HypertWiki - User contributions [en]

2002/09/24/email/Griever

2011-10-01T18:10:53Z

MEchols96: None

{{SvsG Email|2002}}
=18:13 from Nick=
==Nick Notes==
This is email is a reply to a message (also included) from an outside source asking for programming work. Although it is not a communication between myself and Lynne or Bubba, I did go into some detail about our situation, and as such it is a good record of how I understood that situation as of this date (2002-09-24). (Unfortunately, it looks like I didn't cc: either of them; I probably was thinking it unlikely that anything would come of this, and didn't want to distract them from whatever else they were working on.)

I think the "friend" referred to in item 1 was Juliet Easton.

==Text==
{{email header start}}
{{hdrline|BCC|}}{{email|harena|redhouse|com}}
{{hdrline|Message-ID|}}{{msgid|3D90E39C.2030807|redhouse|com}}
{{hdrline|Date|Tue, 24 Sep 2002 18:13:48 -0400}}
{{hdrline|From|}}{{hdremail|N. Staddon|n|redhouse|com}}
{{hdrline|To|}}{{hdremail|Oksana Svetlova|oks|anxee|com}}
{{hdrline|Subject|Re: Please confirm receipt..}}
{{hdrline|References|}}{{msgid|200209241741.MAA09923|mulberry.propagation|net}}
{{email header stop}}

Yes, I did receive your earlier message -- I am sorry I did not respond sooner; mainly I wasn't immediately sure of what answer to give you, so I decided to think about it for a few more days and re-read your message more carefully.

I'm still not sure what answer I can really give you, but I like your approach -- so let me tell you more about our situation at vbz.net, and maybe you will get some ideas.

Some specifics of what we've been doing (please feel free to skip the numbered part if it's too much detail):

1. We're not making any money yet. As well as doing all the web work, I am the owner of the corporation. I have one person who helps me with graphics work and orders; he's my unofficial business partner and is working for no pay, as am I, in the hopes of making the business successful. Right now, my only source of income is doing some web work for a friend at $10/hour.

2. Although we are not making money, it's not because we have no sales; we currently do about $1500 of sales per month. Unfortunately most of our margin seems to get "eaten up" by bad customer payments (leaving us with excess unsold stock), and the rest goes into our regular costs (mostly internet expenses at this point).

3. I am in the process of getting our books in order (many years overdue) to see what can be done about the money situation, to answer questions like "do we just need to increse sales, or are there some unnecessary costs we can realistically cut?".

3a. Part of this process involves developing my own accounting program (in MS Access and VB6), because I can't afford to buy a really good off-the-shelf accounting package and anyway (more importantly) I tend to find that they don't work the way I want them to. So this is one software project I already have in progress.

4. I also wrote all the software we use for generating the web pages on vbz.net. This was also written in MS Access (with a litte VB6 on the side). Basically, I created a little scripting language which lets me turn data into web pages (or any other form of text). As you can see if you dig into the web site much, it's pretty powerful; using recursion, I can even create hierarchical trees and things like that. So this is another software project in progress.

5. ...and I wrote the few little bits of Perl on the web site for doing the search engine, shopping cart, and checkout pages. And the software which securely retrieves the orders from the server.

6. vbz.net used to carry a small selection of CDs and tapes (and t-shirts, and a book) from independent artists, mostly (but not entirely) local to our area. We recently dropped this part of the store, as we were selling almost nothing, and
there was no "buzz" about the service, and getting the artists to keep us updated with their newest releases proved too time-consuming. Selling independent music online was why I got into the e-commerce business in the first place, though, so I have been thinking a lot about how to get back into that part of it. Conversations with some musicians I know have suggested what we should be doing -- but it will involve a large amount of programming and other web work to make it happen.

7. vbz.net has many, many places where a little bit of additional web work (HTML, Perl, VB/Access...) could increase sales. But I just don't have the time right now; see #9...

7a. And we also have a number of software projects, in various stages of completion, with obvious commercial possibilities -- but not enough time to finish them.

8. We recently started leasing a dedicated server for most of our web hosting needs -- so we now have the option of offering web hosting (or setting up new domains for our own projects) at very little additional cost to us.

9. I'm really too busy these days (mostly keeping vbz.net from falling behind and therefore costing me money) to do much programming; most of these projects are going to be left on the shelf for months or years. At best, they will not be likely to get into a form where they could be marketed.

Overall, then, this is my situation: A lot of opportunity, a lot of resources, and a lot of ideas, but not enough time or money to implement them or to hire someone to implement them.

Any partnership I could be involved with, given the money situation, could not be strictly cash; we would have to work out some kind of trade, with cash being an option if our mutual endeavors were successful.

So, one question which now occurs to me: does your team have any skills besides programming and web work? My skills are primarily programming and HTML (not design, just implementation); I am mediocre at public relations in general and terrible at "selling things". An alliance of complementary skills has obvious benefits.

On the other hand, if your skills are pretty much exclusively in the programming/HTML area, it could still make sense for us to pool our resources; if you are looking for more paid HTML work, perhaps we could set up a web site for you (or all of us) to demonstrate your (our) abilities and attract customers. (I tried to view the URL you sent -- but anxee.com does not seem to be responding; perhaps we could start by trading web hosting for work?)

I would certainly like to know more about the skills and interests of your programming team; perhaps _that_ would be a good place to start. Do you have anything like a resume for your team, either individually or as a group? I suppose a lot of my questions would have been answered by the anxee.com web site -- I will keep trying to reach it; obviously it must be active some of the time, or you will not be able to receive this message...

I hope this is all making sense -- and sorry for sending such a long answer, but I couldn't think of a short one! ;-) Please feel free to ask questions if I have been unclear.

Thanks very much,

Nick Staddon 
Red House Media / vbz.net

Oksana Svetlova wrote:
{{quoteon}}Sorry, not sure, did my message arrive last time? I was hoping for a reply... Just in case, I am resending the message, please see below. Thank you.

-------------------------------------

Hello. I meant to contact http://vbz.net webmaster, Am I correct, I hope?

Actually, I am not quite sure... Did I or Katya Svetlova write you before to your other address? Anyway, now we are working together.

So, my name is Oksana Svetlova, I live in St. Petersburg, Russia.

I have an idea, how we could cooperate to mutual benefit, see, possibly you will find it interesting.

After the last year economy slow-down people are seeking to cut costs, right?

The thing is that I could get you in touch with developers from Russia, who will be happy to do a web designer's work for you for considerably less, than you possibly take from your clients (or pay for web-design?), and with _professional_ [http://www.dcmarketingconsultant.com/ online marketing consultant] quality. Also - all programming, Internet-programming, graphic, flash design, content writing, translations, etc. If you do web-design, then you may accept more orders at once, getting a good share from each, and devote yourself only to that work, you find most interesting. Alternatively, you can realize more your ideas to develop, more features to add to your existing sites, and with low costs: from $15, and an average of $23 an hour.

I have put links to their works at http://anxee.com/samples_and_faq.html

As for reliability, I just saw, how carefully they hand-picked their specialists, and under what tight management they do their projects. So, from past experience, it was almost always possible to meet deadlines. Also, communication is properly thought-out: a consultant is online in ICQ and other instant messengers almost each day, also they have local consultants in many states throughout the USA, in Europe and Australia.

So, what do you think? A possibility for cooperation?

Thank you very much,
:Oksana Svetlova.
:{{email|oks|anxee|com}}

PS. Just in case you need any type of IT works now, please let me know a bit of details, they will return you a cost/time estimation.{{quoteoff}}

Legal Music Trading Group

2011-10-01T18:10:41Z

MEchols96: None

[[Category:Woozle ideas]]The idea goes thusly:

There are a number of sites providing legal downloads of music which is licensed to encourage copying. Instead of trading tracks from our existing collection of extremely copyrighted CDs and downloads, we each go out trawling the various sites dedicated to freely-tradeable music, find the best of that stuff, and use it to create mix CDs. (I have to give Thorog credit for the original idea of getting a bunch of people to fill up a pre-designated space with MP3 tracks, and then burning the results as CDs and distributing them... possibly for a small fee to cover materials and postage.)

This has the advantage of giving some "ear time" to some seriously overlooked artists and hopefully finding some overlooked tracks, rather than rewarding the monopolistic traditional-license record labels for their possessiveness and unwillingness to change.

It can also be kept legal as it scales up; , for example, lets you for small-quantity reproduction. They also allow you to legally give away three copies of tracks you've purchased. So once the group starts to get to be more than a handful of people, you could purchase a license for any [http://www.dcmarketingconsultant.com/ online marketing consultant] Magnatune tracks you wanted and legally sell the CDs on which you included them, with a small markup to cover burning costs, and of course adding on for shipping costs. (We'd have to see how the economics worked out once we actually had some track selections to get prices for; it may be that Magnatune is charging too much to make the resulting CDs affordable, but it's definitely worth the experimentation to find this out, in my view. Magnatune and others are still largely testing the waters, and I suspect that they'd be very interested in hearing our feedback.)

Once you get to the point of having a handful of handfuls of people, it starts becoming worthwhile to set up a web site to help people find groups with similar tastes. It can start simply, however, with just a few people in a chat room agreeing to participate, with no formal structure needed.
==related idea from 2003==
''from an email I sent to Brian B. on 2003-01-20''

The problem with internet radio as it is now (legal issues aside) is twofold:

1. It ties up your bandwidth (especially for those of us using dial-up, but even
with cable or DSL it can be a struggle)

2. The quality sucks

WHAT IF...

(By mutual consent between the netcaster and the copyright holder thus bypassing
existing royalty laws, which would seem to be a key part of The GnuMusiq Model)
(Did I mention that I got the domain gnumusiq.com?)

...you could run an application which would, when your computer and internet
connection were otherwise largely idle, download high-quality MP3s of a given
"station"s programming for later playback either on your computer or on an MP3
player?

Without getting too technical, it looks like at _really_ high quality (Xing
VBR-hi), it would be pretty easy to get a little over half an hour of
programming by downloading overnight. With a little sacrifice of quality (but
not nearly as much as required for streaming, and doubtless unnoticeable to many
listeners -- and remember, FM quality never was CD quality), plus additional
downloading during the day, it should be possible to extend this many times
over. (Or possibly we could use another encoding scheme such as VQF, which
delivers similar quality with significantly smaller files.)

Given this arrangement, several additional possibilities suggest themselves.

The downloader app could be configured to make it difficult to "split off"
individual songs (into separate MP3s or WAVs) without permission from the artist
-- e.g. if the listener had paid for that right for that song -- assuming that
is something we would want to limit. (My inclination would be rather that each
song should be accompanied by an "audio <s>trademark</s>watermark" as discussed earlier,
identifying the source at least by artist and artist's URL, possibly also by
album and song title, with free copying of the song+trademark encouraged and
revenue generated at the website by a number of means. The downloader app could
include a player which would make it easy to find the artist's web site and buy
merch or sponsorships or whatever...)

The downloader app could also aid with the downloading of purchased CD-quality
MP3s (or VQFs or even WAVs, according to taste) unencumbered by audio trademarks
or whatever else we put in the "free" version to encourage purchasing of the
non-free version.

I don't know how anyone else would receive this, but if it were available right
now I'd install that sucker and start downloading some radio tonight. (Half an
hour per day might be all I'd have time to listen to anyhow.) I'd also have no
hesitation about submitting all my original recordings. (Then again, I'm
probably not in the same position as a working band; my recordings are not being
heard, much less generating any revenue, as they are.)

(Another thought which arrived while I was finishing up this email: I think many
people (fans) would pay for the privilege of having their name -- just their
name, or their business's name; no "plugs" or other advertising -- on a band's
web site, prominently displayed but not necessarily on the home page; more like
a separate sponsorship page, with nice layout. Like sponsoring the little league
or NPR or a museum or something... More popular bands would get bigger sponsors;
sponsors could pay different amounts for different font sizes, additional
graphics...)

Thoughts? Comments? Bueller? Bueller?

==further elaboration==
''from my response to Brian B.'s response, 2003-01-26''

Brian B. wrote:
{{quoteon}}
{{quoteon}}
1. It ties up your bandwidth (especially for those of us using
dial-up, but even with cable or DSL it can be a struggle)
{{quoteoff}}
Not my experience. Heck, I've got phone service through www.vonage.com
that's running at 96Kb, and it works very reliably.
{{quoteoff}}
Well, even when I had cable, the bandwidth was rather patchy -- and when it was
fine, streaming stuff would always interfere with uploads & downloads.

It's definitely an issue for dial-up, but I guess that goes without saying...

{{quoteon}}
{{quoteon}}
2. The quality sucks
{{quoteoff}}
Not my experience. Streaming 64Kb right now sounds good.

{{quoteoff}}
Ok, I was probably listening to a 28k stream last time I checked...

{{quoteon}}
The quality issue with Internet Music is that the *BANDS* suck, which
isn't a technology issue.
{{quoteoff}}

(Can Rosin Coven not get "on the air" on an internet "station"? I could set up a
station on Live365.com and broadcast nothing but Cheap Imitation if I wanted to
(last time I checked) -- you're not allowed to play more than 3 songs in a row
from a given artist OR announce ahead of time what you'll be playing, UNLESS you
have permission of the copyright holder, but if you do you can play whatever you
want of that material.)

This point would seem to be addressed by another part of the idea which I don't
think I mentioned, that of having a self-rating community for netcasts -- much
the way Ebay buyers and sellers are self-rating. There are ways of preventing
abuse of the system, though that is obviously a big issue at least in the design
phase.
{{quoteon}}
My understanding of the law is that the rate between Netcaster and the
Copyright Holder is set by the federal government and can't be changed
for any reason. Perhaps there a way to have the Copyright Holder "pay
back" the same exact fee as a fee to broadcast the music, which is
mostly disallowed but some forms of "payola" are allowed.
{{quoteoff}}
I don't think anyone, be it Feds or RIAA or Sony/CBS, can prevent you from
netcasting your own music ("own" in the sense that you own the copyright) -- and
the same holds for allowing someone else to netcast it, with whatever
compensation is agreed upon mutually. It may be that if there is compensation
(or, more generally, some affiliation between 'caster and artist), you would
have to acknowledge this on the air or at least on the station's associated web
site -- but my understanding is that this is to prevent payback to the radio
station for choosing one artist or track over another, not to prevent
royalty-free airplay, and even so I don't see how this could be regulated
_except_ to prevent playing copyrighted stuff without permission. If a band
released a song with a sort of "GPL for Music" whereby it could be played for
free anywhere (just not copied for free), I don't think the industry could
prevent that. (Perhaps if the artist is a member of ASCAP, BMI, or SESAC, they
might be constrained by the terms of those agreements; have to look into that...
The Cheap Imitation is not; is Rosin Coven?)
{{quoteon}}
I think stranding dial-up users is fine. There aren't that many, and
they're dwindling. If you pay $15/month for the phone line, and
$20/month for the dial-up service, then either: 1) you don't stay dialed
up all the time and your idea doesn't work, or 2) you realize that for
only $10/month more you get a *HUGE* increase in quality, and you get
broadband.
{{quoteoff}}
Smile when you say that... ;-) I'm currently on dial-up, shared (NAT) with at
least one and as many as three other users (Anna is now an avid 'net user when
she visits, and S's freshman son Mel is a compulsive MP3 downloader)... at least
in part because we don't want to deal with Time-Warner Cable (evil empire), and
all the other options are either unavailable here (DSL) or too expensive
(satellite, ISDN) at the moment.

Of all the people I can think of whose Internet habits I am aware of (not
counting y'all or us'ns), five have dial-up and two have cable.

(Memo to self: dial-up - HAB, L&B, S's mom, L's mom, S's K; cable: JERS, S's P)

Your point about not staying connected 24/7 is valid, however, for those with
only one line.

{{quoteon}}
I also think that most people in your target market already have
broadband. Everyone I know with teen-age kids has broadband.
{{quoteoff}}
Well, ok, I guess we're a bit of an exception... After noodling it around and
writing several different responses, then finding the flaw in each one, it comes
down to the realization that you're probably right: most people who would be
interested in listening to a netcast probably already have broadband. (Possible
minor exception: people at work who aren't allowed to tie up the company
connection with heavy downloads. The Internet connection at Carrier was always
pretty feeb anyway; I wonder if it still is or if they finally caught up with
reality. Pierce didn't _have_ a dedicated connection; you had to dial out thru a
modem bank... but that was 1998.)

So then the main issue to address is that of quality and/or taste -- how to get
music to listener X which listener X would define as "good". Which is your point
here, I think --
{{quoteon}}
I continue to believe that the hard problem is not the technical.
Nighttime downloads are good, a good bank of streaming servers is good.
However, the fundamental problem is: how do you find the 1/2 hour of
music that N. Staddon wants to hear?
{{quoteoff}}
The essential components, as I see it:

- Community-rated 'casters -- whose real job is not so much being a dj
(providing transitions between cuts, listing the tracks played (which they
hardly ever do anymore anyway), making endorsements, being hip, etc.) as it is
being a reviewer or an anthologist; the job of making songs available on a 'cast
should be as easy as listening to them and then checking off a box.

- Personal "favorites" lists (like those on Amazon.com)

- Personal ratings of 'casters/anthologists

- message boards galore; should be extremely easy to create, configure,
maintain, and use for reference; e.g. bands should set up as many boards as
their fan base is likely to populate with messages. Reviewers could set up
boards to discuss their preferred genre(s), artists, whatever. Postings should
be "enshrinable" by moderator and/or by popular demand if they somehow enhance
the community. (Other innovations are quietly hanging around the back of my
head; that's just an example.) Boards should be email-subscribable, without all
the personal info crap you have to give to (e.g.) Yahoo Groups to do anything
there. (More like Google's boards.)

And then some combination of the following:

- some kind of inference engine for finding similarities between people's tastes
as given in their "favorites" lists and thereby arriving at suggestions for
other stuff they might like to listen to -- a neural net should be good at this
kind of thing; many opportunities for refinement here.

{{quoteon}}
If you can solve this problem, the world will beat a path to your door.
It's a big freaking deal, and Comcast would use it to sell VOD movies
today. Or, just use it to launch a platform like you're talking about.
{{quoteoff}}
VOD = Video On Demand? I suspect there are large gaps in my knowledge of this
market... By "this problem", are we still talking about the taste/quality issue,
getting the right selection to each user? Or something else? Seems to me that if
some large studio would just put all their movies online for download at a
reasonable price (less than a VHS copy), they could make zillions. They're just
afraid of "losses" due to copying. (My premise is that those lost revenues are
mainly wishful thinking (as with MP3s), but there's only sketchy data yet...)

As far as getting the right selection to the user...

There's tons of stuff (movies or TV shows) out there where I know the name, but
nobody has a copy. The ones where I don't know the name, I can generally think
of the name of at least one actor, so if they were cross-referenced with
imdb.com, that would cover almost everything else. To expose people to new
stuff, just categorize everything -- as finely as possible, like the topic tree
@ vbz.net.

Am I missing something?

{{quoteon}}
Rosin Coven runs benefits, we tend to get a few thousand dollars a year
that way. I'd rather run benefits as we see fit (possibly including
auctioning off web space), and pay for a service that works. (IUMA
didn't work).
{{quoteoff}}
I guess I have a difficult time getting into the Live Performance mindset; I
always enjoyed studio recordings more than live performance, both as an artist
and as an audient (to use Robert Fripp's word). But I gather that for most
audiences, live performances are more energizing and more likely to inspire
spendage of large quantities of cash. (It's probably a little different when
your audience is more than a couple of dozen people who came to see the other
band, which has been pretty much my experience.)

The motivation to provide this service comes in part from a wish to create a
venue for those like myself whose default mode is the studio. (Not that I'm
averse to performance, but I'd need to make some money _first_ so I can afford
decent equipment and have some incentive to offer other members of a
hypothetical band.) Obviously if I'm going to maximize its coverage, I need to
provide value as well for those whose default mode is performance.

I'm thinking that for any service to maximize its effectiveness -- which is
essential for popularity, which in turn is essential for effectiveness (feedback
loop) -- it has to reach a range of budgets, starting at "free" and working on
up. The service should certainly work, but paying customers should get a higher
level of control and flexibility. The problem with a lot of sites, I think, is
they set up something that's maybe good enough to start with -- and then they
never improve it. Or, if they improve it, the "improvements" are all marketing
gimmicks or advertising (e.g. MP3.com seems to have gone this way). The artists
and audience become frustrated with the baling wire & chewing gum after awhile,
and move on, leaving the site largely a haven for transients (including big
advertisers).

My guess is, they start out with venture capital; they set up the site; they see
revenue coming in -- and nobody wants to be the one whose new idea stemmed the
flow of revenue. Marketing people with letters after their name can be depended
on to produce short-term improvements in the revenue stream without making any
"drastic" changes, so they're "safe" -- even though in the long run, they damage
the site's credibility and cause to a slow bleed-off of users (largely hidden by
the so-far ever-increasing Internet population) and, more damaging and equally
invisible, a major draining of dedication to / interest in the site.

But that's just a wild hunch based on very little real information.

Out of curiosity -- what was wrong with IUMA, from your POV? There were a number
of things _I_ didn't like about them, but I would like to hear someone else's
reaction...

Ok, well I guess that's today's babble. Somehow the bandwidth issue still seems
significant to me... like, what if I want to take the 'cast in my car? I'd need
to download it and copy it to my MP3 player or burn it to CD... but it's
important to know that most people won't see it as an issue, and that perhaps
it's not as much an issue as I thought, and that the quality/selection issue is
perhaps the obstacle to tackle first...
==more from Brian==
N. Staddon wrote:

{{quoteon}}
{{quoteon}}
If you can solve this problem, the world will beat a path to your
door. It's a big freaking deal, and Comcast would use it to sell VOD
movies today. Or, just use it to launch a platform like you're
talking about.
{{quoteoff}}
VOD = Video On Demand? I suspect there are large gaps in my knowledge
of this market... By "this problem", are we still talking about the
taste/quality issue, getting the right selection to each user? Or
something else? Seems to me that if some large studio would just put
all their movies online for download at a reasonable price (less than
a VHS copy), they could make zillions. They're just afraid of "losses"
due to copying. (My premise is that those lost revenues are mainly
wishful thinking (as with MP3s), but there's only sketchy data yet...)
{{quoteoff}}
VOD = Video On Demand. There's a serious problem: put all the movies
online, and then how to people find the movies they want? You can work
out the storage yourself (say, a 1TB server, and a DVD is 4ish GB), and
you can't have all the movies available to all people -- but even if you
can (there are technical ways to do so, but it's expensive), people have
to find what they like!

VOD exists in many major cities today, and the uptake rates are sucky.
Why? Part is the cost - putting in the infrastructure was expensive. To
justify the cost, you want to find a *good* movie. Out of the 200 that
might be on your local server, how do you find the one you want to
watch? That's what stops people from buying movies over their TV today
(in the markets where it's widespread -- and in the other markets,
they're afraid to put it in until it proves itself).

More later --
===Note===
''(from W., 2007-02-23)''

Sites which provide video via torrent seem not to be having this problem, even though their indexing is very basic (searching by description, with filtering by type of download - audio, TV, movie...). I'm not understanding why the VOD services had such a hard time with it, except that they were trying to provide the service without a proper interface.

''There was much more discussion of this in further emails.''

Griever/Responses to Facts

2011-10-01T18:10:34Z

MEchols96: None

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Griever/Defendants' Admission

2011-10-01T18:10:27Z

MEchols96: None

[[Category:2005-04-13]]
[[Staddon vs. Griever]]: '''Defendants' Admission of Facts to Plaintiffs'''

:In the State Court of Athens-Clarke County, State of Georgia
:Civil Action #ST-05-CV-0049

==Main Text==
COME NOW Defendants and require Plaintiffs to admit that:

#The Plaintiff(s) entered into a standard artists agreement with any or all Defendants in 1997 when T-shirts from Defendants' suppliers were entered into the store which was, at the time, labeled the BubbaLynne Bazaar - BLB at redhouse.com/store/blb.
#That the standard split which was given to Defendants and any other artist or vendor in the store, was 80% to the Defendants and 20% to Nick Staddon/Red House Media.
#That the original plan was to build a minimum order of gifts or T-Shirts in retail sales to cover the costs of the minimum wholesale orders.
#That where sales were initially slow, the Plaintiff(s) offered to buy the shirts for the Defendant(s) up front to avoid getting a bad reputation for slow delivery.
#That the agreement about the merchandise was that the shirts and other merchandise belonged to the Defendants and that the costs of the merchandise came back to the Plaintiff(s) after 20% for card processing and handling in preparation for shipping, leaving the rest as profit for Defendants.
#That since the shirts and other gift merchandise have been paid for through the sales [http://www.dcmarketingconsultant.com/ marketing consultant] that have been made through the store, the Plaintiff(s) has no cause to claim the merchandise and owed Defendants for profits (less 20% for card processing and handling in preparation for shipping) on all sales over and above the costs of the merchandise according to the agreements that were established at the beginning of the relationship.
#That the Plaintiff(s) has withheld all profits from the sales of the merchandise because the Plaintiff(s) had not done a full accounting.
#That the Plaintiff(s) continued to withhold the profits from the sales of the merchandise for the above stated reason for in excess of five years.
#That while the store was being built, the Plaintiff(s) and Defendants agreed to switch the entire catalog of the BubbaLynne Bazaar (BLB at redhouse.com/store/blb) that had already been uploaded, to the vbz.net domain.
#That because the domain vbz.net was purchased for the use of the Virtual Business Zone (which was to develop web pages for local Athens businesses) and where the Virtual Business Zone was dormant and not accomplishing the goals of its original intent, the Plaintiff(s) agreed that the domain would better serve the interests of both the Plaintiff(s) and Defendants if it were changed to the Virtual BaZaar.
#That the catalog of BubbaLynne Bazaar (BLB@redhouse.com/store/blb) was henceforth transferred to vbz.net and from that time forward became the primary vendor of vbz.net.
#That the few artists already in the store of Red House Media were transferred to vbz.net (so as not to be thrown away) to go away slowly and that since the time that the catalog of BubbaLynne Bazaar (BLB@redhouse.com/store/blb) was transferred to the domain of vbz.net that it has been the only thriving enterprise of said domain.
#That the software that originally operated The Red House Store was not adequate to accommodate the needs and the scope of the BubbaLynne Bazaar (which became vbz.net) and that the Plaintiff(s) and Defendant Willard D. Griever worked together to develop the software that is currently operating vbz.net.
#That the Plaintiff(s) and Defendant Willard D. Griever agreed that the development of the software became a project in and of itself and that they would continue to work on the development as 50%-50% partners in the endeavor and that the software would be jointly owned by the Plaintiff(s) and Defendand Willard D. Griever.
#That Defendants took on many responsibilities for Plaintiff in order to free him up to do the programming portion of the software and to prepare and provide a full accounting.
#That the Plaintiff(s) and Defendant Willard D. Griever, as partners in both the store and the software, met with Juliet Easton in her office in downtown Athens to discuss a marketing strategy for both ventures.
#That the Plaintiff has since retained merchandise from the store (paid for by Defendants), the customer base and suppliers, and the profits that were promised to Defendants, and still has not provided a full accounting to Defendants.
#That the Plaintiff(s) agreed to rent the Mercedes to Defendant Norma Lynne Griever for the months of November and December of 2001 at the rate of $100 per week.
#That it was agreed that the oil change was due and the repairs that needed to be made to the vehicle could be made by Defendant Norma Lynne Griever and that the costs of the oil change and repairs would be applied to the rental.
#That the Plaintiff(s) and Defendant Norma Lynne Griever agreed to re-negotiate the arrangements just after the 1st January, 2002 which was the time that Plaintiff had agreed to produce a full accounting of the sales and records from vbz.net.
#That it was further discussed that since November was "Homelessness and Hunger Awareness Month" (which involved a considerable amount of travel to and from Atlanta) and that December was always a busy month, RDA's travel reimbursements for the Task Force for the Homeless would be enough to cover the $100 per week rental for those two months but that after January 1st, 2002 a different arrangement would have to be made.
#That the discussion to re-negotiate took place sometime in the month of January and at that time the Plaintiff still was unprepared to provide a complete accounting.
#That the Plaintiff(s) agreed to change the rental agreement to 10 cents a mile instead of $100 per week beginning on February 1st, 2002 because of the reduction in Atlanta trips and, further, that payments would be deducted from the amount owed Defendants for profits in the store when the accounting was complete.

This 13 day of April, 2005.

Marketing ideas for Lost

2011-10-01T18:10:21Z

MEchols96: None

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Rejected Lip-Balm Marketing Campaign

2011-10-01T18:10:13Z

MEchols96: None

[[Category:Humor|Rejected Lip-Balm Marketing Campaign]]
Rejected marketing campaign for [[User:Harena|Harena]]'s home-made lip-balm

----
It's...
*Made by a nonconformist recluse in a small house somewhere in the woods
*Often sent through the mail
*Known to unexpectedly explode myths about the quality of home-made products
*Designed to help you declare [http://www.dcmarketingconsultant.com/ internet marketing consultant] your independence from the evils of the international corporate machine

It's... '''Unabalm!'''™

''(This Tasteless Advertising Campaign brought to you by [[User:Woozle|Woozle]])''

User talk:Harena

2011-10-01T18:09:58Z

MEchols96: None

===[[User:Woozle|Woozle]] 10:40, 9 May 2005 (CDT)===
[[Rejected Lip-Balm Marketing Campaign]]

== [[User:Woozle|Woozle]] 06:50, 29 Sep 2005 (EDT) ==

Software Harena might be interested in:

[http://www.kde-apps.org/content/show.php?content=29544 IQNotes] Linux hierarchical note-taker thingy, with encryption

== Comtitle Command for Handy Reference ==

@comtitle me= filling [http://www.dcmarketingconsultant.com/ online marketing consultant] in the blanks appropriately?