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Re: (idm) re:skam 01

6 messages · 5 participants · spans 1 day · search this subject
1998-03-26 15:27pj dorsey (idm) re:skam 01
1998-03-26 18:51m.z. Re: (idm) re:skam 01
1998-03-26 19:09Steve /k/./F/ Re: (idm) re:skam 01
1998-03-26 19:18Steve /k/./F/ Re: (idm) re:skam 01
1998-03-26 19:49Adam J Weitzman Re: (idm) re:skam 01
└─ 1998-03-26 20:36spacecake Re: (idm) re:skam 01
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1998-03-26 15:27pj dorseyi just wanted to add my 2 cents on this skam 01(lego feet) pricing conversation. even thou
From:
pj dorsey
To:
Date:
Thu, 26 Mar 1998 11:27:44 -0400
Subject:
(idm) re:skam 01
permalink · <351A73F0.7668@earthlink.net>
i just wanted to add my 2 cents on this skam 01(lego feet) pricing conversation. even though common sense says that $150- or $300- is a completely sick an twisted amount to pay for a record, i tend to agree that given the current climate, $300- is about the right amount. age has nothing to do wiith how much a record is worth, nor does amount pressed. the only thing that matters is how frequently they hit the marketplace, and how great demand is. if you think $300- is absurd, you should see some of the prices that older psychedelic and progressive can get! i collect that stuff myself, and although i am perfectly content buying reissues or getting tapes, many people need to have the genuine artefact. it is a collecting disease some people are afflicted with. i have seen psych records go for as much as $2500- before. i myself(in one extremely rare instance) paid $500- for a record. nurse with wound, current 93, whitehouse, tg, coil, and many other early industrial artists regularly have records go for up over the $300- mark. i sold the first nurse record for $300- to then have a british dealer take the copy i sold him and resell to japan for $550-! get used to it, because in a few more months, the amount of people who are interested in idm will balloon even more, and competition will get fierce. unfortunately the road ahead might well be paved with dollar signs it really bares thinking about why the music isnt enough and why having the "genuine" article matters so much to people. i think that the music is all that matters myself pj -- pj>the exalted grand puba of mail order modern music 1018 north charles st, baltimore, md. 21201 fon: 410.625 9390 fax: 410.625 9359 http://www.modernmusic.com DO YOU GET OUR WEEKLY NEW RELEASE LIST? IF NOT, PLEASE SEND MAIL REQUESTING IT.
1998-03-26 18:51m.z.m stands for music not for money Steve /k/./F/ wrote: > pj dorsey wrote: > > > i myself(in
From:
m.z.
To:
Intelligent Dance Music Mailing List
Date:
Thu, 26 Mar 1998 19:51:11 +0100
Subject:
Re: (idm) re:skam 01
permalink · <351AA39E.950B4B13@rz.fhtw-berlin.de>
m stands for music not for money Steve /k/./F/ wrote:
quoted 15 lines pj dorsey wrote:> pj dorsey wrote: > > > i myself(in one extremely rare instance) paid $500- for a record. > > & > > > it really bares thinking about why the music isnt enough and why > > having the > > "genuine" article matters so much to people. i think that the music is > > all that > > matters myself > > well youve managed to type 2 completely contradicting statements here. > > Steve
1998-03-26 19:09Steve /k/./F/pj dorsey wrote: > i myself(in one extremely rare instance) paid $500- for a record. & > i
From:
Steve /k/./F/
To:
Cc:
Date:
Thu, 26 Mar 1998 19:09:18 +0000
Subject:
Re: (idm) re:skam 01
permalink · <351AA7DD.B93E044D@virgin.net>
pj dorsey wrote:
quoted 1 line i myself(in one extremely rare instance) paid $500- for a record.> i myself(in one extremely rare instance) paid $500- for a record.
&
quoted 5 lines it really bares thinking about why the music isnt enough and why> it really bares thinking about why the music isnt enough and why > having the > "genuine" article matters so much to people. i think that the music is > all that > matters myself
well youve managed to type 2 completely contradicting statements here. Steve
1998-03-26 19:18Steve /k/./F/> m stands for music not for money intelligent dance market....
From:
Steve /k/./F/
To:
m.z.
Cc:
Intelligent Dance Music Mailing List
Date:
Thu, 26 Mar 1998 19:18:44 +0000
Subject:
Re: (idm) re:skam 01
permalink · <351AAA13.1EA1C8C4@virgin.net>
quoted 1 line m stands for music not for money> m stands for music not for money
intelligent dance market....
1998-03-26 19:49Adam J WeitzmanReally, all it is is the collector's mentality. There are many things which are collected,
From:
Adam J Weitzman
To:
IDM Mailing List
Date:
Thu, 26 Mar 1998 14:49:04 -0500
Subject:
Re: (idm) re:skam 01
permalink · <351AB12F.92FDD1D@newsedge.com>
Really, all it is is the collector's mentality. There are many things which are collected, and with that there is demand, and the demand is most often for the original artifact. Take Beanie Babies, for example. There are "original" Beanie Babies that are "worth" thousands of dollars, yet these same Beanie Babies are often "reissued," the only difference being the color of the tag attached to said Beanie Baby. The reissued ones are "worth" seven bucks or thereabouts. I think that hard-to-find music spawns a collector's mentality in many of its followers because the artifacts in question are often very limited by their nature (small label + unusual music = not very many pressings). There are many reasons why we often want the originals as opposed to recordings. Maybe you don't trust the person making the recording to record it exactly the way you would. Maybe you want the artwork to go with it. Maybe you want to have the feeling of being one of the few people on this planet who owns such an artifact that so many people want to hear. Maybe you want to think you are cool. I don't know. I've been collecting music for over a decade now, and I've only paid ridiculous money for two or three things in my collection that I can think of. And I'm always happy to have recordings of things (and make recordings of things for other people), but if I can get a decent deal on an original, I'll buy it and use the recording media for something else. If I knew someone that owned Lego Feet, I might ask them to record it in exchange for a recording of something they don't have. But I don't know anyone who owns it, so I may very well never hear it. And I don't really like the idea of paying someone for a recording, because then that person is making money off the music rather than the artifact, which doesn't seem fair for some twisted reason I can't quite put into words (probably something to do with the fact that they didn't make it). Why do I collect music? Mostly because I want to be able to listen to lots of different stuff, and the best way to do that is to own the music. The other half of it, for me, is that the original artifact is a representation of what the artist really wanted to produce, ie, it's closer to the source. Why that's important to me, I don't know, but it is. It makes as much sense as any reason to collect anything else. Which is to say that in some way, the whole idea of collecting is nonsensical to begin with. But primarily, I just want to hear the music. -- Adam J Weitzman, NewsEdge Corp. --- http://www.newsedge.com -- "It appears that, after years of stalling, this nation really and truly will have meaningful campaign-finance reform, just as soon as we establish a viable trout farm on Jupiter." - Dave Barry
1998-03-26 20:36spacecakeAt 02:49 PM 3/26/98 -0500, you wrote: >I think that hard-to-find music spawns a collector'
From:
spacecake
To:
Date:
Thu, 26 Mar 1998 15:36:43 -0500
Subject:
Re: (idm) re:skam 01
Reply to:
Re: (idm) re:skam 01
permalink · <3.0.5.32.19980326153643.007ca210@mail.iname.com>
At 02:49 PM 3/26/98 -0500, you wrote:
quoted 4 lines I think that hard-to-find music spawns a collector's mentality in many>I think that hard-to-find music spawns a collector's mentality in many >of its followers because the artifacts in question are often very >limited by their nature (small label + unusual music = not very many >pressings)
my strategy for up and coming labels: press a few hunderd copies of your first release... but sell only half to the public in the beginning. wait till it rises in value, then sell the other half at outrageous prices...(preferably through a fence) or be more naughty and: once your first release becomes sought after, repress it in large quantities, and sell it thru a fence as the original... (but do it quickly before anyone catches on) (note: these strategies only work if people like your music!) this could be you:
quoted 1 line skam01 x 1000@ $150 = 150,000!!! (wooo hooo!)<<<>>>>skam01 x 1000@ $150 = 150,000!!! (wooo hooo!)<<<
:spacecake: PS: funkstroung cds stuck in customs... that's why the delay.