asked one of them, a man with a grey beard, if they had forgotten to tell me where they were going. He told me the didn’t think I’d be interested, but I could see in his eyes that this was about them being afraid that I was going to repeat everything everybody said in a book. Hang on, I said, let me write this down.

OTB#30: Amarcord

Amarcord. Federico Fellini. 1973. ⚂

Ah, yes… I saw this a few years ago, but on a horrible interlaced DVD (so the effective resolution was horrible). The is a 2K version restored by Criterion, and… it… still doesn’t really look very good?

Like… the colours are kinda all over the place and… but that’s probably just Fellini being 70s? And… it’s… It’s very shouty. I see what he’s going for; a kinda childish nostalgic over-the-top caricature aesthetic, but it’s…

It’s a lot.

It’s perhaps the same sort of thing that Bergman was mining some years later with the Xmas scenes from Fanny & Alexander. Only in a very different way. But then Swedes aren’t Italians.

[time passes]

I think that I’m “others” here.

I mean, I love 8½ and a bunch of other Fellini movies, but this is so… Every scenes begs, pleads with you to love the antics of these picaresque characters. I tries to hard to be appealing. I’m just annoyed.

It’s broad comedy just a couple of steps away from Carry On Camping. (Which I bought just the other day; I’ve never seen any of the Carry On movies.)

Well, that Woody Allen voted for this movie surprises exactly nobody, but Roy Andersson? Hm…

OK, I can see that in some of the sets, I guess.

[an hour passes]

It confusing what age the “youths” are supposed to be. 12? 22? 32? They behave like they’re 12, but look like they’re 32, kinda. It’s even more confusing when you take the mother of the viewpoint character into account: She looks and behaves like she’s seventy?

So I guess… seventeen?

I found this movie to be tedious, cloying and annoying, but it’s probably exactly what Fellini wanted it to be, so is it good?

Perhaps it would have worked better with a laugh track.

Tee hee.

I’ve had a look at the negative reviews on Rottentomatoes, and some of them are er quite telling:

“Gargantuan [lady]” and “monstrous nipples”… I think that says more about the reviewer than Fellini. (That’s Sight & Sound magazine.)

[half an hour passes]

And here’s the really trenchant critique:

Worst Movie Snow Ever.

But I did like the marriage scene.

This blog post is part of the Officially The Best series.

April Music

Music I’ve bought in April.

Oh my. That’s a lot of new music. How did that happen? Did I spend the entire month of April on my couch shopping?

Yes, I did. The two main threads here are my continuing fascination with Ze Records. They were a late-70s/early-80s New York record company (very, very New York) that released music crossing over from No Wave to disco. In this batch we have Mars and Arto Lindsay, but also Kid Creole and the Coconuts. And, yes, I know that his music is all ironic and stuff, but it’s still pretty hard to forgive the cover of If You Want To Be Happy:

DON”T LISTEN! IT”S THE WORST THING EVER IN THE HISTORY OF EVER.

(Oh, and I apologise to any of the discogs sellers I inadvertently killed by making them visit a post office. “Oops, I did it again.”)

But Ze is otherwise pretty fantastic. I mean:

The other path my shopping this month has taken was inspired by this article. I used to be heavily into industrial music in the 80s, but I fell out of the habit in the 90s. So I thought I’d buy all the albums I missed the first time around.

Here’s some classic industrial:

Tee hee.