I don’t have privileges; iTunes & Mr. White
As it does every couple of days, iTunes just gave me that annoying message stating that the library file cannot be saved. But this time the message added “You do not have enough access privileges for this operation.” Not sure what it means by that. I also don’t understand why this library can’t be saved bullshit happens every two days exactly. It’s like iTunes is on a timer and is set to go off every 48 hours. Seems more like an error in the program than anything I’m doing or not doing. What kills me is this never happened before iTunes 10. Then as soon as I installed the first version of iTunes 10 this started happening. I’ve tried completely uninstalling it and reinstalling it but it didn’t help. Is this happening to anyone else?
In other news, Mister White is scheduled to go for bloodwork today, since the vet screwed up and didn’t record the results when they checked it a couple of weeks ago. But now I also have to have them check his urine because he’s peed in tiny amounts a few times during the past few days and that has meant that he has a UTI the couple of times this has happened before. I really hope he doesn’t have one though. It’ll be expensive enough just getting his pee tested and the antibiotic would be another 50 smackaroos. (Do people outside of Massachusetts refer to money as smackaroos sometimes or is this a regional thing like how we’re always saying things are “wicked cool” or “wicked awesome”?)
12:45 pm • 30 May 2012 • View comments
Listening to the new Garbage CD (since I had to send the scratched record back) on my home stereo. I really hope I don’t blow another speaker. I’m not playing it especially loud, mind you, but I see the volume levels or whatever they’re called are almost constantly in the red, like most music released these days. (Being old school to some degree, I really didn’t think Garbage would partake in this new philosophy of making things as loud as possible but it seems they did.) It’s so stupid — record companies started making the music louder to make it more attention-grabbing. But once all of the other record labels started doing it too, now there’s no point to it because EVERYTHING is just as blaring loud. You can make a song as loud as humanly possible and every other song is going to be just as loud. Yet we’ve passed the point of no return. No record company wants to go back to mastering things the old way, when things weren’t so blaringly loud, because then their stuff wouldn’t be as attention-grabbing as whatever other labels were releasing.
I wonder how many thousands of speakers get blown each year by people playing new music with older speakers, like how that hidden Katy Perry remix on Teenage Dream — the Passion Pit one, I believe — ruined one of my pricey JBL speakers. (To be fair, I was playing it pretty loud, but I still think the high volume level of the track itself was more to blame than how loud my stereo was.)
Of course, there’s another reason why record companies started making everything louder… They started tweaking the compression so things would supposedly sound better in mp3, m4a and other such formats. But did that actually make things sound better? Probably not. I only ever noticed things getting louder and louder as the years went on. Never once did I marvel at how loud something was or otherwise think it was anything special because the volume was so loud. I just started worrying that new, louder music would blow my speakers, which finally happened.
This volume issue is one of the reasons I stopped buying CDs (for the most part) and started buying vinyl. When they master things for vinyl, it’s mastered differently, like things used to be mastered, so they simply sound their best, not as blaring as humanly possible. The bottom line is this: if I want to hear something loudly, I’m perfectly capable of turning up my stereo. I don’t need the volume to be so loud that things practically blow me out of the room when my stereo’s volume is only on one.
3:59 pm • 25 May 2012 • View comments
I want/need to get on press lists with Korean, Japanese and Chinese record labels. Anyone have any advice on how to go about this? I’m thinking it would be most cost effective to e-mail them, especially since I don’t speak the languages, but I want to make sure they take me seriously. The site I’m writing for is a popular site, not just some blog that three people read… So I need to impress that upon them, especially since they probably don’t like paying international shipping rates to furnish press kits to foreign journalists. But before I even e-mail them I need to actually get their e-mail addresses. Anyone know how to go about that? I suppose I need to find somebody who has a list of Asian record labels’ publicists that they can share with me… Anyone have any advice or info???
1:32 pm • 21 April 2012 • View comments
MADONNA: MDNA
A track-by-track review by Michael McCarthy, who wrote this while listening to the album for the fifth time.
“Girl Gone Wild”
The intro immediately calls to mind “Like A Prayer,” sounding a bit derivative. It just seems pointless to start your new album with a reference (basically) to your former glory. It’s like saying this album won’t stand strongly enough on its own without references to her superior works. As for the song itself, Madonna sings, “Girls they just wanna have some fun” and you can’t help but think, “yeah, and Cyndi Lauper said it better 25 years ago.” Which isn’t to say that there’s anything wrong with doing a song about girls just wanting to have fun. I just wish Madonna put a new spin on that. How do girls want to have fun in 2012? Even a little futurism wouldn’t have hurt. As for the production, the beats are warm, pulsating and hypnotic, so there’s no misstep there. But I wish Madonna’s vocals weren’t so buried by the beats, especially during the chorus. It’s her song, let MDNA take centerstage already.
“Gang Bang”
The beats remind me of the dub remixes on Fundalmentalism, the bonus disc that came with Pet Shop Boys under-rated Fundamental album. And this is a good thing. Dark, powerful, even a bit imposing, these beats will hit you right in the gut. But Madonna’s vocals are so buried in the mix that you’ll have to crank it up and pay close attention to comprehend what she’s saying. And I do mean *saying,* as she actually says more than she sings during this one. Lyrically, it’s apparently about shooting her lover in the head and I can get down with that, but don’t make a track where pretty much all you do is talk the second track on the album. (Unless you’re Ke$ha. But I’d like to think Madonna isn’t taking cues from her.) This would have been better as an interlude sort of track halfway through the album. Also, the dubstep break just isn’t very good. It was a good idea, absolutely, but it was nothing compared to the brilliant dubstep break in Britney’s “Hold It Against Me.” Surely Skrillex or Kill The Noise or Noisa or any of the dubstep masters could have contributed a great break to this song. When you have the clout to get you access to anyone, why not use it and employ an expert to help you do what you want to do so that you do it well?
“I’m Addicted”
Co-produced by Benassi Bros. and The Demolition Crew, this one is fantastic. It’s got pounding beats that will make you want to move, to get into the groove, meanwhile it’s got fuzzy electro bass giving it a very modern vibe. “M.D.M.A.,” Madonna says over and over again, maybe a few times too many, but it’s all in good fun and I can appreciate that.
“Turn Up The Radio”
Martin Solveig produced this one, but the beats are softer than his typical sound, probably in the interest of making them mesh with the album in whole. Still, he’s a superb producer and he works his magic here with great results. The song sounds like a cross between “Music” and “Love Profusion,” tunes from two of my favorite Madonna records, so I’m loving this one. Madonna’s vocals are stronger here, too, less drowned out by the beats than they are earlier in the album.
“Give Me All Your Luvin’”
This, MDNA’s first single, has harder beats than anything on the album thus far. In fact, the short, punchy beats sound so different that this track sounds like it should be on a different album. That aside, the chorus is plenty catchy and Madonna’s vocals sound fantastic. Unfortunately, the song “features” Nicki Minaj and “M.I.A.,” who only drag it down. Minaj in particular just doesn’t belong here. Her brief rap has no references to the rest of the song whatsoever. She just shamelessly gives herself a shout out – and she ought to be ashamed. M.I.A.’s contribution doesn’t make the song any better either but it’s not as distracting and she doesn’t seem to be self-promoting so it’s ultimately tolerable. Still, to be enitrely honest, I prefer the leaked version of this song sans Minaj and M.I.A. over this album version by far. That’s the version that should’ve been on the album. They should have made the version with the guests a remix, not an album version.
“Some Girls”
“Some girls only ever like to tease,” Madonna purrs during what passes for a chorus during this one. Most of her vocals are spoken here, and with a hell of a lot of reverb on her voice. I don’t think there’s a moment during this song where Madonna’s vocals aren’t processed with something or other. And the beats just sound like more of what we’ve already heard on the album two or three times already. A pointless song, essentially.
“Superstar”
Starts off with Madonna giving a lover all sorts of compliments. “Oh, la, la, you’re my superstar, oh, la, la, that’s what you are,” goes the chorus. This wouldn’t be offensive if it was a Britney track but one would hope for something a little more substantial from Madonna, especially at this point in her career. I suppose the lyrical content wouldn’t be an issue if the song was actually infectious but it just does nothing for me.
“I Don’t Give A”
I didn’t mind Madonna’s rap in “American Life” and that’s what her rap in this song reminds me of. And American Life is my favorite Madonna album. So, yes, I’m actually saying that I really like this track. Except for the Nicki Minaj part. It’s not as shamelessly self-promoting as her previous appearance on the album but I just feel like Madonna’s songs should only feature Madonna, the guest spots reserved for remixes.
“I’m A Sinner”
Another song about being bad. It’s just kind of silly. The beats are nothing special either.
“Love Spent”
This one starts off with banjo – yes, banjo – calling to mind the movie Deliverance. Which is too bad because this is otherwise a beautiful song, courtesy of William Orbit, who’s arguably the most talented producer to work on this album.
“Masterpiece”
This ballad is probably the best track on the album. Mature, somewhat poetic lyrics, gorgeous production that falls somewhere between R&B and electro, this is exactly what I want from Madonna in 2012.
“Falling Free”
Another expertly-produced collaboration with William Orbit. Great lyrics, too. At times it’s happy and at others it’s just the right amount of sad. A real gem of a song.
“Beautiful Killer”
Maybe it’s a bit redundant since she’s already done a song called “Beautiful Stranger,” but it’s still a fantastic track. Smart lyrics, solid beats, just the right amount of gorgeous strings – clearly the second half of the album is far superior to the first.
“I Fucked Up”
Lyrically, it’s an apology to a lover. And a mature one at that. It’s even a bit self-deprecating. Musically, you could probably call it a ballad but the beats are slightly dubstep. This is probably the smartest song on the album and it has a wonderful, modern vibe.
“B-Day Song”
A silly – if not downright giddy – song from the deluxe edition. This one could have been on the True Blue album. A playful little treat.
“Best Friend”
Begins with stuttering beats that remind me of “The Hunter” by Bjork, which is my favorite Bjork song off of my favorite Bjork album. The first few times I heard it I thought it was a little bit too much like Bjork’s song but it grew on me and I definitely like it now. Like most of the other songs on the second half of the album its lyrics are simple but smart and entirely appropriate. Probably about Madonna’s divorce from Guy Ritchie, which could also be said about plenty of other lyrics here and there throughout the album, but it’s not scornful at all, nor is it whiny. It has just the right amount of melancholy.
“Give Me All Your Luvin’ (Party Rock Remix)”
It’s not bad enough that the talentless duo known as LMFAO had to appear during Madonna’s Superbowl performance, here they are referencing their own “Sexy And I Know It” song, not making Madonna’s song any better, just providing an annoying distraction. Just like the Nicki Minaj appearance on the album version of the song, which is also on this remix. A terrible way to end the album.
7:33 pm • 12 April 2012 • View comments
self-publishing
Thinking about self-publishing one of my novels. Probably just as an e-book. Anyone know how I’d go about doing this? (Or can you recommend any sites that explain how to do it, etc?)
I want to make sure I do it the right way so that it’s available via Barnes & Noble and Amazon, etc, and so that I at least make 10 cents every time someone buys it. I’m not looking to make a lot of money off of it. I’m just looking to get the attention of agents and publishers, since going the traditional route hasn’t proved successful for me.
3:43 pm • 11 April 2012 • View comments
mastered for iTunes - insert joke here
The download of M. Ward’s new album is currently on sale on Amazon for $5. But on iTunes it indicates that it was “mastered for iTunes.”
But what does “mastered for iTunes” mean? iTunes only sells 256kbps quality files — even though Apple does have a lossless format — so that’s like saying it’s mastered to sound better in poor quality than it would on superior quality formats (like CD and vinyl). But iTunes CAN’T sound better than CD and vinyl, regardless of how something is mastered, it’s just not scientifically possible. But the levels of the various tracks on his album are probably maxed out like most music released today to give the illlusion that what you’re hearing on iTunes sounds better than, or as good as, other formats for the simple reason that it sounds so LOUD.
As for iTunes versus Amazon, their files are both 256kbps so neither iTunes m4a or Amazon’s mp3 files actually sound better than each other. So don’t let “mastered for iTunes” trick you into paying double for the album. Go buy it from Amazon while it’s still on sale for $5 if you’re interested. (Personally, I think it’s OK but I bought it mostly because Zooey Deschanel is on a couple of tracks and I love their She & Him records.)
6:56 pm • 10 April 2012 • View comments
speaker shit
1. Talked to a friend, who said the speaker probably can’t be fixed. They’d have to replace the whole subwoofer and it’d be next to impossible to get a replacement for this speaker since it’s 21-ish years old.
2. The song that blew the speaker was the first hidden remix of Katy Perry’s “California Gurls” on the Teenage Dream CD. I believe that’s the Passion Pit remix but I could be mistaken.
3. I hooked up one of my Advent speakers to replace the broken JBL. It’s weird because the Advent speaker has a better tweeter and mid-range sound but the JBL definitely has a better subwoofer. Actually, the Advent’s subwoofer is OK when you play music really, really loud but at lower volume you barely hear it. The reason is that the subwoofer in the Advent speaker is enclosed in crystal, which is supposed to make it sound better. But it requires a lot of juice to make it sound nice.
4. I kind of blame the music industry for blowing my speaker. Granted, I was playing my stereo loud, but I’ve played it much louder without ever blowing a speaker. But the music industry has been making music LOUDER and LOUDER during rec…ent years, doing stupid compression shit that’s supposed to make it sound better but all it does is make things sound louder. The levels are all the way up in the red. Red on your stereo used to mean things were getting too loud and music 20 years ago rarely hit the red point. But this shit today, everything hits the red CONSTANTLY. So, if they didn’t have the levels so loud on this Katy Perry CD my speaker probably wouldn’t have blown at that volume.
3:54 pm • 7 April 2012 • 1 note • View comments
speaker? blown. gazelle? busted.
I was playing Katy Perry really loud in my room while I exercised down the hall… And I blew one of my JBL speakers’ subwoofers; the subwoofer on the left speaker… I mean, it’s totally busted. If I put even the softest music on it makes that awful blown speaker sound. And I took the front off of the speakers to look at it and can actually see where it’s torn around the subwoofer, like a gasket broke. Can this be fixed? If so, can anyone suggest a place?
I do have a set of Advent speakers but unfortunately the tweeter in one of them seemed to be blown, which is why I stopped using them. The JBL were better speakers anyway. I mean, Advent might make some speakers that are better than JBL but the particular speakers I have from both companies are such that the JBL’s are the more expensive and, until now, better performing.
In kind of related news, something seems to be wrong with the Gazelle, too. The knob or whatever it’s called at the back of the left thing you put your foot on is hitting the actual frame of the Gazelle when you use it, if you “kick” pretty far… That never used to happen. The pedals or whatever always cleared both sides. The right side is still clearing it fine but the left is coming in too close. I don’t know if my father can fix it or what…
I am so upset right now. An hour ago, I had two awesome JBL speakers and the Gazelle was still fine. Now they’re both broken. Two things I’m using at once both suddenly break on me. Who has that kind of bad luck? And what’s going to happen next. Bad things always seem to happen in 3s, don’t they? Or maybe it’s just that people always seem to die in 3s, I don’t know.
2:41 pm • 7 April 2012 • 1 note • View comments
