[b]TOTAL COLLECTED: $95.48
AVERAGE COLLECTED: $19.08[/b]
[quote]I've listened to your music and have greatly enjoyed it over the past couple years. I look forward to hearing more from you soon. I'm sure its going to inspire you to create some damn good music out of this fiasco. Keep up the good work. moontrains ($10.00)[/quote]
[quote]To further the Intergalactic circulation of CMC's music, here's my $10 spot. sogax ($10.00)[/quote]
Come on people give until it hurts
If you are one of the other 3 who have given, please send a little blurb so we can post it.
Thanks in advance...Flo
Thursday, March 16, 2006
Tuesday, March 14, 2006
CMC Fund: The 1999 MP3.com Rolling Stone AD Fiasco Revisited
CMCFund PayPal E-mail Address
I was just asked by a good friend for some help ($$).
More on that later.
In late 1998 I was hanging out at the old MP3.com Message Board when they were indie before their IPO and before they soldout to Vivendi, chatting with some pretty brilliant artists who spanned the globe. At this time there were less than 1000 pioneering artists utilizing digital distribution through the 'net. More on them later.
I had an idea to place a full page ad in Rolling Stone for one of the artists that I couldn't understand wasn't signed to a large label. His name is The Crack Emcee (www.myspace.com/thecrackemcee).
I called the President/CEO of MP3.com at the time and convinced him that I could raise enough support from the less than 1000 pioneering artists that were using his site to promote their indie music to pay for 50% of the Rolling Stone bill.
He told me that he would pay the other half.
I got to work. In less than 1 week we had over $6,000.00 in support from the indie artists and were on our way to placing the ad.
At that point people started to question why The Crack Emcee deserved to be the only artist featured in the ad and over the next several days the entire 'project' fell apart. The President/CEO of MP3.com's ADD didn't help too much either - haha.
Anyway back to my friend's request.
I don't have the amount he needs so I thought I would reach out to every music community out there to see if we could put together a similiar project not to promote his music but to save him from losing his apartment, his instruments and his recording equipment because his wife left him while taking all of their savings in the process.
He's really in a tight spot and this is the time where all good inie artists should come to the aid of their fellow indie artists.
If you were there back in 1998 and feel the same regret of not seeing that Rolling Stone AD to the end, here is your chance to do something about it.
CMCFund PayPal E-mail Address
I'm sure he would appreciate if you can give whatever you can to this effort. If donating is out of the question, please contact me at the same e-mail address and let me know how you can help. Anything you can do will be appreciated.
Karma is a blast you all.
Sincerely,
Flo
52media.com
I was just asked by a good friend for some help ($$).
More on that later.
In late 1998 I was hanging out at the old MP3.com Message Board when they were indie before their IPO and before they soldout to Vivendi, chatting with some pretty brilliant artists who spanned the globe. At this time there were less than 1000 pioneering artists utilizing digital distribution through the 'net. More on them later.
I had an idea to place a full page ad in Rolling Stone for one of the artists that I couldn't understand wasn't signed to a large label. His name is The Crack Emcee (www.myspace.com/thecrackemcee).
I called the President/CEO of MP3.com at the time and convinced him that I could raise enough support from the less than 1000 pioneering artists that were using his site to promote their indie music to pay for 50% of the Rolling Stone bill.
He told me that he would pay the other half.
I got to work. In less than 1 week we had over $6,000.00 in support from the indie artists and were on our way to placing the ad.
At that point people started to question why The Crack Emcee deserved to be the only artist featured in the ad and over the next several days the entire 'project' fell apart. The President/CEO of MP3.com's ADD didn't help too much either - haha.
Anyway back to my friend's request.
I don't have the amount he needs so I thought I would reach out to every music community out there to see if we could put together a similiar project not to promote his music but to save him from losing his apartment, his instruments and his recording equipment because his wife left him while taking all of their savings in the process.
He's really in a tight spot and this is the time where all good inie artists should come to the aid of their fellow indie artists.
If you were there back in 1998 and feel the same regret of not seeing that Rolling Stone AD to the end, here is your chance to do something about it.
CMCFund PayPal E-mail Address
I'm sure he would appreciate if you can give whatever you can to this effort. If donating is out of the question, please contact me at the same e-mail address and let me know how you can help. Anything you can do will be appreciated.
Karma is a blast you all.
Sincerely,
Flo
52media.com
Tuesday, March 07, 2006
A creative use of Digital Distribution
Multimedia & Death Cab Fans - CLICK HERE
I just found out that Death Cab is releasing 12 videos for each song off the band's major label debut "PLANS." Every song off of Plans will be shot by a different director and released one by one through [b]Digital Distribution[/b] over the next several months on their website.
This project gives a lot of merit to their decision to sign with a major label in the first place, um...budget, as well as show how digital distribution is increasing the the channels artists have to promote their records ....Flo
--------------------------------
Multimedia & Death Cab Fans - CLICK HERE
I just found out that Death Cab is releasing 12 videos for each song off the band's major label debut "PLANS." Every song off of Plans will be shot by a different director and released one by one through [b]Digital Distribution[/b] over the next several months on their website.
This project gives a lot of merit to their decision to sign with a major label in the first place, um...budget, as well as show how digital distribution is increasing the the channels artists have to promote their records ....Flo
--------------------------------
The unprecedented collection came about as the brainchild of otaku-house, the production company owned and run by childhood friends Nick Harmer, bassist for Death Cab for Cutie, and video director Aaron Stewart-Ahn. They saw the opportunity to enlist a variety of talented young artists to each make a short film set to a Death Cab song, without the constraints of the traditional music video -- no arbitrary performance footage, the band themselves would not appear in the films. Though the budgets would be small, there would be no creative limits placed upon the filmmakers' imaginations. The ultimate goal was to create a series of small films that worked together as both individual pieces of art and as a unified whole.
Stewart-Ahn and the band compiled a list of directors, including superstars, up-and-coming new talents, and even a graphic novelist who had never had his work animated before. "We named the project 'DIRECTIONS,'" says Stewart-Ahn, "because it's a pun on 'PLANS,' obviously, but ultimately because we feel this project is about unique directorial visions more than anything else. We wanted to create a situation where that would be the emphasis, and I feel the list of directors alone proves that."
Among the filmmakers contributing to "DIRECTIONS" are Lance Bangs, famed for his work alongside Spike Jonze, as well as his videos for such artists as R.E.M. and Green Day; P.R. Brown, who has directed videos for Billy Corgan, Matisyahu and Motley Crue; Ace Norton, a stop-frame animation maestro; acclaimed graphic novelist Jeffrey Brown ("Clumsy"); the Cincinnati-based motion design collective, Lightborne; longtime Death Cab photographer Autumn de Wilde; writer/director Rob Schrab, the mind behind the legendary never-aired Jack Black pilot, "Heat Vision and Jack," and co-founder of the Channel 101 website; acclaimed music video directors Laurent Briet and Monkmus, as well as Stewart-Ahn himself, following up his critically hailed video debut, the Decemberists' "16 Military Wives."
"Each interpretation is phenomenal and our hats go off to everyone involved," says Death Cab's Ben Gibbard. "It's our hope that this project serves as a model to both labels and bands as a way to grant the directors the type and amount of freedom we've enjoyed in the creation of the music itself."
"We have truly been blessed to have met so many creative and energetic artists over the years of being a band," says Harmer. "It just seemed so appropriate to build a project that so many artists that we admire could be a part of and it's so inspiring to stand back and watch them work."
"It's thrilling to have so many enthusiastic artists involved," comments guitarist Chris Walla, "and better still that they're such a varied bunch: Some are heroes; some are exceptionally talented friends; some are brilliant people none of us had heard of. I don't know of any projects quite like this one, and it's a testament to Atlantic's commitment to our artistic vision (and partial lunacy) that they've gotten behind us completely to ensure that it happens."
"They're all so good," concludes drummer Jason McGerr. "The first rough cut I saw blew my expectations out of the water. To read about someone else's interpretation of your song simply isn't enough. To be given an opportunity to see it through their eyes is astonishing."
Multimedia & Death Cab Fans - CLICK HERE
Monday, March 06, 2006
MTV2 of all places turned us on to this throw back to 70's hard rock, wolfmother from down under. For some reason their use of fuzzy guitars, organs and passionate tenor vocals just hit the sweet spot this weekend. Enjoy. We did..Flo
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http://www.wolfmother.com People unite for the Wolfies have returned from the canyons of L.A with a fusion of freaked out jamming, delicate melodies and gallant rock riffage that shall be known collectively as Wolfmother. Myles Heskett, Chris Ross and Andrew Stockdale are the key holders to the future of all things Wolf . Together they write all their songs while contributing drums, bass/keyboards and guitar/vocals respectively. In their lives before Wolfmother, Myles worked in graphics, Chris in things digital and Andrew was a photographer so they all shared a passion for creative expression. After years of jamming in anonymity they finally stepped out in public during early 2004, playing shows and signing to Modular Recordings. Later that year the trio released an independent EP that caused ink to be spilled and fans to be won. Then after 6 months of nonstop Australian and overseas touring it was time to start creating a vast album with a deceptively simple title. Their partner in this conception was producer D. Sardy; catalyst for the likes of Dandy Warhols, Oasis, Autolux, Jet and Helmet. Chris, Andrew and Myles decamped to L.A. in May, 2005 and rented an abandoned Hollywood recording studio called Cherokee for their rehearsal space. In its heyday Cherokee hosted sessions like Pink Floyd's "The Wall" but most of its equipment has since been sold or stolen. Even so, from this barren place came lush things as freeform jams evolved into fully formed songs. The themes of the album also took shape in the City Of Angels; a city that thrives on chaos presenting many lyrical possibilities to Andrew Stockdale. The complexities of living in the metropolis also helped shape the escapist imagery of Wolfmother... simple philosophies for complex times. After six weeks of focused creativity at Cherokee - and many fish tacos - the band finally began recording at legendary studio, Sound City. As a result 'Wolfmother' was incubated in the same room as albums like 'Nevermind' and 'Rumours'. After just two weeks in that cavernous space the band had captured the inspired live performances which would form the backbone of their debut album. They then spent another month elsewhere in L.A. adding the little touches that help make 'Wolfmother' such a sprawling beast. And in their downtime they became Champions of every pinball machine in the valley. Throughout this process Myles, Andrew and Chris remained committed to retaining the raw, emotive punch of their live performances. Everything was directed toward capturing "the perfect feeling" rather than "faultless performance". The result is a record on which reckless abandon and glorious imperfections underpin the most evocative moments. As their studio time came to an end the band filmed some videos in the same patch of California desert which featured in the original Star Trek before venturing forth for more live shows. The New York Times gushed about their gig downtown and the NME said kind words about their UK trip. Then they came home to hear "Minds Eye" on the radio ushering in the forthcoming Wolfmother album. The disc comes wrapped in some fine art by illustration icon Frank Frazetta. The images are timeless and impossible to ignore - like the music itself - and it all lands in Australia on October 30. At that time Wolfmother will embark on a month long Australian tour. It will be followed by December appearances at the Homebake, Rockit, Meredith and Falls Festivals. 2006 will see the band taking their music to people around the rest of their world. Please experience Wolfmother [link=http://www.wolfmother.com/2005.html]http://www.wolfmother.com/2005.html[/link]
-------------------------------------------------------------
http://www.wolfmother.com People unite for the Wolfies have returned from the canyons of L.A with a fusion of freaked out jamming, delicate melodies and gallant rock riffage that shall be known collectively as Wolfmother. Myles Heskett, Chris Ross and Andrew Stockdale are the key holders to the future of all things Wolf . Together they write all their songs while contributing drums, bass/keyboards and guitar/vocals respectively. In their lives before Wolfmother, Myles worked in graphics, Chris in things digital and Andrew was a photographer so they all shared a passion for creative expression. After years of jamming in anonymity they finally stepped out in public during early 2004, playing shows and signing to Modular Recordings. Later that year the trio released an independent EP that caused ink to be spilled and fans to be won. Then after 6 months of nonstop Australian and overseas touring it was time to start creating a vast album with a deceptively simple title. Their partner in this conception was producer D. Sardy; catalyst for the likes of Dandy Warhols, Oasis, Autolux, Jet and Helmet. Chris, Andrew and Myles decamped to L.A. in May, 2005 and rented an abandoned Hollywood recording studio called Cherokee for their rehearsal space. In its heyday Cherokee hosted sessions like Pink Floyd's "The Wall" but most of its equipment has since been sold or stolen. Even so, from this barren place came lush things as freeform jams evolved into fully formed songs. The themes of the album also took shape in the City Of Angels; a city that thrives on chaos presenting many lyrical possibilities to Andrew Stockdale. The complexities of living in the metropolis also helped shape the escapist imagery of Wolfmother... simple philosophies for complex times. After six weeks of focused creativity at Cherokee - and many fish tacos - the band finally began recording at legendary studio, Sound City. As a result 'Wolfmother' was incubated in the same room as albums like 'Nevermind' and 'Rumours'. After just two weeks in that cavernous space the band had captured the inspired live performances which would form the backbone of their debut album. They then spent another month elsewhere in L.A. adding the little touches that help make 'Wolfmother' such a sprawling beast. And in their downtime they became Champions of every pinball machine in the valley. Throughout this process Myles, Andrew and Chris remained committed to retaining the raw, emotive punch of their live performances. Everything was directed toward capturing "the perfect feeling" rather than "faultless performance". The result is a record on which reckless abandon and glorious imperfections underpin the most evocative moments. As their studio time came to an end the band filmed some videos in the same patch of California desert which featured in the original Star Trek before venturing forth for more live shows. The New York Times gushed about their gig downtown and the NME said kind words about their UK trip. Then they came home to hear "Minds Eye" on the radio ushering in the forthcoming Wolfmother album. The disc comes wrapped in some fine art by illustration icon Frank Frazetta. The images are timeless and impossible to ignore - like the music itself - and it all lands in Australia on October 30. At that time Wolfmother will embark on a month long Australian tour. It will be followed by December appearances at the Homebake, Rockit, Meredith and Falls Festivals. 2006 will see the band taking their music to people around the rest of their world. Please experience Wolfmother [link=http://www.wolfmother.com/2005.html]http://www.wolfmother.com/2005.html[/link]
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