Our life has no end in just the way in which our visual field has no limits.
have blog :: will travel
Wayne Coyne of the Flaming Lips told a Rolling Stone reporter of the group's plan to record and share a song a month instead of producing another traditional album. The always whimsical college rock elder mused on new possibilities, such as packaging the songs inside small toys. Most important, though, was a straightforward declaration of purpose. "We want to try to live through our music as we create it," he said, "instead of it being a collection of the last couple years of our lives.
Ok, enough of my gloating, and thank you all for catching up with my thinking, whatever your reasons doesn't really matter, the point is simply that if you are running a studio my friend, I advise you to drop your prices by 95% before next Tuesday, because all that extra mile production stuff you layer in to give the salon that exquisite sense of exclusivity is about to be jettisoned as just so much ungreenery. Your once lucrative boutique business is now box-store, like software, become a common thing that can be tossed together quite acceptably by a dilligent teen with two weeks practice and just as no one really cared about the fonts and kerning in a myspace page (or even if the text overwrote the image!) no one will care much anymore that the seinheissers were impeccable and the placements of baffles pure brilliance. It will all be postcard polaroids now, baby.
Hilarious as this is, and so true too, I don't think this is nearly why bootlegging works (to keep our terms straight) -- just as with its namesake in the booze world, bootlegging works mostly because the price is reasonable and the product is available, and I'll add a third in that the product actually fits what the consumer wants it to do. By comparison, what we get from the studios via the retail chain (yes, even from Amazon) is a clipped minority subset collection of overpriced goods that, when played on modest equipment, fails to play due to being optimized to the latest greatest most expensive HD gear.
The solution is, not surprisingly, staring them in the face on every bit-torrent site:
and there, done deal. Now what was so hard about that?
The LA Examiner has some news up about a contest put on by la-based
RamenKlub. ... The contest is fairly simple, make your own original "How to make RamenVideo.” Once you make it, post it on Youtube and send the link to the folks atRamenKluband you’re entered.
Gee, they make it sound like so much fun, but what are they doing? They are attempting to boost their inbound links and inflate an illusion that folks are hyper keen on their wares/festival/whatever when in fact the entries are stuffing your search engine results with irrelevent and effectively paid-for advertising that dilutes the Internet Collection. Are they asking kids to upload their vid to their own hard-drives, showing the entries at their own expense? Or are they making a ploy to hijack a free public resource and slant it to their own product-line shareholder needs?
Gets me ire up, it does.
Is this any different than paying people to write stories about medical dysfunctions and then tag each with the brand name and like that conveniently sells the associated pharmaceutical and then blast them across random blogs as 'comments'? If I tell a thousand people to write glowing Wikipedia reviews of my shows on the chance they might will a $500 prize, does that mean my shows are great? Or have I committed a sinister kind of payola. Even if it isn't soliciting positive product endorsements, it doesn't matter to the search engine ranking algorithms. As Andy Warhol said, you measure your reviews not by the like or dislike, you measure your reviews in inches.
You may feel differently, but what this tells me is that these advertisers (and their clients) think so little of the Internet, they don't see it as the great information salvation for humanity, but as an endless free 'unmonitized' fence-space that deserves no more respect than to be plastered with their crowdsourced marketing handbills.
From what I have been able to find out, this is quite possibly the FIRST recording by the Sun Ra Orchestra (pre Arkestra). And while it has been widely thought to only have been released on 45 rpm, I have here what may be the ONLY existing copy on 78 rpm. The record is in good condition overall. ... I would probably frame this recording, rather than play it. I did play it through one time on a professional turntable with appropriate stylus... This asking price was suggested by a scholar in the field, but please feel free to make an offer that you think is fair. The following information was lifted (I hope with no problem) from Robert L. Campbell, Christopher Trent, and Robert Pruter. Thanks.
Billie Hawkins accompanied by Sun-Ra and His Orchestra
Billie Hawkins (voc); with Sun Ra (p -1, 2; Wurlitzer ep -2; arr); Art Hoyle (tp); Dave Young (tp); Julian Priester (tb); Pat Patrick (as, bars -1; bars -2); John Gilmore (ts); Wilburn Green (eb); Robert Barry (d); Jim Herndon (tymp -2).RCA Studios, Chicago, around January 1956
G7OW-5168 I'm Coming Home (Sunny Lane-Beryl Orris) -1 Heartbeat H-3-45 G7OW-5169 Last Call for Love (Tom Seymour) -2 Heartbeat H-4-45 Our thanks to Freddie Patterson for locating the earliest known release by the Arkestra, though Sun Ra wasn't using that spelling in his publicity yet, and Heartbeat, which put out this 7 inch 45 rpm single in 1956, wasn't doing it either. The quality studio recording and matrix numbers are from RCA's Chicago operation; the matrix numbers are just a little earlier than those found on the first Arkestra single on Ra's Saturn label. Two trumpets are present, and Green is on electric bass, so this is the Arkestra after Christmas 1955.
The original labels identify Billie Hawkins as the artist and mention Sun-Ra and His Orchestra in small print underneath. All personnel were identified by rlc. In a 2003 interview, Seymour Schwartz recalled that Billie Hawkins was a sexually ambiguous male singer; Schwartz also said he wrote the tunes for the session (the “Tom Seymour” presumably refers to him, and his daughter's name is Sunny).
Now here's a phenomenon we're going to miss in the Digital Age, although I think most of the young bands these days are well aware of the rarities effect and as such, while they may give out their tracks for free on their blog, there's usually a 7" vinyl edition tailor-made for the futures market.
"really obvious stuff .. be where the FANS are .. use the data"
via @AtmosTrio and Wired tho it may be, this is it, this is the new music business, put succinct, no magic monkey dust, and no suits. All we're really doing is correcting that ugly anomaly of the plastic-units age, getting us back to the ancient idea of connection and relevence to people, or as @mattwilsonjazz put it today:
Blogs, blah blah blah!Philosophy blah blah! Go play for the people! Spread the message through sound! Unite a community!!So welcome! C'mon in, the water's fine, and the money's not bad either, and you just have to leave your hang-ups at the door, that's all.
Our life has no end in just the way in which our visual field has no limits.
Our life has no end in just the way in which our visual field has no limits.
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