From tangent at inspire.net.nz Thu Apr 1 18:05:08 2004 From: tangent at inspire.net.nz (Sam Stephens) Date: Wed Mar 31 22:01:40 2004 Subject: [Rumori] stolen art galleries to be taken down Message-ID: <406C59D4.10670.6625E80@localhost> I've decided after a bit of thought and discussion, that I don't want to be responsible for the stolen art galleries being online anymore; that the invasion of privacy is not something I want to facilitate... I'll be taking them down in the next week or so. If you want to view the galleries go to http://www.postmoderncore.com/stolenartgallery.html http://www.postmoderncore.com/stolenartgallery2.html if you want to put the gallery up elsewhere, I don't have a problem - I just don't want to provide it myself, so feel free to get in touch.... ditto if you have a strong opinion, or just want to chat. All the best, Sam * postmoderncore website (w/ mp3s & art) http://www.postmoderncore.com Richie Rhinestone and the Insatiable Opium Cowboys new album "I ain't never been to heaven, but I hear they've got a real good bar" http://www.postmoderncore.com/music-opiumcowboys.html * From djbatman at olografix.org Thu Apr 1 16:48:08 2004 From: djbatman at olografix.org (Nicola Battista (Dj Batman)) Date: Thu Apr 1 06:49:11 2004 Subject: [Rumori] stolen art galleries to be taken down In-Reply-To: <406C59D4.10670.6625E80@localhost> References: <406C59D4.10670.6625E80@localhost> Message-ID: <2305.80.117.233.194.1080830888.squirrel@www.olografix.org> hi Sam, did you have problems with someone whose pictures you used or is this a decision you mostly made on your own? regards, DjB From tangent at inspire.net.nz Fri Apr 2 11:47:18 2004 From: tangent at inspire.net.nz (Sam Stephens) Date: Thu Apr 1 15:43:48 2004 Subject: [Rumori] stolen art galleries to be taken down In-Reply-To: <2305.80.117.233.194.1080830888.squirrel@www.olografix.org> References: <406C59D4.10670.6625E80@localhost> Message-ID: <406D52C6.24766.320E7B@localhost> On 1 Apr 2004 at 16:48, Nicola Battista (Dj Batman) wrote: > hi Sam, > did you have problems with someone whose pictures you used or is this a > decision you mostly made on your own? > > regards, > DjB > it's a decision I made after a conversation with my brother ; he basically said that these images are an invasion of other people's privacy, and could hurt the people whose images they are. He used the example that if one of the private topless posing photo's of young women made it's way into the hands of school "friends", that could be a traumatic event for them, and one on my conscience. He told me that I'm so attached to the idea, that I've not thought through the actual reality, and have been an art wanker in doing so. After some reflection I've decided I agree, and so I'm taking down the gallery. Sam * postmoderncore website (w/ mp3s & art) http://www.postmoderncore.com Rick Jensen ensemble free jazz albums for download and sale http://www.postmoderncore.com/music-rickjensen.html * From morakanabad at yahoo.ca Sat Apr 3 13:28:03 2004 From: morakanabad at yahoo.ca (Taylor McLaren) Date: Fri Apr 2 20:53:40 2004 Subject: [Rumori] re: stolen art galleries to be taken down In-Reply-To: <406D52C6.24766.320E7B@localhost> Message-ID: <4BD9AD66-8527-11D8-8900-000393D99C94@yahoo.ca> Sam Stephens wrote: > it's a decision I made after a conversation with my brother ; he > basically said that these > images are an invasion of other people's privacy, and could hurt the > people whose images > they are. Did anybody ever tell any of those folks that they might want to be more careful about what they share? I mean, the mic-in tracks were pretty much harmless, since there wasn't any real way of tracing them once they were collaged, but like you say, the pictures could definitely come back to haunt people later on. It would seem the neighbourly, white-hat thing to do. -me From discosammy at yahoo.com Mon Apr 5 07:40:01 2004 From: discosammy at yahoo.com (Samuel Carey) Date: Mon Apr 5 06:40:16 2004 Subject: [Rumori] though rumori folks In-Reply-To: <3FFAF521.15046.A1C25D@localhost> Message-ID: <20040405134001.31826.qmail@web11506.mail.yahoo.com> might be interested in this. A Heretical View of File Sharing April 5, 2004 By JOHN SCHWARTZ The music industry says it repeatedly, with passion and conviction: downloading hurts sales. That statement is at the heart of the war on file sharing, both of music and movies, and underpins lawsuits against thousands of music fans, as well as legislation approved last week by a House Judiciary subcommittee that would create federal penalties for using what is known as peer-to-peer technology to download copyrighted works. It is also part of the reason that the Justice Department introduced an intellectual-property task force last week that plans to step up criminal prosecutions of copyright infringers. But what if the industry is wrong, and file sharing is not hurting record sales? It might seem counterintuitive, but that is the conclusion reached by two economists who released a draft last week of the first study that makes a rigorous economic comparison of directly observed activity on file-sharing networks and music buying. "Downloads have an effect on sales which is statistically indistinguishable from zero, despite rather precise estimates," write its authors, Felix Oberholzer-Gee of the Harvard Business School and Koleman S. Strumpf of the University of North Carolina at Chapel Hill. The industry has reacted with the kind of flustered consternation that the White House might display if Richard A. Clarke showed up at a Rose Garden tea party. Last week, the Recording Industry Association of America sent out three versions of a six-page response to the study. The problem with the industry view, Professors Oberholzer-Gee and Strumpf say, is that it is not supported by solid evidence. Previous studies have failed because they tend to depend on surveys, and the authors contend that surveys of illegal activity are not trustworthy. "Those who agree to have their Internet behavior discussed or monitored are unlikely to be representative of all Internet users," the authors wrote. Instead, they analyzed the direct data of music downloaders over a 17-week period in the fall of 2002, and compared that activity with actual music purchases during that time. Using complex mathematical formulas, they determined that spikes in downloading had almost no discernible effect on sales. Even under their worst-case example, "it would take 5,000 downloads to reduce the sales of an album by one copy," they wrote. "After annualizing, this would imply a yearly sales loss of two million albums, which is virtually rounding error" given that 803 million records were sold in 2002. Sales dropped by 139 million albums from 2000 to 2002. "While downloads occur on a vast scale, most users are likely individuals who would not have bought the album even in the absence of file sharing," the professors wrote. In an interview, Professor Oberholzer-Gee said that previous research assumed that every download could be thought of as a lost sale. In fact, he said, most downloaders were drawn to free music and were unlikely to spend $18 on a CD. "Say I offer you a free flight to Florida," he asks. "How likely is it that you will go to Florida? It is very likely, because the price is free." If there were no free ticket, that trip to Florida would be much less likely, he said. Similarly, free music might draw all kinds of people, but "it doesn't mean that these people would buy CD's at $18," he said. The most popular albums bought are also the most popular downloads, so the researchers looked for anomalous rises in downloading activity that they might compare to sales activity. They found one such spike, Professor Oberholzer-Gee said, during a German school holiday that occurred during the time they studied. Germany is second to the United States in making files available for downloading, supplying about 15 percent of online music files, he said. During the vacation, students who were home with time on their hands flooded the Internet with new files, which in turn spurred new downloading activity. The researchers then looked for any possible impact in the subsequent weeks on sales of CD's. Professor Oberholzer said that he had expected to find that downloading resulted in some harm to the industry, and was startled when he first ran the numbers in the spring of 2003. "I called Koleman and said, 'Something is not quite right - there seems to be no effect between file sharing and sales.' " Amy Weiss, an industry spokeswoman, expressed incredulity at what she deemed an "incomprehensible" study, and she ridiculed the notion that a relatively small sample of downloads could shed light on the universe of activity. The industry response, titled "Downloading Hurts Sales," concludes: "If file sharing has no negative impact on the purchasing patterns of the top selling records, how do you account for the fact that, according to SoundScan, the decrease of Top 10 selling albums in each of the last four years is: 2000, 60 million units; 2001, 40 million units; 2002, 34 million units; 2003, 33 million units?" Critics of the industry's stance have long suggested that other factors might be contributing to the drop in sales, including a slow economy, fewer new releases and a consolidation of radio networks that has resulted in less variety on the airwaves. Some market experts have also suggested that record sales in the 1990's might have been abnormally high as people bought CD's to replace their vinyl record collections. "The single-bullet theory employed by the R.I.A.A. has always been considered by anyone with even a modicum of economic knowledge to be pretty ambitious as spin," said Joe Fleischer, the head of sales and marketing for BigChampagne, a company that tracks music downloads and is used by some record companies to measure the popularity of songs for marketing purposes. The industry response stresses that the new study has not gone through the process of peer review. But the response cites refuting statistics and analysis, much of it prepared by market research consultants, that also have not gone through peer review. One consultant, Russ Crupnick, vice president of the NPD Group, called the report "absolutely astounding." Asked to explain how the professors' analysis might be mistaken, he said he was still trying to understand the complex document: "I am not the level of mathematician that the professors purport to be." Stan Liebowitz of the University of Texas at Dallas, author of an essay cited by the industry, said the use of a German holiday to judge American behavior was strained. Professor Liebowitz argued in a paper in 2002 that file sharing did not affect music sales, but said he had since changed his mind. The Liebowitz essay appeared in an economics journal edited by Gary D. Libecap, a professor of economics at the University of Arizona, who said that his publication was not peer reviewed, though the articles in it were often based on peer-reviewed work. Professor Libecap said he attended a presentation by Professor Strumpf last week, and said the file-sharing study "looks really good to me." "This was really careful, empirical work," Professor Libecap said. The author of another report recommended by the industry said that the two sets of data used by the researchers should not be compared. "They can't get to that using the two sets of data they are using - they aren't tracking individual behavior," said Jayne Charneski, formerly of Edison Media Research, who prepared a report last June that she said showed that 7 percent of the marketplace consists of people who download music and do not buy it. That number is far lower than the authors of the new study estimated. "There's a lot of research out there that's conducted with an agenda in mind," said Ms. Charneski, now the head of research for the record label EMI. http://www.nytimes.com/2004/04/05/technology/05music.html?ex=1082172314&ei=1&en=11fd4029291373d3 ===== For the best selection of pre-owned septic tanks visit: Mediatronic Research Laboratory __________________________________ Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway http://promotions.yahoo.com/design_giveaway/ From steev at detritus.net Mon Apr 5 10:00:28 2004 From: steev at detritus.net (Steev Hise) Date: Mon Apr 5 09:00:36 2004 Subject: [Rumori] though rumori folks In-Reply-To: <20040405134001.31826.qmail@web11506.mail.yahoo.com> Message-ID: It's from the New York Times, same study mentioned a week ago. it's interesting that it took the Times that long to cover it. Perhaps reveals their bias -they were probably waiting for the (predictable) industry response. I like the end where the industry flack accuses researchers of having an agenda. The pot calling the kettle black... To be fair, I do know lots of people who buy a lot less music now in the age of mp3 and file-sharing, and who admit that that's the reason... smh on Mon, 5 Apr 2004 Samuel Carey told me: ->might be interested in this. -> ->A Heretical View of File Sharing -> ->April 5, 2004 -> By JOHN SCHWARTZ Steev Hise . steev@detritus.net . http://detritus.net/steev ----------------------------------------------------------------- "Oh no. You're going to talk about this on your radio show, aren't you?" - girlfriend of Ira Glass, host of 'This American Life' ----------------------------------------------------------------- From ddixon at wi.rr.com Tue Apr 6 15:22:39 2004 From: ddixon at wi.rr.com (David Dixon) Date: Tue Apr 6 12:22:42 2004 Subject: [Rumori] Digital music: what's in store? Message-ID: <003d01c41c0c$890afb00$0bd9a718@wi.rr.com> http://www.macworld.co.uk/news/main_news.cfm?NewsID=8365 (I'm the webmaster for Beatallica. It's not true that we've "run out of bandwidth". The site at http://www.beatallica.org is still up, and we're sharing the mp3's using BitTorrent. 2,900 complete downloads of the new EP and rising!) D^2 Digital music: what's in store? By Jonny Evans The music piracy debate has intensified once again, following controversial court decisions and a report released last week by Harvard Business School, and industry trends suggest the music business may eventually be forced to change. The Harvard report disputes record industry claims that file-sharing has impacted against sales; calling the impact of file sharing "statistically insignificant". It suggests that competing entertainment formats; economic worries; limited breadth of music releases and the end of the vinyl to CD upgrade cycle have had more impact against music sales than file sharing. The Canadian high court last week declared that music fans downloading songs using peer-to-peer services are not breaking local copyright law; and a Florida court also last week denied music labels attempt to extract personal information about file sharers from a local ISP. The Canadian decision is subject to change. These revelations arrive as the music business prepares to extend its legal action against file-sharers internationally. Commenting on the Harvard report, International Federation of Phonographic Industries (IFPI) chairman and CEO Jay Berman told The Guardian: "If I listened to that study my business would have improved." It appears the music industry remains blinkered to the Harvard researchers' alternative explanations for falling music sales, preferring to continue its tactic of demonizing file sharers as the business attempts to maintain its grip on the means of music production and distribution. P2P United chair Wayne Rosso counters: "The recording industry is so completely misguided in its use of fear tactics that it can only engender even more contempt from fans. And what's even more ridiculous is that they're all profitable and their business is up, in part due to the free marketing they get from P2P networks. They should be paying us!" Europe is ripe for digital music sales. Online music service OD2 sold one million tracks in Europe in the first quarter of this year. Support for licensed music-download services are an essential element to the music labels' strategic plan for dealing with digital music - litigation without a viable legal alternative can only be counter-productive. Berman observed: "I want iTunes, Real and Napster here as soon as possible. I'm trying more than ever for a licence on behalf of all these services." Leave me alone However, artists and music fans are increasingly vexed by the music label's litigious tactics. And this is creating an interesting phenomenon. Artists are going it alone online. Blur drummer Dave Rowntree is furious at music industry plans to litigate music fans, telling New Media Age: "It's preposterous". And the professional musician is not convinced that file-sharing music fans buy fewer records. "How do they know?" he asked. Musicians are turning to the Internet in an attempt to create an alternative ways to make a living than working with the established music business, and since that business is built on artists' talent, it appears that its control of the means of production may be under attack. George Michael last month announced plans to dump the music business, promising never to make another album for retail sale. Michael will instead make future releases available online to fans in exchange for charitable donations. Explaining this decision, he said it would take him out of the music industry mechanism, which requires artists create new song collections every "so many" years, "which nearly killed me," he said. Music-business contracts commit artists to certain release cycles. For example, a musician can have created a collection of songs across many years before winning a record deal. They then find themselves committed to a gruelling touring cycle, and to a record release every year. This creates the phenomenon of the difficult second album, as artists attempt to manage more fame and commitments while struggling to find the inspiration to create new music in order to fulfill their contract. Commercial realities can arguably transform artists into musical battery hens, and dampen the quality of their art. Thank you for the music In recent weeks, both Metallica - renowned for their litigation against Napster - and The Bare Naked Ladies have begun their own experiments with digital distribution - experiments that could lead musicians toward more-autonomous futures. While both remain committed to their existing labels, the acts are making MP3s of their live shows available from their Web sites for sale to fans. Metallica's unedited soundboard recordings cost $9.95 as MP3s and are available here. The band is also making FLAC (an alternative higher-quality digital music file format) downloads available for $12.95. Downloadable CD labels - including tray and front cover inserts are also supplied, along with special booklets. The band is currently engaged on a mammoth North American tour, and each gig is made available within days of its taking place. Bare Naked Ladies are offering recordings from up to 80 per cent of their shows for download, as MP3s with cover art ($13.99), or on CD ($20). The band sold over 35,000 songs in the first week of the experiment, with downloads outselling physical CDs by two-to-one, reports claim. While existing label Warner takes a slice of those sales, the band gets three times the royalties it accrues from studio albums. These actions show that established musicians are already in position to make a profit online. BPI representative Steve Redmond said the Metallica and Bare Naked Ladies actions show what can be done using the Internet for copyright holders: "This is bands profiting from their own copyrighted music." He added: "Some people have come up with the idea that the music business is against the Internet. That's absolutely not true. But artists still need to be paid for what they do." Culture shock at the power exchange Other recent innovations from the creative community hint at future developments in music. The recent story of the Grey Album shows how the Internet fundamentally changes music distribution and control. The Grey Album in brief: DJ Danger Mouse remixed the vocals from Jay-Z's The Black Album and the Beatles' White Album and called his creation The Grey Album. He sent about 3,000 promos out, until EMI told him to stop. However, Internet activists continue to make the Grey Album available online. The Beatles and Metallica pop-up once again in another recent online happening, Beatallica, a pair of anonymous musicians who play Beatles songs in the style of Metallica. The songs are made available free, and the musicians concerned hope to avoid legal action from Metallica or Beatles lawyers by remaining anonymous. It appears popular - since the release of the second album last week the official site has run out of bandwidth. Break on through Is it possible we are seeing the creation of a 'third estate' for music, opening the doors to new creative expression accompanied by a need to create new economic models. EMI's move to axe 1,500 jobs last week shows change is in the air. The company intends further focusing itself on a smaller roster of large artists. Existing legal music download services are experimenting with the new territory. Apple's iTunes Music Store, for instance, has begun selling exclusive live shows - some recorded at Apple's own retail stores. The company is also offering pre-release tracks, for example from popular US novelty act William Hung. The music business is reluctantly going through growing pains, as artists, consumers and the business itself renegotiate its business proposition, and the labels attempt to cling to control. As Karl Marx once wrote: "Wherever a part of society possesses a monopoly of the means of production, the labourer must add to the working-time necessary for his own maintenance an extra working-time in order to produce the means of subsistence for the owners of the means of production." From steev at detritus.net Tue Apr 6 16:34:52 2004 From: steev at detritus.net (Steev Hise) Date: Tue Apr 6 15:34:57 2004 Subject: [Rumori] Decasia Message-ID: A film made from decaying old films, by Bill Morrison. I haven't seen it yet but it sounds amazing. here's a review from the Village Voice: Bill Morrison is not the first artist to take decomposing film stock as raw material, but he plunges into this dark nitrate of the soul with contagious abandon. Founded on the tension between the hard fact of film's stained, eroded, unstable surface and the fragile nature of that which was once photographically represented, Decasia is an avant-garde movie with universal appeal, as well as an apocalyptic subtext unavoidably tied to the catastrophe of 9-11. website: http://www.decasia.com Steev Hise . steev@detritus.net . http://detritus.net/steev ----------------------------------------------------------------- "Business is amassing great sums by charging admission to the ritual simulation of its own lynching." -Thomas Frank, 'Alternative to What?' ----------------------------------------------------------------- From peoplelikeus at mistral.co.uk Wed Apr 7 00:45:51 2004 From: peoplelikeus at mistral.co.uk (Vicki Bennett) Date: Tue Apr 6 15:48:19 2004 Subject: [Rumori] Decasia In-Reply-To: References: Message-ID: <27FCDF38-881C-11D8-AE5B-000A95C713E8@mistral.co.uk> Yeah, it's GREAT, fantastic, magnifique, and the music is AMAZING! Can't wait to see it again! Satisfied customer, Vicki On 6 Apr 2004, at 23:34, Steev Hise wrote: > > A film made from decaying old films, by Bill Morrison. I haven't > seen it yet but it sounds amazing. here's a review from the > Village Voice: > > Bill Morrison is not the first artist to take decomposing film > stock as raw material, but he plunges into this dark nitrate of > the soul with contagious abandon. Founded on the tension between > the hard fact of film's stained, eroded, unstable surface and the > fragile nature of that which was once photographically > represented, Decasia is an avant-garde movie with universal > appeal, as well as an apocalyptic subtext unavoidably tied to the > catastrophe of 9-11. > > website: http://www.decasia.com > > > > Steev Hise . steev@detritus.net . http://detritus.net/steev > ----------------------------------------------------------------- > "Business is amassing great sums by charging admission to the ritual > simulation of its own lynching." > -Thomas Frank, 'Alternative to What?' > ----------------------------------------------------------------- > > > _______________________________________________ > Rumori mailing list > Rumori@detritus.net > http://detritus.net/mailman/listinfo/rumori > older archives: http://detritus.net/contact/rumori/ > > http://www.peoplelikeus.org http://www.wfmu.org/playlists/PL From aleph at aleph-null.net Tue Apr 6 16:50:14 2004 From: aleph at aleph-null.net (niall munnelly) Date: Tue Apr 6 15:50:21 2004 Subject: [Rumori] Decasia In-Reply-To: References: Message-ID: <20040406225013.GA17783@pogo.dreamhost.com> On Tue, Apr 06, 2004 at 03:34:52PM -0700, Steev Hise wrote: > > A film made from decaying old films, by Bill Morrison. I haven't > seen it yet but it sounds amazing. i saw it last night, at a bar here in chicago. it's very, very pretty and reminiscent of the brothers quay. -- yours, niall. .. . . . . . . . . . aleph null. a simple insinuation around silence. From bt at wfmu.org Wed Apr 7 00:19:07 2004 From: bt at wfmu.org (bt@wfmu.org) Date: Tue Apr 6 20:19:49 2004 Subject: [Rumori] Decasia In-Reply-To: <27FCDF38-881C-11D8-AE5B-000A95C713E8@mistral.co.uk> References: <27FCDF38-881C-11D8-AE5B-000A95C713E8@mistral.co.uk> Message-ID: <1729.172.140.61.54.1081307947.squirrel@mail.wfmu.org> I'm pretty sure the director just collaborated with composer Michael Gordon on a new film of similar nature (Decasia was 2001); I can't recall the name, but it's on Nonesuch Records' site (www.nonesuch.com). Decasia just came out on DVD (www.plexifilm.com). Brian Yeah, it's GREAT, fantastic, magnifique, and the music is AMAZING! > Can't wait to see it again! > > Satisfied customer, > > Vicki > > On 6 Apr 2004, at 23:34, Steev Hise wrote: > >> >> A film made from decaying old films, by Bill Morrison. I haven't >> seen it yet but it sounds amazing. here's a review from the >> Village Voice: >> >> Bill Morrison is not the first artist to take decomposing film >> stock as raw material, but he plunges into this dark nitrate of >> the soul with contagious abandon. Founded on the tension between >> the hard fact of film's stained, eroded, unstable surface and the >> fragile nature of that which was once photographically >> represented, Decasia is an avant-garde movie with universal >> appeal, as well as an apocalyptic subtext unavoidably tied to the >> catastrophe of 9-11. >> >> website: http://www.decasia.com >> >> >> >> Steev Hise . steev@detritus.net . http://detritus.net/steev >> ----------------------------------------------------------------- >> "Business is amassing great sums by charging admission to the ritual >> simulation of its own lynching." >> -Thomas Frank, 'Alternative to What?' >> ----------------------------------------------------------------- >> >> >> _______________________________________________ >> Rumori mailing list >> Rumori@detritus.net >> http://detritus.net/mailman/listinfo/rumori >> older archives: http://detritus.net/contact/rumori/ >> >> > http://www.peoplelikeus.org > http://www.wfmu.org/playlists/PL > > > _______________________________________________ > Rumori mailing list > Rumori@detritus.net > http://detritus.net/mailman/listinfo/rumori > older archives: http://detritus.net/contact/rumori/ > From quahogs at sensoryresearch.com Wed Apr 7 12:30:01 2004 From: quahogs at sensoryresearch.com (Quahogs!) Date: Wed Apr 7 08:30:36 2004 Subject: [Rumori] Decasia In-Reply-To: <1729.172.140.61.54.1081307947.squirrel@mail.wfmu.org> References: <27FCDF38-881C-11D8-AE5B-000A95C713E8@mistral.co.uk> <1729.172.140.61.54.1081307947.squirrel@mail.wfmu.org> Message-ID: <59332.208.255.68.2.1081351801.squirrel@www.sensoryresearch.com> Is this the same Bill Morrison who did the recent Ohgr video "Majik"? --Quahogs-- > I'm pretty sure the director just collaborated with composer Michael > Gordon on a new film of similar nature (Decasia was 2001); I can't recall > the name, but it's on Nonesuch Records' site (www.nonesuch.com). Decasia > just came out on DVD (www.plexifilm.com). > > Brian > > > Yeah, it's GREAT, fantastic, magnifique, and the music is AMAZING! >> Can't wait to see it again! >> >> Satisfied customer, >> >> Vicki >> >> On 6 Apr 2004, at 23:34, Steev Hise wrote: >> >>> >>> A film made from decaying old films, by Bill Morrison. I haven't >>> seen it yet but it sounds amazing. here's a review from the >>> Village Voice: >>> >>> Bill Morrison is not the first artist to take decomposing film >>> stock as raw material, but he plunges into this dark nitrate of >>> the soul with contagious abandon. Founded on the tension between >>> the hard fact of film's stained, eroded, unstable surface and the >>> fragile nature of that which was once photographically >>> represented, Decasia is an avant-garde movie with universal >>> appeal, as well as an apocalyptic subtext unavoidably tied to the >>> catastrophe of 9-11. >>> >>> website: http://www.decasia.com >>> >>> >>> >>> Steev Hise . steev@detritus.net . http://detritus.net/steev >>> ----------------------------------------------------------------- >>> "Business is amassing great sums by charging admission to the ritual >>> simulation of its own lynching." >>> -Thomas Frank, 'Alternative to What?' >>> ----------------------------------------------------------------- >>> >>> >>> _______________________________________________ >>> Rumori mailing list >>> Rumori@detritus.net >>> http://detritus.net/mailman/listinfo/rumori >>> older archives: http://detritus.net/contact/rumori/ >>> >>> >> http://www.peoplelikeus.org >> http://www.wfmu.org/playlists/PL >> >> >> _______________________________________________ >> Rumori mailing list >> Rumori@detritus.net >> http://detritus.net/mailman/listinfo/rumori >> older archives: http://detritus.net/contact/rumori/ >> > > > _______________________________________________ > Rumori mailing list > Rumori@detritus.net > http://detritus.net/mailman/listinfo/rumori > older archives: http://detritus.net/contact/rumori/ > > =============================================== The Quahogs Entertainment Group, featuring Quahogs, DJ Empirical, sch?del, Montana Wildhack, and Tyrone Shoelaces. http://www.sensoryresearch.com/~quahogs/ Announcement List (for gigs, new downloads, etc.) email: qeg-subscribe@yahoogroups.com =============================================== From boster at pobox.com Wed Apr 7 14:34:56 2004 From: boster at pobox.com (Bob Boster) Date: Wed Apr 7 13:36:57 2004 Subject: [Rumori] another ally? Message-ID: <5.1.0.14.2.20040407133426.02f1a198@209.115.3.202> "Electronics Makers, Holders of Copyright Fight Over 'Fair Use'" Investor's Business Daily (04/06/04) P. A6; Seitz, Patrick Consumer electronics makers and consumer advocates say fair use rights are being eroded as new digital technologies emerge, such as HDTV. The movie industry and other content owners are allied with Microsoft in enforcing more strict copyright protection than was in place in the pre-digital world. Content owners are seeking to control device manufacturers and smaller companies such as 321 Studios, which is appealing a case brought against it by movie studios. The DVD X Copy product in question allows consumers to make copies of DVDs they own on their computer hard drive, but federal courts in California and New York ruled the software violates the 1998 Digital Millennium Copyright Act (DMCA), which makes it illegal to distribute tools circumventing copyright protections. DVD X Copy contains DeCSS code that unscrambles CSS encryption used on DVDs. 321 Studios has argued its product is legal under fair use rules established in 1981 for VCR technology, and notes that copies made with its software are not replicable and contain disclaimers. "The people who get screwed are the next Hewlett and Packard, the next Steve Jobs, and the next TiVo," says Electronic Frontier Foundation senior intellectual property attorney Fred von Lohmann. Another battleground is HDTV, which the Federal Communications Commission mandated must carry embedded broadcast flags that would limit playback and recording of HDTV shows. Home Recording Rights Coalition Chairman and Consumer Electronics Association head Gary Shapiro says the entertainment industry is worried about peer-to-peer file sharing, but the audio and video formats used for HDTV make shows too large to easily trade online. Some legislators in favor of fair use protection have proposed the Digital Media Consumers' Rights Act to counter previous legal encroachments, including the DMCA. From carrie at stayfreemagazine.org Fri Apr 9 00:18:16 2004 From: carrie at stayfreemagazine.org (Carrie McLaren) Date: Thu Apr 8 20:18:34 2004 Subject: [Rumori] Stay F---! host to Harry Potter's estranged relative Message-ID: FOR IMMEDIATE RELEASE Stay F---! magazine is pleased to announce an exciting new addition to the Illegal Art Exhibit: WIZARD PEOPLE, DEAR READER is an unauthorized re-envisioning of HARRY POTTER AND THE SORCEROR'S STONE, by Brad Neely. To experience it, viewers need to get a copy of the first Harry Potter movie and watch it with the sound off, replacing the original soundtrack with Neely's narration. The audio portion of Wizard People is available for public downloading at: http://www.illegal-art.org/video/wizard.html After spreading rapidly among Neely's friends in Austin, Wizard People made its theatrical debut at the New York Underground Film Festival in March 2004, to rapturous applause. We think Mr. Neely has crafted an as-of-yet-unnamed new art form, one everyone should experience for themselves. Illegal Art is a multimedia exhibit that critically examines the impact of copyright law on art and ideas. Wizard People, Dear Reader, has no affiliation with Warner Brothers or the creators of Harry Potter. Contact: Carrie McLaren carrie at stayfreemagazine.org 718 398 9324 Brad Neely creasedcomics1 at hotmail.com :::::: From the forthcoming issue of Stay F---! magazine: MY NEW FAVORITE THING: WIZARD PEOPLE, DEAR READER by Carrie McLaren Heads up, Harry Potter fans (and foes). Stay F---! was recently fortunate enough to sponsor a screening of WIZARD PEOPLE, DEAR READER at the NY Underground Film Festival and we're so taken with it that we have made it available for download on the Illegal Art Exhibit site. First, some background: WIZARD PEOPLE, DEAR READER -- a retelling of HARRY POTTER AND THE SORCEROR's STONE -- is nothing short of brilliant. Its creator, Brad Neely of Austin, Texas, is a comic-book artist, but you won't find any of his images here. Instead, WIZARD PEOPLE uses the entire visual portion of the first Harry Potter movie, stripping out the sound and replacing it with Neely's own gravely voiced narration. That the movie is two-and-half hours long should indicate that the guy is a little, well, obsessive (which for me was one of the lures). But novelty alone does not a movie make; even Neely's friends -- his intended audience -- would probably have a hard time sitting through this if it weren't so stunningly crafted. The characters in WIZARD PEOPLE are much like those in HARRY POTTER, and in the end, the key parts of the story are essentially unchanged. Neely's creation is of course a different version, and, despite a few "fuck words," it's an affectionate take on HP. As such, WIZARD PEOPLE owes less to Mystery Science Theater than to the musical cover song. Some will want to call this a parody, but to do so oversimplifies its art. Neely has taken a film widely considered to be a faithful rendering of a book and made it inescapably literary, a story in the old-time sense. Broken into chapters, Neely's words create images that flesh out the ones on screen. Harry's obnoxious cousin "Roastbeefy" is rendered "a mean little puke who is borderline retarded and must shout moistly every stupid sentence he manages to piece together." When Harry selects his first magic wand, the narrator clues us in: "Ed Vanders rushes into Harry's view like a scarecrow carcass, a dreadful visage indeed... Master H is beginning to feel animosity toward his own celebrity. Harry gazes at the man's skin, a ketchupy callus of a face. 'I will make spells that save me from looking like him.' Harry [notes]... The mental notes are stacking." In a way, WIZARD PEOPLE almost seems to be a throwback to oral story-telling. The soundtrack makes a certain kind of sense without the accompanying movie, but that's like listening to the teacher read a picture book without the pictures. WIZARD PEOPLE is bookish but not quite a book, movie-like but not quite a movie. Neely has, one imagines, hit upon something entirely new. And that, dear readers, is a roundabout way of saying that you simply must check this out. We've posted the audio portion of WIZARD PEOPLE, which you can download and burn onto two CDs. You'll also need a copy of "Harry Potter and the Sorcerer's Stone," which you can rent or buy as you choose. See the website for complete instructions: http://www.illegal-art.org/video/wizard.html From carrie at stayfreemagazine.org Fri Apr 9 02:12:23 2004 From: carrie at stayfreemagazine.org (Carrie McLaren) Date: Thu Apr 8 22:12:33 2004 Subject: [Rumori] Digital music services jack up prices Message-ID: Downloading music gets more expensive http://www.azcentral.com/business/articles/0407downloading07-ON.html Ethan Smith Wall Street Journal Apr. 7, 2004 11:00 AM To see the future of online music prices, look no further than "Fly or Die," the new album by rock-meets-hip-hop trio N.E.R.D. For months, digital-music services have been touting albums for $9.99 to entice more people to buy online. But Apple Computer Inc.'s iTunes Music Store has been charging $16.99 for "Fly or Die," while Roxio Inc.'s Napster service sells the 12-song collection for $13.99. Both prices are higher than the $13.49 that Amazon.com charges for the CD itself. The same pricing shifts are showing up on albums by a growing slate of artists, from Shakira to Bob Dylan. Unburdened by manufacturing and distribution costs, online music was supposed to usher in a new era of inexpensive, easy-to-access music for consumers. In many cases, buying music online is still cheaper than shopping for CDs at retail outlets. But just a year after iTunes debuted with its 99-cent songs and mostly $9.99 albums, that affordable and straightforward pricing structure is already under pressure. All five of the major music companies are discussing ways to boost the price of single-song downloads on hot releases - to anywhere from $1.25 to as much as $2.49. It isn't clear how or when such a price hike would take place, and it could still be months away. Sales of such singles - prices have remained at 99 cents - still account for the majority of online music sales. The industry is also mulling other ways to charge more for online singles. One option under consideration is bundling hit songs with less-desirable tracks. Another possibility is charging more for a single track if it is available online before the broader release of the entire album from which it is taken. There is also talk of lowering the price on some individual tracks from older albums. Several record-company executives acknowledged that pricing changes are being discussed at all five major companies. The new pricing developments come as digital-music sales are growing steadily. Some 25 million digital tracks were sold in the first three months of this year, versus 19.2 million for all of the second half of last year, according to Nielsen SoundScan. That growth is why some in the industry are uncomfortable with the talk of price increases. Most music-company executives believe that the download market is still in a critical early-growth stage, which could be disrupted by raising prices. "For us right now the issue is not, 'Do we make another $300,000 by raising the price five cents?"' says a music company executive. "It's making sure the market grows." Revenues in the music industry have been dragging in recent years, in part because of the rise of illegal downloading services. Raising digital-music prices could spur additional illicit downloading. Weaning people off those illegal services by giving them an alternative that they consider viable is critical to the industry's future profitability. N.E.R.D's "Fly or Die" is far from the only album that now costs significantly more to download from iTunes than to buy on CD. And many high-profile albums from two of the big five music companies, Sony Corp.'s Sony Music Entertainment and EMI Group PLC, are now priced on iTunes and its competitors well above the $9.99 norm. Sony artist Pete Yorn's "Musicforthemorningafter," for example, costs $13.99 on iTunes and $10.88 on average in retail stores, according to the NPD Group. Albums by EMI artists from Kylie Minogue to Blur also cost more in digital than physical form. (EMI also distributes N.E.R.D.) The reason this disparity is so pronounced at EMI and Sony is that both companies routinely set wholesale prices for online albums higher than their competitors, according to people familiar with the matter. A much smaller number of titles from the other major music labels also cost more than $9.99 on iTunes. A handful of albums from Bertelsmann AG's BMG, Warner Music Group, and Vivendi Universal SA's Universal Music Group also cost more online than they do as CDs. But these tend to be double discs such as OutKast's "Speakerboxxx/The Love Below," which incur higher costs in certain kinds of royalties when sold online than as traditional CDs. "There's a lot of experimentation in the industry," says Peter Csathy, president and chief operating officer of Musicmatch Inc., which sells digital music. The music companies are reluctant to talk openly about their wholesale-pricing strategies, but they are quick to blame the retailers for higher prices. A spokeswoman for EMI, for instance, stresses that the retailers, not record companies, ultimately set the prices consumers pay. However, the digital-music services say they base their retail prices directly on the wholesale prices the music companies charge. "Our pricing comes when the fees come in from the labels," said Musicmatch's Mr. Csathy. ITunes, the market leader among downloading services, and its competitors offer music at two distinct price points: Single tracks cost 99 cents. A full-album has generally cost $9.99, regardless of how many songs are on it. Napster was until recently the lone holdout among the major online services on full album prices, charging $9.95 for numerous titles that cost between $12.87 and $16.99 on iTunes. But two weeks ago, it relented and created a higher tier of album prices, set at $13.99. Separately, Walmart.com, the online arm of Wal-Mart Stores Inc., recently rolled out a slightly cheaper 88-cents-per-track price. Many observers, however, argue that any advantage conferred by the 11-cent difference will be offset by a user interface that early reviews have called less friendly than those of other services. Executives at competing services also contend that research shows that consumers don't care much about price differences within the band of about 75 cents and 99 cents. The issue of online music prices raises philosophical debates for music executives. Some executives, for example, believe they should be charging a premium for the online versions of older tracks because consumers may be willing to pay more for harder-to-find material. -- carrie mclaren stayfreemagazine.org carriemclaren.com ph: 718.398.9324 From steev at detritus.net Thu Apr 8 23:53:34 2004 From: steev at detritus.net (Steev Hise) Date: Thu Apr 8 22:53:38 2004 Subject: [Rumori] [contact] project idea (fwd) Message-ID: wow, Detritus gets the strangest emails sometimes... ---------- Forwarded message ---------- Date: Thu, 08 Apr 2004 18:14:00 -0700 From: web form There has been a community of fans creating second audio tracks for DVDs http://www.dvdtracks.com/ They trade an mp3 of the audio, not the whole movie. How the site came about: "DVD Tracks was inspired by Roger Ebert's column You, Too, Can Be a DVD Movie Critic in Yahoo! Internet Life in February of 2002. In that column, Ebert says that he would like to hear what people who aren't being paid by the movie-makers think about movies. He recommends taking the "alternate audio tracks" on DVDs one step further." A group did a redub of Star Wars several years back and actually put the whole thing online in pieces. it was the video of the movie untouched just a different audio track. Hey it still exists! http://www.newfangledhope.com/ completely retardo demented and it's now wide screen! PeterALopez From david at personify.tv Fri Apr 9 11:59:46 2004 From: david at personify.tv (David Goldschmidt) Date: Fri Apr 9 10:57:42 2004 Subject: [Rumori] [contact] project idea (fwd) References: Message-ID: <059701c41e5c$71a54ea0$1a2b0718@userzwr59olfli> the next time i visit my cousin in Aspen, i'll swing by Don's place and stick this email in his mailbox. david goldschmidt www.mediatrips.com ----- Original Message ----- From: "Steev Hise" To: Sent: Thursday, April 08, 2004 10:53 PM Subject: [Rumori] [contact] project idea (fwd) > > wow, Detritus gets the strangest emails sometimes... > > ---------- Forwarded message ---------- > Date: Thu, 08 Apr 2004 18:14:00 -0700 > From: web form To: info@detritus.net > Subject: [contact] project idea > > ----------------------------------------------------- > This message was sent by someone looking at: > http://detritus.net/contact/ > from: 213.54.133.221 > ----------------------------------------------------- > > Hallo ! > > My name is Rudolf Leipold and i'm living in Germany. I suffer under Morphus Parkinson Syndrom. Why I contact you? > I've always had made lyris, mostly funny ones . But now I had an suten idea about a text for a song. i've made new lyrics for the melodie of " Lyin Eyes " by Don Henley. Its a lyrik in german and the theme of it are my experiences in chatting in the internet. And many friends told me to make a real song outf it and trie to make it comercial. And i also had the idea to give 30% of the netto-result of the selling of the CD's to the *Michael J. Fox Foundation for Parkinsondisease research*. > I hope that Don Henley, the owner of the copyright for this song give me the right to make this Versio for frr to support the foundation and to help me to pay the medical opertion to *heal* the disease in some years in the USA. > Please help me to contact Don Henley by phone or personaly. > > With greetings, God pless you, Rudolf Leipold > > > > > PS. You reach me: > > - Phone 0049 9281/784898 > > - Handy +49170-2346573 > > - Adress Rudolf Leipold > > Kornbergstrasse 3A > D- 95183 Zedtwitz > > Germany > > > > _______________________________________________ > Rumori mailing list > Rumori@detritus.net > http://detritus.net/mailman/listinfo/rumori > older archives: http://detritus.net/contact/rumori/ > > > From steev at detritus.net Fri Apr 9 12:24:47 2004 From: steev at detritus.net (Steev Hise) Date: Fri Apr 9 11:24:49 2004 Subject: [Rumori] salon article about Lessig and Vaidhyanathan's new books Message-ID: Describes "Free Culture" and "The Anarchist in the Library." it's worth clicking through the ad. http://www.salon.com/tech/feature/2004/04/08/copyright_culture/ smh Steev Hise . steev@detritus.net . http://detritus.net/steev new blog: http://steev.hise.org ----------------------------------------------------------------- "Masturbation is to reproduction as abstraction is to representation." -Momus ----------------------------------------------------------------- From tangent at inspire.net.nz Sat Apr 10 17:36:57 2004 From: tangent at inspire.net.nz (Sam Stephens) Date: Fri Apr 9 21:33:24 2004 Subject: [Rumori] U B U W E B :: New Resources Fall 2003 In-Reply-To: <20031001015550.91529.qmail@web10801.mail.yahoo.com> References: <5.2.1.1.2.20030930214335.02623b10@mail.pressthebutton.com> Message-ID: <407822A9.20591.5922E69@localhost> On 30 Sep 2003 at 18:55, UbuWeb wrote: > __ U B U W E B __ > http://ubu.com > > > RECENT ADDITIONS :: FALL 2003 > > > ---SOUND--- > > Tony Conrad - Soundtrack to "The Flicker", 1965 (MP3) Thanks for another great installation.... I don't seem to be able to find the Tony Conrad material though. * postmoderncore website (w/ mp3s & art) http://www.postmoderncore.com Rick Jensen ensemble free jazz albums for download and sale http://www.postmoderncore.com/music-rickjensen.html * From peoplelikeus at mistral.co.uk Sat Apr 10 13:12:26 2004 From: peoplelikeus at mistral.co.uk (Vicki Bennett) Date: Sat Apr 10 04:17:18 2004 Subject: [Rumori] U B U W E B :: New Resources Fall 2003 In-Reply-To: <407822A9.20591.5922E69@localhost> References: <5.2.1.1.2.20030930214335.02623b10@mail.pressthebutton.com> <407822A9.20591.5922E69@localhost> Message-ID: Yes, it's such a shame when we can't find material by artists, UBUWEB is a treasure. Without distribution (and sometimes even with it), some artists may as well be flickering away on another planet because we don't get to access their work. Hail! Vicki People Like Us >> __ U B U W E B __ >> http://ubu.com >> >> >> RECENT ADDITIONS :: FALL 2003 >> >> Tony Conrad - Soundtrack to "The Flicker", 1965 (MP3) > > Thanks for another great installation.... I don't seem to be able to > find the Tony Conrad > material though. > From ubuweb at yahoo.com Sat Apr 10 09:00:07 2004 From: ubuweb at yahoo.com (UbuWeb) Date: Sat Apr 10 08:00:23 2004 Subject: [Rumori] U B U W E B :: New Resources Fall 2003 In-Reply-To: <407822A9.20591.5922E69@localhost> Message-ID: <20040410150007.33318.qmail@web10804.mail.yahoo.com> Yep... Tony Conrad fired off a nasty cease and desist note to me after hearing that his long-unavailable, long out-of-print, never-released soundtrack to a movie that's out of circulation and few have ever seen, was offered for free on UbuWeb. So, I took it down. Kenny G UbuWeb --- Sam Stephens wrote: > On 30 Sep 2003 at 18:55, UbuWeb wrote: > > > __ U B U W E B __ > > http://ubu.com > > > > > > RECENT ADDITIONS :: FALL 2003 > > > > > > ---SOUND--- > > > > > > Tony Conrad - Soundtrack to "The Flicker", 1965 (MP3) > > Thanks for another great installation.... I don't seem to be able to find the Tony > Conrad > material though. > > * > postmoderncore website (w/ mp3s & art) > http://www.postmoderncore.com > Rick Jensen ensemble free jazz albums for download and sale > http://www.postmoderncore.com/music-rickjensen.html > * > > > _______________________________________________ > Rumori mailing list > Rumori@detritus.net > http://detritus.net/mailman/listinfo/rumori > older archives: http://detritus.net/contact/rumori/ __________________________________ Do you Yahoo!? Yahoo! Tax Center - File online by April 15th http://taxes.yahoo.com/filing.html From peoplelikeus at mistral.co.uk Sat Apr 10 17:08:21 2004 From: peoplelikeus at mistral.co.uk (Vicki Bennett) Date: Sat Apr 10 08:16:45 2004 Subject: [Rumori] U B U W E B :: New Resources Fall 2003 In-Reply-To: <20040410150007.33318.qmail@web10804.mail.yahoo.com> References: <20040410150007.33318.qmail@web10804.mail.yahoo.com> Message-ID: Flickering away on another planet... On 10 Apr 2004, at 16:00, UbuWeb wrote: > Yep... Tony Conrad fired off a nasty cease and desist note to me after > hearing that his > long-unavailable, long out-of-print, never-released soundtrack to a > movie that's out of > circulation and few have ever seen, was offered for free on UbuWeb. > > So, I took it down. > > Kenny G > UbuWeb > > > > > --- Sam Stephens wrote: >> On 30 Sep 2003 at 18:55, UbuWeb wrote: >> >>> __ U B U W E B __ >>> http://ubu.com >>> >>> >>> RECENT ADDITIONS :: FALL 2003 >>> >>> >>> ---SOUND--- >>> >> >> >>> Tony Conrad - Soundtrack to "The Flicker", 1965 (MP3) >> >> Thanks for another great installation.... I don't seem to be able to >> find the Tony >> Conrad >> material though. >> >> * >> postmoderncore website (w/ mp3s & art) >> http://www.postmoderncore.com >> Rick Jensen ensemble free jazz albums for download and sale >> http://www.postmoderncore.com/music-rickjensen.html >> * >> >> >> _______________________________________________ >> Rumori mailing list >> Rumori@detritus.net >> http://detritus.net/mailman/listinfo/rumori >> older archives: http://detritus.net/contact/rumori/ > > __________________________________ > Do you Yahoo!? > Yahoo! Tax Center - File online by April 15th > http://taxes.yahoo.com/filing.html > > _______________________________________________ > Rumori mailing list > Rumori@detritus.net > http://detritus.net/mailman/listinfo/rumori > older archives: http://detritus.net/contact/rumori/ > > http://www.peoplelikeus.org http://www.wfmu.org/playlists/PL From steev at detritus.net Sat Apr 10 09:36:11 2004 From: steev at detritus.net (Steev Hise) Date: Sat Apr 10 08:36:16 2004 Subject: [Rumori] U B U W E B :: New Resources Fall 2003 In-Reply-To: <20040410150007.33318.qmail@web10804.mail.yahoo.com> Message-ID: on Sat, 10 Apr 2004 UbuWeb told me: ->Yep... Tony Conrad fired off a nasty cease and desist note to me after hearing that his ->long-unavailable, long out-of-print, never-released soundtrack to a movie that's out of ->circulation and few have ever seen, was offered for free on UbuWeb. how ludicrous. though i would say maybe tony conrad deserves to "flicker away", especially after doing that. anyway, you should send the letter to ChillingEffects.org.... smh Steev Hise . steev@detritus.net . http://detritus.net/steev new blog: http://steev.hise.org ----------------------------------------------------------------- " 'Information' is chaos; knowledge is the spontaneous ordering of that chaos; freedom is the surfing of the wave of that spontaneity." -Hakim Bey ----------------------------------------------------------------- From andrew.grant2 at verizon.net Sat Apr 10 12:48:24 2004 From: andrew.grant2 at verizon.net (Andrew Grant) Date: Sat Apr 10 08:46:16 2004 Subject: [Rumori] U B U W E B :: New Resources Fall 2003 References: <20040410150007.33318.qmail@web10804.mail.yahoo.com> Message-ID: <00f501c41f13$4244c7a0$6601a8c0@VAIO> If I may ask -- were his concerns more about the integrity and presentation of the work, or was he worried about people turning around and selling it for profit? Does he intend to release it? Why would he not want fans to hear this oft-sought piece? ----- Original Message ----- From: "UbuWeb" To: "Detritus discussion list." Sent: Saturday, April 10, 2004 11:00 AM Subject: Re: [Rumori] U B U W E B :: New Resources Fall 2003 > Yep... Tony Conrad fired off a nasty cease and desist note to me after hearing that his > long-unavailable, long out-of-print, never-released soundtrack to a movie that's out of > circulation and few have ever seen, was offered for free on UbuWeb. > > So, I took it down. > > Kenny G > UbuWeb > > > > > --- Sam Stephens wrote: > > On 30 Sep 2003 at 18:55, UbuWeb wrote: > > > > > __ U B U W E B __ > > > http://ubu.com > > > > > > > > > RECENT ADDITIONS :: FALL 2003 > > > > > > > > > ---SOUND--- > > > > > > > > > > Tony Conrad - Soundtrack to "The Flicker", 1965 (MP3) > > > > Thanks for another great installation.... I don't seem to be able to find the Tony > > Conrad > > material though. > > > > * > > postmoderncore website (w/ mp3s & art) > > http://www.postmoderncore.com > > Rick Jensen ensemble free jazz albums for download and sale > > http://www.postmoderncore.com/music-rickjensen.html > > * > > > > > > _______________________________________________ > > Rumori mailing list > > Rumori@detritus.net > > http://detritus.net/mailman/listinfo/rumori > > older archives: http://detritus.net/contact/rumori/ > > __________________________________ > Do you Yahoo!? > Yahoo! Tax Center - File online by April 15th > http://taxes.yahoo.com/filing.html > > _______________________________________________ > Rumori mailing list > Rumori@detritus.net > http://detritus.net/mailman/listinfo/rumori > older archives: http://detritus.net/contact/rumori/ > From footage at panix.com Sat Apr 10 10:07:54 2004 From: footage at panix.com (Rick Prelinger) Date: Sat Apr 10 09:07:31 2004 Subject: [Rumori] U B U W E B :: New Resources Fall 2003 In-Reply-To: <00f501c41f13$4244c7a0$6601a8c0@VAIO> References: <20040410150007.33318.qmail@web10804.mail.yahoo.com> <00f501c41f13$4244c7a0$6601a8c0@VAIO> Message-ID: And if I may speculate, I think Tony's issue with UbuWeb might be influenced by his past experiences (and disputes) with other musicians more than by immediate considerations. But I think this raises a pretty important point. Those of us who believe in open content and expanding access to culture are going to have to be really good about building bridges to people (especially our elders), who fought hard to distribute their work and maintain its integrity in lonelier days. They didn't have the Internet to connect with like-minded people and to reach a community of fans. We have it a lot easier in many ways, even if subcultures are multiplying faster than audiences are. It's really a different mindset. Bruce Conner, a king of appropriation and collage, is remaking a bunch of his early films to remove music and certain images that he feels might not make it through copyright police lines today. He's also issuing DVDs that carry strict use and performance limitations. That doesn't seem like a contradiction to him, but it certainly does to me. Anyway, Rick >If I may ask -- > >were his concerns more about the integrity and presentation of the work, or >was he worried about people turning around and selling it for profit? Does >he intend to release it? Why would he not want fans to hear this oft-sought >piece? > > >----- Original Message ----- >From: "UbuWeb" >To: "Detritus discussion list." >Sent: Saturday, April 10, 2004 11:00 AM >Subject: Re: [Rumori] U B U W E B :: New Resources Fall 2003 > > >> Yep... Tony Conrad fired off a nasty cease and desist note to me after >hearing that his >> long-unavailable, long out-of-print, never-released soundtrack to a movie >that's out of >> circulation and few have ever seen, was offered for free on UbuWeb. >> >> So, I took it down. >> >> Kenny G >> UbuWeb >> >> >> >> >> --- Sam Stephens wrote: >> > On 30 Sep 2003 at 18:55, UbuWeb wrote: >> > >> > > __ U B U W E B __ >> > > http://ubu.com >> > > >> > > >> > > RECENT ADDITIONS :: FALL 2003 >> > > >> > > >> > > ---SOUND--- >> > > >> > >> > >> > > Tony Conrad - Soundtrack to "The Flicker", 1965 (MP3) >> > >> > Thanks for another great installation.... I don't seem to be able to >find the Tony >> > Conrad >> > material though. >> > >> > * >> > postmoderncore website (w/ mp3s & art) >> > http://www.postmoderncore.com >> > Rick Jensen ensemble free jazz albums for download and sale >> > http://www.postmoderncore.com/music-rickjensen.html >> > * >> > >> > >> > _______________________________________________ >> > Rumori mailing list >> > Rumori@detritus.net >> > http://detritus.net/mailman/listinfo/rumori >> > older archives: http://detritus.net/contact/rumori/ >> >> __________________________________ >> Do you Yahoo!? >> Yahoo! Tax Center - File online by April 15th >> http://taxes.yahoo.com/filing.html >> >> _______________________________________________ >> Rumori mailing list >> Rumori@detritus.net >> http://detritus.net/mailman/listinfo/rumori >> older archives: http://detritus.net/contact/rumori/ >> > > > >_______________________________________________ >Rumori mailing list >Rumori@detritus.net >http://detritus.net/mailman/listinfo/rumori >older archives: http://detritus.net/contact/rumori/ -- Rick Prelinger Prelinger Archives http://www.prelinger.com P.O. Box 590622, San Francisco, Calif. 94159-0622 USA footage@panix.com Online film collection at Internet Archive: http://www.archive.org/movies/prelinger.php From david at personify.tv Sat Apr 10 13:13:59 2004 From: david at personify.tv (David Goldschmidt) Date: Sat Apr 10 12:11:40 2004 Subject: [Rumori] the most effective FUD campaign ever Message-ID: <067b01c41f2f$fa8af070$1a2b0718@userzwr59olfli> FBI - WARNING Federal Law provides severe civil and criminal penalties for the unauthorized reproduction, distribution or exhibition of copyrighted motion pictures, video tapes or video discs. Criminal copyright infringement is investigated by the FBI and may constitute a felony with a maximum penalty of up to 5 years and/or a $250,000 fine. david goldschmidt san francisco, ca www.mediatrips.com +++sampling is not a crime From ubuweb at yahoo.com Sat Apr 10 15:13:47 2004 From: ubuweb at yahoo.com (UbuWeb) Date: Sat Apr 10 14:13:52 2004 Subject: [Rumori] U B U W E B :: New Resources Fall 2003 In-Reply-To: Message-ID: <20040410211347.3449.qmail@web10801.mail.yahoo.com> Well, our policy on UbuWeb is that if it's out of print, it's fair game for us to post. We rarely ask permission -- if we did, we wouldn't have a collection nearly as large as we do. Most times, however, artists who find their out of print work on UbuWeb are thrilled that it's presented with great care, in a sympathetic context; most times, they offer us more work for the site. However every once in a while there is an artist who doesn't wish for her work to appear on UbuWeb. Always, without question, we take the files down immediately. But we feel it's worth the few hours investment in scanning or ripping for the usual payoff of hosting the work. We don't put anything up that's currently in print -- we don't wish to take whatever small profits folks might make (or break even, hopefully at least) in releasing sound poetry, experimental music, etc. For example, when Charles Amirkhanian recently rereleased the 12+2 sound poetry comp, we immediately took our LP rip down. We weren't asked, but thought it was the right thing to do. (Anyway, Amirkhanian's online activities with his KPFA shows on archive.org have been inspiring, to say the least). Oddly enough, all the c&d's have come from radical artists rooted in 60s ideals. Rick, they seem to be the ones who have the most trouble with new distribution / sharing, tho one might assume from their practice (at least their practice of several decades ago) that certain aspects of their utopian distributive / dematerialization-of-the-object vision has become realized. Other c&d's recently have been from 60s artists: Larry Austin, for example, recently demanded that we take down long out of print, very hard to find 10" LPs from SOURCE magazine (the most important experimental music mag from the 60s). The Canadians have surprisingly been awful about his: Steve McCaffery insisted that the 4 Horsemen material (that he gave us) be taken down; Paul Dutton also regarding his own work; and Richard Truhlar from Owen Sound wanted work taken down (not only his, but everything from the Carnivocal compilation). The next to go, I'm sure, will be a bootleg edition of La Monte Young's selected writings that we have just OCR'd and posted. It's from 1969, goes for insane prices when you can find it for sale. Grab it now, before it disappears from the site... Kenny __________________________________ Do you Yahoo!? Yahoo! Tax Center - File online by April 15th http://taxes.yahoo.com/filing.html From footage at panix.com Sat Apr 10 15:26:01 2004 From: footage at panix.com (Rick Prelinger) Date: Sat Apr 10 14:25:47 2004 Subject: [Rumori] U B U W E B :: New Resources Fall 2003 In-Reply-To: <20040410211347.3449.qmail@web10801.mail.yahoo.com> References: <20040410211347.3449.qmail@web10801.mail.yahoo.com> Message-ID: >Well, our policy on UbuWeb is that if it's out of print, it's fair >game for us to post. >We rarely ask permission -- if we did, we wouldn't have a collection >nearly as large as >we do. Most times, however, artists who find their out of print work >on UbuWeb are >thrilled that it's presented with great care, in a sympathetic >context; most times, they >offer us more work for the site. However every once in a while there >is an artist who >doesn't wish for her work to appear on UbuWeb. Always, without >question, we take the files down immediately. That's a principled policy. >Oddly enough, all the c&d's have come from radical artists rooted in >60s ideals. Rick, >they seem to be the ones who have the most trouble with new >distribution / sharing, tho >one might assume from their practice (at least their practice of >several decades ago) >that certain aspects of their utopian distributive / >dematerialization-of-the-object >vision has become realized. Interesting gap between theory and practice, isn't it? I'd argue that generationally based points of view often trump theory and politics. And the differences of opinion over intellectual "property" are, more than anything, generational. Rick -- Rick Prelinger Prelinger Archives http://www.prelinger.com P.O. Box 590622, San Francisco, Calif. 94159-0622 USA footage@panix.com Online film collection at Internet Archive: http://www.archive.org/movies/prelinger.php From peoplelikeus at mistral.co.uk Sat Apr 10 23:31:17 2004 From: peoplelikeus at mistral.co.uk (Vicki Bennett) Date: Sat Apr 10 14:31:27 2004 Subject: [Rumori] the most effective FUD campaign ever In-Reply-To: <067b01c41f2f$fa8af070$1a2b0718@userzwr59olfli> References: <067b01c41f2f$fa8af070$1a2b0718@userzwr59olfli> Message-ID: <66F45E3C-8B36-11D8-A974-000A95C713E8@mistral.co.uk> Lewis, Get 50%off V-i-a-g-r-a'; and and and errr On 10 Apr 2004, at 20:13, David Goldschmidt wrote: > FBI - WARNING Federal Law provides severe civil and criminal penalties > for the unauthorized reproduction, distribution or exhibition of > copyrighted motion pictures, video tapes or video discs. Criminal > copyright infringement is investigated by the FBI and may constitute a > felony with a maximum penalty of up to 5 years and/or a $250,000 fine. > > > > david goldschmidt > san francisco, ca > www.mediatrips.com > > +++sampling is not a crime > _______________________________________________ > Rumori mailing list > Rumori@detritus.net > http://detritus.net/mailman/listinfo/rumori > older archives: http://detritus.net/contact/rumori/ > > http://www.peoplelikeus.org http://www.wfmu.org/playlists/PL From owen_squier at yahoo.com Sat Apr 10 19:11:56 2004 From: owen_squier at yahoo.com (Squier) Date: Sat Apr 10 18:12:31 2004 Subject: [Rumori] Bruce Conner In-Reply-To: Message-ID: <20040411011156.7034.qmail@web40711.mail.yahoo.com> To elaborate, Bruce Conner does not allow the dvds to be exhibited publicly or to be used is classroom situations. One of his reasons his the fact that the rentals of his films (on 16mm) go a *long* way to supporting his/their sole distributor, the independent and idiosyncratic Canyon Cinema. In fact, Canyon would experience *extreme* financial hardship were his rentals to cease. Unlike the majority of films in Canyon (we're talking over 3500 individual films by nearly 400 filmmakers). Part of Conner's motivation in use restriction is the continued viability of his distributor, insuring the continued availability of many more films by many more makers. Check out www.canyoncinema.com Don't know if it makes a difference to anyone but Conner's dvd sales are strictly on a "$50 donation to a charity" (no profit to him, or his gallery), basis. I don't know who his gallery is. (os) > It's really a different mindset. Bruce Conner, a > king of > appropriation and collage, is remaking a bunch of > his early films to > remove music and certain images that he feels might > not make it > through copyright police lines today. He's also > issuing DVDs that > carry strict use and performance limitations. That > doesn't seem like > a contradiction to him, but it certainly does to me. > > Anyway, > Rick > > > > > > >If I may ask -- > > > >were his concerns more about the integrity and > presentation of the work, or > >was he worried about people turning around and > selling it for profit? Does > >he intend to release it? Why would he not want fans > to hear this oft-sought > >piece? > > > > > >----- Original Message ----- > >From: "UbuWeb" > >To: "Detritus discussion list." > > >Sent: Saturday, April 10, 2004 11:00 AM > >Subject: Re: [Rumori] U B U W E B :: New Resources > Fall 2003 > > > > > >> Yep... Tony Conrad fired off a nasty cease and > desist note to me after > >hearing that his > >> long-unavailable, long out-of-print, > never-released soundtrack to a movie > >that's out of > >> circulation and few have ever seen, was offered > for free on UbuWeb. > >> > >> So, I took it down. > >> > >> Kenny G > >> UbuWeb > >> > >> > >> > >> > >> --- Sam Stephens wrote: > >> > On 30 Sep 2003 at 18:55, UbuWeb wrote: > >> > > >> > > __ U B U W E B __ > >> > > http://ubu.com > >> > > > >> > > > >> > > RECENT ADDITIONS :: FALL 2003 > >> > > > >> > > > >> > > ---SOUND--- > >> > > > >> > > >> > > >> > > Tony Conrad - Soundtrack to "The Flicker", > 1965 (MP3) > >> > > >> > Thanks for another great installation.... I > don't seem to be able to > >find the Tony > >> > Conrad > >> > material though. > >> > > >> > * > >> > postmoderncore website (w/ mp3s & art) > >> > http://www.postmoderncore.com > >> > Rick Jensen ensemble free jazz albums for > download and sale > >> > > http://www.postmoderncore.com/music-rickjensen.html > >> > * > >> > > >> > > >> > > _______________________________________________ > >> > Rumori mailing list > >> > Rumori@detritus.net > >> > http://detritus.net/mailman/listinfo/rumori > >> > older archives: > http://detritus.net/contact/rumori/ > >> > >> __________________________________ > >> Do you Yahoo!? > >> Yahoo! Tax Center - File online by April 15th > >> http://taxes.yahoo.com/filing.html > >> > >> _______________________________________________ > >> Rumori mailing list > >> Rumori@detritus.net > >> http://detritus.net/mailman/listinfo/rumori > >> older archives: > http://detritus.net/contact/rumori/ > >> > > > > > > > >_______________________________________________ > >Rumori mailing list > >Rumori@detritus.net > >http://detritus.net/mailman/listinfo/rumori > >older archives: http://detritus.net/contact/rumori/ > > > -- > > Rick Prelinger > Prelinger Archives http://www.prelinger.com > P.O. Box 590622, San Francisco, Calif. 94159-0622 > USA > footage@panix.com > > Online film collection at Internet Archive: > http://www.archive.org/movies/prelinger.php > > > _______________________________________________ > Rumori mailing list > Rumori@detritus.net > http://detritus.net/mailman/listinfo/rumori > older archives: http://detritus.net/contact/rumori/ __________________________________ Do you Yahoo!? Yahoo! Tax Center - File online by April 15th http://taxes.yahoo.com/filing.html From wobbly at detritus.net Sat Apr 10 19:33:57 2004 From: wobbly at detritus.net (Jon Leidecker) Date: Sat Apr 10 18:35:28 2004 Subject: [Rumori] U B U W E B :: In-Reply-To: <20040410211347.3449.qmail@web10801.mail.yahoo.com> References: Message-ID: >Well, our policy on UbuWeb is that if it's out of print, it's fair game >for us to post. I've been thinking a lot about this recently, as mp3-sharing seems to be expanding past generic file-sharing systems and into actual fixed website locations, with distinct curatorial identities. I'm hugely grateful to ubuweb and think Kenneth's principles are strong & rare. He's not profiting from this distribution of other's work & he's actively making sure that what he's offering isn't otherwise available, taking down things when new editions arrive. But I can also see why it's a bit of a shock, especially for the older generation, to see the issue of who 'publishes' their work become something that they don't necessarily have anything to do with; now that publishing is available to anyone with a server, and the creator's vote isn't blocking anything, the creator's been bypassed. Conrad & Austin probably have plans to reissue their 60's pieces themselves, and when they do, one of the main selling points is going to be 'long since unavailable works'. That's being undermined by file-sharing. But I think this is something creators are going to have to get used to; in the past, especially in the arts, value was created precisely through the enforcement of scarcity. And 'scarcity' is more of an artificial construct than ever before. With the internet, artists aren't going to have the option of a 'limited edition' anymore, nor the option of not having an edition for sale without others jumping in to sell it or give it away. _Their work is going to be available, with or without their participation._ I kind of like the idea of a limited edition as an integral aspect of the work itself; 'this is for a limited audience, you already know who you are, the casually interested need not bother'. It's not necessarily elitist, some works simply have small audiences and you want to signify that. But there won't be a way to do this physically in the future anymore, anyone who wants it will have it. Which ultimately is good, once the work is done I know it belongs to everyone, not just the artist anymore. But, _this is unprecedented_ and something for an artist to get used to. It's a huge shame Larry Austin's made it impossible for anyone to hear his amazing piece 'Caritas' because it's the best thing I've ever heard by him. But I sympathize with his culture shock. I had many of the same feelings when Steev put the Mystery Tapes online; I think Oswald had a reason for keeping them unavailable. But I don't judge Steev's decision, the Tapes are now bigger than Oswald. Furthermore, Lloyd's cassette transfer has glitches and errors, and is incomplete; there are two crucial tapes missing from the set. Oswald's got the originals and I hope he'll provide an edition someday, even if it countermands part of the aim of the project itself. Rick, I know the topic of 'enforced scarcity' has come up a lot on the lecture circuit, if you have anything to add on the impact of this on the archivist's livelihood, I'd love to hear it. And in the meantime, www.basichip.com -- this week's download: Mort Garson's incredible 'Black Mass Lucifer'. I just received the CDR containing two of Mort's other albums that the site is selling, because I wanted the music badly; all I can do is promise to buy the official issue again whenever the labels get around to putting them out. it's scary how much more I could type on this subject given recent adventures but it's time for dinner jl From spammeillkillyou at yahoo.com Sat Apr 10 20:29:01 2004 From: spammeillkillyou at yahoo.com (alex norman) Date: Sat Apr 10 19:29:05 2004 Subject: [Rumori] Re: U B U W E B :: New Resources Fall 2003 In-Reply-To: Message-ID: <20040411022901.85821.qmail@web14422.mail.yahoo.com> Here is where you can find some work by Tony Conrad: http://www.canyoncinema.com/ I missed the beginning of this thread but I'd have to say that I've seen some of Tony Conrad's Film Work and I think it's fantastic, if you ever get a chance to see it you should go for it. The reason why many of these films aren't available in any other format except for film is because any other format wouldn't give them justice... try watching flicker on a tv at home.. it would be horrible. Btw, Tony Conrad's audio recordings with Jack Smith were fantastic as well (on Table of the Elements). Even though a cease and desist order is extreme, that doesn't mean that his work should flicker away.. Burzum has become a Nazi but I think his first album is the best metal album I've ever heard. I heard that Bob Dylan has now made a commercial, does that make is previous music poorer? I don't think so. Some people make art that is fantastic, then what they do after that could be horrible, but it doesn't mean that their previous work is any less valid. -Alex >how ludicrous. though i would say maybe tony Conrad >deserves to "flicker away", especially after doing >that. >anyway, you should send the letter to >ChillingEffects.org.... >smh __________________________________ Do you Yahoo!? Yahoo! Tax Center - File online by April 15th http://taxes.yahoo.com/filing.html From mattdavignon at hotmail.com Sat Apr 10 23:47:44 2004 From: mattdavignon at hotmail.com (matt davignon) Date: Sat Apr 10 22:48:21 2004 Subject: [Rumori] Digital music services jack up prices Message-ID: I'm not quite sure how to express my thoughts on that. It seems the music industry has been struggling to legitimicize the idea of paying to download music, only to suddenly turn it into a really stupid idea. There's no real excuse either. $ spent on bandwidth is nowhere near the money being spent on manufacture & distribution. Psychologically, this could be a somewhat thought-out attempt to get people to stop downloading music entirely, paid or not. If so, this stage was launched much too early. In other news, I went out and bought Jay Z's "The Black Album" today, figuring I liked "The Grey Album" so much that I'd enjoy hearing the songs in their original musical context. Comparatively, the production's a lot more boring. Shucks... >From: Carrie McLaren >Reply-To: "Detritus discussion list." >To: rumori@detritus.net >Subject: [Rumori] Digital music services jack up prices >Date: Fri, 9 Apr 2004 01:12:23 -0400 > >Downloading music gets more expensive > >http://www.azcentral.com/business/articles/0407downloading07-ON.html > >Ethan Smith >Wall Street Journal >Apr. 7, 2004 11:00 AM > >To see the future of online music prices, look no further than "Fly or >Die," the new album by rock-meets-hip-hop trio N.E.R.D. >For months, digital-music services have been touting albums for $9.99 to >entice more people to buy online. But Apple Computer Inc.'s iTunes Music >Store has been charging $16.99 for "Fly or Die," while Roxio Inc.'s Napster >service sells the 12-song collection for $13.99. Both prices are higher >than the $13.49 that Amazon.com charges for the CD itself. The same pricing >shifts are showing up on albums by a growing slate of artists, from Shakira >to Bob Dylan. > >Unburdened by manufacturing and distribution costs, online music was >supposed to usher in a new era of inexpensive, easy-to-access music for >consumers. In many cases, buying music online is still cheaper than >shopping for CDs at retail outlets. But just a year after iTunes debuted >with its 99-cent songs and mostly $9.99 albums, that affordable and >straightforward pricing structure is already under pressure. > >All five of the major music companies are discussing ways to boost the >price of single-song downloads on hot releases - to anywhere from $1.25 to >as much as $2.49. It isn't clear how or when such a price hike would take >place, and it could still be months away. Sales of such singles - prices >have remained at 99 cents - still account for the majority of online music >sales. >The industry is also mulling other ways to charge more for online singles. >One option under consideration is bundling hit songs with less-desirable >tracks. Another possibility is charging more for a single track if it is >available online before the broader release of the entire album from which >it is taken. There is also talk of lowering the price on some individual >tracks from older albums. > >Several record-company executives acknowledged that pricing changes are >being discussed at all five major companies. >The new pricing developments come as digital-music sales are growing >steadily. Some 25 million digital tracks were sold in the first three >months of this year, versus 19.2 million for all of the second half of last >year, according to Nielsen SoundScan. >That growth is why some in the industry are uncomfortable with the talk of >price increases. Most music-company executives believe that the download >market is still in a critical early-growth stage, which could be disrupted >by raising prices. "For us right now the issue is not, 'Do we make another >$300,000 by raising the price five cents?"' says a music company executive. >"It's making sure the market grows." > >Revenues in the music industry have been dragging in recent years, in part >because of the rise of illegal downloading services. Raising digital-music >prices could spur additional illicit downloading. Weaning people off those >illegal services by giving them an alternative that they consider viable is >critical to the industry's future profitability. > >N.E.R.D's "Fly or Die" is far from the only album that now costs >significantly more to download from iTunes than to buy on CD. And many >high-profile albums from two of the big five music companies, Sony Corp.'s >Sony Music Entertainment and EMI Group PLC, are now priced on iTunes and >its competitors well above the $9.99 norm. Sony artist Pete Yorn's >"Musicforthemorningafter," for example, costs $13.99 on iTunes and $10.88 >on average in retail stores, according to the NPD Group. Albums by EMI >artists from Kylie Minogue to Blur also cost more in digital than physical >form. (EMI also distributes N.E.R.D.) > >The reason this disparity is so pronounced at EMI and Sony is that both >companies routinely set wholesale prices for online albums higher than >their competitors, according to people familiar with the matter. > >A much smaller number of titles from the other major music labels also cost >more than $9.99 on iTunes. A handful of albums from Bertelsmann AG's BMG, >Warner Music Group, and Vivendi Universal SA's Universal Music Group also >cost more online than they do as CDs. But these tend to be double discs >such as OutKast's "Speakerboxxx/The Love Below," which incur higher costs >in certain kinds of royalties when sold online than as traditional CDs. > >"There's a lot of experimentation in the industry," says Peter Csathy, >president and chief operating officer of Musicmatch Inc., which sells >digital music. > >The music companies are reluctant to talk openly about their >wholesale-pricing strategies, but they are quick to blame the retailers for >higher prices. A spokeswoman for EMI, for instance, stresses that the >retailers, not record companies, ultimately set the prices consumers pay. > >However, the digital-music services say they base their retail prices >directly on the wholesale prices the music companies charge. "Our pricing >comes when the fees come in from the labels," said Musicmatch's Mr. Csathy. > >ITunes, the market leader among downloading services, and its competitors >offer music at two distinct price points: Single tracks cost 99 cents. A >full-album has generally cost $9.99, regardless of how many songs are on >it. > >Napster was until recently the lone holdout among the major online services >on full album prices, charging $9.95 for numerous titles that cost between >$12.87 and $16.99 on iTunes. But two weeks ago, it relented and created a >higher tier of album prices, set at $13.99. > >Separately, Walmart.com, the online arm of Wal-Mart Stores Inc., recently >rolled out a slightly cheaper 88-cents-per-track price. Many observers, >however, argue that any advantage conferred by the 11-cent difference will >be offset by a user interface that early reviews have called less friendly >than those of other services. Executives at competing services also contend >that research shows that consumers don't care much about price differences >within the band of about 75 cents and 99 cents. > >The issue of online music prices raises philosophical debates for music >executives. Some executives, for example, believe they should be charging a >premium for the online versions of older tracks because consumers may be >willing to pay more for harder-to-find material. >-- >carrie mclaren >stayfreemagazine.org >carriemclaren.com >ph: 718.398.9324 > >_______________________________________________ >Rumori mailing list >Rumori@detritus.net >http://detritus.net/mailman/listinfo/rumori >older archives: http://detritus.net/contact/rumori/ _________________________________________________________________ Get rid of annoying pop-up ads with the new MSN Toolbar – FREE! http://toolbar.msn.com/go/onm00200414ave/direct/01/ From steev at detritus.net Sun Apr 11 11:15:50 2004 From: steev at detritus.net (Steev Hise) Date: Sun Apr 11 10:15:54 2004 Subject: [Rumori] black album disappointments In-Reply-To: Message-ID: on Sat, 10 Apr 2004 matt davignon told me: ->In other news, I went out and bought Jay Z's "The Black Album" today, ->figuring I liked "The Grey Album" so much that I'd enjoy hearing the songs ->in their original musical context. Comparatively, the production's a lot ->more boring. Shucks... hmm. you weren't expecting that? I actually would love to get an instrumental version of the Grey Album, because I'm pretty underwhelmed with the Jay Z vocals. It would be great, and dangermouse could call it "The Paler Shade of Grey Album." hah. smh Steev Hise . steev@detritus.net . http://detritus.net/steev new blog: http://steev.hise.org ----------------------------------------------------------------- "I've finally decided that as long as there are people willing to take a kick in the teeth, there's people there willing to kick." -Matthew McKean, Custodian, Harvard University ----------------------------------------------------------------- From steev at detritus.net Sun Apr 11 11:56:49 2004 From: steev at detritus.net (Steev Hise) Date: Sun Apr 11 10:56:56 2004 Subject: [Rumori] validity In-Reply-To: <20040411022901.85821.qmail@web14422.mail.yahoo.com> Message-ID: on Sat, 10 Apr 2004 alex norman told me: ->Even though a cease and desist order is extreme, that ->doesn't mean that his work should flicker away.. you're right of course. i made a gross overstatement due to the heat of my dislike for tony conrad's work. so i retract the last clause of the second sentence of that previous email: ->>how ludicrous. though i would say maybe tony Conrad >deserves ->to "flicker away", especially after doing >that. >anyway, you ->should send the letter to >ChillingEffects.org.... ->Burzum has become a Nazi but I think his first album ->is the best metal album I've ever heard. I heard that ->Bob Dylan has now made a commercial, does that make is ->previous music poorer? I don't think so. Some people ->make art that is fantastic, then what they do after ->that could be horrible, but it doesn't mean that their ->previous work is any less valid. "valid." even though i hear it all the time i've always thought the word "valid" seems out of place when discussing cultural artifacts. what could it possibly mean in that context? What is valid is based on or borne out by truth or fact. it's soundly reasoned, or contains logically derived conclusions. how can any of that apply to a piece of art? In fact one might go so far as to say all art is invalid. but anyway, to look past your choice of words i might understand your point to be that opinions of someone's work should be unaffected by their later work or actions, etc. In a way I agree. Yes, a work is a work, to be judged on its own merits, in isolation. But in practice this is often pretty difficult or impossible. Someone's new works, deeds, statements, or political stance will always have the possibility of coloring the audience's reception of preexisting work. (to digress slightly: as an experiment i just did a google search for "heidegger" and "nazi" - 17,000 results.) smh Steev Hise . steev@detritus.net . http://detritus.net/steev new blog: http://steev.hise.org ----------------------------------------------------------------- "In economic and political institutions the corporate rich now wield enormous power, but they have never had to win the moral consent of those over whom they hold this power." -C. Wright Mills ----------------------------------------------------------------- From mattdavignon at hotmail.com Sun Apr 11 13:29:56 2004 From: mattdavignon at hotmail.com (matt davignon) Date: Sun Apr 11 12:30:36 2004 Subject: [Rumori] black album disappointments Message-ID: I actually liked a lot of the vocals in the Grey Album, especially in how they seemed to interact with the the music. I guess part of me wants to find an MTV-style rap album that I'd actually enjoy, so I can get a sense of what's going on at that end of the music spectrum. I've been finding that right now, hip-hop & RnB are the only subgenres of "Clear Channel Music" that still have some innovation going on. Not all of it, but some of it. Admittedly, listening to the local hip-hop station eventually gives me the feeling of eating too much frosting. >on Sat, 10 Apr 2004 matt davignon done wrote: > >->In other news, I went out and bought Jay Z's "The Black Album" today, >->figuring I liked "The Grey Album" so much that I'd enjoy hearing the >songs >->in their original musical context. Comparatively, the production's a lot >->more boring. Shucks... >Then Steev Hise gone and said: >hmm. you weren't expecting that? > >I actually would love to get an instrumental version of the Grey >Album, because I'm pretty underwhelmed with the Jay Z vocals. It >would be great, and dangermouse could call it "The Paler Shade of >Grey Album." hah. > >smh > >Steev Hise . steev@detritus.net . http://detritus.net/steev >new blog: http://steev.hise.org >----------------------------------------------------------------- >"I've finally decided that as long as there are > people willing to take a kick in > the teeth, there's people there willing to kick." > -Matthew McKean, Custodian, Harvard University >----------------------------------------------------------------- > > > >_______________________________________________ >Rumori mailing list >Rumori@detritus.net >http://detritus.net/mailman/listinfo/rumori >older archives: http://detritus.net/contact/rumori/ _________________________________________________________________ Persistent heartburn? Check out Digestive Health & Wellness for information and advice. http://gerd.msn.com/default.asp From postalscale at yahoo.com Sun Apr 11 15:34:06 2004 From: postalscale at yahoo.com (Paul Smith) Date: Sun Apr 11 14:34:15 2004 Subject: [Rumori] validity In-Reply-To: Message-ID: <20040411213406.196.qmail@web11109.mail.yahoo.com> > > "valid." even though i hear it all the time i've > always thought > the word "valid" seems out of place when discussing > cultural > artifacts. what could it possibly mean in that > context? What is > valid is based on or borne out by truth or fact. > it's soundly > reasoned, or contains logically derived conclusions. > how can any > of that apply to a piece of art? In fact one might > go so far as > to say all art is invalid. > "Valid" is a critical term. It is the art critics who do the reasoned arguing, [or so they claim] and lay down the truth in regards to any particular artwork. I do this when I evaluate fellow writers' works in relation my own, their genre, social significance, the works themselves, etc. It might be easier to say "good" or "bad", but since art is largely measured against a specific criterion, "valid" is the word to use. __________________________________ Do you Yahoo!? Yahoo! Tax Center - File online by April 15th http://taxes.yahoo.com/filing.html From death at andythepooh.com Sun Apr 11 20:26:58 2004 From: death at andythepooh.com (Thomas D. Cox, Jr.) Date: Sun Apr 11 16:18:16 2004 Subject: [Rumori] black album disappointments Message-ID: <200404111926.AA103678208@andythepooh.com> im guessing youre not really into hiphop? the black albums production is pretty nice, especially the track by 9th wonder. the grey album is sadly a novelty item. the hot remix LP was by kev brown. its reccomended but only if youre into hiphop. it has no pop culture appeal otherwise. tom ---------- Original Message ---------------------------------- From: Steev Hise Reply-To: "Detritus discussion list." Date: Sun, 11 Apr 2004 10:15:50 -0700 (PDT) >on Sat, 10 Apr 2004 matt davignon told me: > >->In other news, I went out and bought Jay Z's "The Black Album" today, >->figuring I liked "The Grey Album" so much that I'd enjoy hearing the songs >->in their original musical context. Comparatively, the production's a lot >->more boring. Shucks... > >hmm. you weren't expecting that? > >I actually would love to get an instrumental version of the Grey >Album, because I'm pretty underwhelmed with the Jay Z vocals. It >would be great, and dangermouse could call it "The Paler Shade of >Grey Album." hah. > >smh > >Steev Hise . steev@detritus.net . http://detritus.net/steev >new blog: http://steev.hise.org >----------------------------------------------------------------- >"I've finally decided that as long as there are > people willing to take a kick in > the teeth, there's people there willing to kick." > -Matthew McKean, Custodian, Harvard University >----------------------------------------------------------------- > > > >_______________________________________________ >Rumori mailing list >Rumori@detritus.net >http://detritus.net/mailman/listinfo/rumori >older archives: http://detritus.net/contact/rumori/ > ________________________________________________________________ andythepooh.com From pl1x at earthlink.net Sun Apr 11 20:49:59 2004 From: pl1x at earthlink.net (PeterALopez) Date: Sun Apr 11 16:50:09 2004 Subject: [Rumori] black album disappointments Message-ID: <9298317.1081727400332.JavaMail.root@louie.psp.pas.earthlink.net> im guessing youre not really into hiphop? the black albums production is pretty nice, especially the track by 9th wonder. the grey album is sadly a novelty item. the hot remix LP was by kev brown. its reccomended but only if youre into hiphop. it has no pop culture appeal otherwise. tom You know what the Black, Black Remixes, Black Jays, White, Brown, Magenta, Blue, Silver, Red, Gold&Purple, Green, Snicka MoBlack MoBetta, Hatian, Black on Black on Black, Jay-Zeezer, Slacka, Skamm Goodiez, JayZvsKennyG, JayZvsSpinalTap, Even Blacker, Black is Back, Double Black, Black On Black, Jayz-Am and even the Overly Yellow Phone all sound the SAME. But the "'''McDonalds' Yellow Faced Ganguro mix sponsored by Iona Razael Brown & the Bubble Sisters!'''" will be different... oh yes different it shall attempt to be... From wobbly at detritus.net Mon Apr 12 01:40:26 2004 From: wobbly at detritus.net (Jon Leidecker) Date: Mon Apr 12 00:41:44 2004 Subject: [Rumori] black album disappointments In-Reply-To: <9298317.1081727400332.JavaMail.root@louie.psp.pas.earthlink.net> Message-ID: wow peter. I'd only heard of four of those. are the rest really real? you guys all saw this right: http://www.jayzconstructionset.com/ I can easily see multitrack masters of classic albums available as 'sample libraries' before too long. multitracks of classic album are already slowly slipping into wider circulation than they used to be... as they come up for remixing/remastering in modern studios, one guy slips in there long enough to copy the sessions to his hard drives, to grab the sounds... jl >You know what the Black, Black Remixes, Black Jays, White, Brown, Magenta, >Blue, Silver, Red, Gold&Purple, Green, Snicka MoBlack MoBetta, Hatian, >Black on Black on Black, Jay-Zeezer, Slacka, Skamm Goodiez, JayZvsKennyG, >JayZvsSpinalTap, Even Blacker, Black is Back, Double Black, Black On >Black, Jayz-Am and even the Overly Yellow Phone all sound the SAME. > >But the "'''McDonalds' Yellow Faced Ganguro mix sponsored by Iona Razael >Brown & the Bubble Sisters!'''" will be different... >oh yes different it shall attempt to be... > > >_______________________________________________ >Rumori mailing list >Rumori@detritus.net >http://detritus.net/mailman/listinfo/rumori >older archives: http://detritus.net/contact/rumori/ From pl1x at earthlink.net Mon Apr 12 07:21:50 2004 From: pl1x at earthlink.net (PeterALopez) Date: Mon Apr 12 03:21:55 2004 Subject: [Rumori] black album disappointments Message-ID: <2833571.1081765310718.JavaMail.root@statler.psp.pas.earthlink.net> are the rest really real? PAL adds: Yup There are pieces of all those online in various places. http://www.jayzconstructionset.com/ trolling through the message board will give you links to the mp3/bt ones. Hey here's a new one: http://sandbox.pair.com/abstract/jondoeblack.html Jon Doe's "How To Remix The Black Album" maybe this is the official vox version jz's label was going to release. and since hiphop is all about commercialization and selling out get in on the grey while it hot: http://sandbox.pair.com/abstract/graemixtape.html Jean Grae "The Grae Mixtape" I hope Rappin' Grannies preparing a "Grey Hair Edition" >You know what the Black, Black Remixes, Black Jays, White, Brown, Magenta, >Blue, Silver, Red, Gold&Purple, Green, Snicka MoBlack MoBetta, Hatian, >Black on Black on Black, Jay-Zeezer, Slacka, Skamm Goodiez, JayZvsKennyG, >JayZvsSpinalTap, Even Blacker, Black is Back, Double Black, Black On >Black, Jayz-Am and even the Overly Yellow Phone all sound the SAME. > >But the "'''McDonalds' Yellow Faced Ganguro mix sponsored by Iona Razael >Brown & the Bubble Sisters!'''" will be different... >oh yes different it shall attempt to be... From praemedia at yahoo.com Mon Apr 12 12:27:26 2004 From: praemedia at yahoo.com (Praemedia) Date: Mon Apr 12 11:27:31 2004 Subject: [Rumori] More 'filesharing' news In-Reply-To: Message-ID: <20040412182726.5224.qmail@web21510.mail.yahoo.com> So, what was the RIAA argument again? http://www.cnn.com/2004/TECH/internet/04/12/music.industry.ap/index.html lance grabmiller www.praemedia.com __________________________________ Do you Yahoo!? Yahoo! Tax Center - File online by April 15th http://taxes.yahoo.com/filing.html From dondeeley at yahoo.com Mon Apr 12 13:25:15 2004 From: dondeeley at yahoo.com (Donald Deeley) Date: Mon Apr 12 12:25:22 2004 Subject: [Rumori] black album disappointments In-Reply-To: Message-ID: <20040412192515.48501.qmail@web20304.mail.yahoo.com> Don't know if it's been posted to this list yet, but The Kleptones' Yoshimi Battles the Hip-Hop Robots definitely deserves mention. Various hip-hop lyrics mixed with an instrumental version of the Flaming Lips' Yoshimi Battles the Pink Robots. It's here: http://klepshimi.blogspot.com/ It seems to be less of a novelty than the Grey Album and more just solidly enjoyable music. But that's just my opinion. I can say I enjoy it more than the Grey Album or Jay-zeezer. P- ===== -Don Deeley AIM: drworm01 livejournal: blankbooks music list: http://db.etree.org/drworm01 __________________________________ Do you Yahoo!? Yahoo! Tax Center - File online by April 15th http://taxes.yahoo.com/filing.html From illegalart at detritus.net Tue Apr 13 11:39:05 2004 From: illegalart at detritus.net (illegal art) Date: Tue Apr 13 08:39:45 2004 Subject: [Rumori] More 'filesharing' news In-Reply-To: <20040412182726.5224.qmail@web21510.mail.yahoo.com> References: <20040412182726.5224.qmail@web21510.mail.yahoo.com> Message-ID: >So, what was the RIAA argument again? > >http://www.cnn.com/2004/TECH/internet/04/12/music.industry.ap/index.html > i would guess the riaa will claim that it is because of their lawsuits that sales are going back up. philo From praemedia at yahoo.com Fri Apr 16 12:55:02 2004 From: praemedia at yahoo.com (Praemedia) Date: Fri Apr 16 11:55:14 2004 Subject: [Rumori] DIAGRAM: CALL FORSUBMISSIONS Message-ID: <20040416185502.61331.qmail@web21510.mail.yahoo.com> DIAGRAM: CALL FOR SUBMISSIONS DIAGRAM is an electronic magazine of text, art, schematic, and (as of recently) sound. Aside from our online presence (which receives well over 30,000 hits a month), we publish a periodic print anthology (available through Amazon, our website, and fine bookstores) as well as a chapbook series. Throughout its monthly 2004 issues, DIAGRAM will publish audio art exploring the intersection of text, language, sound. This is a call for artists/musicians/writers working in sound to submit audio pieces for consideration. Please take the time to peruse the journal prior to submission. Submissions may include field recordings, abstraction, spoken word, electronic or acoustic music, [insert any other shorthand description of sound exploration you please], or any combination thereof, so long as it addresses in some way, our interests: In oddness. In representations. In naming. In indicating. In the way that meaning happens within rule-governed systems. In schematics. In the labeling and taxonomy of things. In the phenomenal distance between sound and source. In sound work that engages in dialog; takes language or poetry or narrative as its subject, object, or referent, master or servant; addresses the language at the morpheme, phoneme, handsign, lips and tongue-level. WE VALUE the insides of things, vivisection, urgency, risk, elegance, flamboyance, work that moves us, language that does something new, or does something old--well. We like iteration and reiteration. Ruins and ghosts. Mechanical, moving parts, balloons, and frenzy. WE WANT sound pieces that engage the mechanics of meaning/poetry; the processes / of things, both inner and outer; of sound-image, confused, manipulated and otherwise; pieces that demonstrate rather then explain; point and uncover rather than demolish; how things become. How they expire. How they move or churn, or stand. Send us sound analogous to annotations, schematics, poems, sentence diagrams, definitions. Translate into/from sound. PARAMETERS Please adhere to the following instructions when submitting work for consideration. Also, while our aesthetic and conceptual interests are broad, submitted work must seek to engage or address text/language in some way. Submissions must be received by May 31, 2004. Please limit pieces to 3-4 minutes in length. Audio vignettes and cameos. We prefer electronic submissions (mp3) but will accept data files on CD-Rs, too (.wav, .aif, or high resolution stereo mp3s). Send zipped high resolution stereo mp3 files to earache@thediagram.com All submissions should be accompanied by a brief artist's bio and a 'statement of intent' addressing the sound work. CD-R SUBMISSIONS: DIAGRAM Sound Art Submissions c/o Shannon Fields 497 Sixth Avenue, 2R Brooklyn, NY 11215 __________________________________ Do you Yahoo!? Yahoo! Tax Center - File online by April 15th http://taxes.yahoo.com/filing.html From jima at legnog.com Sat Apr 17 13:46:22 2004 From: jima at legnog.com (James Allenspach) Date: Sat Apr 17 10:46:27 2004 Subject: [Rumori] Reversing Vandalism Message-ID: <40816D6E.1050008@legnog.com> http://slate.msn.com/id/2098846/ An ongoing art exhibit at the San Francisco Public Library called "Reversing Vandalism" features a number of works created from defaced and vandalized books (all vandalism apparently done by the same person for about a year). Great idea. jma From steev at detritus.net Sun Apr 18 11:22:21 2004 From: steev at detritus.net (Steev Hise) Date: Sun Apr 18 10:22:24 2004 Subject: [Rumori] McDonald's Censors Font Message-ID: A font made out of corporate logos, was recently changed because McDonald's thinks they own the letter 'M'. The typeface, called Capitalis Pirata, is distributed by Plazm Media and was created by Dutch designer Roland Henss, "in an effort to explore the meaning of corporate iconography in our world." McDonald's attorneys claim that Plazm's usage of the "golden arches" as the letter M in the Capitalis Pirata font is "likely to confuse the public." Plazm says "In an effort to stay in business and avoid a lawsuit against the largest hamburger chain in the world, we have forcibly removed the lower case M from the alphabet." smh From stalliongsta at yahoo.com Mon Apr 19 13:44:29 2004 From: stalliongsta at yahoo.com (stAllio! the original wanksta) Date: Mon Apr 19 12:44:48 2004 Subject: [Rumori] stAllio! - true data 12" now available Message-ID: <20040419194429.70718.qmail@web11201.mail.yahoo.com> ***ALERT: the following message contains spam. if you receive multiple copies, you have just cause to hate me. what it is: the long-awaited "true data" 12" from stAllio! is now available! it's 4 tracks & 4 lock grooves of databent noises & binary beats. like it says in the discography (http://www.animalswithinanimals.com/stallio/discog/truedata.html ): "in lay terms, for this record i spent countless hours going through my hard drive, opening up random data files in an audio program as though they were sound files. i listened to this data-as-audio, picked my favorite sounds, & only then did i begin the long process of making the actual music out of those sounds." it's the first ever pressed vinyl from bad taste... & some of my best work ever! limited pressing of 200 records on 140-gram vinyl. where it's at: you can buy "true data" online directly from me at the new animals within animals shop: http://www.animalswithinanimals.com/shop.html i even have a special "combo" deal where you get a discount if you buy a t-shirt and a record at the same time. (NOTE: if you were interested in one of the "recycle your record collection" t-shirts but didn't get one because i didn't have your size, good news: very soon i'll have shirts in men's sizes M-XXL as well as a micro-run of ladies' cut shirts.) if you'd rather buy from a "real" shop, i won't be offended. the following webshops will have copies of "true data" sometime this week & are highly recommended: wrecked distro - http://rhinoplex.org/wrecked/ illegal art - http://illegalart.net/ (yes, these are both based in the US... i'm still looking for more distribution, especially overseas. if you work for a distro/shop & are interested in carrying the record, please contact me immediately!) ===== "a scene is just an excuse to listen to mediocre music" http://www.animalswithinanimals.com http://badtastesucks.com __________________________________ Do you Yahoo!? Yahoo! Photos: High-quality 4x6 digital prints for 25¢ http://photos.yahoo.com/ph/print_splash From peoplelikeus at mistral.co.uk Tue Apr 20 19:27:32 2004 From: peoplelikeus at mistral.co.uk (Vicki Bennett) Date: Tue Apr 20 10:27:40 2004 Subject: [Rumori] People Like Us playing in Toronto this Saturday Message-ID: <01E6DED7-92F0-11D8-9C8F-000A95C713E8@mistral.co.uk> http://www.imagesfestival.com/ Saturday April 24 ?9:15 PM ? Innis Town Hall, Toronto Admission $12/10 for students, seniors and members A legend has been building through word-of-mouth about Daniel Barrow?s unique performance work. We?re bringing him back to Toronto to pair him with People Like Us ? the mad archivist of live cinema ? for an evening of quirky, off-kilter multimedia performances. -------------- next part -------------- The Face of Everything Daniel Barrow | Canada | 40 min. | manual animation | 2002 Over the last ten years, Daniel Barrow has been developing the art of ?manual animation.? Using an overhead projector, Barrow manipulates cartoon images printed on mylar transparencies in a new type of cell animation, accompanying his two-dimensional minions with a live monologue or, in the case of the Hidden Cameras? ?A Miracle? video, good old-fashioned pop music. The Face of Everything follows the flowering and deflowering of youth, as a young boy gets whisked away to riches by the welcoming, and ornately ringed, fingers of Liberace. Barrow will be on hand to carry the young buck through his adventures and ordeals. -------------- next part -------------- People Like Us UK | 30 min. | live audio/video performance | 2004 | Toronto Premiere ?Intelligently bringing out? the hidden reverse of deceptively simple bits of film, [these] tongue in cheek musical pastiches are at their most bitingly incisive as the soundtrack to the films. Don?t miss this great multimedia project as it hits its stride.? ? Rob Young, The Wire Although archivists might warn that digital technology and historical preservation don?t quite mix, Vicki Bennett, aka People Like Us, has made a career out of the latent potential of both. A master manipulator, Bennett sutures exquisite corpses using old ephemeral films, worn LPs and the most recent tools of electronic music. She is the Umberto Eco of Rick Prelinger?s Internet Movie Archives, lost forever in the library stacks, but still managing to send back pastiched missives to the outside world ? hers are strange and humorous audio collages. But it is in her live performances that she really shines. Not content just to provide visual wallpaper or rapidly cutting strobe effects, Bennett samples sound and image simultaneously, layering them into a richly detailed live collage ? ?a living cinema.? A visual musician, Bennett pulls everything into the mix, from industrial advertising to old B-movie Westerns and mental hygiene films, and comes out with a toe-tapping audiovisual stew. Heir to Negativland, Mary Shelley and the UK?s tradition of Scratch Video, she is a unique hybrid in the electronic music scene, and a busy one. She hosts a weekly radio show on WFMU New York and releases a record or CD every few months, including collaborations with Matmos, Wobbly and fan favourite Kenny G. -------------- next part -------------- JOIN US after the performance for our closing night party and awards ceremony at El Mocambo, 464 Spadina Ave, with multiple projections by blankfoto projections (Blaine & Ross Spiegel). From pan at sensoryresearch.com Wed Apr 21 14:25:25 2004 From: pan at sensoryresearch.com (Pan) Date: Wed Apr 21 10:25:59 2004 Subject: [Rumori] hello there Message-ID: This is a test. There has been some question as to the status of the list. Pan From pl1x at earthlink.net Wed Apr 21 14:28:34 2004 From: pl1x at earthlink.net (PeterALopez) Date: Wed Apr 21 10:28:40 2004 Subject: [Rumori] Fair Use ruling Message-ID: <20827228.1082568516502.JavaMail.root@gonzo.psp.pas.earthlink.net> 2nd Circuit opinion affirms fair use -- even when the source is infringing On Copyfight, Jason Schulz calls out to a recent Second Circuit opinion in which the value of fair use is affirmed, even when the material itself is taken from an infringer. This is the right decision: if I want to make a critical documentary about a Star Wars movie, and the only way for me to get my clips is by downloading them from Kazaa, my reuse of the material should be fair use -- even if the person who ripped the movie and put it on a P2P net is infringing. "Fair use is not a doctrine that exists by sufferance, or that is earned by good works and clean morals; it is a right--codified in ?? 107 and recognized since shortly after the Statute of Anne--that is "necessary to fulfill copyright's very purpose, '[t]o promote the Progress of science and the useful arts . . . .'" http://www.ca2.uscourts.gov:81/isysnative/RDpcT3BpbnNcT1BOXDAzLTc5NTJfb3BuLnBkZg==/03-7952_opn.pdf#xml=http://10.213.23.111:81/isysquery/irla459/4/hilite from: http://www.corante.com/copyfight/archives/003214.html (via boingboing.net) From steev at detritus.net Thu Apr 22 21:23:15 2004 From: steev at detritus.net (Steev Hise) Date: Thu Apr 22 20:23:20 2004 Subject: [Rumori] test Message-ID: testing testing... Steev Hise . steev@detritus.net . http://detritus.net/steev new blog: http://steev.hise.org ----------------------------------------------------------------- "We *must* beat corporate life-sucking mentality!" -Jon VanOast ----------------------------------------------------------------- From steev at detritus.net Fri Apr 23 00:53:50 2004 From: steev at detritus.net (Steev Hise) Date: Thu Apr 22 23:53:53 2004 Subject: [Rumori] testing Message-ID: another test. hello? Steev Hise . steev@detritus.net . http://detritus.net/steev new blog: http://steev.hise.org ----------------------------------------------------------------- "While hackers can be very good at designing interfaces for other hackers, they tend to be poor at modeling the thought processes of the other 95% of the population well enough to write interfaces that J. Random End-User and his Aunt Tillie will pay to buy." - Eric S. Raymond, 1999 ----------------------------------------------------------------- From steev at detritus.net Fri Apr 23 10:36:23 2004 From: steev at detritus.net (Steev Hise) Date: Fri Apr 23 09:36:27 2004 Subject: [Rumori] another test Message-ID: if anyone is getting these, sorry for all these tests. at least some people are not receiving emails to the list, tho the messages are making to the archive. i dont understand why yet. smh Steev Hise . steev@detritus.net . http://detritus.net/steev new blog: http://steev.hise.org ----------------------------------------------------------------- "Art is anything you can get away with." -Marshall McLuhan ----------------------------------------------------------------- From stalliongsta at yahoo.com Fri Apr 23 10:40:50 2004 From: stalliongsta at yahoo.com (stAllio! the original wanksta) Date: Fri Apr 23 09:41:10 2004 Subject: [Rumori] another test In-Reply-To: Message-ID: <20040423164050.22185.qmail@web11208.mail.yahoo.com> --- Steev Hise wrote: > if anyone is getting these, sorry for all these tests. > > at least some people are not receiving emails to the list, tho > the messages are making to the archive. i dont understand why > yet. i didn't receive anything from rumori for at least a week. then this morning i got a bunch (8-10 or more). so it's working for me now. ===== "a scene is just an excuse to listen to mediocre music" http://www.animalswithinanimals.com http://badtastesucks.com __________________________________ Do you Yahoo!? Yahoo! Photos: High-quality 4x6 digital prints for 25¢ http://photos.yahoo.com/ph/print_splash From steev at detritus.net Fri Apr 23 10:45:00 2004 From: steev at detritus.net (Steev Hise) Date: Fri Apr 23 09:45:07 2004 Subject: all fixed ( was Re: [Rumori] another test) In-Reply-To: <20040423164050.22185.qmail@web11208.mail.yahoo.com> Message-ID: on Fri, 23 Apr 2004 stAllio! the original wanksta told me: ->i didn't receive anything from rumori for at least a week. then this ->morning i got a bunch (8-10 or more). so it's working for me now. yes, i seem to have fixed it. carry on! :-) smh Steev Hise . steev@detritus.net . http://detritus.net/steev new blog: http://steev.hise.org ----------------------------------------------------------------- "If you're going to fetishize a band then for heavens sake do the packaging right!" -Aquarius Records ----------------------------------------------------------------- From steev at detritus.net Fri Apr 23 18:14:21 2004 From: steev at detritus.net (steev@detritus.net) Date: Fri Apr 23 17:14:30 2004 Subject: [Rumori] Detritus Update: Decasia Message-ID: ((((((((((((((((((((((( Detritus Update: Decasia ))))))))))))))))))))))) April 24, 2004 ------------------------------------------------------------------------ http://detritus.net/blog/archives/000005.html this is another test, of something completely different.... please ignore...... ------------------------------------------------------------------------ A film made from decaying old films, by Bill Morrison. I haven't seen it yet but it sounds amazing. here's a review from the Village Voice: Bill Morrison is not the first artist to take decomposing film stock as raw material, but he plunges into this dark nitrate of the soul with contagious abandon. Founded on the tension between the hard fact of film's stained, eroded, unstable surface and the fragile nature of that which was once photographically represented, Decasia is an avant-garde movie with universal appeal, as well as an apocalyptic subtext unavoidably tied to the catastrophe of 9-11. decasia website -- Powered by Movable Type Version 2.661 http://www.movabletype.org/ From steev at detritus.net Sun Apr 25 11:38:03 2004 From: steev at detritus.net (steev@detritus.net) Date: Sun Apr 25 10:38:10 2004 Subject: [Rumori] Detritus Update: World Intellectual Property Day, April 26 Message-ID: (((((( Detritus Update: World Intellectual Property Day, April 26 )))))) April 25, 2004 ------------------------------------------------------------------------ Monday, April 26, has been declared World Intellectual Property Day by WIPO, the World Intellectual Property Organization. Member countries are being encouraged to organize activities to "celebrate intellectual property." At least one organization, Paris ACTUP, is holding a counter-celebration: a... ------------------------------------------------------------------------ http://detritus.net/blog/archives/000021.html -- Powered by Movable Type Version 2.661 http://www.movabletype.org/ From pl1x at earthlink.net Sun Apr 25 20:00:05 2004 From: pl1x at earthlink.net (PeterALopez) Date: Sun Apr 25 19:00:16 2004 Subject: [Rumori] RIAABootlegs Message-ID: <26194752.1082944805767.JavaMail.root@kermit.psp.pas.earthlink.net> RIAABootlegs Track ->1<- RIAABootleg: RIAAEM+Eve VS RIAA-Mix+NoDoubt VS RIAA-Mix+Britney Spears %20 VS Scary Sherman & Claire Chanel w/ RIAA+Overpeer Corporate $hill Whoring Mega-Phucking Vol. 1 (Notoriety For Profitability) http://noneinc.com/sound/RIAABootleg/RIAABootleg_EveVSNoDoubtVSBritneySpears+RIAA&Overpeer.mp3 3min. 31sec. - 3.2MB RIAA Exclusive Mix - Eve "Party In The Rain" VS RIAA-Mix - No Doubt "Hey Baby" VS RIAA-Mix - Britney Spears "Hit Me Baby One More Time" Track ->2<- RIAABootleg: RIAAEM+trapt VS RIAA-Mix+Patsy Cline VS RIAA-Mix+Nirvana %20 VS Scary Sherman & Claire Chanel w/ RIAA+Overpeer Corporate $hill Whoring Mega-Phucking Vol. 1 (Notoriety For Profitability) http://noneinc.com/sound/RIAABootleg/RIAABootleg_SantanaVSSherylCrowVSJayZ+RIAA&Overpeer.mp3 3min. 42sec. - 3.3MB RIAA Exclusive Mix - trapt "still frame" VS RIAA-Mix - Patsy Cline "Crazy" VS RIAA-Mix - Nirvana "Come As You Are" Track ->3<- RIAABootleg: RIAAEM+Santana VS RIAA-Mix+Sheryl Crow VS RIAA-Mix+JayZ %20 VS Scary Sherman & Claire Chanel w/ RIAA+Overpeer Corporate $hill Whoring Mega-Phucking Vol. 1 (Notoriety For Profitability) http://noneinc.com/sound/RIAABootleg/RIAABootleg_traptVSPatsyClineVSNirvana+RIAA&Overpeer.mp3 4min. 38sec. - 4.2MB RIAA Exclusive Mix - Santana "Why Don't" VS RIAA-Mix - Sheryl Crow "All I Wanna Do" VS RIAA-Mix - JayZ "Brush Your Shoulders Off" Some History: Sometime shortly after the birth of napster (1999?), someone realized that people could be fooled into downloading something they we're expecting. P2p spoofing was born, and shortly there after it was realized that this form of sharing could be exploited to test market new music systems. The Music Industry has been attempting to figure out ways to make more profits. Two marketing plans say, A. making music simpler and easier to produce will increase profits and another side B. says expand the appreciation of the general public to accept more variety which would give the industry a wider range of sounds to exploit to increase revenue streams. The RIAA decided to spoof test marketing plan A. first. The idea was to boil down new music to it's essential essense. Pop Music has been following this format for years. Slowly over the last 50 years or so, the average top 40 pop tune has shrunk from 5+ minutes to the current standard 3min. 23sec. The RIAA's first spoofing exploration was to boil down currently popular pop tunes to a bare essense of 20-30 seconds and repeat that portion of the song over and over until it was the same length as the original song. These we're then spoofed out into napster and other p2p waters and the audience hasn't seemed to noticed, for these files are still being traded today. A complete loooooser attempted to document these RIAA Exclusive Mixes (RIAAEM) in an early 2003 blog: http://noneinc.com/RIAAEM/RIAAEM.html It seems that this method of top 40 pop shrinking seems to be very successful and is currently employed in the ever popular cell phone ring market which generates 2-3 billions dollars a year. The teenie bopper market will pay 2-3 dollars per 20-30 second ring tone. iTunes might be a bargan at 1 dollar, but who wants to listen to the whole song, that's so 20th century. With the RIAAEM success the RIAA, my favorite band, moved onto conquer the second marketing plan, to expand the general public to a wider variety of output. In late 2001ish the RIAA learned of a patent filed by Overpeer. This patent gave Overpeer the ability to take any p2p downloaded mp3, apply a series of transformations and redistribute that mp3 back into the p2p waters. This was an unprecidented corporate creative endeavour, one done not out of profit driven greed but to educate the public of unimaginable extremes, new vantage points, different existance of being, which some people call noise. At first the general public was hesitant to talk about these mixes, many found them abrasive. But a duo, Scary Sherman & Claire Channel, felt that this fair corporate creative reuse needed a wider audience. And thus was born the RIAA-Mix. http://riaamix.com/ They have even taken the initiative to release a cd of these global-corporate-music-giant gifts to the public. After witnessing the public demand for bootlegs, as seen in the UK, where even MTV has a video program, and here in the US with the success of Grey Tuesday and the Danger Mouse Grey Album, it felt like a perfect fit to blend/meld the gifts the RIAA has bestowed on us the public. Thus was born the RIAABootleg. The merging of not only A+B musial components, but also dream marketing schemes. So Corporate Shill %20 teamed up the superstars from each marketing scheme to create greatness, the RIAABootleg. Please listen and hoard them for yourselves, this is knowledge we don't want to share. %20 -part time music fan "The RIAA Makes My Kinda Music" From praemedia at yahoo.com Mon Apr 26 21:48:36 2004 From: praemedia at yahoo.com (Praemedia) Date: Mon Apr 26 20:48:43 2004 Subject: [Rumori] SF, USA - Friday, April 30th - JiffyScuttler 4 Message-ID: <20040427034836.83674.qmail@web21508.mail.yahoo.com> Jiffy-Scuttler Four: Friday, April 30th Doors Open: 8pm Music Begins: about 9 at Rx Gallery -- 132 Eddy (near Mason) -- 1 block north of Powell Bart San Francisco, California $6 21+ ------------------------------------------------------------------------------------------------------------ Pepito Brian and Chris Takeshi Kojima Wobbly – special guest DJ ------------------------------------------------------------------------------------------------------------ Pepito – www.pepito.net Pepito is José Márquez and Ana Machado. Though of Cuban and Mexican origins, respectively, the members of Pepito are based in San Francisco, California. The Pepito sound has been called "experimental pop," "indietronica," and "electronic punk rock." This clutter of adjectives is likely due to the newness of the Pepito sound: an effort to reinvent pop music as a vehicle for tender rebellion carefully crafted and energetically delivered. According to Static Discos, "Pepito is punky IDM with both English and spanish lyrics, optimistic modernism, political discourse with the gratification of an ever expanding universe, crafty songs that hook you up and never let go, smart bombs, sexy cars and pop deliverance. " Many Pepito songs feature lyrics sung in Spanish, electronic elements and rhythms along with electro-accoustic instrumentation. Music critics have likened this combination to the Postal Service, Tortoise, Buffalo Daughter, Sonic Youth, Cornelius, and Schneider. Their first release, "Migrante" (2002) earned them "Best New Band" at the 2002 Latin Alternative Music Conference in New York. While mostly involved in studio production, the team have played with indie pop and electronic music groups like Orixa, El Vez, Loopdrop, DNTEL, Tussle, Los Skarnales, Dealership and the French Kicks in venues such as Galapagos (NYC), the Stork Club (Oakland), Bottom of the Hill (SF), Yerba Buena Center for the Arts (SF), Fais Do Do (LA), SilverLake Lounge (LA), and the now defunct Don Loope (TJ, MX). Pepito completed its first album "Migrante" in October of 2001, released in the U.S. in May of 2002. Pepito's second album will be released in the Spring of 2004 by Static Discos of Mexico and distributed in the U.S. by Darla Records. Brian and Chris – www.brian-and-chris.com brian_and_chris are Brian Fraser and Chris Palmatier. They are two friends who met in the mid-1990's in Chapel Hill, NC. In 1996 Chris moved to San Francisco, followed shortly by Brian, who had been asked to score a friend's movie. Chris had access to a studio, and thus brian_and_chris was born. Their music explores the intersecting edges of rock, IDM, downtempo, dub, and anything else that strikes the fancy of the players. Brian mostly plays drums, but can also be heard playing guitar, various keyboards, bass, and using his voice. Chris mostly plays guitar, bass, and keyboard, but is also known to do glitchy drum programming and the occasional bit of singing. Both players actively participate in the recording/editing process and consider the studio itself to be a primary instrument in their music-making process. Their first CD (s/t, This Record Label) was released in late 1999, followed by "Vectors" (Megalon Records) in late 2000 and a 12" vinyl EP for Dielectric Records in early 2004. Their third full-length recording, appropriately titled "3", will be released mid-2004. Takeshi Kojima Born in 1969 in Kobe, Japan and currently based in Osaka, Takeshi Kojima has performed regularly (about 40 concerts a year) in Japan, France, Spain, England and Italy. He has organized experimental/improvised music concerts called "Electro Future Pop" in Osaka since 2000. Beside solo works, he has performed with Suzuki Akio, Otomo Yoshihide, Sachiko-M, Massonna, Haco, Takemura Nobukazu, Gene Coleman, Paul Hood, Thomas Ankershumit, Barre Philips, Sam Bennet, CCM4, Bruno Meillier, Hans Koch, Martin Schutz, Broken Consort, members of Trummerflora, Jacob Draminsky, and Carl Stone, and has composed music for theater and dance. Originally a drummer, in 1995 Kojima began to play computer (MAX/MSP and M) in the improvised music scene. Since then, he mainly plays a laptop and samplers. His sonic style is colorful and his digital computer sounds have the soul of rock drumming. His current sonic theme of "impressive experiment of the auditory nerve" explores the combined use of digital synthesis, sound systems and venue. In his solo performances, Kojima plays a specialized sound system with 8 speakers. In 1994, his first solo work was released on his own label. Since then, he has continued to compose and release both solo and ensemble works. ----------------------------------------------------------------- JIFFY-SCUTTLER is a music series at Rx Gallery in San Francisco co-curated by Blevin Blectum, Lance Grabmiller, J Lesser and Sean Rooney. Last Friday of every month. Electronic music that doesn't cower, quiver with fear or fade into the woodwork. Have a beer, have a conversation, check the gallery and hear music you won't tag "erase". Jiffy-Scuttler -- electronic music for today, tonight and all of your special tomorrows! ----------------------------------------------------------------------- Jiffy-Scuttler website: http://www.jiffyscuttler.praemedia.com Jiffy-Scuttler booking info: srooney@ntet.net directions and gallery info: http://www.rxgallery.com Sincerely, The Jiffy-Scuttler gang: Blevin Blectum, Lance Grabmiller, J Lesser and Sean Rooney __________________________________ Do you Yahoo!? Win a $20,000 Career Makeover at Yahoo! HotJobs http://hotjobs.sweepstakes.yahoo.com/careermakeover From steev at detritus.net Tue Apr 27 11:35:29 2004 From: steev at detritus.net (steev@detritus.net) Date: Tue Apr 27 10:35:45 2004 Subject: [Rumori] Detritus Update: BrowseTV Message-ID: ((((((((((((((((((((((( Detritus Update: BrowseTV ))))))))))))))))))))))) April 27, 2004 ------------------------------------------------------------------------ BrowseTV is a cable-access show in Manhattan that browses the internet live, culling cool stuff from the web and broadcasting it. One great thing about it is that it's done all with just a laptop and a webcam. here is... ------------------------------------------------------------------------ http://detritus.net/blog/archives/000022.html -- Powered by Movable Type Version 2.661 http://www.movabletype.org/ From SKATYAL at law.fordham.edu Tue Apr 27 15:07:57 2004 From: SKATYAL at law.fordham.edu (Sonia Katyal) Date: Tue Apr 27 11:09:02 2004 Subject: [Rumori] p2p and the new surveillance Message-ID: Dear rumori members: Hope this finds you well--given the interesting discussions we've had on this list, I wanted to send you this paper in case you were interested-- the paper is on digital identity and the relationship between copyright enforcement and privacy, with special attention paid to file-sharing and the DMCA. I thought it might be of interest to you; the abstract is below, and electronic copies of my paper is available at the SSRN Electronic Library at: http://papers.ssrn.com/sol3/papers.cfm?abstract_id=527003 , but I'd also be happy to mail you a paper copy if you are interested. I'd also be very grateful for comments or thoughts on the paper as I further revise it. Many many thanks! Sonia K. Katyal "The New Surveillance" Abstract: A few years ago, it was fanciful to imagine a world where intellectual property owners - such as record companies, software owners, and publishers - were capable of invading the most sacred areas of the home in order to track, deter, and control uses of their products. Yet, today, strategies of copyright enforcement have rapidly multiplied, each strategy more invasive than the last. This new surveillance exposes the paradoxical nature of the Internet: It offers both the consumer and creator a seemingly endless capacity for human expression - a virtual marketplace of ideas - alongside an insurmountable array of capacities for panoptic surveillance. As a result, the Internet both enables and silences speech, often simultaneously. This paradox, in turn, leads to the tension between privacy and intellectual property. Both areas of law face significant challenges because of technology's ever-expanding pace of development. Yet courts often exacerbate these challenges by sacrificing one area of law for the other, by eroding principles of informational privacy for the sake of unlimited control over intellectual property. Laws developed to address the problem of online piracy - in particular, the DMCA - have been unwittingly misplaced, inviting intellectual property owners to create private systems of copyright monitoring that I refer to as piracy surveillance. Piracy surveillance comprises extrajudicial methods of copyright enforcement that detect, deter, and control acts of consumer infringement. In the past, legislators and scholars have focused their attention on other, more visible methods of surveillance relating to employment, marketing, and national security. Piracy surveillance, however, represents an overlooked fourth area that is completely distinct from these other types, yet incompletely theorized, technologically unbounded, and, potentially, legally unrestrained. The goals of this Article are threefold: first, to trace the origins of piracy surveillance through recent jurisprudence involving copyright; second, to provide an analysis of the tradeoffs between public and private enforcement of copyright; and third, to suggest some ways that the law can restore a balance between the protection of copyright and civil liberties in cyberspace. This paper was selected as the winning entry for the 2004 Yale Law School Cybercrime and Digital Law Enforcement Conference writing competition, sponsored by the Yale Law School Information Society Project and the Yale Journal of Law and Technology. Sonia K. Katyal Associate Professor of Law Fordham Law School 140 W. 62nd St. New York, NY 10023 skatyal@law.fordham.edu From edspecial at digitalrealm.net Wed Apr 28 12:42:36 2004 From: edspecial at digitalrealm.net (Ed Special) Date: Wed Apr 28 08:42:34 2004 Subject: [Rumori] visiting Santa Cruz . . . Message-ID: what's to do between 4/30 thru 5/6/04 ? any Detritii about? Ed Special From steev at detritus.net Wed Apr 28 17:29:09 2004 From: steev at detritus.net (steev@detritus.net) Date: Wed Apr 28 16:29:18 2004 Subject: [Rumori] Detritus Update: Windoze sounds song Message-ID: ((((((((((((((((( Detritus Update: Windoze sounds song ))))))))))))))))) April 29, 2004 ------------------------------------------------------------------------ An amazing Flash animation illustrating, in a way, the re-use of Microsoft Windoze system sounds to create music.... ------------------------------------------------------------------------ http://detritus.net/blog/archives/000024.html -- Powered by Movable Type Version 2.661 http://www.movabletype.org/ From ubuweb at yahoo.com Wed Apr 28 22:34:17 2004 From: ubuweb at yahoo.com (UbuWeb) Date: Wed Apr 28 21:34:25 2004 Subject: [Rumori] Detritus Update: Windoze sounds song In-Reply-To: Message-ID: <20040429043417.59294.qmail@web10801.mail.yahoo.com> Wow, thanks Steev. Great stuff. Hey, does anyone know how much Brian Eno was paid to write the Win95 startup sound? Also, who is the composer of the other startup sounds -- 98, XP, etc? Kenny G --- steev@detritus.net wrote: > ((((((((((((((((( Detritus Update: Windoze sounds song ))))))))))))))))) > > April 29, 2004 > > > ------------------------------------------------------------------------ > > An amazing Flash animation illustrating, in a way, the re-use > of Microsoft Windoze system sounds to create music.... > > ------------------------------------------------------------------------ > > http://detritus.net/blog/archives/000024.html > > > > > -- > Powered by Movable Type > Version 2.661 > http://www.movabletype.org/ > > > _______________________________________________ > Rumori mailing list > Rumori@detritus.net > http://detritus.net/mailman/listinfo/rumori > older archives: http://detritus.net/contact/rumori/ __________________________________ Do you Yahoo!? Win a $20,000 Career Makeover at Yahoo! HotJobs http://hotjobs.sweepstakes.yahoo.com/careermakeover From djbatman at olografix.org Thu Apr 29 09:28:16 2004 From: djbatman at olografix.org (Nicola Battista (Dj Batman)) Date: Wed Apr 28 23:32:58 2004 Subject: [Rumori] Detritus Update: Windoze sounds song In-Reply-To: <20040429043417.59294.qmail@web10801.mail.yahoo.com> References: <20040429043417.59294.qmail@web10801.mail.yahoo.com> Message-ID: <1315.82.51.115.204.1083220096.squirrel@www.olografix.org> http://www.garageband.com/artist/djbatman check my old track "Micro$oft Break$"... most of it were sounds included in Word97 or Encarta ;) I also made another one heavily reusing the Brian Eno sound over an Ike Turner break. I think the only place where you can find it is Vitaminic (free streaming - track for sale... err...) ;) http://stage.vitaminic.com/main/dj_batman/all_tracks/ I think both tracks are from 1999. DjB From srooney at ntet.net Tue Apr 27 07:43:21 2004 From: srooney at ntet.net (Sean Rooney) Date: Thu Apr 29 09:24:59 2004 Subject: [Rumori] [jiffy-scuttler] Fri. 4/30 Jiffy-Scuttler 4 -- PEPITO, BRIAN & CHRIS, TAKESHI KOJIMA Message-ID: <02ed01c42c5d$9ed97a90$64fea8c0@srooneypc> apologies for multi-posting.... Hope to see you at Rx This friday. /sean ------------------------------------------------------------------------- Jiffy-Scuttler Four: Friday, April 30th Doors Open: 8pm Music Begins: about 9 at Rx Gallery -- 132 Eddy (near Mason) 1 block north of Powell Bart San Francisco, California $6 21+ ---------------------------------------------------- PEPITO BRIAN AND CHRIS TAKESHI KOJIMA WOBBLY- special guest DJ ---------------------------------------------------- Pepito - www.pepito.net Pepito is Jos? M?rquez and Ana Machado. Though of Cuban and Mexican origins, respectively, the members of Pepito are based in San Francisco, California. The Pepito sound has been called "experimental pop," "indietronica," and "electronic punk rock." This clutter of adjectives is likely due to the newness of the Pepito sound: an effort to reinvent pop music as a vehicle for tender rebellion carefully crafted and energetically delivered. According to Static Discos, "Pepito is punky IDM with both English and spanish lyrics, optimistic modernism, political discourse with the gratification of an ever expanding universe, crafty songs that hook you up and never let go, smart bombs, sexy cars and pop deliverance. " Many Pepito songs feature lyrics sung in Spanish, electronic elements and rhythms along with electro-accoustic instrumentation. Music critics have likened this combination to the Postal Service, Tortoise, Buffalo Daughter, Sonic Youth, Cornelius, and Schneider. Their first release, "Migrante" (2002) earned them "Best New Band" at the 2002 Latin Alternative Music Conference in New York. While mostly involved in studio production, the team have played with indie pop and electronic music groups like Orixa, El Vez, Loopdrop, DNTEL, Tussle, Los Skarnales, Dealership and the French Kicks in venues such as Galapagos (NYC), the Stork Club (Oakland), Bottom of the Hill (SF), Yerba Buena Center for the Arts (SF), Fais Do Do (LA), SilverLake Lounge (LA), and the now defunct Don Loope (TJ, MX). Pepito completed its first album "Migrante" in October of 2001, released in the U.S. in May of 2002. Pepito's second album will be released in the Spring of 2004 by Static Discos of Mexico and distributed in the U.S. by Darla Records. Brian and Chris - www.brian-and-chris.com brian_and_chris are Brian Fraser and Chris Palmatier. They are two friends who met in the mid-1990's in Chapel Hill, NC. In 1996 Chris moved to San Francisco, followed shortly by Brian, who had been asked to score a friend's movie. Chris had access to a studio, and thus brian_and_chris was born. Their music explores the intersecting edges of rock, IDM, downtempo, dub, and anything else that strikes the fancy of the players. Brian mostly plays drums, but can also be heard playing guitar, various keyboards, bass, and using his voice. Chris mostly plays guitar, bass, and keyboard, but is also known to do glitchy drum programming and the occasional bit of singing. Both players actively participate in the recording/editing process and consider the studio itself to be a primary instrument in their music-making process. Their first CD (s/t, This Record Label) was released in late 1999, followed by "Vectors" (Megalon Records) in late 2000 and a 12" vinyl EP for Dielectric Records in early 2004. Their third full-length recording, appropriately titled "3", will be released mid-2004. Takeshi Kojima Born in 1969 in Kobe, Japan and currently based in Osaka, Takeshi Kojima has performed regularly (about 40 concerts a year) in Japan, France, Spain, England and Italy. He has organized experimental/improvised music concerts called "Electro Future Pop" in Osaka since 2000. Beside solo works, he has performed with Suzuki Akio, Otomo Yoshihide, Sachiko-M, Massonna, Haco, Takemura Nobukazu, Gene Coleman, Paul Hood, Thomas Ankershumit, Barre Philips, Sam Bennet, CCM4, Bruno Meillier, Hans Koch, Martin Schutz, Broken Consort, members of Trummerflora, Jacob Draminsky, and Carl Stone, and has composed music for theater and dance. Originally a drummer, in 1995 Kojima began to play computer (MAX/MSP and M) in the improvised music scene. Since then, he mainly plays a laptop and samplers. His sonic style is colorful and his digital computer sounds have the soul of rock drumming. His current sonic theme of "impressive experiment of the auditory nerve" explores the combined use of digital synthesis, sound systems and venue. In his solo performances, Kojima plays a specialized sound system with 8 speakers. In 1994, his first solo work was released on his own label. Since then, he has continued to compose and release both solo and ensemble works. ---------------------------------------------------- JIFFY-SCUTTLER is a music series at Rx Gallery in San Francisco co-curated by Blevin Blectum, Lance Grabmiller, J Lesser and Sean Rooney. Last Friday of every month. Electronic music that doesn't cower, quiver with fear or fade into the woodwork. Have a beer, have a conversation, check the gallery and hear music you won't tag "erase". Jiffy-Scuttler -- electronic music for today, tonight and all of your special tomorrows! ---------------------------------------------------- Jiffy-Scuttler website: http://www.jiffyscuttler.praemedia.com Jiffy-Scuttler booking info: srooney@ntet.net directions and gallery info: http://www.rxgallery.com Sincerely, The Jiffy-Scuttler gang: Blevin Blectum, Lance Grabmiller, J Lesser and Sean Rooney From boster at pobox.com Tue Apr 27 10:10:16 2004 From: boster at pobox.com (Bob Boster) Date: Thu Apr 29 09:25:44 2004 Subject: [Rumori] Detritus.net Night at LSG, SF, CA 4/29/04: RAJAR & Fluorescent Grey Message-ID: <5.1.0.14.2.20040427090654.00af37d8@209.115.3.202> ***************************** mundane media & (not)quiet presents detritus.net night in the LSG New Music Series @ LUGGAGE STORE GALLERY 1007 Market St. @ 6th St San Francisco, California USA ***************************** RAJAR (real-time radio signals reconstructed) & Fluorescent Grey (kaleidoscopic beats and genre violation) Thursday, April 29 2003 8:00 PM $6-10 sliding scale ++++++++++++++++++++++++++++++++++++++++++++ RAJAR is a collective project founded in 2003 as part of the Illegal Art exhibition's SF show (see http://www.illegal-art.org/), based on the idea of extending appropriation's hold on the art world to include real-time processing of live radio transmissions. While this idea has links to a wide range of musical thinkers, including Cage, Stockhausen, Holger Czukay, and others, it seemed time to re-approach this concept with a diverse approach which represents the current spectrum of electronic music endeavor. The results of this initial exploration have led to an ongoing project with a fixed line-up: Bob Boster, Xopher Davidson, Michael Gendreau, David Kwan, and Patty Liu. RAJAR is a true collective of improvisers, building an equanimitous sound organism for each performance without a leader/mixer/editor. Processing tactics include a wide range of technologies, including no processing, lo-tech stomp boxes & outboard gear, and cutting edge DSP schemes deployed on laptops. This range of approaches builds a particularly rich fabric of sound, which in turn is mapped on the performance space in collaboration with the audience in real-time. In other words, we hook up radios to a bunch of devices and mess with the sounds...usually people seem to enjoy it. Generally it's even more fun for us. See - http://bayimproviser.com/artistdetail.asp?artist_id=210 Fluorescent Grey, the brainchild of jacob jarnigon & robert martin, is rhythmic experimental music. His songs are conceptual with original concepts and expansions of both contemporary and classic techniques. Combining homemade synthesizers, original field recording, real instruments, sampling, mind bending and sometimes stomach churning effects (many made using custom electronic software modules), Fluorescent Grey genre bends into uncharted territory where not even autechre, richard devine, or mr bungle dare to venture. ++++++++++++++++++++++++++++++++++++++++++++ It is a non-profit corporation funded by the City of San Francisco, grants, and your contributions.We ask that you contribute $6-10. All Ages welcome, no one refused for lack of funds. Notes on attendance: * normally indoor bike parking available in gallery for people able to get bikes up the stairs * feel free to bring your (quiet) dinner and beverages * contact Bob Boster for pre-show docent session For Gallery info tel: 415.255.5971 email: luggagestore509@hotmail.com For detritus.net nights booking or info email Bob Boster: boster@pobox.com for more info visit: http://www.outsound.org/ http://www.luggagestoregallery.org/ http://www.bayimproviser.com/luggagestore http://www.detritus.net/events/luggage_store/ From stalliongsta at yahoo.com Thu Apr 29 10:35:42 2004 From: stalliongsta at yahoo.com (stAllio! the original wanksta) Date: Thu Apr 29 09:35:49 2004 Subject: [Rumori] Detritus Update: Windoze sounds song In-Reply-To: <20040429043417.59294.qmail@web10801.mail.yahoo.com> Message-ID: <20040429163542.76717.qmail@web11203.mail.yahoo.com> --- UbuWeb wrote: > Wow, thanks Steev. Great stuff. if only you could actually control half a dozen instances of sound recorder at the same time! my mouse just doesn't move that fast (you'd probably need a few mouse pointers to even attempt doing the song in the animation "live") i did a track way back in my win3.1 days using only sounds from windows, sim city, & civilization... that was done on a tracker. & there is no mp3 version of it; maybe i need to encode one. ===== "a scene is just an excuse to listen to mediocre music" http://www.animalswithinanimals.com http://badtastesucks.com __________________________________ Do you Yahoo!? Win a $20,000 Career Makeover at Yahoo! HotJobs http://hotjobs.sweepstakes.yahoo.com/careermakeover From stalliongsta at yahoo.com Thu Apr 29 17:52:50 2004 From: stalliongsta at yahoo.com (stAllio! the original wanksta) Date: Thu Apr 29 16:52:55 2004 Subject: [Rumori] Detritus Update: Windoze sounds song In-Reply-To: <20040429163542.76717.qmail@web11203.mail.yahoo.com> Message-ID: <20040429235250.30142.qmail@web11205.mail.yahoo.com> --- stAllio! the original wanksta wrote: > i did a track way back in my win3.1 days using only sounds from > windows, sim city, & civilization... that was done on a tracker. & > there is no mp3 version of it; maybe i need to encode one. if anyone cares: http://www.animalswithinanimals.com/stallio_-_fuck_windows.mp3 ===== "a scene is just an excuse to listen to mediocre music" http://www.animalswithinanimals.com http://badtastesucks.com __________________________________ Do you Yahoo!? Win a $20,000 Career Makeover at Yahoo! HotJobs http://hotjobs.sweepstakes.yahoo.com/careermakeover From at at ankitoner.com Fri Apr 30 09:04:16 2004 From: at at ankitoner.com (at) Date: Thu Apr 29 23:00:53 2004 Subject: [Rumori] Detritus Update: Windoze sounds song References: <20040429043417.59294.qmail@web10801.mail.yahoo.com> <1315.82.51.115.204.1083220096.squirrel@www.olografix.org> Message-ID: <4091EC60.A2EAD7B7@ankitoner.com> Ciao Nicola, I tried to download your track(s) at garageband.com but I got a "The band has disabled MP3 downloads of this song." message. Anki Toner En/Na "Nicola Battista (Dj Batman)" ha escrit: > http://www.garageband.com/artist/djbatman > > check my old track "Micro$oft Break$"... most of it were sounds included > in Word97 or Encarta ;) > > I also made another one heavily reusing the Brian Eno sound over an Ike > Turner break. > I think the only place where you can find it is Vitaminic (free streaming > - track for sale... err...) ;) > http://stage.vitaminic.com/main/dj_batman/all_tracks/ > > I think both tracks are from 1999. > > DjB > > _______________________________________________ > Rumori mailing list > Rumori@detritus.net > http://detritus.net/mailman/listinfo/rumori > older archives: http://detritus.net/contact/rumori/ From steev at detritus.net Fri Apr 30 18:09:24 2004 From: steev at detritus.net (Steev Hise) Date: Fri Apr 30 17:09:28 2004 Subject: [Rumori] 2 collaged guitars Message-ID: hi all, I am selling my 2 collage-covered, modified, noise guitars on eBay. They have served me well for many years but as part of a major posession-elimination project it is time for them to go. They would make wonderful art objects to hang in your den, or function as actual functioning sound-making devices in your next noise-rock combo. if you've heard any of my pre-totally-sample-based music, you have probably heard one or both of these guitars. here are the links to the 2 auctions: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3721582691 http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3721579863 these should also be considered fundraising items for Detritus, so if you feel generous toward Detritus, bid high! :-) thanx and best wishes, smh Steev Hise . steev@detritus.net . http://detritus.net/steev new blog: http://steev.hise.org ----------------------------------------------------------------- "On every sunny day, we could both call in sick and spend the day planting flowers and indulging some secret recipe for Chai that she'd brew in her tiny blue kitchen. I'd stand by the refrigerator distracted by the magnets making up some secret fantasy world where no one who sucks has ever heard of the bands that we love." -James Squeaky -----------------------------------------------------------------