Posts by Simon Grigg
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For better or worse, McGoohan will be remembered for The Prisoner. If you ever get to Wales (Ceregion, North Wales), do pay a visit to Portmerrion--a fascinating and odd place.
Indeed it is, I just found the hordes a bit off putting. I expected it to be fairly sparsely inhabited which I guess happens when you watch it as a child still thinking a part of what you see on the box is real. Incidently, when we first got it in NZ it was in black and white (and everyone..the adults that is...just thought it was odd. I don't think it was THAT widely watched here by anyone over 21 then), and I remember the first colour broadcast when it was repeated in, I think, the late 70s or early 80s, as having more impact.
I loved, still do, Danger Man, and bought a bunch of DVDs for a pittance at the Warehouse some years back. The odd thing about that was that many of the indoor scenes were filmed in an almost identical set, with just a few ornaments, the odd bit of furniture and a painting or two changed. And we didn't notice at the time.
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Ta Sacha, I guess I just have a year or two tucked away thinking about this stuff and I have a silly head for retaining pointless facts. But for all that, I think the creative industries have a brighter and more electric future ahead than at any in the past. The possibilities...
Oh, and Russell, I'm not offended by Rob. He's a very passionate sort of guy, and mostly in the right direction. It's all good.
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I'll be interested to see any use of the term "intellectual property" predating 1960, and the earliest common use appears to be around the establishment of WIPO in 1965. My view is that it's always been a deliberate attempt to obscure the nature of copyright in favour of large corporates.
Corporates have been a massive, indeed dominant, part of music copyright since, oh, about 1850 (just ask Stephen Foster's heirs). In the US and the UK the huge publishing houses utterly controlled the use, dissemination and remuneration from, written musical composition. Not sure how much more it could be obscured in their favour.
The same goes for master recordings, which have been dominated and controlled by the companies which have now mutated into the 4 majors, since the beginnings of recorded sound.
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I'll take you declining to address issues raised as conceding to the content within.
Take it anyway you want Rob, I'm out.
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behold that is a long post
Like I said Rob, I ain't going there. I could sit here for half an hour and pull it to pieces, there are so many flawed assumptions and misrepresentations, but I won't especially because you will then misread what I say and then power on with another bunch of flawed assumptions. Hell, half the stuff in that post lost it's relevance the best part of a decade ago.
You did, after all, a page or so back, off the advice that google could perhaps be substituted for a lawyer's advice when negotiating a deal and I'm still a little speechless after that.
Sorry.
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So you're judging the quality of an artist by its ability to generate start up cash, essentially their ability to have a day job, or to have friends with money they will loan to them.
No, from a business POV, from their drive. No drive..fuck off....
who said anything about major?
I said label, you're the one who's got this obsession with these big boys. you need some new friends to play with man, your last batch have scared and scarred you.Read the thread Rob, it was very clear what I was talking about pages ago. I give up. Again.
your hefty margin is heftily exaggerated.
No it is not. Rob, I've tried to explain the obvious but you go around in circles, misreading and taking all sorts of wild illogical swings. It's getting us nowhere and I have work to do. Sorry.
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So you're judging the quality of an artist by its ability to generate start up cash, essentially their ability to have a day job, or to have friends with money they will loan to them.
No, from a business POV, from their drive. No drive..fuck off....
who said anything about major?
I said label, you're the one who's got this obsession with these big boys. you need some new friends to play with man, your last batch have scared and scarred you.Read the thread Rob, it was very clear what I was talking about pages ago. I give up. Again.
your hefty margin is heftily exaggerated.
No it is not. Rob, I've tried to explain the obvious but you go around in circles, misreading and taking all sorts of wild illogical swings. It's getting us nowhere and I have work to do. Sorry.
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there's plenty written about this topic to deal with this yourself, a google search will give you a swag of things to be wary of. sure a lawyer would know better but there's no one forcing you to go with the evil in nyc any more, there are plenty of options, just find the one that suits, safe in the knowledge that in 95% of the cases you're not going to be much worse off than if you did every - friggin - thing - yourself.
I can't take you seriously Rob. Have you worked your way through a major label contract of recent? What exactly is 'the one that suits"? And do I use 'I have plenty of options' as a negotiating ploy with a major label that a) knows I haven't and b) doesn't really give a toss if I sign or not.
It may or may not sell but if it does, that 'you're not going to be much worse off than if you did every - friggin - thing - yourself.' is just nonsense by a very hefty margin.
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knowing a few of those people, the answer is the difference is marginal. factor into that equation the amount of time each band member/support crew put in of unpaid time and its much of a muchness. there are exceptions. but the financial benefits of do it yourself a greatly overrated, especially if you're in the 80% of the market section who don't make a great deal so there's fuck all to be ripped off.
I'm guessing then Rob, you need to fire off a few emails to indies and artists both here and around the world because that is increasingly the way it's being done.
And once again, if you are not the sort of artist who can't hustle their way into finding $5000 or $3000 or whatever it takes to have career beyond the pub, or finding an independent label to do it, then I'm not interested. Stick to weddings and your mates' parties.
so you see the 90% clause in your contract, are you igning it or you turning it around to be more favourable?
why are we afraid of these contracts if everyone's aware of em now and is in a position to negotiate them more favourable.You think hiring a lawyer to take on the we-don't-give-a-fuck-who-you-are international Business Affairs dept of a major label in NYC or London is cheaper and more cost effective than hiring Mark to promote your record? Seriously?
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You could do it yourself, but you're busy touring so let's put it in the hands of a specialist. You don't have to handover ownership of the lawn in order to get it mowed.
So actually, there's room for lots of Mark Kneebones to pop up and make a living facilitating other players.
Yep, absolutely. And that is the very point. More and more artists, or their switched on teams, worldwide, are doing just that. Or working in partnership with other entities to do that.
And you, if you are an NZ artist, have to make the judgement as to whether it's possible to do work that way offshore. Some acts say no, and give a massive chunk away but the face the reality further down the track that a small cut of a million ringtones less whatever you need to recoup out of your share (recording, half the promo costs, half the very expensive videos they tell you they need, huge tour support and all the rest) is about zip, or far less than everyone thinks you've earned.
Then they tell you they need a cut of your merchandising and tour income to cover their costs too, in one of those insane 360 deals in which a company which is fast losing power in the marketplace tells you they need more of your income to make it work.