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Please allow me to Introduce Myself

Vital Signs

Born in New York. Made in California.

I was born and raised in upstate New York. That means good pizza and miserable weather. After graduating from Binghamton University in 1991, I left the green pastures of upstate NY for the "Greener Pastures" of Northern California. The rest, I guess you can say, is History. Peruse the Social Icons above to find out more.


John C. Zizak


John Zizak

Locale: 38.4383° N, 121.3819° W
Phone number: 9!6.3S9.9494
Website: www.zizak.com
E-mail: john@zizak.com


The more you know...


  • 2006-future

    Security Compliance Engineer @ Planview

    Built and deployed worldwide infrastructure for Innotas' SaaS PPM solution. Migrated worldwide presence from physical infrastructure to 100% AWS Cloud-based infrastructure with zero downtime. Created and Managed internal controls to support successful SOC2 attestations for 6 consecutive audit periods. Certified ISO-27001 Internal Auditor

  • 2000-2006

    Sr. Unix Administrator @ First American

    Built and supported systems for FirstAmerican's highly successful Metroscan and Metrolist products. Streamlined operations and implemented several cost cutting measures. So much so, I was asked to be successful elsewhere.

  • 1995-2000

    Lead Unix Administrator @MCIWorldCom

    Supported the CampusMCI product serving Internet services to colleges and universities across the country. Moved to State Gov't group and supported 100s of UNIX systems for various products ranging from SMOG Check II to California Firearm Licensee Background check system.

  • 1991-1995

    Systems Matter Expert @ GTE Data Services

    Cut teeth learning Operations supporting IBM 390 Mainframes. Provided application support for GTE employees Nationwide. Promoted to Systems Matter Expert supporting all Infrastructure components and online applications. Introduced to UNIX, never looked back.


Details, Factoids and Minutiae

Dotcoms Founded
Music Maniac
I can Juggle
1 wife 3 kids 2 dogs 2 cats


Read this stuff.

Saturday, October 6, 2018

YOB’s Mike Scheidt on Touring

Getting—and staying—healthy on the road helped save this doom metal icon’s life. Original article by Kim Kelly can be found here. Don't forget to check out YOB on Saturday December 1st at Slim's in San Francisco.
In 2017, Mike Scheidt—the warm, shaman-esque guitarist and vocalist of long-running Oregon doom outfit YOB—got sick. He got very sick, and spent months battling a flare-up of diverticulitis, a life-threatening, chronic intestinal disease that struck him like a bolt of lightning and sidelined his participation in music (and everything else) for most of the year. Though he’s since recovered, the experience changed him; his health remains a constant concern, since he could fall ill again without warning. His close call figured heavily into YOB’s latest album, *Our Raw Heart*, a sprawling, contemplative doom odyssey whose title track sees Scheidt belt out lines like, “Beckoning my restless ghost/ From holes in my gut/ To love from miracles” in his impassioned howl. YOB have hit the road several times since Scheidt received his clean bill of health, and though he and his bandmates—drummer Travis Foster and bassist Aaron Rieseberg—aren’t party animals by nature, these days the singer stays especially vigilant about his wellness routine.

Calling from a tour stop out West, Scheidt opened up about surviving his ordeal, the ways he’s adjusted his touring routine to stay healthy, and why it’s important to avoid writing checks that your body will eventually have to cash. Spotify for Artists: How do you make touring work nowadays, knowing that you’re going to have to factor in your health? Mike Scheidt: Well, I just have to take responsibility for the fact that I do have limitations, and if I want to keep doing this, then I have to make a choice. In this case, that means choosing to eat better, making sure I’m drinking lots of water, that I have supplements and the other things I need to manage my illness, and also cutting down on things like drinking [alcohol] that have a negative impact on my insides. I think that anyone who goes on tour comes back home feeling a little beat up, and for me that’s increased some. That affects my quality of life in general when I’m back home as well. It’s possible for me to get sick again, and so this is just an entire life decision.

If you hadn’t gotten sick, do you think you would have naturally eased into a routine of more serious self-care and wellness on the road? About a year before I got sick, I was trying to manage depression. I’ve been in a spiral for a number of years and made this decision that I had to turn that around, so in early 2016, I quit drinking, got on what was then Obamacare and got back on antidepressants, and started exercising. I dropped 50 pounds and was getting pretty healthy; when diverticulitis struck, it was a really dramatic attack, and one of the doctors hypothesized that I may not have survived it had I not spent the year prior getting my house in order. So I would say that having an illness where I literally almost died put some perspective on the whole thing … and as bad as it looked then, there’s an interesting serendipity about all of this. Also, I just turned 48, and there’s a certain amount of extra upkeep that’s just a fact if I want to keep living well and touring well, and not slowly fall apart. __You’ve been touring with YOB on and off since 1996. What are the biggest challenges of living on the road now, and how have they changed for you over the years? __ I think there’s a certain amount of exhaustion that you find an equilibrium with when you’re touring, and [you] have to dig deep every day ... for 30 or 40 days. For me, it’s about two weeks in, where I’m tired but I’m able to do it, and there is something that’s energizing about alcohol; it can take an edge off, or a shot of whiskey can have this almost fake energy effect in such a way that it makes it a little easier until the very end of the night.

Really, YOB doesn’t party that hard on the road in general; we have our buzzed times, but then when we’ve toured with bands who are just barely crawling into the van at 6 a.m., we’re just like, ‘Man, how do you do that every night?’ Maybe I just don’t have the constitution for that, especially now. Why do you keep hitting the road so hard? At this stage, YOB could pull a Neurosis and play two big shows a year, and people would still trip over themselves to get tickets. You know, in our future maybe that’s not off the table, but it does seem like right now ... it feels like there’s work to be done. Getting out there, playing music, and doing what we do, the conditions are right, and we’re supported in doing it, and it may not be that way forever, so we just all feel like these are things we need to do.

What advice can you share with other touring musicians living with health issues and chronic illness? It’s hard to give advice in the sense that I think most people intuitively know that if you drink a bottle of Scotch, you’re probably not going to feel good the next day; if you eat at Taco Bell every day, you’re probably going to pay for that with extra-long trips to the bathroom. I think for each person, they find a place where they realize that they just don’t want to write checks that they have to cash and deal with those consequences. And there is something to be said, in my personal opinion, in that we travel a long way to get to a place, and then people will go out of their way to end up in that room, and they’re there to see us and we came to see them, and I feel a certain sense of responsibility to get it right. It’s not just about us and our agenda—it’s a shared environment and we want to give the best that we can, because not only does that make for a great evening for us, it can make for a great evening for everybody; if we are just complete drunkards onstage and play a terrible show, we’ll walk out with that, and that’s not what we want. —Kim Kelly

Friday, February 23, 2018

Mute Is an Excellent Film Noir That Just Happens to Be Set in a Cyberpunk World

A scifi tale by virtue of its setting, but an old-school film noir at heart thanks to its story, Mute is a puzzle with eccentric pieces that eventually all fit together—perhaps a bit too neatly, given its fondness for jagged edges. But its love of sleazy neon and some unusual themes do much to make up for its contrivances. Duncan Jones’ latest is set in the same universe as his 2009 debut, Moon, ahead of an as-yet-unnamed third film in his planned trilogy. The films have a loose connection that we won’t spoil here, but it’s not a giveaway to say that Mute takes place right after the events of Moon—so, sometime soon after 2035. But it begins 30 years earlier, at the scene of a boating accident that leaves a boy named Leo half-drowned and fully mute. That brief moment sets up just about everything we need to know about Leo in the movie’s present (where he’s played by Alexander Skarsgård). Also—told you there were some unusual themes—he’s Amish. Though he’s not totally devout, he’s still the most lo-fi person in Mute’s futuristic version of Berlin; it’s a grimy place, full of tawdry bars, brothels, faux-American diners, and tech that’s seemingly used solely for instant gratification. Leo, who flexes his Amish woodworking skills in his spare time, is definitely the odd man out. Granted, he’d already be unique because he can’t talk, but being freakin’ Amish just ups the ante. That, and the fact that he appears to be the only person in the city who’s motivated by the purest of causes: True love.
Leo is an earnest guy in a bad town, and since this is a noir tale, the object of his affections goes missing early on. His wordless search for his beloved, a blue-haired beauty named Naadirah (Seyneb Saleh)—of course, he carries an actual photograph of her around, being stubbornly old-fashioned—leads him into some dark places, though he’s not a complete outsider in that world. Leo and Naadirah meet while working at a shifty nightclub called Foreign Dreams, a place where, of course, Berlin’s foreign transplants mingle and engage in various black-market activities alongside robotic go-go dancers. That said, a boring old coffee shop is where Leo first crosses paths with Cactus Bill (Paul Rudd), another American expat who’s on his own desperate quest. It’s a seemingly random encounter that echoes throughout the rest of the story at louder and louder frequencies. Cactus, fond of cigars and loud Aloha shirts, is a surgeon and former military man who served in the Middle East with Duck (Justin Theroux), a fellow doctor who now has a successful practice crafting bionic body parts. That said, he’s happy to help his best buddy mend bullet-riddled gangsters in an underground clinic, a gig Cactus has only taken because he’s desperate to get the money and necessary documents to flee the country. (To reveal why would be saying too much.) The dynamic of Cactus and Duck’s friendship is one of the weirdest things about Mute, but it makes a strange kind of sense. They became friends under extreme circumstances, and though they may not like each other all the time, there’s a bond there that can’t be broken. Also, they’re both total assholes. Straight up. Cactus and Leo, on the other hand, are total opposites—and the fact that Leo keeps popping up like a bad penny spins the already rage-filled Cactus into an even more dangerous fury. He provides necessary contrast to Skarsgård’s silent character—they are two tightly coiled men pursuing their own very specific, very urgent agendas who otherwise couldn’t be more different in every way. Also, it must be said that while Skarsgård is fine as the lovelorn Leo, seeing the normally likable Rudd rip into such an obnoxious and morally corrupt character is one of Mute’s biggest selling points. Why is he rocking a 1970s porn ’stache in a futuristic cyberpunk movie? Well, why not? Jones’s story for Mute—he shares a screenwriting credit with Michael Robert Johnson—ends up tilting way more toward film noir than scifi in the end. It unfolds on a way smaller scale than something like Blade Runner 2049, the most high-profile recent example of scifi noir. Mute feels like a much more personal story, putting a small network of damage-prone relationships under a microscope and discovering that emotions can be just as raw and real even when the people feeling them are surrounded by artificial flash. Mute is not a perfect movie. A lot of its quirkier beats end up fitting too neatly into its conclusion, which can feel a bit forced once the story’s dominoes start falling over. (The woodworking thing? Yeah, it comes back in a big way.) But if Mute feels tenuously tied to Moon in terms of story, there’s a deeper connection in that both films take the time to question what makes us truly human, no matter the circumstances. Mute also offers a downbeat yet relatable vision of the future, with tech that seems eminently plausible (food delivery via drone!) as well as some more worrisome projections, like the idea that genuinely good people are probably an endangered species. Mute debuts today, February 23, on Netflix. #Netflix #Noir

SYSTEM OF A DOWN Teased As Headliner for Aftershock Festival 2018

System of a Down haven't played a U.S. show in almost two years, since 2015's Riot Fest, but it looks like they'll be playing this summer. Aftershock Festival just released a teaser for their lineup announcement, which is happening April 9, 2018, and we are certain the band they are teasing is System of A Down. The annual festival happens on Saturday, October 13 and Sunday, October 14 at Discovery Park in Sacramento, CA. Will this be System of A Down's only show? And will System of a Down have any new music to play. System Of A Down have not released a new album since its two efforts Hypnotize and Mezmerize in late 2004/early 2005, and it seems like it's going to stay that way for a little bit. While it looked as though there was hope for a new album in 2017, bassist Shavo Odadjian said recently he doesn't see the album happening anytime soon. In a recent interview, Serj Tankian said the band can't agree on how to move forward. We have. We've discussed it and we've played each other songs, but we still haven't come eye to eye on how things should be done for us to be able to move forward with it. And that's where it's been. Tankian says despite the lack of a new record over the course of 12 years, people shouldn't assume the band isn't getting along. They're still really good friends (and family now in some cases) and they have fun doing shows, but a new record just isn't something that's happening at the moment. That's the funny thing. When people don't see a record, they assume the worst about your internal relationship. But the truth is we're actually better friends – at least I'm better friends with everyone than I've ever been. John's my brother-in-law; he's in my family. We have a great time together touring. But sometimes putting together a record, and that creative output and how things should be done, is different in four people's heads and it doesn't always come together. Fortunate or unfortunate, however you want to call it, that's the truth. But touring is easy, because you've done all these songs. You have fun, you go out and tour, and that's it. At the time, Tankian expressed concern that a new album would require a touring commitment, and with a young family, it's not something he's interested in. Check full article at Metal Injection here.
#SacraMetal #AfterShock #AfterShock2018

Friday, October 13, 2017

Nine Inch Nails - Lights in the Sky - 2008

#NineInchNails #NIN #TrentReznor #Sacramento #Sacrametal #AfterShock2017

Friday, September 29, 2017

Gojira - Shooting Star - BBC Radio1 Rock Show

#Gojira #Sacramento #Sacrametal #AfterShock2017

Sunday, September 24, 2017

Mastodon - Toe to Toes - Live in Studio

I have seen this once before I have felt these colors I have known you for so long When we ran in circles


Yeah. I can do that.

Seasoned Tech Pro

Twenty Five plus years in the Hi-Tech Trenches.

Amazon Web Services

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