i've never had an apple device in my life, but i should look into itunes/beats/whatever.
beats is worse for payouts than spotify.
it
seems like only google is doing this in the right way. consumers may
want their free lunch, but the artists aren't likely to give it to them.
give
it a few quarters, and i think google completely cleans up on this by
inking exclusive agreements. it's going to drive apple to adjust it's
payout model, and probably close down spotify altogether.
....and apple is actually arrogant enough to demand you upload from an apple product, lol.
google is the right choice. i'll figure this out later...
Wednesday, November 12, 2014
gah...
i decided to give uploading to google play a shot. it's almost five cents a stream. that's far more realistic as a payout. i'd expect that what google is doing is undercutting the competition, and that they will eventually raise the price. i'm on the other side of this, and i'd have to argue this is the right way forward. spotify isn't paying the artists. if google is paying the artists, that's a start, but the price it's charging isn't sustainable, either....
it's $25 to sign up, which is what stopped me from signing up before. but i've got $25 in my paypal account from sales. that's how i want this to work.
they only take google wallet. ok. so, i go to sign up and they won't take my debit card. i'm using a canadian grocery store card, so i guess they don't have it setup. that's reasonable, but then why make it the only option?
that's not what creeped me out, though. realizing that i can't make this transaction, i went to delete the wallet account i'd created.
apparently, google wants to phone you.
i don't have a phone, either, but that's not the point. about the last thing in the world that i want is a phone call from google. i just about had a heart attack.
scary shit.
it turns out google wallet has general problems in canada.
we can't use their phone software, either.
it's probably a "regulatory problem". which means that the oligopoly doesn't want to let in foreign companies.
our regulatory bodies get praise outside the country, and there are some upsides, i'll admit that. but they're generally driven by the desire to control the market, to keep rates higher. i'm one to argue for other options than market liberalization, as i don't think that is beneficial to consumers, either. but when you're dealing with these big companies, conflicts develop - because they want to control the entire process.
as the united states is a large and close market, it's a problem for canadian businesses, in general. there has to be some kind of workaround...
i decided to give uploading to google play a shot. it's almost five cents a stream. that's far more realistic as a payout. i'd expect that what google is doing is undercutting the competition, and that they will eventually raise the price. i'm on the other side of this, and i'd have to argue this is the right way forward. spotify isn't paying the artists. if google is paying the artists, that's a start, but the price it's charging isn't sustainable, either....
it's $25 to sign up, which is what stopped me from signing up before. but i've got $25 in my paypal account from sales. that's how i want this to work.
they only take google wallet. ok. so, i go to sign up and they won't take my debit card. i'm using a canadian grocery store card, so i guess they don't have it setup. that's reasonable, but then why make it the only option?
that's not what creeped me out, though. realizing that i can't make this transaction, i went to delete the wallet account i'd created.
apparently, google wants to phone you.
i don't have a phone, either, but that's not the point. about the last thing in the world that i want is a phone call from google. i just about had a heart attack.
scary shit.
it turns out google wallet has general problems in canada.
we can't use their phone software, either.
it's probably a "regulatory problem". which means that the oligopoly doesn't want to let in foreign companies.
our regulatory bodies get praise outside the country, and there are some upsides, i'll admit that. but they're generally driven by the desire to control the market, to keep rates higher. i'm one to argue for other options than market liberalization, as i don't think that is beneficial to consumers, either. but when you're dealing with these big companies, conflicts develop - because they want to control the entire process.
as the united states is a large and close market, it's a problem for canadian businesses, in general. there has to be some kind of workaround...
i ended up tweaking the mix yesterday. i think i'm finally happy.
i'm going to have to wait until 10:00 before i'm comfortable hitting the kit. i don't think he can hear it, but noise carries differently at 3:00 am than it does in the afternoon, and i'm considerate about this.
i'm considering maybe soundscaping the drums for the third part, anyways. on the one hand, the section kind of screams "zeppelin"; on the other hand, i want to avoid the cliches. i've actually got too many ideas floating through my head rather than not enough and am having difficulty ordering them.
it'll happen.
things always take longer than i expect. but it's part of the freedom of not working with boundaries. i love the fact that i don't have a producer yelling at me to get things done before a release date, so i can fit a marketing cycle. i wouldn't give that freedom up for anything.
a friend of mine at the time heard the song and claimed it was stairway, which was wrong by any reasonable metric, but it's stuck with me and i'm conscious of avoiding the bonham cliches for that reason.
with all the electronic noises and glitchy beats and stuff, it's definitely nowhere close to stairway now. i do admit that riff is admittedly rather page in character, but it's a rock riff, and it's kind of true of every rock riff - if it's not page, it's iommi or clapton or mclaughlin or hendrix. they invented it, so, you can't avoid a comparison on some level.
if it sounds like an existing riff, i can't place it, it's a stylistic thing...
...but there's really a big sign in my head that states, quite clearly, NO BONHAM. and i'm obeying it....
i'm going to have to wait until 10:00 before i'm comfortable hitting the kit. i don't think he can hear it, but noise carries differently at 3:00 am than it does in the afternoon, and i'm considerate about this.
i'm considering maybe soundscaping the drums for the third part, anyways. on the one hand, the section kind of screams "zeppelin"; on the other hand, i want to avoid the cliches. i've actually got too many ideas floating through my head rather than not enough and am having difficulty ordering them.
it'll happen.
things always take longer than i expect. but it's part of the freedom of not working with boundaries. i love the fact that i don't have a producer yelling at me to get things done before a release date, so i can fit a marketing cycle. i wouldn't give that freedom up for anything.
a friend of mine at the time heard the song and claimed it was stairway, which was wrong by any reasonable metric, but it's stuck with me and i'm conscious of avoiding the bonham cliches for that reason.
with all the electronic noises and glitchy beats and stuff, it's definitely nowhere close to stairway now. i do admit that riff is admittedly rather page in character, but it's a rock riff, and it's kind of true of every rock riff - if it's not page, it's iommi or clapton or mclaughlin or hendrix. they invented it, so, you can't avoid a comparison on some level.
if it sounds like an existing riff, i can't place it, it's a stylistic thing...
...but there's really a big sign in my head that states, quite clearly, NO BONHAM. and i'm obeying it....
Tuesday, November 11, 2014
uploading unintelligible to youtube
the track switches tonight at midnight (tomorrow night), but i'm thinking about it now...
not my most insightful track, in either the sense of being purposefully or accidentally insightful. it's catchy, though - fun as far as silly 90s punk rock goes.
the most substantial thing is probably the nwa reference, in the sense that it's something you wouldn't expect - and foreshadows me moving in that direction.
the drums were played by recording myself rocking out with a pen on a wood table.
https://www.youtube.com/watch?v=XL3knvasuwQ&list=PL3JSjmqp0cbsN9vZEYmFDghfz0V6hWbLI
well, actually, i should add a few more words because it otherwise seems rather pointless.
i was at the time talking about starting a punk band with a friend of mine, named matt. there was actually a song recorded with matt on vocals and bass and myself on guitar (i can't remember the name of it, and don't have a copy of it). the name of the project was meant to be "second class citizens", with an acronym stylized as 2CC. nothing else came of it.
but i had initially written this song for that purpose and demoed it out to show him. that kind of explains why it's different than the other stuff on these early demos.
eventually, it became clear that the project wasn't developing, so i just added my own vocals. as the song was meant for matt to sing on, i didn't have any thematic concept attached to it. so, what i did was take random words out of the dictionary. it was honestly just a close-your-eyes-pick-a-page-pick-a-word process. then, i added the chorus in reaction to the random dictionary process.
....except the bridge. that's the nwa reference.
i guess you could maybe pull something accidentally insightful out of it regarding my view of lyrics in mainstream punk (or grunge) at the time. it could be interpreted as a parody, but i wasn't consciously thinking of it like that.
not my most insightful track, in either the sense of being purposefully or accidentally insightful. it's catchy, though - fun as far as silly 90s punk rock goes.
the most substantial thing is probably the nwa reference, in the sense that it's something you wouldn't expect - and foreshadows me moving in that direction.
the drums were played by recording myself rocking out with a pen on a wood table.
https://www.youtube.com/watch?v=XL3knvasuwQ&list=PL3JSjmqp0cbsN9vZEYmFDghfz0V6hWbLI
well, actually, i should add a few more words because it otherwise seems rather pointless.
i was at the time talking about starting a punk band with a friend of mine, named matt. there was actually a song recorded with matt on vocals and bass and myself on guitar (i can't remember the name of it, and don't have a copy of it). the name of the project was meant to be "second class citizens", with an acronym stylized as 2CC. nothing else came of it.
but i had initially written this song for that purpose and demoed it out to show him. that kind of explains why it's different than the other stuff on these early demos.
eventually, it became clear that the project wasn't developing, so i just added my own vocals. as the song was meant for matt to sing on, i didn't have any thematic concept attached to it. so, what i did was take random words out of the dictionary. it was honestly just a close-your-eyes-pick-a-page-pick-a-word process. then, i added the chorus in reaction to the random dictionary process.
....except the bridge. that's the nwa reference.
i guess you could maybe pull something accidentally insightful out of it regarding my view of lyrics in mainstream punk (or grunge) at the time. it could be interpreted as a parody, but i wasn't consciously thinking of it like that.
Sunday, November 9, 2014
actually, it's sort of not worth the time. the max i can claim on this
is $4000 (for the year) for living expenses, or $10000 for "professional
recording expenses" that need to go to a for-profit recording studio.
i have no use for a for-profit studio for what i do, and i'd probably just end up yelling at the engineer until he walks out.
or kicks me out.
so, $4000/yr is basically useless.
the only reason i need to be concerned about applying for the $10000 and then just pocketing it is that it might harm me to renew. i want to avoid that. but i don't know if i'll still be alive in may.
the way the calendar aligns kind of works it out, though. i could maybe...yeah....it does make sense to apply for this, even though it's small.
i'm thinking the jury is probably full of liberal "arts" douches, though, the kind that think that celine dion is a singular talent and a canadian icon, and they're just going to be confused by what i send them.
there's this whole nationalist bent to it. and i'm often not friendly to canada.
but i should do this...
again: this is why some kind of minimal income is ideal to maximize freedom. this jury is not an audience of my peers. this would be more likely to work out if i wanted to be avril or alanis or something - or if i were a local indigenous or francophone singer that was carrying on a "cultural tradition".
it's a fundamentally conservative system. every second sentence says something about heritage (and i'm kind of the view of "fuck heritage!"), but there's not a word about creating new forms.
it mirrors the society.
you have to expect that.
i have to try....it's worth failing for....and it's practice for something else next year, if i make it that long.
they want two audio recordings. i'm going to give them two fragments.
https://jasonparent.bandcamp.com/track/introduction
https://jasonparent.bandcamp.com/track/second-movement-part-1-rough-part-2
i think these are 'pop' enough to qualify, and yet also have artistic merit.
i have no use for a for-profit studio for what i do, and i'd probably just end up yelling at the engineer until he walks out.
or kicks me out.
so, $4000/yr is basically useless.
the only reason i need to be concerned about applying for the $10000 and then just pocketing it is that it might harm me to renew. i want to avoid that. but i don't know if i'll still be alive in may.
the way the calendar aligns kind of works it out, though. i could maybe...yeah....it does make sense to apply for this, even though it's small.
i'm thinking the jury is probably full of liberal "arts" douches, though, the kind that think that celine dion is a singular talent and a canadian icon, and they're just going to be confused by what i send them.
there's this whole nationalist bent to it. and i'm often not friendly to canada.
but i should do this...
again: this is why some kind of minimal income is ideal to maximize freedom. this jury is not an audience of my peers. this would be more likely to work out if i wanted to be avril or alanis or something - or if i were a local indigenous or francophone singer that was carrying on a "cultural tradition".
it's a fundamentally conservative system. every second sentence says something about heritage (and i'm kind of the view of "fuck heritage!"), but there's not a word about creating new forms.
it mirrors the society.
you have to expect that.
i have to try....it's worth failing for....and it's practice for something else next year, if i make it that long.
they want two audio recordings. i'm going to give them two fragments.
https://jasonparent.bandcamp.com/track/introduction
https://jasonparent.bandcamp.com/track/second-movement-part-1-rough-part-2
i think these are 'pop' enough to qualify, and yet also have artistic merit.
wish i had looked into these grants a few weeks ago....i'd never claim i'm an organized person....
there's one that's open. everything else is closed.
until may probably.
had i done this in september, i'd have more options.
the one that's open is for "popular music". that's a complicated, multifaceted and bluntly intimidating term.
i guess in the sense that it's "not classical" you could sort of call what i do "popular music".
except that a lot of it sort of actually really is better described as classical music.
again, it's the kind of thing i have to think comes down to the person making the decision. if i'm trying to get past of panel of american idol judges or something.....it's not what i do. i have no commercial potential. but, if they're a little more open-minded...
i lose nothing but time trying.
time is important, mind you.
it's the only truly quantifiable thing in our existence.
the only abstraction with any meaning.
time is not money. time makes money seem useless and worthless in comparison.
but i think this is worth it.
there's one that's open. everything else is closed.
until may probably.
had i done this in september, i'd have more options.
the one that's open is for "popular music". that's a complicated, multifaceted and bluntly intimidating term.
i guess in the sense that it's "not classical" you could sort of call what i do "popular music".
except that a lot of it sort of actually really is better described as classical music.
again, it's the kind of thing i have to think comes down to the person making the decision. if i'm trying to get past of panel of american idol judges or something.....it's not what i do. i have no commercial potential. but, if they're a little more open-minded...
i lose nothing but time trying.
time is important, mind you.
it's the only truly quantifiable thing in our existence.
the only abstraction with any meaning.
time is not money. time makes money seem useless and worthless in comparison.
but i think this is worth it.
escaping the studio for a familiar blast of new york at trinosophes in detroit
looking at his biography, it's surprising that i'd never heard of virgil moorefield before yesterday. well, the name is vaguely familiar, but i couldn't have placed it to anything. however, the biography (along with a bit of youtube sleuthing) made it clear that i'd better show up, as that slice of the history of new york's music scene is really exactly precisely where my brain lives.
he was performing a new piece, and while i got the impression that the band might not be entirely into it yet, i have to point out that it was a little bit generic in terms of minimalist post-rock, broken only by the inclusion of a sax player. it swayed and rocked like you'd expect it would, but that's just it: very predictable. there wasn't really anything new to it. the melodic lines weren't anything much to react to, either. it's one thing to be predictable and be good, it's another to be predictable and sort of mediocre at it.
listen. it happens. there are beethoven pieces that flat out suck. i wasn't going to make too much of a judgment on the basis of one piece.
the second piece (apparently a reinstrumentation of "i wish i'd thought of it sooner") was a lot more creative. it definitely exists in the space i referenced, but it was noisy and erratic and just overall worked very well.
the third piece (the one posted) was somewhere in between, in that it went back to the predictability of the first piece while maintaining some of the excitement of the second. it was more along the lines of being predictable and good. but, there were also some jazzy curve balls in there.
overall? i didn't get the same kind of raw power i get out of swans, the atonal mess of zorn, the messy dynamics of branca or even the glacial harmonies of steve reich. what i heard tonight was kind of reaching into all these places and pulling a little out of all of them without really hitting any serious high points. i didn't hear anything to define virgil moorefield, so much as i heard a lot of bits of things i'm familiar with from elsewhere - none of it really put together in a way that really grabbed me. i'm sure there's far more to his work than i heard tonight...
....but i can't help but think it was a good explanation of how i could be so into so much of what came out of that scene without having ever heard of him.
that being said? it was worth the $10. i'm glad i went, and i'd make the same choice next time. maybe i'll check out some more of his work in the meantime hoping to find the best of it...
http://dghjdfsghkrdghdgja.appspot.com/categories/shows/2014/11/08.html
he was performing a new piece, and while i got the impression that the band might not be entirely into it yet, i have to point out that it was a little bit generic in terms of minimalist post-rock, broken only by the inclusion of a sax player. it swayed and rocked like you'd expect it would, but that's just it: very predictable. there wasn't really anything new to it. the melodic lines weren't anything much to react to, either. it's one thing to be predictable and be good, it's another to be predictable and sort of mediocre at it.
listen. it happens. there are beethoven pieces that flat out suck. i wasn't going to make too much of a judgment on the basis of one piece.
the second piece (apparently a reinstrumentation of "i wish i'd thought of it sooner") was a lot more creative. it definitely exists in the space i referenced, but it was noisy and erratic and just overall worked very well.
the third piece (the one posted) was somewhere in between, in that it went back to the predictability of the first piece while maintaining some of the excitement of the second. it was more along the lines of being predictable and good. but, there were also some jazzy curve balls in there.
overall? i didn't get the same kind of raw power i get out of swans, the atonal mess of zorn, the messy dynamics of branca or even the glacial harmonies of steve reich. what i heard tonight was kind of reaching into all these places and pulling a little out of all of them without really hitting any serious high points. i didn't hear anything to define virgil moorefield, so much as i heard a lot of bits of things i'm familiar with from elsewhere - none of it really put together in a way that really grabbed me. i'm sure there's far more to his work than i heard tonight...
....but i can't help but think it was a good explanation of how i could be so into so much of what came out of that scene without having ever heard of him.
that being said? it was worth the $10. i'm glad i went, and i'd make the same choice next time. maybe i'll check out some more of his work in the meantime hoping to find the best of it...
http://dghjdfsghkrdghdgja.appspot.com/categories/shows/2014/11/08.html
Saturday, November 8, 2014
publishing rabit is wolf (inri057)
this is inri038. which is done. inri036 needs another week. inri037 needs some analysis before i make predictions about...time.
there's no new recordings here. it's not even remixed, it's just finally sequenced correctly.
--
this is the sum total of the completed rabit is wolf studio experiments, which wound through a number of paths on their way to the project's eventual collapse. while there would be further acoustic demos recorded with sean, i ultimately decided to abandon their folky underpinnings and finish all further tracks as electronic, instrumental recordings. there was some thought of completing an acoustic tour demo at the time; it will appear shortly as inri040 and contain those final demos.
the recording was initially sequenced as a demo in mid may, 2002 but i foolishly deleted the files (i was running low on hard drive space) only to find out that the burn was corrupt and that the result was skipping. i did eventually recompile an ep of material, but it was in a different order and made no attempt to mix the tracks together. in reconstructing the demo, i've decided to recreate the original sequencing. the only difference between this collection and the initial collection is that the last track now includes sean's vocals, whereas it was initially an (eventually rendered incomplete) instrumental recording.
i need to be clear that the decision in sequencing the material this way is unilateral on my behalf. during this period, sean had made it clear that he was not satisfied with the more experimental and electronic tendencies underlying some of the tracks; specifically, he wasn't happy with the first or last tracks on this disc, as he felt they did not represent his vision for the project. on the other hand, i was less interested in purely acoustic music and more interested in electronic music. i was envisioning the project as having a split personality between an acoustic live presentation and an electronic studio presentation. sean argued this would be disorienting; it's less that i disagreed with him and more that i thought that was a good idea. this divergence in vision is one of the factors leading to the project's dissolution.
while i feel this recording stands up on it's own, i've also taken the time over the second half of 2014 to reclaim some of the tracks as my own instrumental works. only tracks two and four exist uniquely as rabit is wolf collaborations; the other four tracks have been resequenced as completed instrumentals in my main recording sequence. please open the track pages for more information.
written and recorded in late 2001 and early 2002. resequenced to mimic the original sequencing on november 8, 2014. except to sequence the record, these files have not been altered since 2002. as always, please use headphones.
credits:
j - guitars (electric, acoustic, classical), effects, bass, synthesizers, digital piano, electric air reed organ, flute, drum programming, drum manipulations, vocal manipulations, loops, sequencing, sampling, digital wave editing, production, cover art.
sean - vocals, lyrics, harmonica (1), ring modulator (6).
greg - drum performance sample source (5,6)
jon - guitar performance (2)
released june 20, 2002
https://jasonparent.bandcamp.com/album/rabit-is-wolf
there's no new recordings here. it's not even remixed, it's just finally sequenced correctly.
--
this is the sum total of the completed rabit is wolf studio experiments, which wound through a number of paths on their way to the project's eventual collapse. while there would be further acoustic demos recorded with sean, i ultimately decided to abandon their folky underpinnings and finish all further tracks as electronic, instrumental recordings. there was some thought of completing an acoustic tour demo at the time; it will appear shortly as inri040 and contain those final demos.
the recording was initially sequenced as a demo in mid may, 2002 but i foolishly deleted the files (i was running low on hard drive space) only to find out that the burn was corrupt and that the result was skipping. i did eventually recompile an ep of material, but it was in a different order and made no attempt to mix the tracks together. in reconstructing the demo, i've decided to recreate the original sequencing. the only difference between this collection and the initial collection is that the last track now includes sean's vocals, whereas it was initially an (eventually rendered incomplete) instrumental recording.
i need to be clear that the decision in sequencing the material this way is unilateral on my behalf. during this period, sean had made it clear that he was not satisfied with the more experimental and electronic tendencies underlying some of the tracks; specifically, he wasn't happy with the first or last tracks on this disc, as he felt they did not represent his vision for the project. on the other hand, i was less interested in purely acoustic music and more interested in electronic music. i was envisioning the project as having a split personality between an acoustic live presentation and an electronic studio presentation. sean argued this would be disorienting; it's less that i disagreed with him and more that i thought that was a good idea. this divergence in vision is one of the factors leading to the project's dissolution.
while i feel this recording stands up on it's own, i've also taken the time over the second half of 2014 to reclaim some of the tracks as my own instrumental works. only tracks two and four exist uniquely as rabit is wolf collaborations; the other four tracks have been resequenced as completed instrumentals in my main recording sequence. please open the track pages for more information.
written and recorded in late 2001 and early 2002. resequenced to mimic the original sequencing on november 8, 2014. except to sequence the record, these files have not been altered since 2002. as always, please use headphones.
credits:
j - guitars (electric, acoustic, classical), effects, bass, synthesizers, digital piano, electric air reed organ, flute, drum programming, drum manipulations, vocal manipulations, loops, sequencing, sampling, digital wave editing, production, cover art.
sean - vocals, lyrics, harmonica (1), ring modulator (6).
greg - drum performance sample source (5,6)
jon - guitar performance (2)
released june 20, 2002
https://jasonparent.bandcamp.com/album/rabit-is-wolf
so, i actually got quite a bit of filing done last night. they're things i have to do with this project, to make sure everything's ordered. part of the problem is that almost everything between 2001 and 2003 is dated to may, 2003 due to a wonky burn. so it's a careful process of reconstructing by memory because i don't have a lot of the exact dates. i'm almost over that hump...
i also jumped ahead to inri038 (and i'm certain it will be inri038), which has been sequenced and is being uploaded. this is the complete rabit demo, which has been expanded to a sixth track and is now nearly an hour long...
i wouldn't enumerate any rabit material in my list of official records. rather, i'd point out that there's instrumental mixes coming up on the sixth record. but this demo is long enough that i'm going to treat it as an unofficial record rather than an ep. the problem with calling it record is that 4 of the six songs appear in remixed form on other records. in that context, it's almost more like a remix record.
i jumped ahead to get it out of the way so i can just be thinking about the instrumental tracks. i'm still going to need to do some constructions for the acoustic ep, but this otherwise gets that dealt with.
i'll post it when it's done uploading and i have the info up and stuff.
i also jumped ahead to inri038 (and i'm certain it will be inri038), which has been sequenced and is being uploaded. this is the complete rabit demo, which has been expanded to a sixth track and is now nearly an hour long...
i wouldn't enumerate any rabit material in my list of official records. rather, i'd point out that there's instrumental mixes coming up on the sixth record. but this demo is long enough that i'm going to treat it as an unofficial record rather than an ep. the problem with calling it record is that 4 of the six songs appear in remixed form on other records. in that context, it's almost more like a remix record.
i jumped ahead to get it out of the way so i can just be thinking about the instrumental tracks. i'm still going to need to do some constructions for the acoustic ep, but this otherwise gets that dealt with.
i'll post it when it's done uploading and i have the info up and stuff.
Friday, November 7, 2014
ok, i'm coming to terms with the fact that i'm probably not hearing back from the psychiatrist and i'm going to have to wait until the 12th to get somebody to fill out the forms.
i'm expecting that the forms will not be filled out. if so, i will immediately attempt suicide in the doctor's office. so, you can pencil in the first suicide attempt for jan 12, 2015. i expect that this attempt will be stopped, but it seems as though i'm going to have to actually go through with it.
i'm also going to have to sit down over the weekend and explore artist grant options. it's not what i want. what i want is long term odsp. but if i get the grants, and it lets me live an extra year or two to get the work i want done done, then it's a better option for future generations. so i'm obligated to do this.
i mean, if the point of this is to save money, they may want to recalculate that because it's going to cost money and resources to pump my stomach and put me through all this processing. if somebody ends up dying in the meantime, i'd argue the doctors should be held liable for it. there's no reason to play out this pointless drama.
but, you know. world. stage. actors. yeah.
i just wish people had more foresight and were able to make decisions more rationally.
i mean, i don't want to spend the weekend in the hospital any more than the system wants to expend the resources on me for it....if i can find even one doctor willing to dislodge head from ass and get a grip on the reality of the situation, i won't have to.
i'm not expecting this.
so, you can pencil in an acetaminophen overdose on jan 12th at the windsor branch of the canadian association of mental health.
i'm expecting that the forms will not be filled out. if so, i will immediately attempt suicide in the doctor's office. so, you can pencil in the first suicide attempt for jan 12, 2015. i expect that this attempt will be stopped, but it seems as though i'm going to have to actually go through with it.
i'm also going to have to sit down over the weekend and explore artist grant options. it's not what i want. what i want is long term odsp. but if i get the grants, and it lets me live an extra year or two to get the work i want done done, then it's a better option for future generations. so i'm obligated to do this.
i mean, if the point of this is to save money, they may want to recalculate that because it's going to cost money and resources to pump my stomach and put me through all this processing. if somebody ends up dying in the meantime, i'd argue the doctors should be held liable for it. there's no reason to play out this pointless drama.
but, you know. world. stage. actors. yeah.
i just wish people had more foresight and were able to make decisions more rationally.
i mean, i don't want to spend the weekend in the hospital any more than the system wants to expend the resources on me for it....if i can find even one doctor willing to dislodge head from ass and get a grip on the reality of the situation, i won't have to.
i'm not expecting this.
so, you can pencil in an acetaminophen overdose on jan 12th at the windsor branch of the canadian association of mental health.
ok, the mix is done. that was an all nighter, i need sleep...
i'm not going to be able to drums this afternoon, i'm going to have to do laundry and things of that sort, so i'll be pushing this off until saturday. expect some jump ahead uploads for tomorrow. i may go ahead and sequence the rabit demo.
i'm not going to be able to drums this afternoon, i'm going to have to do laundry and things of that sort, so i'll be pushing this off until saturday. expect some jump ahead uploads for tomorrow. i may go ahead and sequence the rabit demo.
Thursday, November 6, 2014
uploading 9:46 to the scratchpad
i'm going to be playing with the mix for a while, but i've got a temp
mix of the first 6:40 uploading to the scratchpad. i'm actually happy
this is finally coming together, of all the lost tracks this was one i
always wanted to really polish up....
it's not really that i'm irresponsible.
i mean, i am. i can't really argue.
but it's really more that i avoid responsibility, so i don't have to be irresponsible - partly because i know i'm really not overly irresponsible, when forced to not be.
i mean, have you thought about all the conditioning that goes into this? if people actually desired responsibility, we wouldn't need to drill it into kids as they grow up. it's a type of socially enforced brainwashing, and it's arguably necessary to uphold the status quo.
but, if you don't like the status quo, it's collapse is not frightening to you and these arguments about the breakdown of society sound more like a goal than a disaster.
so, if you acknowledge that people don't really desire responsibilities, is it not rational to avoid them?
i mean, i am. i can't really argue.
but it's really more that i avoid responsibility, so i don't have to be irresponsible - partly because i know i'm really not overly irresponsible, when forced to not be.
i mean, have you thought about all the conditioning that goes into this? if people actually desired responsibility, we wouldn't need to drill it into kids as they grow up. it's a type of socially enforced brainwashing, and it's arguably necessary to uphold the status quo.
but, if you don't like the status quo, it's collapse is not frightening to you and these arguments about the breakdown of society sound more like a goal than a disaster.
so, if you acknowledge that people don't really desire responsibilities, is it not rational to avoid them?
Wednesday, November 5, 2014
i got the snares in the second section done today. not completely
mixed, but played and sequenced. that was the hard part for that
section. i need some toms and kicks and crashes but it's less skittery
and should be relatively quick to get in.
so, no temp mix tonight. maybe one tomorrow.
there's four sections. hopefully, two is done tomorrow.
so, no temp mix tonight. maybe one tomorrow.
there's four sections. hopefully, two is done tomorrow.
did the package arrive?
jessica
hi..
just wondering if the package arrived?
i just want to comment on shipping, too, because it's been bothering me. the actual cost to ship from where i am in canada to the uk is $9 to ship one disc and $12 to ship two, so i did make a few dollars on shipping. i was considering sending you a bonus disc to make up for it, but i couldn't fit three discs in one package, so it would have cost me an extra $9 in shipping to get the third disc out. see, because the shipping gets me a deal on multiples of two it works out non-linearly to:
$9 - one (flat 10)
$12 - two (flat 20)
$21 - three (flat 30)
$24 - four (flat 40)
$33 - five (it's flat 50, but this is where i think it gets unfair)
..and of course it's going to decrease further as more units move in the same order.
fairness is very important to me. i'm actually sort of neurotic about it, to the point that it's harmed my own interests at points. so, i've changed my shipping policy. it's flat for under five discs, meaning i will make a few dollars on shipping small orders but i think that's ok. five or more discs and i'll contact the seller about adding free items.
just thought you should know that, as i had increased shipping between the orders. you had paid more than the list price initially, and i'm glad you did because i would have otherwise lost money on shipping the first item (i had just guessed $5, which was an underestimate...).
but let me know if you got the package...
primatemaster
Arrived yesterday, thanks.
Wasn't sure about emailing to let you know - in the end I decided that was a bigger deal for the first delivery and not so much after the efficiency of our respective postal systems has been established. Re-thinking, if I were in your position, I'd prefer to know that the package was delivered safely so apologies for any concerned pondering/ sleepless nights. I'll send notifications after any future deliveries, provided that I'm not sending them to a corpse. :)
Don't worry about the delivery cost (insert your own joke about the low value of Canadian currency here), s'not unreasonable given the size of the ocean. And it is more important that you don't lose out in the transaction. I'll confess to a degree of hesitation when the total cost appeared, but that's down to my inner cheapskate having a mental block where $[shipping] > $[stuff I want]. I grew as a person when I clicked the button to pay. Larger orders run the risk of being stung for the double tax of import duty and Royal Mail 'service' charge, so that must be avoided on principle.
jessica
don't worry about emailing me, i was just double checking...
hi..
just wondering if the package arrived?
i just want to comment on shipping, too, because it's been bothering me. the actual cost to ship from where i am in canada to the uk is $9 to ship one disc and $12 to ship two, so i did make a few dollars on shipping. i was considering sending you a bonus disc to make up for it, but i couldn't fit three discs in one package, so it would have cost me an extra $9 in shipping to get the third disc out. see, because the shipping gets me a deal on multiples of two it works out non-linearly to:
$9 - one (flat 10)
$12 - two (flat 20)
$21 - three (flat 30)
$24 - four (flat 40)
$33 - five (it's flat 50, but this is where i think it gets unfair)
..and of course it's going to decrease further as more units move in the same order.
fairness is very important to me. i'm actually sort of neurotic about it, to the point that it's harmed my own interests at points. so, i've changed my shipping policy. it's flat for under five discs, meaning i will make a few dollars on shipping small orders but i think that's ok. five or more discs and i'll contact the seller about adding free items.
just thought you should know that, as i had increased shipping between the orders. you had paid more than the list price initially, and i'm glad you did because i would have otherwise lost money on shipping the first item (i had just guessed $5, which was an underestimate...).
but let me know if you got the package...
primatemaster
Arrived yesterday, thanks.
Wasn't sure about emailing to let you know - in the end I decided that was a bigger deal for the first delivery and not so much after the efficiency of our respective postal systems has been established. Re-thinking, if I were in your position, I'd prefer to know that the package was delivered safely so apologies for any concerned pondering/ sleepless nights. I'll send notifications after any future deliveries, provided that I'm not sending them to a corpse. :)
Don't worry about the delivery cost (insert your own joke about the low value of Canadian currency here), s'not unreasonable given the size of the ocean. And it is more important that you don't lose out in the transaction. I'll confess to a degree of hesitation when the total cost appeared, but that's down to my inner cheapskate having a mental block where $[shipping] > $[stuff I want]. I grew as a person when I clicked the button to pay. Larger orders run the risk of being stung for the double tax of import duty and Royal Mail 'service' charge, so that must be avoided on principle.
jessica
don't worry about emailing me, i was just double checking...
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