||Let's get rich and famous by following The Manual
| br>I originally posted this on the Something Awful music sub a few years ago. I think the time has come to try it again and to try it here.
Are you tired of having your genius go unrecognized? Tired of being denied all the best ultra-sex, generous advances and Super Bowl half time gigs? Tired of not getting to jam with Gary Glitter? O.k., maybe not the last one.
It’s a well known fact that the best way out of the kind of strife that ART generates is to turn your back on ART and sell the fuck out. Fortunately, the genius of the Timelords, AKA The Jams, AKA that Scottish dude with a weird voice and that guitarist from Brilliant, AKA the KLF, is eternally codified in a manual describing, in detail, how to do exactly that.
I am, of course, talking about The Manual:
Much of The Manual was written with a self awareness of its own rapidly approaching obsolescence. All the sections regarding the actual mechanics of recording and number one single and much of the stuff about marketing and distributing said number one single don’t really apply anymore. What is eternally applicable, however, is being willfully bland and blatantly ripping off market tested, established conventions.
You are free to get yourself a copy of The Manual and read through it. It’s short and enjoyable. If your are extremely lazy I will now go over the more salient bits.
First, stake out your quarry. Do some wiki questing and review the what songs have hit the top of the chart in your country. Tastes will be slightly different depending on region and it will be interesting to see how manufactured pop hits vary depending on the culture behind them. One thing to keep in mind, though it wasn’t mentioned anywhere in The Manual, when the Timelords made their most awesome hit single Doctorin’ the Tardis it was 1987. They sampled Gary Glitter’s Rock and Roll part 2 (hey, he was a glam icon before he was a child molester, alright), Sweet’s Blockbuster and Delia Derbyshire’s version of the Doctor Who theme. The first two sampled songs were CHART TOPPING singles released in the early-mid ‘70s and the later is...I dunno, pretty damned iconic and totally recognizable even if it never did tear up the charts. The linking factor here is that you should be getting your inspiration from, or outright ripping off, songs that were in the top of the charts about 15 years ago. My reasoning being, and something I think the Timelords were, at least, liminaly aware of, is that the people who make the real decisions about your ultimate grandiose success are of an age when the last time they cared about hit songs was, roughly, on average, 15 years ago. So you are setting a hook specifically designed to target the sentimentality of the powers that will make you a super star rather than targeting the eventual end user. As Eric Barbour is fond of saying “What ever you’re into when you first start masturbating will be what you’re into for the rest of your life.”
So go, pick out a few chart toppers that you can tolerate and prepare yourself to rip them the fuck off.
Second, the most important acts of plagiarism. The first two things you need to secure from your selection of chart toppers in order to make your chart topper are a catchy rhythm and a catchy bass line. We’ll discuss production techniques later, but in this climate of draconian enforcement of constantly changing copyright laws, it is probably going to be better if you sequence your own version of the drum beat, same with the bass line. Don’t worry, this isn’t hard and requires minimal musicianship (at least for the drum beat). Just load up what ever you’re going to be using for a sequencer, figure out the absolute rudimentary basics of how to use it as a step or “grid” sequencer, pick a drum sample set (you should not have too much trouble finding a free one, if you’re using any kind of hardware or software groove box style sequencer then most of this work is already done for you). Now set up a loop of the drum beat you want to rip off, play it in the background while you figure out the pattern and the tempo with your sequencer. You should have it down in 10 minutes or so. Congratulations, you now have a super catchy, danceable beat for your song without any real threat of litigation or royalty sharing.
You will also, as foundational stuff for your number one single, need a killer bass line. Bass lines are usually pretty simple things, but they’re still harder to rip off than drum beats. You may have to bite the bullet, sample one and tweak the tempo to match your drum beat. Remember, at all times, that a bass line should be simple and catchy. If you think Paul McCartney is a good bassist to emulate, you are wrong. The best bass line is the bass line from Taana Gardner’s Heartbeat.
Ini Kamoze, whoever wrote his tracks, at least, knew this. He sampled it on Here Comes the Hotstepper and, sure enough, that song hit number one. In fact, reading the wikipedia entry, one might even think Ini had read the manual.
If you have a bit of musicality going on then figuring out how to sequence a copy of a bass line requires pretty much the line of instructions as copying a drum beat. The differences are that you will dealing with pitches instead of just various sounds of things being pounded. You will also be fitting the bass line you are trying to copy onto the drum pattern you’ve selected. This may make things easier or it may make them harder. Finally, you will want to subtly alter the bass line so as to avoid litigation and sharing of royalties. How much subtle altering is required to create a work that stands up in the courts as original? There is no clear answer. Let’s hope that unless you are a jazz type who knows what inversions and transpositions and other hoity toity nonsense means that the Vanilla Ice defense will carry you though. Under Pressure, incidentally, also has a fine bass line to sample.
We have now reached a juncture were listening to the provided audio demonstration may prove useful. It is linked at the bottom of the post. The observant listener will notice that the drum beat used in the song (in all parts except the chorus) is pretty much straight from Madonna’s Music. It is catchy, simple and easy to program. In case of litigation it is also pretty much demonstrably an uncopywritable thing. The bass line, which continues through the entire song as per the Timelord’s fine instructions, carries through the entire song with only brief breaks to transition to the chorus. It was my five minute attempt to duplicate the bass line from Heartbeat. As I’m basically tone deaf and an untalented hack it didn’t come out sounding much like the original, but it did come out sounding pleasingly like the kind of thing one would hear on an old Michael Jackson track, which is perfectly acceptable.
Musically all your would-be number one single is missing now are a few hooks. Go back to your collection of hit singles and start taking apart the leads and harmonies that appeal to you. The only hard and fast rule I can think to add here is that you will want a string section sound in the background, all good pop songs have one.
Now would probably be a good time to look at the mechanics of putting together the music for your hit single.
The Timelord’s first bit of advice is that if you play an instrument, you should toss it out. Note that this is somewhat contradicted by their statement that when booking studio time the first thing you must ask is that the studio provide a programmer for you. What are we to make of this contradiction? On my interpretation is comes down to this. If you consider yourself a musician then you probably play guitar, or, worse, a more traditional band instrument such as the tuba. Pop charts have been, since the late ‘70s, mostly dominated by the sound of synthesizers. During most of the intervening periods of fadlyness guitar songs, and to an even greater degree, tuba songs, have not been the kind of songs that dominate the charts. I would, then, like to modify the Timelord’s sage advice: if you play any instrument other than synthesizers, toss them out. Else, as you were. If you have a collection of synthesizers and samplers, an almost unavoidable situation with modern computing platforms then you really should save yourself the time and money and learn to use them, thus alleviating the necessity of hiring an additional programmer.
As far as studio time, let me just quote The Manual:
“It's obvious that in a very short space of time the Japanese will have
delivered the technology and then brought the price of it down so that
you can do the whole thing at home. Then you will be able to sod off
all that crap about going into studios.”
A very short space of time has passed, the Timelord’s were, of course, completely correct (except that it’s hard to attribute the advance of the home computer to the Japanese). A modest home computer with a decent ASIO compatible soundcard and a small compliment of software will deliver basically all the niceties of a recording studio, including the Timelord valued automated mixing console, except the talents of people who know what the fuck they are doing, quality microphones and soundproofing. You may, of course, be well into home recording and subsequently in possession of some fine microphones. You may also, of course, be well into kidnaping, torture and mutilation and subsequently in possession of a soundproofed room.
You have a computer, you don’t -really- need to book any studio time. A decision must still be made, though. Basically, there are three avenues avaliable to you. If you are a “real” musician and probably playing guitar, or tuba, in a “real” band then....awww fuck it, you’re a lost cause. Go on, keep playing your music in 15/23rd time and showering together. As long as it makes you happy, just don’t expect to be reaching the top of the charts anytime soon. For everyone else, there are two options remaining. You can learn to patch and play synthesizers, how to wrangle samplers and learn how to use a midi sequencer and keep all your royalties in your own grubby paws, where they belong. Alternately, you can lift some samples from albums and get good at syncing them up and splicing them together using a looping program such as Acid or Fruity Loops. Both approaches require a certain amount of skill. I’d imagine that the latter has an easier learning curve, but it will still require some practice to actually get decent at. The advantage of the former is that, again, you will be keeping all, or, at least, more of your royalties and, more importantly, you will start down a path of synth geekdom. Eventually your bedroom will be lined, wall to wall, with sexy, black 19 inch rack units contrasted with colorful patch cables and hypnotically blinking lights. You will be the object of desire for all the girls in town, but you will have no time for them because you will have realized that a woman’s love is fickle, but synth is forever (at least until the RAM battery leaks on the main board). Suffice to say, you no longer need the assistance of a real studio to produce your number one hit, your dank mancave (or womancave) and your computer should be adequate. If you are willing to spend a little time learning, you also don’t need anyone to help you arrange or write your music.
There are two more important topics to cover under what The Timelord’s have dubbed “The Golden Rules”. They relate to tempo and structure. If you have a copy of The Manual, you should definitely read that section.
Let’s start with tempo. Simply put, Rock ‘n’ Roll Should Never Be Too Fast. Your ideal tempo range is probably going to be somewhere between 100 and 120 bpm. I tend to like faster music, you probably do too, like punk or metal or techno, but the pop charts do not. Slower melodies are easier to hum, easier to sing over and easier to get stuck in your target audience’s heads. If you are doing a rap-type thing, or a soulful balllad-type thing then you will want an even lower tempo, somewhere between 90-100 bmp. Don’t go lower or your will be entering the dangerous territory of folk and spirituals, far too prone to protest and blackness for our current purposes.
Also on the subject of time, your hit single should be no longer than 3 minutes 30 seconds. Otherwise it will fuck with radio playlists and the gnat-like attention span of your audience.
Finally, the structure of your song. It should go
double length chorus
Ideally, the verse should flow into the chorus and the chorus should flow back into the verse. The breakdown is where you stick the “color” such as Flava Flav doing a guest rap, or a strip down to just the drum beat while a searing saxophone solo plays. It should not be too long, nor should it distract from the verse and chorus which are the meat of the song. The intro should be self explanatory, just purview the intros to other pop hits to see how it’s done. I tried to rip off Welcome to the Jungle. Again, I failed, but it sorta worked out anyway. The outro is basically just something to play while you gradually lower the faders.
Returning to my demonstration track you can see how badly I failed to adhere to The Manual here. The song is too long. Due to the length of the verse I had to skip the breakdown (and, most sadly, my rapping in a fake Eastern European accent) and the outro is incorporated into the double length chorus. Perhaps worst of all, there isn’t much in the way of hummable melody during the verse.
Where I have failed, though, may you succeed.
I will return in a few days to cover the subject of lyrics and vocals. I will also introduce you to DEBBIE, your ideal target audience. Meanwhile, it took me about two evenings to throw together my demonstration track. I trust there will be other examples from you brave wigglers. Remember, as you are slaving away behind your sequencer, that there is an army of groupies, an endless supply of fame and money waiting -just for you- as soon as you follow The Manual. br> br>
| br>i can't find an engineer to do all the work, so i'm out br> br>
| br>121 views and 1 reply. I think most here would rather make bloopity bleep music than get rich and famous. br> br>
| br>The music business has changed completely since that was written.More than ever, it's a way to lose money not make it. br> br>
| br>surely the one single interesting point of the manual that most people werent aware of before it came out was the existence of pluggers and the somewhat corrupt world of paying to get your record playlisted?
now that most pop music seems to br driven by youtube views not radio play i suspect even that has altered in significance now... br> br>
| br>Anyone who makes music who doesn't read The Manual is doing themselves a disservice.
btw I sell a t-shirt with a quote from the last paragraph of the book on it. read the book and find out why i'm in the crosshairs!
| br>The main issue with getting rich with pop music is that I can't sing, nor do I know anyone that really can. Pop needs vocals like peanut butter needs peanuts.
|PhineasFreak wrote: |
now that most pop music seems to br driven by youtube views not radio play i suspect even that has altered in significance now...
Yes, instead you drop money on websites that run bots that generate fake traffic and comments on your YouTube videos. br> br>
|Blingley wrote: |
|The main issue with getting rich with pop music is that I can't sing, nor do I know anyone that really can. Pop needs vocals like peanut butter needs peanuts.
While this is true, and a good portent for the second installment of the series, Kei$ha is proof that, while vocals are necessary, vocal talent is not. br> br>
| br>Alright, you’ve got your killer pop track recorded. If we were making “music” an instrumental would be enough. The cool kids could listen to it while they sip their microbrewed beers, nodding their heads while thinking themselves to be better than everyone else, how much they hate their parents and remarking such things as “Wow, that augmented triad sounds hella tight over that polyrhythmic beat.” But you are not making “music”, you are making pop music. Lyrics and vocals are important, indeed, they are essential.
The reason being DEBBIE.
Who is DEBBIE?
Frank Zappa knew of DEBBIE
DEBBIE is a dull, dumb, barely pubescent middle American girl. Whitebread would be an appropriate term were it customary to soak whitebread in bleach and vanilla and then serve it with a slathering of stupid sauce. This may vary depending on your country of residence, but in the good ol’ U.S. of A. DEBBIE is THE target demographic of pop music. She is, with the advent of digital distribution and the growing realization that commercial music is fucking garbage, increasingly the only person still dumb enough to buy pop music. DEBBIE needs lyrics. She will never be smart enough to play an instrument, or understand jazz, but she can pretend to sing along.
The Timelords didn’t have much to say about lyrics. They said three things, the last of which is most important.
Firstly, they said you need a chorus, something mindless and repeatable. In Doctorin’ the Tardis the chorus consisted of “Dr. WHHHHHHOOOOOOOO, The TAAARDIIIISS, Dr. WHHHHHHHOOOOO.” Yes, it is simple, mindless and repeatable, but Doctorin’ the Tardis is considered a “novelty” hit. It is not considered a novelty hit because it is a silly song with lyrics about Dr. Who, it is a novelty hit because its fanbase consists of nerds and soccer hooligans. It is a boys song, the chorus could have consisted of “Headshot.....WOOOOOOOOO, Snipin’ a spawn camper WOOOOOO” or “ARSENAL ARSENAL ARSENAL” and it would have worked just as well. While this may fly for a “novelty” hit in the U.K. producers of American pop must sacrifice on the alter of DEBBIE.
The next statement of lyrical content offered by The Timelords was an actual snippet of unused lyrics
“ ‘Live in lover I want you to be
My live in lover for eternity’
Either use it for yourselves or we will go and blow what last vestiges
of credibility we have and do it ourselves. We can see it now: we'd
call the act "Sharon Meets the KLF" and of course the b-side would
have to be "Sharon Joins The JAMS". If there are any good looking
Sharons out there that want to be pop stars please don't hesitate to
Lastly, The Timelords recognize and give praise to the songwriting team of Stock, Aitken and Waterman. Rick Astley, before being rickrolled became a thing, sang
“Never gonna give you up
Never gonna let you down
Never gonna run around and desert you
Never gonna make you cry
Never gonna say goodbye
Never gonna tell a lie and hurt you”
These are powerful and important words. These are the words every DEBBIE wants to hear. They are the penultimate pop lyrics (the ultimate pop lyrics would be these, only sung by someone who was more attractive than Rick Astley).
Never having been a 12 y/o girl growing up in a middle class, midwestern home, I must admit that my knowledge of the DEBBIE psyche is limited. I will share with you what I know and show you how to use that knowledge to leverage your lyrics like a crowbar against DEBBIE’S heart and her father’s wallet.
First, back to The Timelords’ advice. Lyrics should be about universal, joyous experiences and emotions. Something everyone has felt or done and something which everyone enjoyed. We can safely limit the everyone to everyDEBBIE. After all, not everyone has had the pleasure of watching Tom Baker defeat a Dalek menace using nothing but his scarf and cleverness.
Lyrics should, ideally, also be sexy, but sexy in a very Disney, radio friendly PG sort of way. Quoting Frank Zappa (again)
“Unfortunately, some people have a peculiar attitude towards things of a glandular nature connected with things of a musical nature and they say "Well, music is so high - it's HERE, and glands are WAY DOWN THERE, and we can't really get 'em together." And then they're hypocritical because then they turn around and a group that comes in and doesn't sing overtly about those things but couches their language a little bit and then does it with a little choreography, they think that's great and that's real rock and roll and I maintain there's no difference.”
Sadly, there is a difference and the difference is in dollar signs. Clearly, if you sing a song to DEBBIE about a lesbian breaking a guy’s shaming rod and that turning him gay and you go on to sing about his future career in radio promo and his interest in golden showers, the DEBBIE’s response will either be one of “Ewwwwwwwwwwwwwww” or, more likely “What?” But if you sing her “Let’s spend the night together, now I need you more than ever”, or some homoerotic ode about your love for David Bowie and ass shaking and dancing, she will swoon. She will say “That’s great, that’s real rock ‘n’ roll.”
So what do we know about DEBBIE? Studies have revealed that the most popular activities for DEBBIE are, in no particular order:
Thinking about BOYS
Talking about BOYS (just what exactly is thought or said remains a mystery except for one specific example given later)
Hating and being afraid of math and science
Thinking about makeup, hair and clothes
Pretending to dance
Pretending to sing
Performing lewd acts with a squiggly pen while daydreaming about marrying Justin Timberlake
When you go to write your lyrics, these are the topics they must be about though, uh, probably avoid mentioning the squiggly pen if possible, it’ll just create embarrassment for everyone.
We know DEBBIE is dumb, not just a garden variety of dumb, but a sort of achingly bland and simple sort of dumb. If TV news is written for an audience with a 7th grade reading level then your pop lyrics must be written for an audience with a first grade reading level. Avoid big words and avoid words about complex or difficult ideas. Actually, avoid words period, whenever you can. Grunts, “Yeah”s, “Oh”s and other semilinguistic and nonlinguistic utterings are a great way to add sexiness to your vocals while maintaining their socially acceptable, church approved PG veneer.
Avoid controversy, avoid issues, “Issues make people angry”. Stick to dancing, algebra, boys and their cars that go boom and DEBBIE’S favorite pop music topic, love.
DEBBIES and LOVE. Much as sex in the pop song needs to be a strangely euphemized, pasteurized and sanitized affair, so too must love in the pop song be handled with a pair of sterile latex gloves. Every DEBBIE wants to fall in love, hence the genius of the Rick Astley Song. But the DEBBIE notion of love is one distant and alien to any kind of adult mind. It is not the workaday, dull grind love of arguing the minutiae of finances, differences in taste and hatred of inlaws. It is not the painful consequence and sinking guilt love of pregnancy and STD scares, visits from police and trips to emergency rooms. Nor is it the painful consequence and deep existential guilt love of wondering if you’ve trapped an innocent person or otherwise unwittingly, though perhaps a bit selfishly, destroyed someone else’s chances for contentment for the sake of your own. It is not even the small and justifying love of sharing treasured memories together, of being understood and accepted, or of having someone to take care of you and look out for you when you inevitably lose your mind, your health, or both. You know, the poignant yet comforting kind of watching each other grow old and die love. Such thoughts have never crossed DEBBIE’s mind. Indeed, few thoughts have crossed DEBBIE’s mind.
Nope, DEBBIE love is the kind of love that only exists in the limited imaginations of dumb girls. An absurd seed sown by pop songs, nurtured by awful movies and, blessedly, eventually crushed by reality. Let me, let me share with you a vision of DEBBIE love so that you can better understand it.
There is DEBBIE at a school dance. An ugly, stupid, boring and hopelessly ordinary girl. She has braces and acne. She has no class, no style and, despite her comfortable middle class background, she is deeply impoverished in all but a very superficial financial sense.
There is Justin Timberlake. He is sparkling faintly under the colored lights. He has arrived at the dance in a Maserati limousine. He is the quarterback for the school’s football team. He is surrounded by girls who are, by all accounts, better than DEBBIE in every way. But he sees her, DEBBIE, standing against the wall. Their eyes meet and, at that minute and forever after, he knows she is the only girl he will ever love. He approaches her, he takes her hand and gently guides her to the dance floor. He removes his shirt and begins to sweat a mixture of (legally) intoxicating pheromones and baby oil. The spotlights all focus on him and a troupe of backup dancers forms behind him. He dances, in a highly choreographed way, charged with a completely chaste sexuality (hey, it’s DEBBIE’s fantasy, I don’t think she even knows what a contradiction is). He dances his heart out, he is DANCING JUST FOR HER. A microphone flies into his hand and he sings a song of love, pure, innocent and eternal. He SINGS IT JUST FOR HER. When the song is over, he approaches her slowly and places a gentle kiss on her slightly mustached lips. Then he transforms into a magical Pegasus and beckons DEBBIE to climb onto his back. Together they fly to a magical tower made entirely of glitter and Sanrio character shaped stones. After they alight Justin returns to his human form. They walk hand in hand to a moonlit window, their movements traced by the eyes of the Sanrio bricks. There they hold hands and kiss (with their mouths closed) eventually the stork brings them a retarded baby and this goes on forever, until the end of time.
As a pop musician, this is the perfect, beautiful dream you must sell to DEBBIE. Or you could write songs about dancing and boys with cars that go boom. It’s up to you.
There is another tool to help you in dominating the hearts of DEBBIES. A deep inculcation in pop media combined with the hypnotic drugs secretly mixed into diet soda has created an MK ULTRA like conditioning within the DEBBIE. They will respond automatically to certain words and phrases. “Love”, “gonna get my nails done”, “Ohh, he is so fine”, “forever”, and “papaya” being among them. Other trigger phrases can be found by looking for frequent recurrences within pop lyrics.
Marketing to DEBBIE is a challenging topic. “But Sizone” I hear you say “Exploiting the naive, budding sexuality and fragile emotional states of pubescent girls in order to further my musical career feels gross and wrong.” To which I can only reply “Umm.. o.k., that indicates you are a human with some sense of ethics, do it anyway.” Here’s the thing, you really only have to do it once. Then take your fame and money and cocaine and go raise sheep in New Zealand. Also, worse people than you do worse things everyday in the name of pop music. That doesn’t make it o.k., but it does make it socially acceptable. Really, what will probably trouble you more than your conscience is your intellect when you force it to apply itself to the craft of saccharine music and asinine lyrics.
Here is the sample set of lyrics I have written. Reviewing this should help inspire you for writing to DEBBIE, in content, vocabulary and in the sprinkling of DEBBIE preprogrammed key phrases.
Middle of winter
Waiting on a letter
The sun’s going down and I’m loosing hope
When the postman brings me an envelope
The letter’s from you
It has your scent
You’ll never know how much it meant
I hold your words up to my chest
Your love makes me feel so blessed
I want to write back, if I may
I love you more than words can say
It’s so cold wish you were holding me
Back in your arms like I used to be
This much I know
When I get you back
I’m never going to let you go
Unopened box from Frederic’s
Half eaten box of chocolates
I pick up the pen and then I start
I’ll send you a love letter straight from my heart
I’m almost finished when the phone starts to ring
I’m thinking about the joy you’ll bring
I hear your voice, I almost cry
You tell me you won’t be home tonight
It’s almost midnight when there’s a knock at my door
So surprised, it’s the boy I adore
He brought me flowers and he looks so fine
A Valentines kiss just in time
This much I know
When I get you back
I’m never going to let you go
I’ll leave you to do your own analysis, but let me point out that while most of the lyrics are kind of a bummer, the song does have a happy ending. This build up and anticipation is an advanced DEBBIE manipulation technique, as is the slightly adult, and kind of trashy, mystery of
Frederic’s of Hollywood (of course balanced by the childlike innocence of Valentines day chocolates). You don’t have to trouble yourself with it for now. You may also be wondering why the arcane device of letter writing is a recurring theme. The answer to this is simple. Grandmothers, who were once DEBBIES themselves, often buy DEBBIES pop albums as gifts. What Grandma, browsing through the music aisles at Walmart could possibly resist an album sleave featuring an attractive, sensibly attired young lady posting a letter. “Awww, no one writes letters anymore, they all use those intranets nowadays.” She would say. And, tell me, which is going into DEBBIE’s stocking for Christmas, that or some album with a trollop -not- posting a letter on the cover? The truly observant will also have noticed a Blue Velvet reference in the second to last verse. This is -exactly- the kind of subversion, idea usage and sarcastic attitude that will keep one a mere DEVO instead of reaching the lofty heights of being a, say, a-ha or Kajagoogoo.
And with that I leave the fate of this forum to the rest of you. Please post your wonderful pop compositions. Post your wonderful pop lyrics. br> br>
| br>Something Awful! I haven't heard that name in years!!!!
tenbux br> br>
| br>Sizone for president. br> br>
| br>tl;dr getting featured by DJ Khaled or Kayne works best for me $$$ br> br>
| br>I've always felt a bit left out in life, like, everyone seems to have a copy of the manual apart from me, like, everyone knows something I don't, like, everyone seems to know where they are going and what's going on, except me. br> br>
| br>I enjoyed reading Bill Drummond's other books a lot, but the KLF's foray into art was no success.
Note the KLF reference to the Justified Ancients of MuMu, a deeply subversive reference if ever there was one.
Is this piece meant to be an example of abject failure to follow the rules?
Hail Eris br> br>
| br>wow ya can pick it up for £50 br> br>
|suitandtieguy wrote: |
|Anyone who makes music who doesn't read The Manual is doing themselves a disservice. |
Might be a good idea except the search I found on Amazon sells a paperback for $335 !!
I would think a sane person would buy an STG module before throwing down for that book. br> br>
|leeski wrote: |
|wow ya can pick it up for £50 |
Where? Joke? UK only? br> br>
|kindredlost wrote: |
|leeski wrote: |
|wow ya can pick it up for £50 |
Where? Joke? UK only?
Picture file br> br>
| br>Great! Thanks. For that price I could buy the book, make my number-one-hit and recoup my money in a few years, all the while basking in the glow of DEBBIE's adoration. br> br>
| br>It's -easily- available in .pdf and .html. The Kopyright Liberation Front isn't going to come after you for pirating a copy. br> br>
|sizone wrote: |
|It's -easily- available in .pdf and .html. The Kopyright Liberation Front isn't going to come after you for pirating a copy. |
And you won't want your money back if you don't get the 'Number 1' to boot. br> br>
| br>Never pay a dime for the KLF's art. It's what they would want. br> br>
| br>TLDR. I prefer the generic droney bleep bleep shit
it's genuine or something br> br>
|MouseGarden wrote: |
|Wonderful avatar, it's the only picture that makes me cry every time I go and see it.
I'm already rich, but unfortunately not universaly famous, only on Muff's, and I don't even do bloopity bleep music, well, not all the time anyway.
Correction, I'm not rich, my modular has made sure of that. I have lots of modules, but still shop at the reduced counter in Sainsbury's, and make sure I don't use too much loo roll, and turn the lights of when I'm not in the room. br> br>
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