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Willie's Off-Brand Web Journal: August 7-August 28, 2004

Sunday, August 22, 2004:

Jen's going to Korea for a year to teach, so while she's gone, I will be birdsitting Noví the Cockatiel, who is pictured here:

That picture is actually rather creepy if you cover Noví's eyes and pretend that her nostrils are eyes instead. It makes her look like a Jim Henson version of Tweeter from Super Mario Bros. 2. And also, Noví's name is pronounced "no-vee": she's named after the character Oldrich Novy from Dancer in the Dark, and I can't remember why Jen decided to spell it that way.

Here's the entry from my private journal about when Jen and I drove to Dearborn Heights in September of 2001 to buy the then-newborn Noví:

The breeder was an older woman named Gwen, who was probably in her late '50s. She had stringy, messy hair and told Jen that she had references "up the butt" when Jen asked if she'd been breeding birds long. I got to talk to Gwen's 3-year-old, ADHD granddaughter while Jen and Gwen talked about Noví. I'm not saying "ADHD" to make fun; she actually was.

The granddaughter's name was Lyndsey, and she greeted me by saying, "My face is a mess! I stink like poop! My feet are all sticky, too! Smell my feet!"

Lyndsey asked me if we were buying the baby bird, and I told her we were. "Oh, you're going to take the baby bird home to your little girl?" she asked.

"We don't have a little girl," I said.

"Oh, did she die?" Lyndsey asked, which I found unsettling. She then reassured me by telling me that she would buy us a new one.

Lyndsey heard me refer to Jen by name, so she pointed and asked, "Is that Jenny?"

"Yup, that's Jenny," I replied.

"Oh. I'm Lyndsey."

"I know," I said.

"Say my name!"

"You're Lyndsey."

"Know what? My hair is blond!"

"Yes it is."

"Do you have hair?"

"Yes, see?" I pointed to my hair.

"What kind of hair is it?"

"Brown."

"My hair is brown," she said.

"No, your hair is blond, remember?"

"Is that Jenny?" She pointed to Jen again.

"Yup, that's Jenny."

"I'm Lyndsey."

"I know. You told me already."

"What did you call me?"

"What?"

"Mommy says that Daddy called me a bad name. Do you have a tattoo?"

"No, I don't have any tattoos."

"I got a mosquito bite. Is that Jenny?"

"Yup, that's Jenny."

"I'm Lyndsey. Does Jenny have hair?"

I pointed to Jen's head. "Yup. See? There's her hair."

"I'll wrap you a present. Close your eyes."

I closed my eyes. When I opened them, she had draped a scrap piece of wrapping paper over a green colored pencil, but was told that I couldn't touch it. This went on for awhile. At one point, she told me that her dad was going to beat me up.

Gwen seemed perfectly nice, but her house made me nervous anyway. Luckily, Noví is a very sweet birdie.

Gwen also had an African gray parrot whose name was Goose. "My name is Goose," he said in a despondent voice that sounded like Eeyore's. Then he emitted a loud belch. I like birds.

CURRENT MUSIC: Vocal Studies + Uprock Narratives by Prefuse 73.
CURRENT MOOD:
Velveeta.
MY FAVORITE MOMENT FROM BRANDON'S SURPRISE GOING-AWAY PARTY LAST NIGHT:
Twila, this guy Phil, and I were snacking from a bag of Gummi Army Men, and Twila pulled out two of them that were stuck together. Phil immediately cried, "Oh no! It's Abu Ghraib all over again!" Hee!
TIME:
8:12 PM.

Doot?

Tuesday, August 17, 2004:

If anyone ever tells you that funnel cakes are easy to make, you are justified in calling shenanigans on them. I attempted to do so last night, and not only did I get batter all over the counter and floor because that stupid dough piping device really did behave like an actual funnel (as opposed to holding the batter in until I squeezed it like a tube of toothpaste, as I was expecting), but I burned myself with the hot oil and had to leave work early today because my stomach is still so pissed off at me for cramming it full of improperly made funnel cake.

It's just fried butter, eggs, salt, and sugar: I have no clue how it could've made me so sick, but it did. And continues to. I drank some ginger ale and ate an apple in the hopes of achieving some sort of digestive homeostasis, but nope.

Last time I try anything new.

CURRENT MOOD: Unbelievably stoked that Camper Van Beethoven just announced they have a new album coming out October 12. Especially cool since I was just talking about that possibility with Sharon this morning!
BEST PART OF WINGED MIGRATION:
Those awesome birds in Oregon that made that hilarious "Gloop!" sound by bouncing their chests up and down. What were those things?!
TIME:
2:27 PM.

Doot? | |

Saturday, August 14, 2004:

It's another post about music, but unless you want to hear about me wrecking my blender or napping way too much, music will have to do.

Today, I received two copies of the Future Soundtrack for America compilation that's being officially released by Barsuk Records, McSweeney's, MoveOn.org, and Music for America on Tuesday. (I received two advance copies because I donated $50 to MoveOn. I'm sending the extra one to Bev.) The mission statement on the back cover reads, "100% of our profits from this CD will go to non-profit progressive organizations working to involve more Americans in our political process, to advocate for ordinary people and traditional American values, and to help keep the United States a country all of us can be proud of. Thanks for your support." (And the front cover features a Chris Ware cartoon!)

Don't be frightened by the "traditional American values" bit, though. They're talking about the good, actual values like freedom of speech, freedom from oppression, etc. All the things the Bush administration has been doing its best to wipe out. Though only a plug for The Sierra Club in the liner notes specifically mentions Dubya in any way, the clear subtext of the compilation is that we need to oust Bush and now. (Think of it as a companion CD to the much-hyped and incredibly ballsy Vote for Change Tour, on which Bruce Springsteen, R.E.M., Pearl Jam, the Dixie Chicks, and others are performing for the same goal.)

I'm not going to give the album a proper review in the Music Review Archive because I think this is an instance where the cause is much more important than the music. Yeah, I support the ideas behind, say, No Alternative or the Tibetan Freedom Concert compilations, but not to a point where I felt compelled to really get involved with either organization (or buy the CDs at retail price). This is different. Personally, I encourage everyone to just donate their money directly to the MoveOn site and think of the CD as a delightful bonus, like the tote bag you get for donating to PBS, only you'll actually use this. There are a lot of people who are much more extroverted and gregarious than I am- people like Jim, for instance- who are actually getting out there and actively helping in the campaign to get Bush out of the White House. God bless those people, but if you're not up to doing that, you can at least help fund the effort this way, and if you have any money to spare, I hope you'll consider it.

However, I assume, as my friends, you'll want to know a little about the CD anyway. I loathe track-by-track reviews, but since I'm not going to be writing a real review at a later date, I thought I'd just give you my initial impressions of all the songs after spinning the album once.

1. OK Go: "This Will be Our Year" Listenable, and therefore a good four steps ahead of anything on OK Go's debut album. Rather than their usual sort of generic pop-punk crap, this is a laid-back, Elvis Costello-influenced boogie. Not particularly good, but not bad either.

2. David Byrne: "Ain't Got So Far to Go" A clear-eyed gospel-pop tune that's so charming in its sincerity that I can almost overlook the fact that it sounds like an outtake from True Stories. (Or, perhaps more specifically, like the opening to "Road to Nowhere" stretched out to full song length.) But then, I'm still struggling with his most recent solo album, Grown Backwards, so maybe this will grow on me too. Seems underwritten, though.

3. Jimmy Eat World: "Game of Pricks" (Live on the BBC) Surprisingly nice! It's a straightforward cover of a Guided by Voices song, and not only are we therefore spared JEW's (ooh- shouldn't abbreviate that, should I?) usual sort of generic pop-punk crap, but it does sound impressively like late-period GBV. I would, of course, be committing heresy to say that this version is better than the version on GBV's Alien Lanes, but it's definitely tighter and more energetic. So I'll say it's worthwhile.

4. Death Cab for Cutie: "This Temporary Life" The first essential song on this compilation. It's another slow-building epic like the title track from last year's Transatlanticism, but more melodic, with a better sense of dynamics as well. A wimp-pop gem.

5. Blink-182: "I Miss You" (James Guthrie mix) Making this collection three for three in its ability to force generic pop-punk bands to forgo their usual sort of generic pop-punk crap, this is a semi-gloomy, semi-new wavey thing that steals the bassline from Berlin's "Take My Breath Away" but is nevertheless tolerable. Or at least it's tolerable until halfway through, when their singer falls into his usual sarcastic whine that makes you want to slap those tattoos the hell off his body.

6. Mike Doughty: "Move On" I love Mike Doughty. Nearly every song he writes is a masterpiece, and this is no exception. I assume he was intentionally trying to write an anthem for the MoveOn organization, and anthemic it is, in his usual funk-small-rock way. (It's like a more spacious take on the Rockity Roll formula.) Lots of great, specific agit-pop lyrics, too. I burst into a huge, goofy grin at the point where he compares his love for America to his love for "an exasperating friend."

7. Ben Kweller: "Jerry Falwell Destroyed Earth" Shut up, Ben. No, I agree with you, Falwell's a douche, but shut up. Shut up, shut up, shut up. You annoy me in your pretty-boy straddling of the line between punk-pop and emo. At least this one is short.

8. Sleater-Kinney: "Off With Your Head" Typically great Sleater-Kinney song. It sounds like everyone in the group is battling for attention in the arrangement, but in a good way; lots of taut yet show-offy playing, which boosts this song from simply catchy to cracklingly addictive. (Addictive as crackle!) Even the drumming is creative! It's a good, pissed-off addition to this collection, which I think could've used more of this sort of disciplined roiling.

9. R.E.M.: "Final Straw" (MoveOn mix) As I recall, R.E.M. initially released this song through their website around the time Bush kicked off The Cakewalk of a War That Made Everything Better. I think it's going to be on their upcoming album too, and I don't know exactly how this version differs from the others, but it's a superb call to action at any rate. I mean, it's no "Ignoreland," but Michael Stipe still has the ability to bring tears to my eyes with his words and his singing. It's going to take a couple listens for me to get my head around the odd rhythm, I think, but I can already tell that I dig it.

10. Bright Eyes: "Going for the Gold" (live) This one may has well have been entitled "Final Straw" as well, because it snapped the last thread of my interest in Bright Eyes, I'm afraid. This is a useless, meandering live performance of what is actually one of the best songs Conor Oberst has written (the studio version is on Oh Holy Fools, a split EP with Son, Ambulance), and it was enough to finally push me out of the Bright Eyes camp. Why? Because the guy has written and recorded dozens of songs that haven't seen a proper release- some of which are quite good- but for all the sophomoric Bush-bashing that he's done for the past couple of years, he can't give this compilation something better? Is he really so arrogant that he thinks that a lugubrious, poorly recorded live track deserves any sort of release, let alone is a sufficient contribution to an album whose proceeds are going to a cause that he claims to champion? You know, I still think Fevers and Mirrors is an excellent album, and he's a very talented lyricist, but the sheer gall of releasing something like this is, to me, an indication that he either doesn't care enough about his fans who might buy this album because of his inclusion to toss them a decent cut, or he has such a ridiculously inflated image of his own talent that he thinks that every off-key gurgle that warbles from his throat is Pure Poetic Genius (PPG), and can stand next to fully realized studio recordings by artists like R.E.M. and Tom Waits (whom I'll get to in a bit). Unless someone is able to demonstrate to me, at some point in the future, that Conor has climbed back down out of his own ass, I'm done with Bright Eyes.

Yes, too bad for him, I know.

11. The Long Winters: "The Commander Thinks Aloud" (future mix) I like this one a lot! It's a messy, serpentine dirge of an indie-rock song- kind of like the itchy brother of the Death Cab song above- but it's got a great, weird melody. Are the Long Winters' albums any good? I saw them opening for the Pernice Brothers a few months back and didn't think much of them except that they seemed like cool guys, but if their studio stuff is this interesting, I may have to check it out.

12. will.i.am of The Black Eyed Peas: "Money" Yes, that's how he's credited. "of The Black Eyed Peas." I dunno. It's an anti-greed hip-hop song that just strikes me as the tiniest bit ironic, in a sideways way, considering that the Black Eyed Peas just accidentally destroyed $500,000 worth of their own gear. It's not actually ironic by a dictionary definition of "irony," I know, but you have to admit that it's a little like rain on your wedding day. Anyhow. To me, it sounds pretty much like any overproduced hip-hop song you'd hear in a club or on MTV, and it seems kind of out-of-place on this collection of indie-rockers and eccentrics, but it's well done for what it is.

13. They Might Be Giants: "Tippecanoe and Tyler Too" A natural follow-up to the thing from the Black Eyed Peas guy, this is an awesome rendition of one of William Henry Harrison's campaign songs from the 1840 presidential race. I have no idea whether they've retained the original tune (or how they would've heard it in the first place), but this is a wonderfully creepy performance. John Flansburgh sings to an ominous, marching beat with tasteful horn and autoharp samples popping up like spookhouse ghouls. Catchy, fun, and a billion times better than anything on their new album, The Spine, this is the TMBG we love.

14. Clem Snide: "The Ballad of David Icke" Eef Barzelay lets his twangy voice fly unaccompanied here, as he presents a disturbing narrative based on the writings of paranoid conspiracy lunatic David Icke. I can see what he was going for, and the brief tune is haunting in its way, but it still doesn't really work. The solo singing is a tough thing to pull off, and even though this is less annoying than, say, Tori Amos's "Me and a Gun," it really needs something else. Not a full, sunny Clem Snide country-fried pop arrangement, of course, but something subtle to dull the edges of Eef's voice. Even just a minimal, atmospheric backing like on "Victim" by the Golden Palominos. Maybe I should illegally remix this and add some sounds to it. Great lyrics, though.

15. Yeah Yeah Yeahs: "Date with the Night" (live) Another badly recorded live rendition of a song that is available in an excellent studio version. This one doesn't anger me like the Bright Eyes track does, because Karen O doesn't take herself nearly as seriously as Conor, but it's still a bit of a letdown. If it were recorded decently, this would've been something, because Karen is a great stage personality, and the band is electric live, but that's all muffled in the mix here. Shame.

16. Fountains of Wayne: "Everything's Ruined" (acoustic) I didn't even initially realize that this is a reworking of a ballad from their self-titled album. Even though the "acoustic" disclaimer implies a certain toned-down quality, this is actually a bit peppier than the tremolo-heavy wisp of a song that they'd previously released. I like it a bit better this way, but I'm not a huge fan of FoW's ballads to begin with (except "A Fine Day for a Parade," if that qualifies), so this still doesn't make much of an impression on me. Why won't they just do what I want them to do, and release supernaturally infectious power-pop songs all the time? If they can come up with a great throwaway like the Crank Yankers theme, why can't they put out more full-on brilliant rockers? Who do they think they are? Some sort of band who can just ignore what people tell them to do and sign to a small label and go on to greater success than they ever had when they were on a major? I'd like to see that!

17. Nada Surf: "Your Legs Grow" Meh. I've really had enough of the white-boy guitar-pop by this point in the album, and Nada Surf really doesn't do anything with this song to work against my ennui. It's pleasant enough. I'm sure it's ethically wrong of me to say that I liked their novelty hit "Popular" a lot better, but you know what? At least it was memorable. This is like eating a bowl of plain noodles. It's sustenance, but wouldn't be my first choice.

18. The Flaming Lips: "Yoshimi Battles the Pink Robots [Part I]" (Live at the BBC) There's nothing really wrong with this creaky, slow, piano-based reworking of "Yoshimi"- and it sounds as though Wayne Coyne starts to cry at one point toward the end, which is a bit of a revelation- but it doesn't blow me away or nothin'. It's interesting to hear what was once a bouncy, friendly celebration recast in a way that sounds rather mournful, but moreso from an academic perspective than a music fan perspective. I'm neutral on this one.

19. Old 97's: "Northern Line" Cripe, this is even duller than these guys' alt-country filler normally is.

20. Laura Cantrell: "Sam Stone" I like Laura's cover of John Prine's cynical country tune a lot better than the original. Nice bluegrass arrangement, more emotional singing, though still a great song about junkies. Laura's gentler touch brings out a bit of pathos in the song that really isn't there in Prine's version. I imagine TMBG's "The Guitar" will remain my favorite Laura Cantrell vocal performance until I'm deep in the cold, cold ground, because I am a slavish fanboy, but this is enough to convince me to think about picking up one of her albums. (Plus, Adrian Denning has mentioned her to me a few times, in glowing terms.)

21. Tom Waits: "Day After Tomorrow" I'm admittedly still in the early stages of my appreciation of Tom Waits, so I still like his weird-ass stuff like "Cemetary Polka" and "Goin' Out West" better than his ballads ("Grapefruit Moon" aside, which Ben accurately described to me as "a perfect lullaby"), but I can't imagine this endless, slurred piano tune gaining much luster no matter how much I grow to love his oeuvre. It's unquestionably heartfelt, but it goes on and on and on for... some indefinite amount of time, because I skipped to the next song once I realized that nothing new was going to happen, about four minutes in.

22. Elliott Smith: "A Distorted Reality is Now a Necessity to be Free" Probably the best song on this album, and definitely one of the best of Smith's career, this posthumously released song of disillusionment with the government contains all the elements of his songwriting when he was at the top of his game, both musically and lyrically. (Though I do wish someone would institute some sort of moratorium on rhyming luck with fuck, because it's way too easy.) I'm sure there will be those who pick this album up just to hear Elliott's first official release from beyond the grave, and those people won't be disappointed. When he starts harmonizing with himself, it's as heartbreaking as ever.

Well, that took me about ten times as long as writing a real review. Hope you monkeys found it useful. And like I said, even though it's not as sublime a listening experience as the roster suggests, if you think of it as your free reward for helping out an organization who's doing a lot of good in this country, it's worth every penny.

Also, Splendid did review my album this morning. They are not fans.

CURRENT MUSIC: 17 Essentials by Touch Me Zoo! 1992-1993. Seven Morris was kind enough to send me one of these homemade compilations of TMZ's early days, and I'm so happy to have a lot of these on CD now!
CURRENT MOOD:
Exhausted.
NUMBER OF MOVIES TO WATCH TOMORROW: Three. The Kid Stays in the Picture, Hell House, and Winged Migration. Must figure out a better rhythm of watching and returning movies with Netflix, so we don't get traffic jams like this in the future.
TIME:
9:56 PM.

Doot? | |

Friday, August 13, 2004:

I've been thinking a lot lately about something I mentioned in my previous post: how cool it would be to someday release a compilation album of some of my favorite songs that I think need more exposure. That notion is very attractive to me, because even though I know a mass-produced compilation isn't nearly as personal as a mix you make for a friend or loved one, there's very little that's more satisfying to me than buying a compilation because I know a few artists and then discovering a bunch of new favorites as a result. For instance, when I was in middle school, I got those 120 Minutes companion CDs that MTV released, solely because I was a fan of They Might Be Giants, and I wound up discovering XTC, Robyn Hitchcock, Camper Van Beethoven, etc. But even beyond that, I just love listening to lovingly assembled collections of disparate bands; albums like the Snatch soundtrack, Ladytron's Softcore Jukebox, or The Orb's entry in the Back to Mine series are great musical connect-the-dots puzzles, drawing from any number of sources to make a cohesive and interesting whole.

So my project for this evening was to assemble the tracklist for my pipe-dream mix, assuming that I had the funds and could get the legal clearances to release any songs I chose. It was much harder than I thought, for a few reasons:

I'm sure that I would want to fit as many songs as possible on the CD, because that's my general habit when I make mixes. Unless they're for Jess or Bev or Adrienne, for whom I make so many mixes that there'll assuredly be a new one on the way as soon as I give them whichever one I'm working on (so I'm not as concerned about disc space), I tend to steer clear even of lengthy masterpieces like "Six Days at the Bottom of the Ocean" by Explosions in the Sky, "Piso Mojado" by The Other Leading Brand, or "Willie the Pimp" by Frank Zappa. (Though I do intend to request that Paul Shaffer play the latter as I walk out for my first appearance on The Late Show.) Even though song length has no bearing on song quality, I generally wind up cutting the longest songs first when it comes down to making the tough choices. Tonight, for instance, as much as it hurt to get rid of Victor Krummenacher's brooding "Let's Think of Nothing Now," keeping it would have meant cutting at least two equally wonderful songs to make up for that five minutes and twenty seconds, and simple pragmatism says Victor's gotta go. Same goes for Sparklehorse's seven-minute cover of Pink Floyd's "Wish You Were Here."

Also, the final tracklist wound up being almost frustratingly un-eclectic. When I'm trying to cram all my favorites together in one 80-minute burst, it makes it harder to justify the inclusion of cool oddities like Shooby Taylor or songs from the Lagaan soundtrack. And since, generally, the only albums I own from a lot of genres are the iconic ones or at least fairly popular ones- as far as hip-hop goes, for example, I've got only Public Enemy, Ol' Dirty Bastard, The Northern State, the Beastie Boys, Jurassic 5, and Deltron 3030- those genres were given a miss. Frankly, a lot of my favorite bands just didn't make the cut because I reasoned that they're already too well-known. It's one thing to drop an underappreciated R.E.M. tune (say, "Disturbance At the Heron House") onto a mix for a friend, but if I'm going to be pushing this album out into stores, there are too many treasures by somewhat less popular bands to include a song that's readily available on an album that millions already own.

Ultimately, I would be happiest if I could release a series of these mixes, because then I could relax a bit and not feel such pressure to fit everything I want to share with the world onto one CD, and I could have more fun with it. It was teeth-gnashingly difficult to even pare the list down to the length of two discs, let alone one. So maybe that'll be my new goal: a mix series. But for now, as this project goes, here's the tracklist for the "definitive" Disclaimer mix album. Let's call it Affirmative Action for the Dromedary.

1. Of Montreal: "Jennifer Louise" (2:00)
2. Mike Doughty: "Looking at the World from the Bottom of a Well" (3:33)
3. Andrea Maxand: "When God Shuts the Door" (Angel Hat version) (2:52)
4. Ms. John Soda: "Go Check" (4:15)
5. Jim White: "The Wound That Never Heals" (4:23)
6. The Buggles: "I Love You (Miss Robot)" (4:59)
7. Fay Lovsky: "Alle Leidjes op de Radio" (3:38)
8. John Southworth: "It's Not the End of the World" (4:57)
9. Plaid: "Dang Spot" (3:57)
10. Mason Jennings: "Adrian" (2:59)
11. Spinvis: "Astronout" (4:15)
12. David Byrne: "The Red House" (3:17)
13. Rasputina: "Sign of the Zodiac" (3:49)
14. Joe Pernice: "Bum Leg" (4:26)
15. Trans Am: "I Want It All" (3:56)
16. Hem: "The Cuckoo" (2:59)
17. Split Enz: "Bold as Brass" (3:31)
18. Half-Handed Cloud: "The Body Binds Us" (0:41)
19. The Jazz Butcher: "Sixteen Years" (2:04)
20. Bad Religion: "Atomic Garden" (3:10)
21. To Rococo Rot: "Telema" (3:40)
22. Barbara Manning: "Here Comes Love" (2:50)
23. Thinking Fellers Union Local 282: "Noble Experiment" (3:31)

So that's my mix. Everyone else, tell me yours! If you were coming up with a disc full of songs that you think everyone needs to hear but may not have, what would you include?

I think I need to start the "Song of the Day" feature up again. I've accumulated enough songs that I want to tell everyone about, I think...

CURRENT MOOD: Sad.
CURRENT SOURCE OF TOTALLY OFFENSIVE HILARITY:
 Trey Parker and Matt Stone's "Princess" animations.
TIME: 6:45 PM.

Doot? | |

Saturday, August 7, 2004:

I need some advice.

I spent $430 on a quarter-page advertisement for my album in MAGNET. I did not sell one album as a result.

I then spent $500 for the placement of my song "Hell" on the CD sampler for the most recent issue of MAGNET. (The one with the guy from Queens of the Stone Age on the cover for some reason.) I did not sell one album as a result.

So what am I doing wrong? What else can I do? Would paying for more advertisements just be throwing good money after bad? Should I just eat the losses, lower the price of my album to five bucks each in an attempt to make back the cost of manufacture, and give up on the whole record label idea? Because I don't play live, it's impossible to get airplay unless you fellate Clear Channel executives (and George W. Bush, I might add), and no publication seems to be willing to even so much as review my album... not AMG, not CMJ, not even Splendid, apparently. So what the hell? Where do I go from here? I was counting on word-of-mouth sales, because all modesty aside, I know I've recorded a damn good album. I mean, it's no OK Computer or anything, but I think it's at least a B+ record. (Better than anything Wilco has ever done, definitely.) But apart from my friends telling some of their friends to buy copies- for which I am grateful to you all, by the way- I ain't sold crap. So what's the next step? Ideas?

It's not even that I want to make a ton of money off this venture. My hope was that I could earn just enough to be able to sign other artists who just record stuff in their homes but who will probably otherwise never be heard, like Joe Hinchcliffe. Or to be able to maybe make enough money to set up a rerelease campaign for a lot of semi-obscure masterpieces that I think need to come back into print, like Touch Me Zoo's catalogue or some of those great albums by The Jazz Butcher, or even Robyn Hitchcock (assuming they'd want to do business with me- that's just a bit of a pipe dream). Maybe release some fun compilation discs like Ladytron did with their Softcore Jukebox album... I theoretically wanted to strike a blow for good music in the marketplace. But The Airbag's Lipstick Kiss is a complete failure any way you look at it- even from an indie point of view. I think I've sold about 60 copies, mostly to friends and family. Which means I've still got 2,440 copies mouldering in my parents' basement.

I've made a huge mistake.

CURRENT MUSIC: The Airbag's Lipstick Kiss, trying to figure out what went wrong.
CURRENT MOOD:
Defeated. Utterly fucking defeated.
CURRENT SOURCE OF SELF-CONSCIOUSNESS:
I don't think I give very good backrubs.
TIME:
8:07 PM.

Doot? | |

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