Fri, 15 Dec 2000 found Every Man writing:
>I must admit, I've never in my life had anyone so
>aggressively attack this project like you just did here,
>however. It's not like I expect everyone to agree with
>it, but holy shit, man...you ripped me another asshole.
ok, maybe i was too mean. sorry. darnit it's just too easy
to be mean via email.
Actually I just went to the freespeechforsale site and read
what was there. You make a lot of sense. I pretty much
totally agree with what you say about Commercial Ad Hoc and
Philo (and I also offer the disclaimer that I'm not knocking
Philo or his tastes!) In fact one reason why I never
submitted a track for Commercial Ad Hoc was because I felt
that my new work was heading off pretty much in the
direction you describe and that whatever I submitted
wouldn't get past the IA aesthetic filter
I guess what I'm getting at is, the theme is great. It's a
great idea for a compilation. If I had been told about it
outside of the context of the Droplift project, I would have
been much more receptive, and if it hadn't been a
pay-to-play thing, I would have been even more receptive.
Hell, maybe I'll even end up submitting something. Maybe.
>If we don't droplift it, after we've pressed 1000 copies...what do we do
>with them that would get them heard by more people? You've offered
>a lot of criticism...but what to you suggest to IMPROVE this if we elect
>not to droplift them? Suggest a way that would get more people to hear it,
more than what? There ain't no free lunch, man. I think if
you have a good disc with quality work on it people will
like it, and it'll get out there. period. I hate to say it
but I doubt that on an anyone-that-pays-$50 comp the quality
will be consistent enough for the project to really be
great. I might be wrong, but I think there needs to be some
curation, some quality control. I probably sound like some
kind of elitist art-snob, and it's obviously too late to
implement that anyway (it would be awkward to say "uh,
here's your $50 bucks back, no thanx."). But consider this,
if it was a kick-ass disc with real aesthetic coherence and
focus, you could get it picked up by a label and
distributed. If it's not that great, well, yeah, you might
have to give it away....
>I've so far Droplifted it in three different locations, and got my own CD
>back for free when trying to ring it up at the counter. I've heard of many
>other Droplifting accounts that have gone similarly. I'm aware this isn't
>always the case, but from all the reports I've read, more often than not,
>the stores give it away because they don't have a UPC symbol to work
>from.
Okay, I stand corrected. That really really suprises me,
though. I didn't think record store people were such
complete drones as that. If I was a junior record store
clerk, I'd probably be confused for a second, then call over
my manager. And if I were a manager, I'd take some
initiative and just make up a price. $9.99 or something.
Maybe if I was poor and a didn't like my employer i'd even
keep the money for myself. But somehow or another I'd find
a way to sell it. If i didn't know about Droplift,
I'd just think, well, hey, everything in here is here
because we paid for it. so, it can't leave unless someone
pays us something. It's not in our computer, but I can't
just give it away....
I guess our dependence on computers has conquored our
dependence on commodity exchange. Which is pretty ironic.
smh
Steev Hise, Would-be World-Wide Web Wizard (WWWWW)
steevATdetritus.net http://detritus.net/steev
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