Whatever your seedlimit is, make sure u pass your downloads on. Don't leave people stuck while you're being happy with what u wanted. Or leave one seeder alone seeding to lots of peers. It happens u get something low profile and it takes days, or weeks b4 u can leave it to new seeders. But u don't have to let your computer run 24/7, people have to be patient ;-) .
Or apply for various subscribtions
read about it Here
She has a Cash Site where she releases every month (in theory) a new demo song, download for free as mp3, flac and stems, for u to play with (her RW-page with various contributions). This way she released in '07/'08 the Speedbath demo's. This year she started with a new series
Further free music:
Wiki Spaces * Musings
Internet Archive: Kristin * Throwing Muses * 50 Foot Wave
Don't forget that all those free releases are distributed using a Creative Commons by-nc-sa license. Put simply, you are encouraged to share, remix, or adapt it in any non-commercial work as long as you attribute Kristin Hersh as the original creator and allow others to use your work under the same conditions. http://creativecommons.org/About
Sent by remulac1 2 hours ago
kristin hersh cash music
Thanks so much for your post. I followed the links, downloaded and contributed. This is the way it should be. /remulac[/quote]
2003 Live in Burbank
2004 50 Foot Wave aka Bug
2005 Golden Ocean
2005 Free Music!
*Somebody To Love (from Souveniers: Modern Covers of the Classics)
Clara Bow * Pneuma * Sally Is A Girl * Your Ghost (m4a)
All mp3/high vbr, perfect quality
This is the neat and small mp3/high vbr version of the discography u can get at their Cash Music homepage (& some xtra stuff u don't get from there: vidz, lyrics, pics, all perfectly tagged, more). Not included in this torrent is THE HAT, where u can donate as much as u feel is appropriate. ;-)
::) And can I say that Rob Ahler's drumming on Power+Light is absolutely the most exhilarating of 2008?!!! YES, I FRIKKIN' CAN!!!! :o
Thoughts On Sustainability
by Kristin Hersh
I often feel there is an inverse relationship between quality of output and material success in the music business. This is distressing, but not out of line with what I've come to expect. Throwing Muses would wander the halls of Warner Brothers back in the day, muttering, "You don't have to suck in order to work here, but it helps."
Now, however, the financial climate and current upheaval in the music business mean that musicians like me are genuinely poor investments for the traditional powers that be. We do not engage in lowest common denominator trendiness, and so don't warrant the expenses of marketing dollars and company overhead.
Okay, I get that; this is a business. However, I believe that when you sell toothpaste, you should be selling a goo that helps prevent cavities and when you sell music, you should be selling sound that enriches the listener's inner life. There is today a twisted kind of natural selection in the entertainment industry -- a sort of "survival of the blandest" -- the result, I imagine, of mind-fucking marketing techniques, bandwagon appeal, hype. To me this stuff is ugly, not beautiful.
Given this, I can only assume that record labels are not for me. I've said it before -- I will always play music -- but in the past, it was a record company's job to make sure you heard that music. They sold their product; they had funded it, it was theirs to sell. How to sell music without them? I liken our situation to that of the family farmer's -- how can we keep from going under without going corporate?
This is what I think: we specialize -- we offer an organic product. It is lumpy and expensive and made with love and it can save you. It's the right thing to do. It isn't shiny or poisonous, which can be disconcerting to people who've been raised on shiny poison, but it's natural, it's high-end and we want you to eat it.
To that end, I think I need to engage in a grassroots kind of capitalism, choosing principles over profits, values over image, ideals over marketing. I have to create a permeable membrane between artist and listener -- I'm a craftsperson, after all. The church of the rock star that the music industry televangelists hawk has always been anathema to me anyway. This is about songs and sounds, nothing else.
Music is a tenuous profession in good times, hard times mean some of us disappear. I'm not looking for pity, but collaboration. Coming to you is the best way I can think of to continue being a musician.
The model is not new, it's akin to public radio's listener supported programming and Community Supported Agriculture's subscriptions to underwrite crops. In other words, music grows on trees, but money doesn't and I'm unwilling to suck in order to work here. Therein lies the value proposition. This little business will be interactive and intelligent; you will not be lied to, no shiny poison, no middle man.
The idea of relying on listeners, treating music as a cooperative, is humbling, yet interesting to me. This is a bit of a manifesto, I'm sorry, and now I'll shut up, but I wonder if we might be able to do this together.