Excellent point. Does anybody remember that Marboro in Germany used to
sponsor some early Mo' Wax compilations? I'm not a smoker or a fan of
cigarette companies but if their money helped get that record out and expose
me to those bands I'm grateful.
Dirk van den Heuvel (dirkv@groovedis.com)
Groove Distribution
http://www.groovedis.com
Your Guide To The Underground
-----Original Message-----
From: paul s. westney [mailto:pwestney@jhu.edu]
Sent: Thursday, April 27, 2000 10:53 AM
To: Steve Catanzaro; acid-jazz@ucsd.edu
Subject: Re: Musicians and Money.... Take 2
just a quick reply....about 4hero...i COMPLETELY think they wouldn't be able
to do what they do without talkin' loud, which isn't even a major effort.
do you SERIOUSLY think that those two men would be able to put out tens upon
tens of thousands of dollars for the TOP notch equipment and studio time?
please. they'd be working at mr. bongo, mingling with the rest of the music
hooligans in london. what differentiates them is their ability to apply
their talent to the FULLEST, which, in these expensive days, inevitably
takes record label support.
i'm ALL in favor of artistic license. i'm getting a grant to write about it
in jazz. but at the same time, we have to be real about certain points.
are you suggesting that 4hero (to extend the example) simply compose their
own works and leave them to the mercy of performers? that's a pretty
far-fetched view, my friend. it comes down to which you think is more of a
bastardization of the product -- *potential* record label interference
(which only really becomes an issue with the major conglomerates) or
post-composition interference. ah welll.....another endless argument...
p.
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