Re: [rumori] The Next Droplift Project

From: Steev Hise (
Date: Sun Dec 17 2000 - 09:48:09 PST

Sun, 17 Dec 2000 found nakedrabbit writing:

>>Steev suggested that if it's good enough on its own, a label
>>will sign it...but I think this thing is becoming so infringing on
>>copyrights, I think most labels would run screaming from it.
>I agree. I also do not agree with Steev's kinda non-DIY attitude that
>someone bigger will print and distribute the thing if it's any good.

I think everyone's misunderstanding what I said. I never
suggested you try to get some major label deal, and I agree
that if u sent a promo to a major they would probably reply
with a cease-and-desist order rather than a contract.

All I was trying to say is, there are a few places to go out
there for help. How bout:

Evolution Controlled Creations
Illegal Art
Hot Air
Alternative Tentacles

All these small labels have shown they don't care much for
copyright laws. Some even have pretty good distribution.

Again, my 2 big points related to the topic of distribution

1. the comp is going to suffer from the fact that ANYONE can
be on it as long as they pay 50 bucks.

>Maybe it shouldn't be heard, goes the argument, but I'm not
>qualified to make decisions like that, and I DO want to be heard, whether
>or not I SHOULD be.

you ARE qualified, at least to some extent. Everyone has an
opinion and most have a sense of taste and quality and some
even have an aesthetic vision. I like things that are
filtered by someone with an aesthetic vision I respect,
because there's just too goddamned much stuff out there.
information overload. I want someone I trust to say "this is
good" not "hey, all these unknowns forked up some money to
do this". Rabbit, if YOU put out the comp and YOU curated
it and paid for it, for example, i'd probably buy it,
because I've heard a good number of your audio pieces and
I've seen some of your video work and so I trust your
aesthetic judgement. However if, for instance, Geffen did
it, I most likely wouldn't buy it, unless I had some other
strong reasons to. I don't trust them as a filter for my
culture. ( I also don't trust the collective entity known as
the Snuggles List as a filter for my culture, but most of
you probably already know that. heh. )

So anyway, the point is, get someone that a lot of people
trust as their filter ( whether it's the person that
produced the comp, a label, or a critic that endorses it )
and you'll have units moving, even if you don't have it in
every Tower records worldwide.

2. the comp and its concept shouldnt be muddled up with the
Droplift concept.

The comp has a good stong concept. Droplift, at least as
re-formulated by Lloyd Dunn, also has a good strong concept.
Why mix them?

 The whole motivation for the droplifting of this new comp,
judging from jay's emails, seems to be that people want some
shortcut to distributing their work to a wider range of
people. that's a good goal. distribution is indeed the
bottleneck. Despite my earlier criticisms of Droplift as a
project, if people really think it's worth it to droplift
their work, they should go ahead and do it. Personally I
think it would be a better use of resources to make sure
they get to all the right press, critics, radio stations,
djs, etc, or even hand them out at parties or at live shows.
But that's just my opinion.

>I was agreeing with Steev that the next CD project
>organized on this list should not try to "ride the
>coattails" of the Droplift Project - which is exactly
>what YOU are saying! Read the mail again.

So, yup, we all agree. yay.


Steev Hise, Wannabe Has-Been
"On the whole, philanthropy seems sort of redundant - they're already
giving 70-hour weeks to the creation of new technology meant to
empower the world. That's not enough?"
                -Po Bronson, Wired

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