At 09:48 AM 12/17/2000 -0800, you wrote:
>All I was trying to say is, there are a few places to go out
>there for help. How bout:
>
>Seeland
>Evolution Controlled Creations
>Illegal Art
>Staalplat
>Hot Air
>Cacciavallo
>Alternative Tentacles
>
>All these small labels have shown they don't care much for
>copyright laws. Some even have pretty good distribution.
With a few on there, I know we'd have to pay more money for
distribution costs. Wouldn't it also go into a catalog where people
would have to pay money for the comp?
The title of this comp is "Free Speech For Sale," and the irony
of it, is that it was to be given away for free.
>1. the comp is going to suffer from the fact that ANYONE can
>be on it as long as they pay 50 bucks.
Not true, they have to make it a text-manipulation cut, their source
material has to be strictly from commercials, and their cut has
to be a certain length or shorter.
>So anyway, the point is, get someone that a lot of people
>trust as their filter ( whether it's the person that
>produced the comp, a label, or a critic that endorses it )
>and you'll have units moving, even if you don't have it in
>every Tower records worldwide.
I'm trying to be as good of a filter as I can be, though I
also would like to make a deadline. What if March 1st comes
around and I decide that half of the comp is crap? Would everyone
be pissed if I bumped the deadline a month or two later in lieu
of that fact?
>2. the comp and its concept shouldnt be muddled up with the
>Droplift concept.
>
>The comp has a good stong concept. Droplift, at least as
>re-formulated by Lloyd Dunn, also has a good strong concept.
>Why mix them?
> The whole motivation for the droplifting of this new comp,
>judging from jay's emails, seems to be that people want some
>shortcut to distributing their work to a wider range of
>people. that's a good goal. distribution is indeed the
>bottleneck. Despite my earlier criticisms of Droplift as a
>project, if people really think it's worth it to droplift
>their work, they should go ahead and do it. Personally I
>think it would be a better use of resources to make sure
>they get to all the right press, critics, radio stations,
>djs, etc, or even hand them out at parties or at live shows.
>But that's just my opinion.
Naked Rabbit could tell you just as well as I could, that half
the CD's pressed WILL be sent to the press, radio stations, critics,
etc. His project went that way, and so will this one.
I found his project to be a good model for mine. Though I don't
intend to market it as such. I think the Free Speech For Sale
concept is marketable on its own to the media, without having
to mention that it's being droplifted. It will just so happen to be
one of the ways it's being distributed.
Someone on snuggles suggested that there should be constantly
more and more projects being created as part of a "droplift movement"
envisioning 100's of these comps being found in stores, though
none of them (other than the original project) would say Droplift on
them, yet you could download them all for free through the droplift
website.
Another guy suggested that from now on, we should only distribute
compilations online ONLY...so it would be cheaper and fast to make
them, and people would be encouraged to download them and droplift
them, without the need to press a thousand copies and give them
away for each comp.
Not saying I agree with all that, but just related some significant
suggestions made on there about future projects.
>->I was agreeing with Steev that the next CD project
>->organized on this list should not try to "ride the
>->coattails" of the Droplift Project - which is exactly
>->what YOU are saying! Read the mail again.
>
>So, yup, we all agree. yay.
*sigh*
Every Man every.manATpressthebutton.com
Press The Button, Midnight - 3 am Sundays
WRUW, 91.1 FM, Cleveland, OH
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