Sunday, January 24, 2016

Gee spree

Yesterday for breakfast apple cinnamon muffins made fresh, gluten-free vegan! Yesterday for lunch butternut squash and soup with rice and vegetables, grilled cheese sandwiches after playing in the snow. Hot chocolate. For dinner salmon with quinoa pesto, sweet potato fries and salad with guacamole. Today kitchen sink salmon soup.

Girls first day sledding!

Ken Jacobs nervous magic lamp films at Anthology with Quinn. Illusionistic depth, caves within caves. (plus stop by at SculptureCenter to see Chris and give him book.)


Tuesday, January 12, 2016

idea rolling. D Note Presents Sound&Vision


So, I'm ready to move forward. Let's write this scenario.

1. I'm imagining a network of theaters. One in Colorado manned by Matthew (if he's into it, or Danielle/JenK if not.) One in Kansas City womanned by Mandi Rudd (pretty sure she'd be on board, which would be huge.) One lead by Lisa Genke in the Michigan/Wisconsin situation, and one in L.A. run by Melissa Ivey (who's living there now.) And one here in NY by myself. I'd probably try to figure out a good contact in S.F. too, but haven't gotten that far. Anyway, establishing this network and then having this network establish their own networks of theaters strikes me as a possible first step. Agreed?
This network shall be incentivized (I hate that word, but had fun using it in this context) by profit. I estimate for each show they could earn $300-$1000 per theater (depending on the venue) at $1 per head (roughly 10% of the company profit goal.) Obviously the amount of theaters contacted can exponentially increase the take. $5000 per show could easily be available for very little relative time and effort on part of the network affiliate.
2. Next financing (or maybe this should be first? Yes, totally, network establishment comes later.) I contact New Belgium. I will draft letter tomorrow. I'll send letter directly to Matt Kowal first. I'll mention the idea about carbon footprint reduction via keeping the show off the road as per your suggestion. Anything else you would add? Should I just mention the rough idea for now? Or should I start talking deals at this point? Like what I would like us to do for each other? I'm thinking they pay in advance to rent the theaters, foot the advertising and produce the first 7 shows. (With the goal of doing at least 7 shows in 2017) In return they would be the sole sponsor of the series with prime ad placement before and after the concerts. I would ask for Matt to be a mentor. And they could even help build the network of theaters. I would also emphasize the fact to them that initial investment would be returned upon successful completion of each show.
3.  Once we have financing in place, plan and book 7-12 concerts for 2017. I'm going to make a list now. This is just for starters. I'll probably have to approach 50 artists to book 7 finalists. But here's a wishlist anyway. And please feel free to add more.

     a. Yo La Tengo playing live soundtrack to Jean Painleve films.
     b. XTC living room (or fireside) concert. I would leave the pitch to Partridge up to you in this case, if you wanted to (and had the time!)
     c. Devotchka doing whatever they want. Some kind of collaboration with Cirque de Soleil? Their own performance network? I might suggest a live soundtrack to Little Miss Sunshine followed by another hour of concert with live performance art. (Do you think the live soundtrack thing could work?)
      d. Thurston Moore doing anything. (This one is probably attainable as he is a friend of friend now.)
      e. Sharon Jones and The Dap Kings Christmas Special : )

Okay, that's the idea, shows that could hopefully fill 300-1000 seat theaters with good promotion.
Big question. Is there any reason you can think of why I shouldn't go for larger stadium-size names? But still aiming for small theater runs? (With the basic logic that a hundred small theaters should make up a few stadiums worth of payout.) Here's some possible examples in this market.

       e. Neil Young re-creating (re-imagining) soundtrack to Dead Man. (Somehow I think both Young and Jarmusch would love this idea.)
      f. Star Wars, John Williams. Live. The rights are probably a bear, but doesn't hurt to try?
       g. Dylan doing anything. Again, why not ask?
       (Oh my god, I just thought of a great name for this project.SOUND&VISION. A perfect tribute to the master, and a good descriptive name for the concept. Maybe it's been too used up already by other companies. We could always alter it in some clever way, which would also help for URL purposes. -Bowie singing it for inspiration. I had also thought about calling this company D Note Presents. Thoughts?)

        h. Jack White doing anything. Collaborate on ideas.
        i. Thurston Moore doing anything. (This one is probably attainable as he is a friend of friend now.)
        j.  Paul McCartney doing anything. (Does New Belgium have that kind of budget? Remind me to go to Dale's next if New Belgium doesn't bite.)
         k. Beck doing whatever he wants.
         l. Radiohead, ditto

So what do you think? Should I go big in my pitch to New Belgium? Or should I go for cool but more obscure 1000 seat theater stuff like Yo La Tengo, and XTC
Okay, so I'll start letter to Kowal tomorrow. I'll run it by you before I send if you are up for the job of coach & consultant.