Once, when I had Jury duty I went to McDonalds for breakfast. While I was there I saw a man standing at the pay phone with a moderate sized day planner looking device. He speed dialed number after number while I waited for my McMuffins and as I ate them. The next day he was there again, same time, same place.
Although I couldn't hear him it was apparant that he was a telemarketer.
Hmmmm...let's see...payphone...McDonald's near a courthouse...AHA!
I respectfully submit that what you saw was not a telemarketer, but Lionel Hutz! You may remember him from such historic trials as the OJ Simpson jaywalking hearing and...
Please! Pray tell me where Joe D. Schmuck is going to get a rocket engine with enough boost to deliver several hundred kilos of high explosive material?
Ebay? Edmund Scientific? Estes? Bin Laden? Russian Mob (via Ebay, of course)? That guy who strapped JATO bottles to his Chevy: where'd he get them?
IIRC, cruise missiles are airbreathers: a small turbofan powers Tomahawk, smaller than what you'd find on a corporate jet like a Lear or Gulfstream.
Ramjets and pulse jets are pretty simple to build from scratch but need forward motion (catapult, air drop) in order to initiate the combustion cycle.
And don't give the line that he's gonna pack all of that boom into a cessna 182 and use it as a cruise missile...
An allusion to Mathias Rust?
It doesn't have to be "boom". It could be chemical or biological.
All this stuff about "attack microbots" and "God's eye views" makes for interesting reading on a rainy Sunday afternoon.
But the truth is that the USAF's fleet of B-52H strategic bombers is expected to soldier on until the year 2040. The last of these planes rolled off Boeing's assembly line in the early '60s. Already, they're older than most of the people who fly them, and they're supposed to outlive both the B-1 and B-2 bombers.
I'd take "Air Farce:2025" a bit more seriously if it weren't for those 80 year-old bombers my grandchildren might fly.
Radical New Jersey separatists downed another B-52, the third in four days. JLF spokesmen claimed credit and charged the USAF with illegal use of cluster microbot munitions, outlawed by the Harari Convention of 2016. President Sharpton issued a statement categorically denying the charge. The bomber was downed near Trenton, in the southern no-fly zone...
The amount of market clout day traders wield is insignificant compared to the huge institutional investors (mutuals, pension funds, etc.).
At worst, they add a miniscule amount of volatility in a market that has been historically screwed by programmed trading. I'm not sure this is a Bad Thing.
Concerts ARE money losers. The only exceptions are mega-hyper-stuporstars (Stones, Spears, N'Sync, etc.). For every band that makes money on a live show, 10 break even and 100 lose money. It's a common practice to form a corporation at the beginning of a tour and file for bankruptcy at the end, just to sheild the artist and management from creditors.
Insurance has become a HUGE expense since that Who concert in Cleveland back in the '80s.
That PA rig costs a buttload to lease. Roadies get very hungry. And thirsty.
Two words: duct tape.
Sleep in the van? Not recommended for anyone over 20. Wanna see a singer who spent the last month sleeping on a bass cabinet?
Oh, and those $35 t-shirts? The t-shirt guy keeps the profit from those. The artist is lucky to see 5 cents per shirt in licensing.
Anyway, live shows suck. It never sounds as good as the studio and people throw up on your shoes.
When the JenniCam site first went up, it was co-located at Xensei, my ISP for the last six years.
At first, while the site was still "free", Xensei's bandwidth was saturated by "Clicking Toms". Our 64K DS0 connection through Xensei slowed to about 300 bps. Painful.
Eventually, JenniCam went pay and moved to another co-lo, Xensei upgraded to T3, and everyone was happy. Except Jaffo, who took it all too seriously.
I'm not fond of the interface, either. I use an old copy of MoviePlayer (remember the "TVOD" creator type?). This does away with the swoopy interface and the nag screen, and exposes the "Pro" feature set.
McCarthy gave a speech to a local gathering in Wheeling, West Virginia in 1950 (which also plaigarized a speech Richard Nixon had given in Congress) which claimed that there were 205 Communists in the State Department. He even produced a piece of paper that he claimed was "the list".
When called before the Senate on 20 Feb. 1950, the number 205 had shrunk to 84. McCarthy presented a number of case files of these so-called Communists. It was clear that he was reading these dossiers for the first time: some of them contained evidence and testimony that actually cleared their subjects of Communist ties.
It would have ended on that embarassing note, but the North Koreans saw fit to invade South Korea that year.
The bitter end came in 1954: the Army-McCarthy hearings. Remember Cohn and Schein? Joe Welch? Fred Fisher? Pixies?
You have about as much a chance of rehabilitating Tailgunner Joe's cirrhotic memory as you'd have trying to get Father Coughlin canonized.
I've had a lot of fun messing around with UltraMaster's Juno-6. But speaking as someone who has owned a Juno-60 and a -106, it's not quite the same thing.
What made the Juno line sound so sweet was the onboard Roland stereo chorus. I guess you could patch a Chorus Echo or stomp box to the output of your sound card, but you'd be chorusing a lot of noise, too.
Which brings up another point: having a computer with a CRT in the middle of my studio sort of negates all of the work I've done shielding components and eliminating ground loops. The 60Hz hum through a guitar pickup is almost as annoying as having someone vacuum the studio during a vocal track (or someone singing during the vacuum cleaner solo).
If there's going to be noise on a track, I want it to be my noise, not a machine's.
But imagine if you could get EVERY RECORD EVER RECORDED, you could then get Richard Klein to advertise for the company!
Um, you mean Robert Klein, no?
IIRC, his comedy bit (from _Mind over Matter_, Buddha Records, 1973) predicted the advent of shovelware ("Yugoslavian (sic) language records...we send a dumptruck to your house!")
k., now digging up his copy of _Night of the Living Dregs_...
about 8 yrs ago, I remember a project on the dat-heads mailing list that was a hardware kit that would allow the user to control the SCMS settings. there were hundreds of kits sold, I believe. and it wasn't all that hard to build, either. in fact, for about $50, there was a kit in Japan that would strip SCMS nicely from the digital stream. and the pcb was only a few inches square - small enough to embed inside a dat machine, if you wanted to.
Hell, even DAT manufacturers were advocating the user circumventing SCMS.
There's a page in the manual for the Tascam DA-30 that instructs the user on how to deactivate the SCMS circuit (snip a jumper on the main circuit board with a wire cutter). For professional use only, of course.
Without the SCMS circuitry, the DAT deck could not be legally imported. And SCMS was the lesser of two evils, the alternative being a notch filter smack dab in the middle of the audio spectrum.
Ha! That reminds me of what Admiral Rickenbacker (father of the nuclear navy) used to say:
Teamwork is for horses.
The admiral's name was Hyman Rickover.
One of the many sea stories about him was the time he had dinner with an officer he was considering for a staff position.
When he saw the officer salt his food before tasting it, Rickover became incensed and dismissed the officer, rejecting him as "unsuitable" for his staff.
hmmm - schmo will go with the status quo.
but he doesn't have any better ideas to offer.:|
John, I'd love to take this to e-mail. I think your heart's in the right place, but that's not enough. ktakki@artcrime.com BTW.
You favor this top-down approach, breaking up the Majors. What do I want to see? A bottom-up approach to re-inventing this $12,000,000,000/year industry.
Robert Fripp had the right idea twenty years ago, with his concept of the "small, mobile, intelligent unit". That was his business model, fifteen years before home pages and.mp3.
Perhaps I don't have an alternative system in place. That shouldn't prohibit me from critiquing yours. And if I do criticise you, it's with refining your system, making it stronger, in mind. Don't confuse this with a defense of the "old order".
Seriously, bottom-up, not top-down. You won't get anywhere trying to break up multi-national corporations. Instead, find out what the artists want. What the artists need. If the Big 4.5's creative well dries up, you won't need to break them up.
k. --
"In spite of everything, I still believe that people
are really good at heart." - Anne Frank
if you read past the next line, you'd see the words:
in practice, many musicians (who play instruments) starve, while marketing bimbos (spice girls) thrive
You do your theory an injustice with this line of thought.
You may not like the Spice Girls, but there were millions of kids who did. They filled a niche, entertained their fans, and raked in the dough.
There will always be a market for Spice Girls, pulp romance novels, People magazine, Miracle Whip salad dressing, Wonder Bread, Michael Bolton, and Adam Sandler movies.
Not my tastes either, but you can't argue with success.
the point being made is that: a lot of people justify copyright (correctly or incorrectly) that it is an (imperfect) system for somehow getting money to the producers.
That's a secondary effect of copyright. Its primary intent is to protect the rights of the creator and thus make the act of creation worthwhile. All the rest is bizness.
iggy pop gets as much of the pie as is determined by the percentage of downloads of his music.
Another problem: this leaves artists who don't have a wired fan base out in the cold. This skews the numbers towards the young and affluent and away from older and minority populations. It's the same problem with voting exclusively over the internet.
Don't be so proud of this technological terror you're constructing.
the idea is precisely to chop current record companies into TWO independent functioning units. what is gained by this?
Nothing, except a legal shitstorm, lawsuits flying, lobbyists in body armor.
Never happen.
currently record companies do two functions:
i) PRODUCE -- sign, record, market, and feed musicians.
ii) DISTRIBUTE -- make money from marketing and selling products from the musicians they sign.
No. Record companies exist to enhance shareholder value. Britney enhances shareholder value. Momus does not. Which sucks, but what can you do?
since when and where was any commennt made
that didn't allow drummers in this?
Error in module SENSE_OF_HUMOR. Core dumped.
It seems like your PRODUCER/DISTRIBUTOR dichotomy already exists: well-known examples would include Prince's Paisley Park label, Madonna's Maverick, The Beatles' Apple, etc. And, yes: expansion of both creative control and artists' share were their motivation for forming these production companies.
In reality, they bled money because they couldn't take advantage of the economy of scale the major labels enjoy. Their promo and publicity people, having but one or two acts to flog to radio and press, couldn't compete with the majors when it came to getting face time with music directors and journalists.
Second, breaking up the majors makes this a non-starter. Much as I'd like to see the Big 4.5 slip slowly into the tarpits, only the DoJ has this sort of clout and the incoming AG makes this highly unlikely. Ashcroft's probably going to let M$ off the hook, even.
Finally, basing your pay scale on "downloads" alone is pretty weak. We already have Soundscan at the POS and automated logging for BMI/ASCAP/SECAM/etc., both of which are a lot less prone to hacking/padding/fraud.
k. --
"In spite of everything, I still believe that people
are really good at heart." - Anne Frank
What you (and most others on this post) don't seem to understand is that this is *already* how it works. The Backstreet boys share their revenue with Yanni, and Yanni shares his pitiful revenue with Britney Spears. Organizations such as ASCAP and BMI control distribution of royalties for music, whether you buy a CD or hear it on the radio or see a video on TV. Radio stations, clubs, MTV, etc.. all pay a blanket amount to ASCAP and BMI (both, regardless of whose music they play more of) and it is "fairly" distributed among the artists based on who is at the top of the charts this month.
Nope. Britney and the Backdoor Boys don't see a penny from BMI or ASCAP unless they have a writing credit. Mike Martin gets the performance royalties for these artists (as writer and producer for these two "acts").
If someone covers a Britney or Backdoor song (gag!), Mike Martin still gets the dosh.
What artists get are mechanical royalties, based on the number of shiny little discs sold (it was 37 1/2 cents/side IIRC), along with a percentage of sales from the record company.
Calling all Karma Whores: will someone please post the links for "Courtney Does the Math" and the Steve Albini rant that's based on?
k. --
"In spite of everything, I still believe that people
are really good at heart." - Anne Frank
Wrong. Copyright exists to ensure writers get paid. Contracts exist to ensure musicians get paid.
Don't conflate the idea (the song) with the expression of that idea (the recording or performance). Two different things.
In real terms, consider the following situations:
A solo acoustic singer/songwriter
A cellist specializing in baroque music
A hippie jam band that improvises each performance anew
An autocratic band leader, like Zappa, Sun Ra, or John Zorn
The bassist in the above band
A producer specializing in remixes (Jellybean Benitez)
Your one-size-fits-all approach does not do everyone justice.
- the physical distributors and merchandisers pay into the musician's pool that pays and feeds the musicians.
Does Iggy Pop (only 5'4") get the same amount as Meatloaf? That's communism!
- so all software is free - you get mindshare from it.
"Sorry, I can't pay rent this month. Here, have some of my mindshare."
- distributors pay back a percentage of sales back into the pool.
- so it comes back and feeds itelf (the most important part).
Why doesn't your "musicians association" (no drummers allowed, I take it) act as middleman and do its own P&D, using college radio and the Internet for marketing? Pressing and distribution are easy. Marketing is a bitch, especially with commercial radio, TV, and print locked up in a HOT WET 69 with the Big 4.5.
Hey, nice try though.
k. --
"In spite of everything, I still believe that people
are really good at heart." - Anne Frank
Slashdot Mirror
Hmmmm...let's see...payphone...McDonald's near a courthouse...AHA!
I respectfully submit that what you saw was not a telemarketer, but Lionel Hutz! You may remember him from such historic trials as the OJ Simpson jaywalking hearing and...
k.
Ebay? Edmund Scientific? Estes? Bin Laden? Russian Mob (via Ebay, of course)? That guy who strapped JATO bottles to his Chevy: where'd he get them?
IIRC, cruise missiles are airbreathers: a small turbofan powers Tomahawk, smaller than what you'd find on a corporate jet like a Lear or Gulfstream.
Ramjets and pulse jets are pretty simple to build from scratch but need forward motion (catapult, air drop) in order to initiate the combustion cycle.
An allusion to Mathias Rust?
It doesn't have to be "boom". It could be chemical or biological.
k.
"Play-stay-shun"
All this stuff about "attack microbots" and "God's eye views" makes for interesting reading on a rainy Sunday afternoon.
/bomber/b-52.htm
But the truth is that the USAF's fleet of B-52H strategic bombers is expected to soldier on until the year 2040. The last of these planes rolled off Boeing's assembly line in the early '60s. Already, they're older than most of the people who fly them, and they're supposed to outlive both the B-1 and B-2 bombers.
I'd take "Air Farce:2025" a bit more seriously if it weren't for those 80 year-old bombers my grandchildren might fly.
Radical New Jersey separatists downed another B-52, the third in four days. JLF spokesmen claimed credit and charged the USAF with illegal use of cluster microbot munitions, outlawed by the Harari Convention of 2016. President Sharpton issued a statement categorically denying the charge. The bomber was downed near Trenton, in the southern no-fly zone...
http://www.csd.uwo.ca/~ pettypi/elevon/baugher_us/b052i.html
http://www.fas.org/nuke/guide/usa
k.
Day Traders: We need to weed them out. Period.
The amount of market clout day traders wield is insignificant compared to the huge institutional investors (mutuals, pension funds, etc.).
At worst, they add a miniscule amount of volatility in a market that has been historically screwed by programmed trading. I'm not sure this is a Bad Thing.
k.
Concerts ARE money losers. The only exceptions are mega-hyper-stuporstars (Stones, Spears, N'Sync, etc.). For every band that makes money on a live show, 10 break even and 100 lose money. It's a common practice to form a corporation at the beginning of a tour and file for bankruptcy at the end, just to sheild the artist and management from creditors.
Insurance has become a HUGE expense since that Who concert in Cleveland back in the '80s.
That PA rig costs a buttload to lease. Roadies get very hungry. And thirsty.
Two words: duct tape.
Sleep in the van? Not recommended for anyone over 20. Wanna see a singer who spent the last month sleeping on a bass cabinet?
Oh, and those $35 t-shirts? The t-shirt guy keeps the profit from those. The artist is lucky to see 5 cents per shirt in licensing.
Anyway, live shows suck. It never sounds as good as the studio and people throw up on your shoes.
See you at the Enormodome.
k.
When the JenniCam site first went up, it was co-located at Xensei, my ISP for the last six years.
At first, while the site was still "free", Xensei's bandwidth was saturated by "Clicking Toms". Our 64K DS0 connection through Xensei slowed to about 300 bps. Painful.
Eventually, JenniCam went pay and moved to another co-lo, Xensei upgraded to T3, and everyone was happy. Except Jaffo, who took it all too seriously.
k.
I hang out in alt.religion.kibology on a regular basis, and I thought I had the acronym game down pat.
YHGMTPOARK. HTH. HAND, IYKWIM, AIKTYD.
k.
I'm not fond of the interface, either. I use an old copy of MoviePlayer (remember the "TVOD" creator type?). This does away with the swoopy interface and the nag screen, and exposes the "Pro" feature set.
k.
Read some history, Coward.
McCarthy gave a speech to a local gathering in Wheeling, West Virginia in 1950 (which also plaigarized a speech Richard Nixon had given in Congress) which claimed that there were 205 Communists in the State Department. He even produced a piece of paper that he claimed was "the list".
When called before the Senate on 20 Feb. 1950, the number 205 had shrunk to 84. McCarthy presented a number of case files of these so-called Communists. It was clear that he was reading these dossiers for the first time: some of them contained evidence and testimony that actually cleared their subjects of Communist ties.
It would have ended on that embarassing note, but the North Koreans saw fit to invade South Korea that year.
The bitter end came in 1954: the Army-McCarthy hearings. Remember Cohn and Schein? Joe Welch? Fred Fisher? Pixies?
You have about as much a chance of rehabilitating Tailgunner Joe's cirrhotic memory as you'd have trying to get Father Coughlin canonized.
k.
I've had a lot of fun messing around with UltraMaster's Juno-6. But speaking as someone who has owned a Juno-60 and a -106, it's not quite the same thing.
What made the Juno line sound so sweet was the onboard Roland stereo chorus. I guess you could patch a Chorus Echo or stomp box to the output of your sound card, but you'd be chorusing a lot of noise, too.
Which brings up another point: having a computer with a CRT in the middle of my studio sort of negates all of the work I've done shielding components and eliminating ground loops. The 60Hz hum through a guitar pickup is almost as annoying as having someone vacuum the studio during a vocal track (or someone singing during the vacuum cleaner solo).
If there's going to be noise on a track, I want it to be my noise, not a machine's.
k.
...right after an all new episode of Frasier, Thursday on NBC, MustSeeTV!
k.
If your definition of "ALL the hardware" is limited to the Intel x86 family your point is marginally valid.
Here's a poem for you:
It will not run an Alpha,
It will not light a Sparc.
It cannot work the Powerbook
I found in Central Park.
k.
True, but in practice there is a reward for being first to the marketplace with an idea, be it a song or an invention.
k.
"Night vision tiara sold separately."
k.
> I'm sorry to be clueless but what is WWJD?
What Would Jar-Jar Do?
"Meesa da resurrection an' da life."
k.
It sort of works but all I see are weird pictures of ants and melted pocket watches.
k.
Um, you mean Robert Klein, no?
IIRC, his comedy bit (from _Mind over Matter_, Buddha Records, 1973) predicted the advent of shovelware ("Yugoslavian (sic) language records...we send a dumptruck to your house!")
k., now digging up his copy of _Night of the Living Dregs_...
Hell, even DAT manufacturers were advocating the user circumventing SCMS.
There's a page in the manual for the Tascam DA-30 that instructs the user on how to deactivate the SCMS circuit (snip a jumper on the main circuit board with a wire cutter). For professional use only, of course.
Without the SCMS circuitry, the DAT deck could not be legally imported. And SCMS was the lesser of two evils, the alternative being a notch filter smack dab in the middle of the audio spectrum.
k.
Don't forget the Gap Gap: one billion Chinese, all wearing khakis and vests, lip-syncing songs from the '80s. *shiver*
Our only defense is to share the secret of Old Navy Performance Fleece with our old nemesis, Russia.
Everyone in Mao jackets.
k.
The admiral's name was Hyman Rickover.
One of the many sea stories about him was the time he had dinner with an officer he was considering for a staff position.
When he saw the officer salt his food before tasting it, Rickover became incensed and dismissed the officer, rejecting him as "unsuitable" for his staff.
Here endeth the lesson. See me after class.
k.
Thank you! You are a scholar and a gentleman!
k.
--
"In spite of everything, I still believe that people
are really good at heart." - Anne Frank
hmmm - schmo will go with the status quo.
but he doesn't have any better ideas to offer.
John, I'd love to take this to e-mail. I think your heart's in the right place, but that's not enough. ktakki@artcrime.com BTW.
You favor this top-down approach, breaking up the Majors. What do I want to see? A bottom-up approach to re-inventing this $12,000,000,000/year industry.
Robert Fripp had the right idea twenty years ago, with his concept of the "small, mobile, intelligent unit". That was his business model, fifteen years before home pages and
Perhaps I don't have an alternative system in place. That shouldn't prohibit me from critiquing yours. And if I do criticise you, it's with refining your system, making it stronger, in mind. Don't confuse this with a defense of the "old order".
Seriously, bottom-up, not top-down. You won't get anywhere trying to break up multi-national corporations. Instead, find out what the artists want. What the artists need. If the Big 4.5's creative well dries up, you won't need to break them up.
k.
--
"In spite of everything, I still believe that people
are really good at heart." - Anne Frank
in practice, many musicians (who play instruments) starve, while marketing bimbos (spice girls) thrive
You do your theory an injustice with this line of thought.
You may not like the Spice Girls, but there were millions of kids who did. They filled a niche, entertained their fans, and raked in the dough.
There will always be a market for Spice Girls, pulp romance novels, People magazine, Miracle Whip salad dressing, Wonder Bread, Michael Bolton, and Adam Sandler movies.
Not my tastes either, but you can't argue with success.
the point being made is that: a lot of people justify copyright (correctly or incorrectly) that it is an (imperfect) system for somehow getting money to the producers.
That's a secondary effect of copyright. Its primary intent is to protect the rights of the creator and thus make the act of creation worthwhile. All the rest is bizness.
iggy pop gets as much of the pie as is determined by the percentage of downloads of his music.
Another problem: this leaves artists who don't have a wired fan base out in the cold. This skews the numbers towards the young and affluent and away from older and minority populations. It's the same problem with voting exclusively over the internet.
Don't be so proud of this technological terror you're constructing.
the idea is precisely to chop current record companies into TWO independent functioning units. what is gained by this?
Nothing, except a legal shitstorm, lawsuits flying, lobbyists in body armor.
Never happen.
currently record companies do two functions:
i) PRODUCE -- sign, record, market, and feed musicians.
ii) DISTRIBUTE -- make money from marketing and selling products from the musicians they sign.
No. Record companies exist to enhance shareholder value. Britney enhances shareholder value. Momus does not. Which sucks, but what can you do?
since when and where was any commennt made
that didn't allow drummers in this?
It seems like your PRODUCER/DISTRIBUTOR dichotomy already exists: well-known examples would include Prince's Paisley Park label, Madonna's Maverick, The Beatles' Apple, etc. And, yes: expansion of both creative control and artists' share were their motivation for forming these production companies.
In reality, they bled money because they couldn't take advantage of the economy of scale the major labels enjoy. Their promo and publicity people, having but one or two acts to flog to radio and press, couldn't compete with the majors when it came to getting face time with music directors and journalists.
Second, breaking up the majors makes this a non-starter. Much as I'd like to see the Big 4.5 slip slowly into the tarpits, only the DoJ has this sort of clout and the incoming AG makes this highly unlikely. Ashcroft's probably going to let M$ off the hook, even.
Finally, basing your pay scale on "downloads" alone is pretty weak. We already have Soundscan at the POS and automated logging for BMI/ASCAP/SECAM/etc., both of which are a lot less prone to hacking/padding/fraud.
k.
--
"In spite of everything, I still believe that people
are really good at heart." - Anne Frank
Nope. Britney and the Backdoor Boys don't see a penny from BMI or ASCAP unless they have a writing credit. Mike Martin gets the performance royalties for these artists (as writer and producer for these two "acts").
If someone covers a Britney or Backdoor song (gag!), Mike Martin still gets the dosh.
What artists get are mechanical royalties, based on the number of shiny little discs sold (it was 37 1/2 cents/side IIRC), along with a percentage of sales from the record company.
Calling all Karma Whores: will someone please post the links for "Courtney Does the Math" and the Steve Albini rant that's based on?
k.
--
"In spite of everything, I still believe that people
are really good at heart." - Anne Frank
Wrong. Copyright exists to ensure writers get paid. Contracts exist to ensure musicians get paid.
Don't conflate the idea (the song) with the expression of that idea (the recording or performance). Two different things.
In real terms, consider the following situations:
Your one-size-fits-all approach does not do everyone justice.
- the physical distributors and merchandisers pay into the musician's pool that pays and feeds the musicians.
Does Iggy Pop (only 5'4") get the same amount as Meatloaf? That's communism!
- so all software is free - you get mindshare from it.
"Sorry, I can't pay rent this month. Here, have some of my mindshare."
- distributors pay back a percentage of sales back into the pool.
- so it comes back and feeds itelf (the most important part).
Why doesn't your "musicians association" (no drummers allowed, I take it) act as middleman and do its own P&D, using college radio and the Internet for marketing? Pressing and distribution are easy. Marketing is a bitch, especially with commercial radio, TV, and print locked up in a HOT WET 69 with the Big 4.5.
Hey, nice try though.
k.
--
"In spite of everything, I still believe that people
are really good at heart." - Anne Frank