On January 29, 2016, Prince summoned me to his home, Paisley Park, to tell me about a book he wanted to write. He was looking for a collaborator. Paisley Park is in Chanhassen, Minnesota, about forty minutes southwest of Minneapolis. Prince treasured the privacy it afforded him. He once said, in an interview with Oprah Winfrey, that Minnesota is “so cold it keeps the bad people out.” Sure enough, when I landed, there was an entrenched layer of snow on the ground, and hardly anyone in sight.
Prince’s driver, Kim Pratt, picked me up at the airport in a black Cadillac Escalade. She was wearing a plastic diamond the size of a Ring Pop on her finger. “Sometimes you gotta femme it up,” she said. She dropped me off at the Country Inn & Suites, an unremarkable chain hotel in Chanhassen that served as a de-facto substation for Paisley. I was “on call” until further notice. A member of Prince’s team later told me that, over the years, Prince had paid for enough rooms there to have bought the place four times over.
My agent had put me up for the job but hadn’t refrained from telling me the obvious: at twenty-nine, I was extremely unlikely to get it. In my hotel room, I turned the television on. I turned the television off. I had a mint tea. I felt that I was joining a long and august line of people who’d been made to wait by Prince, people who had sat in rooms in this same hotel, maybe in this very room, quietly freaking out just as I was quietly freaking out.
This is astonishing. As an IT guy, I have been responsible for backups. How Universal could be so careless with priceless audio tapes just boggles my mind.
Eleven years ago this month, a fire ripped through a part of Universal Studios Hollywood.
At the time, the company said that the blaze had destroyed the theme park’s “King Kong” attraction and a video vault that contained only copies of old works.
But, according to an article published on Tuesday by The New York Times Magazine, the fire also tore through an archive housing treasured audio recordings, amounting to what the piece described as “the biggest disaster in the history of the music business.”
I joined up with a Facebook group called Rivendell Open Source Radio Automation Users as a place to trade tips on using Rivendell. A question that comes up frequently is how Rivendell can be run in the cloud. Since I’ve been doing this for eight years or so I have a pretty good understanding of the challenges. I’ve mentioned some of it before but thought I’d go into more detail of my current setup.
I’m running Rivendell 2.19.2, the current version, and presently I’m not actually running it in the cloud though I could easily change this in a few moments. The magic that makes this happen is containerization. I have created my own Docker instance which installs everything I need. This container can be fired up virtually anywhere and it will just work.
Here’s a summery of my setup. In my container, I install CentOS 7. Then I pull in Rivendell from Paravel’s repos with a “yum install rivendell” command. Rivendell needs the JACK audio subsystem to run so I install Jack2 from the CentOS repos, too. To this I add darkice as an encoder, JackEQ for some graphical faders/mixers, a LADSPA-based amplifier module to boost gain, and of course Icecast2 to send the stream to the world.
Now, one of the problems with a CentOS-based setup is that CentOS tends to have fewer of the cool audio tools than distributions like Debian and Ubuntu have. These Debian-based distros are not officially supported with Paravel packages so you either have to hunt for your own Rivendell dpkgs or you build your own. I’ve found a few of these dpkgs mentioned on the Rivendell Developer’s mailing list but I’ve not had the time to make sure they’re up to date and meet my personal needs. Thus, for my personal setup you’ll find a few parts which I have compiled myself, rather than install from a package. A project for me to take on in my Copious Free Time is to create an entirely repo-based Docker container but I’m not there yet.
Rivendell needs a MySQL/MariaDB database to store its data. I rely on a non-containerized instance of MariaDB in my setup because I already use the database for other projects and didn’t want to create an instance solely for Rivendell.
So here’s how it all works.
On November 7, 1992, a really passionate Rage Against the Machine performed an incredible show at Berkeley Square in Berkeley, California. This powerful set included some of their now iconic songs such as “Bombtrack”, “Fistful Of Steel”, “Wake Up”, “Settle For Nothing” , “Killing In The Name”, “Bullet In The Head” and “Freedom”.
Commenter Mike4Metal was at this show and shared his excitement about seeing the band that night.
I was there that night!! The organization opened up that night, no one knew who rage was at this time, their debut was not out yet!! They surprised us all that night!!! I feel lucky to have witnessed their first Bay Area gig!!! Now they are legendary!!!
Earlier that year, the band performed an equally incredible show at Zed Records in Long Beach.
I found this amusing. The members of Starship discuss “We Built This City,” arguably the worst song of all time.
Thomas: Bernie didn’t say “mambo,” he said “mamba,” which is a snake. Marconi created the radio. Maybe Bernie meant to say “mambo.” Maybe it means: If you don’t like this music, some really angry snakes are gonna come out of the speakers.
Thomas: At one point I did start to sing “mambo,” to try and be more grammatically correct, and after a while I thought, “Fuck it,” and went back to “mamba.”
I still miss Tom Petty.
I was standing in my kitchen when I heard about Tom Petty’s death. The message came from a friend who had worked at WBCN in Boston. WBCN — that’s where, at age 12, I heard Tom Petty and the Heartbreakers’ first single, “Breakdown.” Tell me this isn’t true. That was the message from my friend. I’m not sure how the constellations of thought come together, but they form quickly. Just that fast, I knew Tom Petty had died. And then the street outside my window looked different.I’d thought about what this day might be like. Petty had been in the room with me (and so many of us) for more than 40 years. I could chart my life in relation to his releases. Early on, around the time of the first albums, I had the feeling that Petty was giving me better direction than the adults who came and went, mostly went, in my life. Even the losers. That alone helped.
Over the years I’ve had a few email conversations with famous people. I once traded emails with legendary White House Reporter Helen Thomas. I got a reply from an email I sent entrepreneur and Dallas Mavericks owner Mark Cuban in 2005. An email from futurist and biographer Walter Isaacson helped me bust the Einstein Bees story. Oh, and though it’s not email comedian Norm MacDonald briefly followed me on Twitter.
Recently I got on a kick for Howard Jones’s music. Jones was an 80s synthpop god and his music still holds up very well. As does he, since he’s still touring and appears to be happy and healthy. I found Jones’s website and saw that his email address was listed there, with a promise that all emails would be acknowledged:
I know you’re busy but wanted to reach out and thank you for all the
music. Your “Things Can Only Get Better” has been on my mind recently.
We so need its optimism right now.
Sorry I missed your latest US tour but I want to catch you the next time
you come near North Carolina.
Best to you and yours.
Raleigh, NC, USA
I got back this reply two days later:
Very best wishes
While it was a short response, it’s pretty cool that he took a minute to respond to me.
Jimmy Buffett awoke one morning last year in one of his many homes — he can’t remember which one, there are a lot of them — and a panic gripped him in his throat. His new Broadway musical, “Escape to Margaritaville,” was coming along nicely, but something was off.
It wasn’t the music — they’d been careful to include a finely titrated playlist of crowd pleasers. It wasn’t the book — the TV writers Greg Garcia (“My Name Is Earl,” “Raising Hope”) and Mike O’Malley (“Shameless”) managed to strike a balance of goofy, accessible romantic comedy and some deep cuts for the Parrotheads, as his fans are called. It wasn’t the casting, either; Paul Alexander Nolan is a compelling early-Buffett avatar as Tully Mars, a dreamy bar singer at a rundown Caribbean hotel called Margaritaville. And he was happy with the direction of Christopher Ashley, off a best direction Tony for “Come From Away.”So what could it be? The writers were refining the characters and their motivations and he felt pretty good about that. The producers were taking great care with the show experience as well; they had decided to deluge the audience with beach balls at the end, which Mr. Buffett thought would be fun and memorable.
But it wasn’t that, either. He searched his mind and his heart and still, nothing. In the shadow of the early morning light across his bedroom in either Palm Beach or St. Barts or Sag Harbor or Los Angeles or Waikiki or New York, Mr. Buffett realized he needed to find the answer.
This isn’t a new story but it’s one that I found very enlightening on the topic of digital audio formats.
Pono Music’s roaring success on Kickstarter, raising $4.3 million so far, shows that thousands of people believe better audio quality is worth paying for.
The company — backed by star musician Neil Young and selling a $400 digital audio player along with accompanying music — promises people will hear a difference between Pono Music and ordinary music that’s “surprising and dramatic.” The company’s promise is based in part on music files that can contain more data than not only conventional MP3 files, but also compact discs.
There’s no doubt that highly compressed music files, played over tinny laptop speakers or cheap earbuds, leave a lot of room for improvement. But outdoing CD quality? That’s a harder sell.
“Get Free” was the product of three writers and three producers, not to mention a little village of people who work for the record company and the publishers. Probably around a thousand people heard “Get Free” before it was released (that’s not an exaggeration), and virtually all of ‘em knew the thing sounded exactly like “Creep” (these people are sniveling, arrogant, and cowardly, but not stupid). Yet not one of these check-cashing chimps who spend more on sushi in a single day then you make in a week raised a single wasabi-stained finger and said, “So, listen, Lana, how should I put this…well…I have heard that exact melody before.”
(Lana and her sushi-flinging shaven apes could have at least chosen to rip off a song that everyone didn’t know. I mean, people do that all the time. Heck, give a listen to “Airplane Song,” a fairly obscure ditty from 1967 by The Royal Guardsman. Really, listen to it. The Beatles did, and lifted it lock, stock, and barrel for “Ob-La-Di, Ob-La-Da.” The Fabs knew the first rule of plagiarism: When you steal, steal from someone who is less famous than you.)