Category: Making

  • Customize Xfce on Debian 12 Bookworm to Look Like BeOS and Haiku OS

    BeOS desktop image

    This weekend, I installed Debian 12 Bookworm with Xfce desktop environment on my desktop computer, because I wanted a pure Xfce installation on top of a distro running a 6.0 or higher kernel to theme as close to BeOS as I can get.

    As I’ve written about before here, I have fond memories of using BeOS on my old PowerMacintosh 8500/120. When I used it on that hardware, it felt like the future. Many of its features were ahead of its time for a desktop computing environment. It was also incredibly easy to navigate and interact with due to its colors, icons, and textured UI elements.

    I believe that BeOS and Haiku OS have GUIs that are easy to see and interact with, because they aren’t flattened to death like most contemporary operating systems, which have less contrast and textured borders that hinder visual comprehension and interaction.

    I tried installing Xubuntu, but after installation, I was greeted by the login prompt, I entered my credentials, received a black screen (NB: not rebooting–for some reason the DE wouldn’t launch and it would kick me back to the login screen), and was greeted again by the login prompt. Since that was a fresh installation, I was concerned about the long-term stability of it on my computer. Hence, I tried out Debian 12, which installed and booted without a hitch!

    In addition to reinstalling Automatic1111 for Stable Diffusion for AI image generation and Llama.cpp for AI text generation, I set about theming Xfce to look as much like BeOS as possible.

    I describe step-by-step how to make Xfce mimic BeOS in the sections below.

    Window Manager Theme

    Window Manager window

    Perhaps the most notable aspect of BeOS/Haiku’s look-and-feel is the yellow, tabbed window title bar. Some tutorials suggest using the BeOS-r5-XFWM theme, but I opted for the Haiku-Alpha theme, because it only keeps the close window tic box and eliminates the other options such as minimize, maximize, etc., which you can still operate by setting one option to title bar double clicks and others from the drop-down right-click menu.

    Decompress the downloaded file and move the resulting folder into ~/.themes (remember to turn on “show hidden files and folders” in your file manager, and create the .themes folder if it does not already exist). Then, go to Settings > Window Manager > select Haiku-Alpha. Also, set the font to Swis721 BT Bold size 9 (see font section below for more info).

    Appearance Theme

    Appearance window

    To give Xfce the general look-and-feel of BeOS’s relatively high contrast interface (by today’s modern, flat interface standards), I installed the BeOS-r5-GTK theme.

    Decompress the downloaded file and move the resulting folder into ~/.themes. Then, go into Settings > Appearance > Style > select BeOS-r5-GTK-master.

    Next, click on the Fonts tab. For Default Font, select Swis721 BT Regular size 9, and for Default Monospace Font, select Courier 10 Pitch Regular size 10 (see Font section below for more info).

    Fonts

    There are two essential fonts, which can be easily found through Google searches: Swis721 BT Roman and Courier 10 Pitch for Powerline.

    Once downloaded, move the ttf files into ~/.fonts (remember to turn on “show hidden files and folders” in your file manager, and create the .themes folder if it does not already exist).

    There are two main areas where the fonts need to be set. First, go to Settings > Window Manager > Style tab and set the Title font to Swis721 BT Bold size 9. Then, go to Settings > Appearance > Fonts tab and set the Default Font to Swis721 BT Regular size 9 and set the Default Monospace Font to Courier 10 Pitch Regular size 10.

    Mouse Cursors

    Mouse and Trackpad theme window

    The hand mouse cursor is an integral element of BeOS’s look-and-feel. I opted to use HaikuHand reHash.

    Decompress the downloaded file and move its folder into ~/.icons (remember to turn on “show hidden files and folders” in your file manager, and create the .themes folder if it does not already exist). Then, select HaikuHand reHash in Settings > Mouse and Touchpad > Theme.

    Icons

    Appearance Icons tab

    The isometric view icons for BeOS capture that mid-to-late-1990s era of gesturing towards 3D through 2D designs. Vaporware Mac System 8 Copland exemplified this aesthetic, too (but aspects of it found its way into the eventual MacOS 8 and others incorporated its design elements into shareware like Aaron and the Iconfactory’s innovative icon sets. I created some icons in this style, too.

    To make Xfce as BeOS-like as possible, I used the BeOS-r5-Icons pack.

    Decompress the downloaded file and move it into ~/.icons (remember to turn on “show hidden files and folders” in your file manager, and create the .themes folder if it does not already exist). Then, go to Settings > Appearance > Icons tab > select BeOS-r5-Icons.

    Desktop

    Desktop settings window

    There are BeOS desktop wallpaper pictures that you can download and set as your wallpaper. However, I wanted a simpler solid color background. To achieve this, go to Settings > Desktop. Set Style to “None,” and set Color to “Solid color.” Then, click on the color rectangle to the right of Color, and next, click on the “+” under Custom and enter this hex value for the default deep blue BeOS desktop color: #336698.

    Dock

    Dock Preferences window

    After a lot of head-hitting-the-desk, I settled on using the Xfce’s Panel instead of a more visually interesting dock that used a BeOS-inspired theme (e.g., BeOS-dr8-DockbarX). I was able to get DockbarX installed from source eventually, but I couldn’t get the Xfce4 DockbarX plugin to work with the Xfce Panel. It wasn’t from a lack of trying! It’s worth trying to get those installed–you might have better luck. For me, I needed to move on, so I settled on customizing the Xfce panel to meet my needs and fit the BeOS aesthetic well enough. I went to Settings > Panel > Display tabl to set Panel 1 in Deskbar Mode, set the Row size to 48 with 1 row and ticked “Automatically increase the length. On the Appearance tab, I set the Fixed icon size to 48.

    Applications Menu settings within Panel settings

    On the Items tab, I clicked the preferences for the Applications Menu, removed the Button title and changed the Icon to the isometric 3D Be logo (this will be an option after you’ve installed the icons pack as described above in the Icons section).

    It would be easy to configure the panel to be more like the original Deskbar in BeOS, too. The main changes needed would be to increase the Number of rows to 4 or 5, change the Application menu icon to the flat “BeOS” logo icon (included in the icon pack installation in the Icons section above).

    And, it’s important to remember that there was not one, eternal version of BeOS. As with any developed software, it changed over time with its UI and look-and-feel changing with it. For me, the 1996 Developer Release is what I remember most because I ran it on bare metal on my PowerMacintosh 8500/120. It continued to evolve and change after that in ways that I am less familiar with.

    QMMP/Winamp Skin

    If you use QMMP for listening to music on your computer, you’ll need to grab a Winamp skin to give it the BeOS look and title bar. BeAmp Too is my favorite. There are a few others available if you search for “beos” on the Winamp Skin Museum.

    Whichever one you choose, download the zip file for the theme to your Downloads folder. Then, open QMMP, right click on the title bar and choose Settings, click on the Appearances section on the left, click the Skins tab, and then click on “Add…” at the bottom, navigate to your downloaded theme zip file and select it. QMMP will copy the file into the ~/.qmmp/skins directory for you. Select the theme on the Appearances > Skins tab to activate the theme.

    Other Tweaks

    The following are other tweaks to Xfce that I prefer for daily use.

    Disable overlay/auto hiding scrollbars

    Edit /etc/environment and add the line

    GTK_OVERLAY_SCROLLING=0 

    Save the file. Logout and login to see the change take effect.

    White font for desktop items

    Go to ~/.config/gtk-3.0/ and create a file named gtk.css (edit this file if it already exists). Add these lines to it:

    XfdesktopIconView.label {
        color: white;
    }

    Save the file. Logout and login to see the change take effect.

    Consistent Scroll Bar Speed

    In folders with many files, I have noticed that if I begin scrolling but slow down a little, the speed of scrolling after that point for the rest of my mouse-down drag will be EXCEEDINGLY slow. This is by design–a feature called zoom scrolling. Well, I don’t like it. If you don’t like it either, you can tame it by setting the trigger time to longer than the default of 500 milliseconds. To do this, go to ~/.config/gtk-3.0/ and create a file named settings.ini (edit this file if it already exists). Add these lines to it:

    [Settings]
    gtk-long-press-time=5000

    Save the file. Logout and login to see the change take effect.

    Thanks to:

    An unnamed Reddit user (their account has been deleted) posted an excellent write up of their BeOS-r5-XFCE theming of XFCE in r/unixporn that gave me a roadmap for what was possible.

    Metsatron, Roberto21, Retardtonic, and Xu Zhen for their respective work on the components that make this customization possible.

    The Debian community for Bookworm.

    And thanks to the Haiku OS developers who are keeping the BeOS dream alive!

  • Linkages in Making: Assembling a Bandai 1/144 Millennium Falcon Rise of Skywalker Model and Creating a Composite Image of the Falcon Among the Stars

    Introduction

    This week, I created the composite image above of the Millennium Falcon midflight among the stars. This most recent exercise in making was made possible by the Falcon model at the center of the composition that I assembled in June 2021 while healing from a broke toe.

    I like to think about how one project links to another, how one kind of making supports another kind of making. Making and culture go hand-in-hand. One new thing makes possible countless new things given tools, materials, and know-how.

    In this case, I assembled and painted a Bandai 1/144-scale Millennium Falcon plastic model set from Star Wars: The Rise of Skywalker. Proper assembly, though by no means professional, required tools (e.g., sprue cutter, paint brushes, and toothpicks), materials (e.g., plastic model glue, acrylic paints, and tape), and know-how (e.g., cutting, filing, gluing, and mixing paints and washes).

    A year later, I created the science fictional composite image above. Its production required tools (e.g., Linux Mint-running desktop computer, GNU Image Manipulation Program, or aka GIMP, and the Internet), materials (e.g., the assembled model, a photo of the model in an orientation appropriate for the composite image, and a public domain photo of a star field), and know-how (e.g., an idea for what the finished product will look like, a workflow for using GIMP to achieve it, and an understanding of how to use GIMP’s affordances including layers, opacity, and filters for each stage of the workflow).

    Assembling the Model

    The completed Bandai 1/144 Millennium Falcon model is only about 9 1/4″ long. Hence, it and its constituent parts are very tiny. I built and painted the model over the course of a week. Given more time and equipment, I would have liked to have done a more professional job with lots of masking and airbrushed paint. Given my limitations, I decided to have fun and use what I had at hand to assemble and paint the model.

    One example of the assembly process is pictured below. It involves the cockpit. Even though the model is sold as the Falcon from The Rise of Skywalker, it included Han Solo and Chewbacca figures, which I decided to use instead of the other cast miniatures. For these detailed elements of the model, I used a combination of toothpicks, very fine brushes, and dabs of paint to achieve the intended effect.

    The pictures below show the assembled cockpit with shaky, imperfect paint application on the left and remnants of the dark wash that I applied to age and highlight lines on the model’s surface on the right.

    The photos below show the completed model perched on its included, adjustable stand.

    Overall, Bandai’s model was expertly designed, easy to assemble, and highly respectful of its source material.

    Creating the Composite Image in GIMP

    The Bandai 1/144-scale Falcon sits on my desk to the left of my keyboard between LEGO models of The Mandalorian’s N-1 and the Millennium Falcon from The Force Awakens (It’s safe to say that I aspire to have as cluttered and interesting workspace as Ray Bradbury has in the opening to Ray Bradbury Theater shown here). So, I see it everyday.

    Recently, I was thinking wouldn’t it be fun to use it to create an in-flight image using the model. That stray thought picked up the thread from making the model and began creating a linkage to using the model to create something new–a fantastic image of the Falcon flying in outerspace.

    Looking through my photos, I selected the one below due to it’s orientation and composition within the photo’s rectangular frame.

    I cut out the Falcon and added it to its own layer with a translucent background in GIMP. I selected all of the window areas in the cockpit and adjusted the brightness and contrast to make the interior a little more recognizable. Then, I adjusted the shadows and exposure to make the Falcon’s exterior “pop.” Next, I used the clone tool to copy matte colors to hide some of the shinier/mirrored spots (especially in the dish and in the panels directly beneath the dish). And, I used the clone and smudge tools to fill in a gap between top and bottom parts of the cockpit (the black line as seen above).

    To put the Falcon in outer space, I created a base layer and pasted a star field image from NASA (found here).

    On the ventral side of the Falcon, you can see that the sides of the lower mandible are catching light that throws off the image if we’re imagining one light source (e.g., a star–of course, there could be two stars, but most of the ventral side of the Falcon is in shadow, so I wanted to stick to that). So I selected those bright areas and then used the clone tool to copy that coloration from either side–the left side looks redder and the right side more neutral–onto its own layer. I set the clone tool to 50% opacity to control the shade as shown below.

    To make the scene appear more alive, I added layers for the headlights (a center circle of very bright yellow with crossed Block 03 brushes at 45 and 135 degrees for the diffraction spikes with a smidge of Gaussian blur).

    And finally, the Falcon needs its engines, which I created with a large, single brush stroke with neon blue light (##04d9ff) with 95% hardness but only 44% force (not that kind!).

    Conclusion

    A plastic model building project from the past makes another project of science fictional image manipulation possible. Making in the present is linked to making in the past. This is the general work of culture–linkages up and down time, across geographies and nations, circuitous and not always obvious. This blog post is a microcosm of the macrocosmic work of inhabiting and building our culture. I suggest in closing that we should all reflect and chart these linkages. We might not be able to map them all, but those that we do, pays a debt of gratitude perhaps both ways–we in the present rely on that we are given from the past and the past lives on through the work that we do today.

    Download the full size composite Falcon image here.

  • How I Work: Distance Learning Edition

    Due to COVID-19, City Tech (and all of CUNY) shifted its in-person classes to online, distance learning instruction. In this post, I reflect on my current class’s transition to distance learning, show how I have configured my office and computer for screencasting and video conferencing, describe some software and services that support distance learning, and give instructions for uploading a video to YouTube.

    My Transition to Distance Learning

    For my current Science Fiction (ENG2420) class, this was not too much of a disruption, because I was already leveraging online technologies to support student learning and course material accessibility. I designed the course as a zero textbook cost class, meaning I find resources that I can make available to students via PDFs and handouts, and choose readings that are available freely online, such as the unparalleled Archive.org.

    Also, I redesigned some of the course assignments to emphasize the importance of note taking by teaching good note taking practices and evaluating students on the quality of their notes. To support this, I recorded each lecture during our earlier in-person classes and posted them on YouTube after class ended, so that students could use the videos to fill in gaps in their notes and allow those students who missed a class to make their own notes based on the video lectures.

    I collect student work via email and on OpenLab, “an open-source, digital platform designed to support teaching and learning at City Tech (New York City College of Technology), and to promote student and faculty engagement in the intellectual and social life of the college community.” I joined the OpenLab team as a co-director of the project this year, but I have been using OpenLab in all of my classes since joining City Tech in 2014.

    Now with classes meeting asynchronously online, I have tweaked assignments and the schedule to accommodate students accessing materials and completing their assignments. I hold office hours once a week at a regularly scheduled time via Google Hangouts, and I can hold private office hours by appointment with students. I use email to respond to questions and concerns on a daily basis.

    Now that I have reconfigured a space in my apartment to support my class and the many other online meeting responsibilities that I have with OpenLab and other projects, I wanted to share some tips and ideas to help others transitioning to facilitating their classes with distance learning.

    Office Configuration

    I know how easily distracted I am by busy backgrounds, I wanted to provide as neutral a space for my lectures and online meetings. To this end, I appropriated my apartment’s closet as a distance learning and video conferencing studio.

    I positioned the Logitech C615 webcam so that I am centered in the frame when video conferencing or recording myself lecture. Above the camera, I positioned a white light to illuminate my face.

    I arranged the desk so that my back would be against a solid white wall as pictured above looking from behind my monitor towards where I would be sitting facing the monitor and webcam.

    Notice that I taped a small piece of cardboard above the webcam. This blocks glare on the camera lens from the light above that illuminates my face. I was careful to cut and position it so that it is out of frame of the camera lens. Depending on your webcam, be careful not to cover the microphone if you build a similar lens shade.

    To the side of my desk, I have a larger lamp that points against the wall and behind me. This reduces my shadow from the desk lamp in front of me.

    The end result looks like this:

    Software and Online Services for Distance Learning

    As mentioned above, I use email and the OpenLab for interacting with students, disseminating materials, and collecting student work. And, I am using Google Hangouts for regular office hours since it is a far easier lift for students than official CUNY supported video platforms like Skype and WebEx.

    To create my class lectures, I do the following things.

    First, I create a presentation slide deck using Slides in Google Docs.

    While presenting my slides in full screen mode, I use OBS Studio, a “free and open source software for video recording and live streaming” that supports Windows, Mac, and Linux, to record a video of my desktop (the Slides presentation) and my webcam video and audio in a smaller picture-in-picture that positioned in the lower right corner of the screen, which produces a video like my recent lecture embedded below.

    Before I can post the video to YouTube, I like to edit it (though, editing isn’t absolutely necessary). I like to use Shotcut, a “a free, open source, cross-platform video editor.” After trimming the video, I then upload it to YouTube, get the video’s sharable link, and embed the video with the link in my class’ OpenLab site.

    OBS Studio and Shotcut have steep learning curves, but each have extensive online documentation and there are communities of users online who share tips and advice about how to setup and use these powerful tools.

    There are many other options for working with video. On Mac OS X, one can use Quicktime Player to record a screencast or iMovie to create something more advanced. On Windows 10, the built-in Xbox Game Bar can be used for creating a screencast movie. Also, there are commercial solutions, such as Screencast-o-Matic.

    In some cases, you might not even need a computer. iPhones with iOS and Android phones can use video recording software that’s built-in or with an app to record and edit video, and there’s a YouTube app for both platforms that you can use for uploading the resulting video.

    In the next section, I will show you step-by-step instructions for uploading a video made on a computer to YouTube.

    Uploading a Video to YouTube

    Once you have a video ready to share with students, the following step-by-step guide for uploading your video to YouTube shows you how to upload and share a link to your video.

    First, navigate to YouTube.com and login to your account. Then, click on the camera icon in the upper right corner and then click “Upload Video.”

    Second, drag-and-drop your video from your computer into the center of the window that opens, or click on “Select File” to navigate to and select your video file on your computer.

    Third, while your video is uploading and processing (updates are shown along the bottom edge of this window shown above), fill out the Title and Description boxes and choose a thumbnail for how the video will initially display before the play button is pressed. Then, scroll down the window.

    To comply with the COPPA law, select if your video is for kids or not. Then, click Next in the lower right hand corner.

    Fourth, you can skip the options on the Video Elements screen and click Next in the lower right corner.

    Fifth, select the Visibility option for your video. The most versatile choices are Public (this is what I choose) and Unlisted. In these cases, you will have a sharable video link that you can send via email or easily embed in a webpage. Private is also an option, but you have to choose who is permitted to see the video, which requires students having a Google account and you knowing those accounts to grant permission to each one. After making your selection, click Publish in the lower right corner.

    Finally, highlight and copy the video link on the resulting screen, or click on the copy icon on the right to automatically copy the video link to the Clipboard. Click “Close” on the lower right to return to your list of videos on YouTube. With the link on your Clipboard, you can go to email, OpenLab, or another platform to paste and share the video link with your students.

    On OpenLab and WordPress-based sites, pasting the link into a post or page will automatically embed the video so that students can simply navigate to your class site and watch the video on the class site instead of going over to YouTube as an additional step.

    If you’re working on transitioning your classes to distance learning, it’s okay to feel overwhelmed and frustrated like Miao Miao below. Just don’t give up. We’re doing good work for our students, and it takes time to think through and implement distance learning. Also, it’s okay to let your students know that this is a work-in-progress and things might change based on what works and what doesn’t.

    I republished this post on Open Pedagogy on the OpenLab here.

  • LEGO Skateboarding Vert Ramp and Street Skating MOC, and Exploring Connections Between Skateboarding and Making

    img_20190103_223812
    My Skateboarding Vert Ramp and Street Skating Model

    I began this new LEGO MOC (my own creation) project while reading Michael Brooke’s The Concrete Wave: The History of Skateboarding (1999) and after assembling my Mike McGill re-issued skateboard.

    Some ideas from skateboarding culture inspired this project. First, there’s the tension between Thrasher’s “Skate and Destroy” and Transworld Skateboarding’s “Skate and Create.” The former appearing in the December 1982 issue and the latter appearing in response in its first issue in May/June 1983. When I first skated, I didn’t know about this difference of ethos, but I can say that I was drawn to reading Transworld Skateboarding more so than ThrasherTransworld’s ethos of making something from the act of skateboarding fits well with my own attitude of doing good in the world through teaching and making (as opposed to wrapping the act of destruction into an aggressive skating attitude–understanding, of course, there is a certain amount of hyperbole in this motto and more back story worth investigating–see the interview by Adam Creagan with Craig Stecyk in Thrasher March 2010, pp. 80-81, and Konstatin Butz’s Grinding California, pp. 73).

    Second, many skaters talk about riding as an act of self-expression, creativity, and doing. While the act of skating is ephemeral, skaters build analogies between the sport and other creative endeavors such as writing, playing, painting, expression, and language. For example: Rodney Mullen writes, “[Skateboarding] has been the arena where I could stake my claim, the play where I would contribute my verse, and even the pen with which I write” (qtd. in Brookle 11).  Chris Long writes, “‘How glad I am that I skateboard’ . . . finding my own lines and creating my own ways of playing” (qtd. in Brooke 173). Darrel Delgado writes, “Skateboarding in a pool is like being a painter, and every new pool is a blank canvas and you are the artist. Every artist has a different approach and every pool is different, which keeps the intrigue alive. You can go wherever your mind and the transitions will let you go” (qtd. in Brooke 135). Mike Valleley writes about finding skateboarding, “I got an identity and something productive. It was creative, physical activity and I used my entire being to do it” (qtd. in Brooke 137). Tony Alva writes, “Just do something that’s in tune with an individual type of expression. I think that’s what’s so important about skateboarding” (qtd. in Brooke 175). Dave Hackett writes, “Pure and simple, [skateboarding is] a healthy, radical art form. . . . Skateboarding utilizes the every-expanding environment of steel, concrete, plaster, or wood as its canvas. . . . The skater becomes one with his board, while the board in turn translates the language of the terrain” (qtd. in Brooke 176). On these points, I think skateboarding and LEGO building overlap–in both cases, skateboarding and making, the fulfilling goal is creative and imaginative expression through a given medium–the former being the assemblage of body, skateboard, and terrain, and the latter being the assemblage of builder and brick.

    I wanted to combine different aspects of skateboarding into a single model. I grew up with street skating, because there weren’t any local skate parks (though, I have discovered in my research that there was a skate park in Brunswick in the late-1970s called Nova Skate Park–more on that in a future post). But, I always wanted to skate vert and pipes, so I thought about combining what I knew with what I wanted to learn.

    I got the idea for the ramp’s vert and transition design from LEGO 60200 Capital City set, which has one component that is a combined skateboard ramp/wall climb/basketball court. It uses dark grey inverted arches for the transition, which I agreed was the best choice of brick–albeit in tan color to emulate the color of wood–for the ramp that I had in mind.

    img_20190104_172507
    Brainstorming and calculating dimensions in studs. 

    The next consideration was how large a model to make. I knew that I would have to purchase the inverted arch bricks for the ramp, so I looked for a seller with a good price and selection of elements that would help me realize the idea crystalizing in my mind. Alphabrix, a seller with great feedback had 20 tan, inverted arch bricks, which would let me build a 10-stud wide ramp. I figured that its length should be at least double its width, if not more. Ultimately, I settled on a 10-stud wide ramp with a 28 stud length including both tables. This allowed two studs on either side of the ramp for stairs if I went with an overall length of 32 studs for the model. Since I opted for a 32 stud length, I figured that a 16 stud width for the overall model would be enough to add a street skating scene in the model’s foreground.

    After receiving the Bricklink parts and sorting out some necessary elements from my collection, I built the vert ramp first. Even though this would occupy the rear part of the model, it would dominate the model and be its focus. I wanted to get it right. I thought about how I would build a real one. I wanted a steel foundation that would be elevated off the ground. The ramp and tables would be made out of wood. As a new ramp, I wanted to give it a little bit of style with alternating color–light and dark tan tiles emulating different sheets of plywood. On the right side, I wanted a sloping launch that divided two drops on the front and back–this was a ramp design that I saw many years ago that gave the skaters a divided coping for new trick opportunities.

    With the vert ramp complete, I turned my attention to the base and its foregrounded street skating area comprising 6 studs by 32 studs. The bottom of the base are dark grey plates supporting a circumference of Technic bricks and filled in with 2 x 4 bricks. I covered the surface mostly with tan 4 x 6 plates. I built up a curb with 1 x 4 and 1 x 6 bright yellow plates covered with the same colored tiles. Within that area, I filled in with a single layer of light grey tiles–some with single studs and the rest without to allow placement of obstacles like barrels and trash cans, which can be skated around or ollied over. Finally, I put concrete cones down to support the ramp behind the street skate area.

    Finally, I combined the vert ramp with the base and its street skate area. I used yellow, dark blue, and orange tiles to skirt the Technic bricks around the base. The vert ramp’s coping permits posing of skaters doing hand plants. In the foreground, I added a stereo (probably playing an eclectic mix of They Might Be Giants, The Beastie Boys, and Technotronic) and snacks including pizza and cookies (shredding fuel).

    Usually, it takes me several days to weeks to complete a build like this, which I have chronicled on other blog posts. However, I built this model in a single evening. I think my mind had been working on the project while I waited for the needed bricks to arrive in the mail. Even though I wasn’t haptically manipulating the bricks in my hands, I was daydreaming and imagining how to put the model together at odd times between placing the brick order and receiving them in the mail.

    While imagining myself shredding on my completed LEGO skateboarding model and thinking about picking up my McGill deck to hit the streets with, I’m reminded of the Kevin J. Thatcher’s first editorial in the January 1981 issue of Thrasher: “The average individual was never properly exposed to the unlimited possibilities of a platform with four wheels under it–a simple basic mechanical device which serves as an energy-efficient mode of transportation, a basis for a valid sporting activity, and as a vehicle for aggressive expression. . . . Thrashing is finding something and taking it to the ultimate limit–not dwelling on it, but using it to the fullest and moving on. Skateboarding has not yet reached its maximum potential, and who can say what the limits are? To find out–Grab that board!” (6). Grab that board, grab that LEGO brick, grab that camera, grab whatever it is that you can express yourself with, because that is the thing with which you can leave your mark on the world.

    Works Cited

    Brooke, Michael. The Concrete Wave: The History of Skateboarding. Warrick Publishing, 1999.

    Butz, Konstatin. Grinding California: Culture and Corporeality in American Skate Punk. Transcript Verlag, 2012.

    Creagan, Adam. “Skate and Destroy: The Stecyk Scrawl Lives On.” Thrasher, March 2010, pp. 80-81.

    Lowboy. “Skate and Destroy, or Multiple Choices (Something to Offend Everyone).” Thrasher, December 1982, pp. 24-29.

    Thatcher, Kevin J. “Talking Ed.” Thrasher, January 1981, pp. 6.

    Tracker Peggy (Peggy Cozens). “Skate and Create.” Transworld Skateboarding, May/June 1983, pp. 13-15.

  • Memories of Skateboarding and Nostalgic Assembly of a Re-Issued Mike McGill Powell-Peralta Skull & Snake Skateboard

    complete-mcgill-skateboard-top-and-bottom.jpg
    My Mike McGill Pro Model “Skull and Snake” Re-Issue Series 5 by Powell-Peralta, Complete with Gullwing Pro III Trucks and Sector Nine Nineballs Wheels.

    This is a long read that combines autobiography, nostalgia, memory, and instructions. Visitors here might find it interesting and informative. My students might use it as a model for some of their own multimodal writing about memory, processes, instructions, and reflection.

    While it has been over 25 years since I last rode a skateboard with my hometown friends, I recently felt drawn to the 7-ply deck once again and decided to assemble a board similar to my second skateboard–a 1990 Powell-Peralta Mike McGill pro board with VCJ’s Skull & Snake graphics, fish shape, nose and tail kicks, natural wood grain with Gullwing Pro III trucks (red), and Powell-Peralta Rat Bones wheels (neon green).

    Before I got my original McGill deck, I learned to skateboard on a Teenage Mutant Ninja Turtles complete skateboard that my grandparents–Wilma and Papa Gerald–bought for me from the Wal-Mart on Altama Avenue in Brunswick, Georgia (since replaced by a Supercenter about a mile away, and then the original site re-built as a Neighborhood Market a few years ago).

    With the TMNT skateboard, I learned how to balance, turn, and ride on my grandparent’s back car port. At first, I held on to a broom handle to steady myself until I felt confident enough to ride without this support. I don’t think I had a helmet, but I did have pads and wrist guards–the former store bought neon green plastic over black, and the latter used, red, gifted or traded for–I can’t remember.

    I rode and shared the TMNT skateboard with my friends who I paled around with when I stayed at my grandparents. However, I wanted to learn how to ollie and do tricks, but I found this to be next to impossible on the heavy, tank-like TMNT board. This is what began my search for a better board, relying heavily on the photo stories and advertising in magazines such as Transworld Skateboarding and Thrasher, and eventually led to me mail ordering the McGill deck and new hardware (was this a Christmas gift from my grandparents or my folks–again, my memory falters).

    With the new McGill, I continued skating through the beginning of high school, but I drifted away from the sport when I got more interested in books (physics first, science fiction second), computers (Amiga, IBM-compatible PCs, and eventually, Macintosh), and cars (my first being a 1965 Ford Mustang, but always having a soft spot for the small Toyota pickup trucks that I used to deliver auto parts from my family’s business).

    I don’t remember what became of my McGill. I suspect that I gave it to a friend before going to college where I really got into Rollerblading, but my memory fails completely on this point. I hope that I can remember what happened to my old McGill skateboard, not because I want it back, but instead simply to recall that moment in my life’s narrative. Related to this is the fact that I don’t seem to have any photos of me with my skateboard (though I do have a photo of me holding my Rat Bones wheels on Christmas Day). It’s an odd omission in the photographic record of my life of something I considered important to me at that early time in my life.

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    In the film Hackers (1995), The Plague (Fisher Stevens) rides into the NOC on a McGill skateboard while Hal (Penn Jillette) studies the situation.

    My re-interest in skateboarding began when I was watching the film Hackers (1995) in HD. I don’t think it registered with me when I first saw it when it was originally released that the film’s villain, The Plague (Fisher Stevens), rides into his company’s NOC (network operations center) on a McGill skateboard (see above).

    Then, I caught up with my oldest best friend Bert over the phone. He lives in Seattle now, but back in the day, we used to skateboard in his neighborhood. Bert was a much better skater than me. Our conversation drifted back to skateboarding, including the time that he and I were stopped by a cop on our way back from a Hampton Inn construction site. The obese, good ol’ boy police officer asked us questions about what we had been doing and he stopped when he pointed his flashlight on our boards. Bert skated Vision, and I skated Powell-Peralta. The cop took a breath through his teeth and said, “now boys, I’ve done heard things about that POW-ell Per-AL-ta. They’s devil worshipers!” Bert and I smiled and nodded until he let us go on our way back to his house, but it’s a strange encounter that’s stuck with me.

    Our phone conversation encouraged me to begin searching the web for information about my old skateboard. This led me to the Bones Brigade video The Search for Animal Chin (1987), which I shared with Bert via text message. By this point, I was thinking and spending more free time learning more about skating history and its evolution after I had left the sport.

    While I was already burdened by a big research project on computers in science fiction from 1975-1995, which I’m continuing to work on, and the Third Annual City Tech Science Fiction Symposium, which I was organizing, I wanted to give myself something on the horizon to look forward to as a reward for this work. I decided to get the parts to build a new, complete skateboard similar to one that I had to before without breaking the bank, so I turned to eBay after striking out with the major skateboard online retailers and local shops, such as Uncle Funky’s Boards.

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    While I couldn’t find my original McGill with a natural finish, I did find this brand new, black dipped, Series #5 re-issue on offer by a seller in Puerto Rico. We negotiated a best offer price, and I received it before anything else.

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    I picked up a Gullwing Pro III trucks, wheels, bearings, risers, hardware combo from Raptorunner in Riverside, CA, and I ordered a Powell Peralta Tailbone and Jessup grip tape (and a helmet and pads) from TGM Skateboards in Mount Clemens, MI.

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    My original Gullwing Pro III trucks were cherry red and stood out well against the natural grain of the board. I liked these new 9″, 155mm neon green ones, because they stand out against the black background on the new, black McGill deck. Also, my re-issued McGill deck uses the old truck bolt pattern, so I chose between these (note that the base plate has six bolt holes instead of four–to accommodate both old and new bolt patterns) and Independent Stage 11 169mm trucks. Ultimately, I opted for the Gullwings since I skated with them before.

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    Raptorunner had several different truck, wheel, and hardware bundles. I chose this one, because it had these Sector Nine Nineballs wheels. They aren’t too big (I would have preferred 56mm) and they are real soft (78a), which will be good for the street crusing that I intend to use the skateboard for.

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    To begin my skateboard’s assembly, I began with the Tailbone before applying the grip tape. I clamped the tail guard to the bottom of the deck’s tail and measured to ensure it was centered.

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    Then, I used a small drill bit to lightly mark where I should drill the larger holes for the wood screws that will go through the top of the board into the Tailbone.

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    I used the grip tape shipping tube to support the deck while I was drilling.

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    Powell-Peralta’s instructions for the Tailbone call for a 7/32″ drill bit. Unfortunately, I didn’t have one in this size. I didn’t want to go with a larger hole (1/4″), so I tried the 3/16″ bit. Luckily, this was more than enough room for the wood screws to pass through the board without biting and then go into the Tailbone.

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    Using my earlier marks, I drilled three holes through the deck’s tail. These will be used later for mounting the Tailbone.

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    Before mounting the Tailbone, I applied the Jessup grip tape. I bought 10″ wide grip tape, which is just barely wide enough to give some room for error with the front of the deck. If I had to do over again, I would have opted for the 11″ wide grip tape.

    I wanted the Bones Brigade logo to appear on the top of the deck, so I needed to apply two sections of grip tape–one above it towards the nose and one below it towards the tail. I measured these lengths twice and cut the length of grip tape into two sections allowing some room for error in terms of length. I used the pre-cut edges as the beginning of application above or below the Bones Brigade logo. I slowly lowered and pressed the grip tape to the deck so as to avoid any air bubbles under the tape.

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    With the tape applied, I used the barrel’s edge of a screw driver to draw a scoring line around the edge of the skateboard deck.

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    Then, I used a razor blade held from underneath the board to follow the edge of the board and cut the excess grip tape off along the scoring line.

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    Next, I pressed the grip tape down around the edges of the deck.

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    I ran a rolled up piece of excess grip tape around the edge of the deck to give the grip tape a clean edge all away around.

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    With the grip tape applied, I used a screw driver to punch through all of the holes in the deck for the trucks and Tailbone.

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    Next, I installed the tailbone by pushing through wood screws and matching them to the holes in the Tailbone.

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    While I had a cordless drill on-hand, I preferred to install these screws by hand. I was afraid of over torquing the screws and losing grip in the Tailbone’s plastic. Installing the screws by hand allows me to feel them dig into the plastic and maintain a secure hold on the Tailbone through the deck without stripping out plastic.

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    The final stage of the assembly involves the trucks, wheels, bearings, and 1/4″ risers. I laid all of these parts out to make the assembly quicker. For some of the assembly, I used the cordless drill with a Philips head driver, and I had my 1/4″ drive tall sockets in 3/8″ (for the truck mounting bolts) and 1/2″ (for the truck’s axle bolts).

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    The first task was to install bearings and spacers in each wheel. I placed an Owlsome Precision ABEC 7 bearing assembly into the back of a wheel.

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    Then, I used one of the trucks to help me press the bearing completely into the wheel so that it is flush with the wheel.

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    Turning the wheel over, I dropped a spacer on top of the inserted bearing.

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    Then, I placed another bearing into the front of the front of the wheel over the spacer, and again, used the trucks to help me press the bearing assembly completely into the wheel.

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    Then, I pulled the wheel off, placed a washer on the axle, followed by the wheel with the front facing outward, another washer, and then the axle nut. I tightened the axle nut by hand with the 1/2″ socket. I left a very slight bit of play for the wheel on the axle.

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    With all of the wheels assembled with bearings and spacers and these installed on the trucks, I was ready to complete assembly of the skateboard by mounting the risers and trucks to the skateboard deck.

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    First, I pushed the 1 1/4″ truck mounting bolts through the skateboard deck.

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    Then, I mounted the 1/4″ riser through the bolts on the underside of the skateboard deck.

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    Next, I turned the skateboard on its side and mounted the trucks.

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    I hand threaded the four hardware nuts on each mounting bolt for each truck.

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    After confirming each nut was threaded correctly, I used the cordless drill to snug each bolt down to the nut and then hand tightened each bolt in an X-pattern until I was confident in each truck’s mounting to the skateboard deck.

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    With the trucks mounted, I have a complete skateboard ready to take out and hit the streets with. The soft, larger wheels should be great for riding in my neighborhood. However, I have been looking at Powell-Peralta’s G-Slides, which I might get later.

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    I opted to cover the “Bones Brigade” name beneath the logo, because I wanted a little more grip on the tail section of the deck.

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    My original McGill had a nose kick while this late-80s re-issue does not. Nevertheless, I think this will be a fun skateboard to ride. Y asked me to wait until she returned from her trip to see her parents before I rode it in case I hurt myself. She’s back, but the weather isn’t superb, so I might content myself with daydreaming about riding my new skateboard until we can take it out together.

    In all honesty, I have to remind myself that I can’t necessarily do the things I did when I was younger, or put another way, I can try to do the things that I used to do, but there will likely be more serious consequences. C’est la vie!