== ISSUE 216 ====  CONSUMABLE ONLINE  ======== [August 1, 2000]

  Editor:             Bob Gajarsky
                         E-mail: editor@consumableonline.com
  Managing Editor:    Lang Whitaker
  Sr. Correspondents: Daniel Aloi, Joann D. Ball, Chris Hill, Bill 
                      Holmes, Tim Kennedy, Jon Steltenpohl
  Correspondents:     Michelle Aguilar, Paul Andersen, Christina 
                      Apeles, Niles J. Baranowski, Jason Cahill, 
                      Matthew Carlin, John Davidson, Andrew Duncan, 
                      Matt Fink, Krisjanis Gale, Jade Hughes, Paul Hanson,  
                      Scott Hudson, Jianda Johnson, Steve Kandell, 
                      David J. Klug, Reto Koradi, Robin Lapid, Wes 
                      Long, I.K. MacLeod, Al Muzer, Wilson Neate,
                      Linda Scott, Don Share, Scott Slonaker, 
                      Kerwin So, Chelsea Spear, Simon West
  Technical Staff:    Chris Candreva, David Landgren, Dave Pirmann
  Also Contributing:  A cast of great writers over the years.  Thanks!
  Looking Down On Us: Sean Eric McGill

 Address all comments to staff@consumableonline.com .
==================================================================
	All articles in Consumable remain (C) copyright Consumable 
and their author(s). 
==================================================================
                            .------------.
                            |  Contents  |
                            `------------'
THANKS FOR THE MEMORIES
THE HISTORY OF CONSUMABLE ONLINE - Bob Gajarsky
FAREWELL, THEE WRITERS!
WHY DO I BOTHER? - Bill Holmes
EVENT REVIEW:  MP3 Summit 2000 - Joann D. Ball
WHY NAPSTER ISN'T THE EVIL EMPIRE - Bob Gajarsky
CONFESSIONS OF AN INTERNET ROCK CRITIC - Dr. Johnny Walker
RANDOM THOUGHTS AND MUSINGS...INCLUDING THE FUTURE - Bob Gajarsky
THE READERS WRITE BACK
Back Issues of Consumable
---
	THANKS FOR THE MEMORIES

	This August 1, 2000 issue is the final release of 
Consumable Online.  We'd like to thank all past and 
present staffers, the publicists who worked with Consumable 
in a new and evolving medium, and especially the readers of 
Consumable.  Your support and encouragement enabled us to 
keep going, even when things weren't always wonderful.

	In that spirit, this issue looks all around us - 
towards the past with a history of Consumable, towards
the present with a look inside the writer's minds, 
and towards the future with MP3 and Napster.  

	All in all, it's been a great run.  Thanks for 
the memories.
---
	THE HISTORY OF CONSUMABLE ONLINE
		- Bob Gajarsky
	It was August, 1993.  It had been two years since I had         
written music columns for my college newspaper, and I 
was having the 'bug' again.  I wanted to critique some 
of the latest music, and was looking for an outlet for 
my reviews.
	At the same time, I discovered a print publication out 
of central New Jersey, called Consumable.  One issue of 
Consumable had been printed, and a second one was due to 
'go to bed' (industry terminology for the final deadline 
of an issue, before the printers get ahold of things) 
shortly.  I inquired if I could join the staff, and 
offered a unique twist to things: we could provide 
dual versions of Consumable - in print and via the
Internet!
	The then-editor (Scott Williams) and I discussed how 
this would work.  Our final decision: any reviews I 
had of current artists would appear first on the 
Internet, and then in the print version.  People who 
provided written materials would have their articles 
published on the Internet at a later date.
	At first, the online version of Consumable was limited 
to posting reviews (and articles) on Usenet - which is 
a worldwide free 'news' posting message area, 
similar to AOL's bulletin boards.  And soon, people 
were e-mailing, asking how they could subscribe to 
Consumable via e-mail.
	So from that starting point, Consumable started to 
gain a subscription list which ultimately reached more 
than 10,000 worldwide subscribers.  One of those early 
subscribers stated that a piece on New Brunswick, 
N.J. rave organizers Digital Deviants (written by Scott) 
was "absolutely brilliant".  It took a little bit of 
technology research, but we were able to verify that 
yes, the e-mail did come from Richard Hall...a.k.a. Moby.
	One initial problem which we encountered came from 
people not involved in technology.  The staffers who 
wrote for Consumable (in print) for the most part didn't 
have Internet access, and couldn't grasp the fact that 
something in cyberspace could hit many more people than 
ANYTHING in print.   
	One of the first publicists we contacted for 
materials, in fact, asked "The Internet; what's that?  
Is that like a BBS with 20 subscribers?"  I had to patiently 
explain that the newsgroups offered the potential to *be 
read* by tens of thousands of people, and would *reach* 
hundreds of thousands.  That sort of in-depth explanation - 
along with faxing copies of each and every review, when 
Consumable never appeared in 'print' - helped open eyes to 
the worldwide potential of the Internet in the music industry.
	Finally, Scott had enough of the print publication - 
for that, I can't blame him one bit - and bequeathed to me 
the name Consumable, and all 'rights' to it.  That was back in 
1995.  I figured Consumable would last another year online, 
and then we'd call it a day.
	And just as this was going on, the craziest thing was 
happening.  A few people had already requested information on 
how to write for Consumable - and this number just started 
to explode!  At the beginning of 1995, Consumable had 15 
people involved with writing.  Of those 15, we had one from Croatia, 
one from Canada, one from Germany, one from France, one from 
Switzerland, one from the United Kingdom, two from 
Scotland, and one from Australia.
	Wow!  Talk about a global community - this was it!
	We made a decision early on to limit the number of reviews.  
This was partially determined by the e-mail distribution method 
of Consumable.  If an issue was too large, we would receive 
it returned from the user's system, with an error message 
"too large for the system".  
	In addition, it was felt that readers are looking for 
intelligent reviews that allow *them* to decide whether to purchase a 
disc.  Rather than run reviews trashing a band that no one has 
heard of, we chose to publish positive commentary on a limited 
number of discs.  Sure, we would periodically trash a well-known 
artist - but in that instance, again, we were suggesting the 
reader save their money (by NOT purchasing a disc which might be 
on the 'to purchase' list) and buy something more worthy.
	Reviews were assigned in a very simple fashion.  Something 
we called the "writer's notes" were dispatched to our writers on a 
bi-weekly basis.  This would provide a list of all current and 
future releases that were available and on lesser-known artists, 
a description of what the album sounded like.  Writers would then 
place requests (both on reviews and interviews), and - only at 
that point - they would be assigned certain discs.
	Sometimes, a publicist wouldn't come through with the release. 
And, sometimes, we'd just plain blow something.  If a writer 
didn't 'claim' a disc for review, we wouldn't review it.  But for the 
most part, this allowed people to cover groups or styles of music 
they felt comfortable with, while the editor-in-chief stayed 
further back from the frontline.  
	And, when we moved to the World Wide Web, Consumable 
continued to grow.  Without advertising, stock options, or 
ever promising a feature interview, we were able to generate 
up to 150,000 hits / month.  This only reinforced the dedication 
of our staffers, who knew that they were not only able to 
speak their mind to an informed community, but that outsiders 
were looking in to see what Consumable had to say.
	During the next five years, Consumable's staff continued to 
fluctuate, but the very essence of Consumable - talented writers 
expressing their feelings, in well-thought out pieces, on 
alternative music - never wavered.  We hope this dedication shone 
through in the reviews.
	So now, seven years after its inception, Consumable Online 
is closing its doors.  I think there will be two legacies left in 
the wake of Consumable's demise.  The first will be the fact that 
the Internet provides an opportunity for select small groups to 
compete - and actually flourish - against the establishment.
And the second is in the names of the staff members who have appeared 
on the Consumable masthead over the years.  I'm sure you'll be seeing 
their names in print and on the Internet for many years to come.  
---
	FAREWELL, THEE WRITERS!

	As part of our farewell issue, we invited the writers - both 
present and past - to say a little about themselves; their current 
plans, future projects, and whatever caught their fancy.  We've 
always featured a wide array of experience and interests among 
our writers, and hope to share a little of that with you now.  Farewells 
often happen abruptly, with no advance planning, and with no finances 
left; Consumable's closure merely comes as a completion of a plan, 
and with no bitter feelings among any of us.  Any of our writers 
will still read their e-mail; to contact them for future assignments, 
or just to say "hey, thanks!" the format is 
(first initial)(last name) @ consumableonline.com  


	Daniel Aloi: In five years of writing for Consumable, I've 
heard its readers (musicians and fans alike) praise it for being 
positive and open to anything. I nudged two friends into taking the 
fan-to-writer leap and contributing, and I'm as proud of their work 
as anything I wrote. I'm going to miss having one such respectable 
source for the sharp and expansive viewpoints my unseen colleagues 
and I shared in CO with the world. It's been among the high points 
of my 13 years of writing criticism, so thanks for reading us, 
trusting us, and sharing our enthusiasm. (and P.S. I'll miss it so 
much, I'm available to anyone seeking a publicist, music editor, or 
staff writer...) 

	Paul Andersen: A Southern California native (yes, folks, 
they _do_ exist) who would someday like to experience the turning 
of a season, Paul Andersen credits his computer with finally 
turning him into a writer rather than a dabbler in words. "It 
takes away the excuses," he says. "With the typewriter, I would 
get lazy, not wanting to have to buy stock in liquid paper."
   Writing mainly about music (all styles) and the arts, he 
believes in using his platform to promote rather than dissuade. 
"I'd rather use my little bit of space to turn someone on to 
something good, rather than trash somebody," he admits. "Besides, 
it's just my opinion anyway, and why would anyone want to hear me 
rant about something?" Among the publications he writes for are 
Entertainment Today, the Pasadena Weekly, the Pasadena Star News, 
Glendale News Press, San Gabriel Valley Weekly, L.A. Daily News, 
South Bay Weekend, 28th Street and the Burbank Leader, as well 
as the late L.A. Reader and BAM. He also ran his own jazz p.r. 
firm for about five years back in the late 70s-early 80s.
   "If I could, I'd like to move away from the local markets, 
either online or with some magazines," he says laughing. "You 
get tired of having to make it have a local angle. Something 
like _Pulse_ or _Jane_ would be cool, because they are magazines 
people actually read."

	Christina Apeles is a writer and co-publisher of Spin the Wheel 
Press, a collaborative venture by Los Angeles-based writers and artists 
to publish innovative projects and experimental texts.  She has 
contributed music reviews, artist interviews, entertainment news, short 
stories and pop culture articles to several print and online magazines 
including BUST, Glue, Giant Robot and LosAngeles.com.  She currently 
does freelance publicity for local artists and writers, and occasionally 
coordinates local arts events.

	Joann D. Ball has been in the music industry for more than 
a decade.  A Chicago native, she has worked in programming and 
sales at college and commercial radio,  has done marketing and 
promotions work at major record labels and has done freelance 
media consulting for bands and other entertainment clients.  Ball 
is excited about the potential of the digital music industry, and 
currently seeks a full-time marketing/promotion, programming or 
editorial position where she can contribute her extensive knowledge 
of music genres and radio formats.
   Ball has written for Consumable Online since 1995, when 
she relocated to San Diego, California.  During that time, she 
has reviewed a range of major and independent label releases from 
such genres as alternative and mainstream rock, adult acoustic 
pop, electronica, acid jazz and hip-hop.  She has interviewed 
several recording artists including Peter Koppes of The Church and 
Sally Taylor, and also has covered such major events as SXSW 2000 
and the 1999 San Francisco New Year's Eve (SFNYE) Superior Bash.  
In her free time, Ball enjoys listening to recorded and live music 
and is particularly impressed by artists Randi Driscoll and Lisa 
Sanders who are poised to emerge nationally from the San Diego 
singer/songwriter scene.

	Niles Baranowski is a fledgling writer based in St. Louis, MO. 
He has just graduated from Washington University and currently works 
for an art house movie theatre while he figures out his proverbial 
'next move,' though he would love to write about music in any 
capacity.  He has written and edited for Cadenza, the quasi-autonomous 
datebook section of Washington University's paper (where he won three 
awards for reviews of the Pixies, Alanis Morrissette and Fiona Apple, 
respectively), as well as contributing to Sample, a music zine put 
out by KWUR, WU's campus station. He also served as Music Director 
of KWUR for a year.
   In addition to music, Niles also loves anime and Chinese cooking 
(he may end up in cooking school someday).  Always a slight 
Anglophile, London is his next concrete destination, where he dreams 
of writing for the NME.  His dream job, however, would be a monthly 
column in a national magazine about the Japanese pop (J-pop) scene 
for American neophytes.  Niles's all-time Desert Island Selection 
is Bowie's _Scary Monsters_.

	Dan Birchall: A New Jersey native, Dan now lives in Hawaii, 
where he works as a web programmer/developer in the retail industry.  
Long-time editor of _Screaming in Digital_, the Queensryche Internet 
magazine, he specializes in progressive rock and metal, but has many 
interests and has reviewed other genres, individually and in partnership 
with his wife Maisha.

	Chris Butler: I play drums with Richard Lloyd, am writing and 
recording songs for three different projects at once (nuts!), but can best be 
described as a person who is already missing Consumable.

	Chris Candreva: By day, Chris runs WestNet Internet Services 
in Rye, NY. By night, he restores and plays 80's era arcade machines, 
noodles around on his guitar, and looks for things to fix around the 
house.  Chris and his wife Valerie are expecting their first child.

	Matthew Carlin is the Managing Editor of Knotes magazine / 
program guide, the official print publication of New York's (and now 
Hollywood's as well) Knitting Factory club. He also does some 
writing and editing for jazze.com and the various online outposts 
of KnitMedia, the company that owns the Knitting Factory. He is 
also a freelance writer, whose contributions can be seen in such 
places as All Music Guide, gANK magazine and various trade 
publications and online places.

	John Davidson (Atlanta, GA) has been covering music for various 
publications on a local and national basis for too many years now, and 
has no awards to show for it.  He does, however, have a gargantuan music 
collection numbering in the 1000s.  He thinks that Lester Bangs was 
criminally overrated and Jack Rabid criminally ignored.  While Davidson 
has spent most of his time championing indie acts, he's never turned down 
a major label press junket in Hawaii.  Finally, if the Replacements ever 
reform, he will be the first in line at the ticket booth.

	Andrew Duncan is a recent graduate from IUPUI with a bachelor's 
degree in Journalism, and is currently living in Indianapolis. Duncan began 
his career at The IUPUI Sagamore, the college newspaper, winning several 
distinctive awards including the National Collegic Press Association for
best newspaper design.
   Duncan is currently employed at Sherman and Company, a business public 
relations firm with a clientele including Navistar, American Pianists 
Association, Ingersoll-Rand, and other national and local businesses. He is 
also a contributing writer for both print and online publications, including 
Chord, Uno Mas, Readyset...aesthetic!, Heckler and, beginning this fall, 
Yahtzeen! He is also developing an Indianapolis-based publication due for 
release late fall or early winter. With feature and review writing, design 
experience, an endurance of coffee stains and a wedding in the works, Duncan 
is always looking for new adventures in the world of entertainment and pop 
culture in which to contribute to.

	Matt Fink: I'm a lifelong music fan.  During my tenure as a 
music journalist, I've found employment as a biographer for the Rough 
Guide to Rock and Roll, an album reviewer for the Folk & Acoustic 
Music Exchange, and doing a combination of both duties for the All 
Music Guide.  I hope to continue writing and eventually reach a level 
of financial independence making the acquisition of a normal 9 to 5 
job unnecessary.

	Bob Gajarsky (Hoboken, NJ) has spent the past seven years juggling 
jobs: PC support person at a major international bank for 6 years and 
trading equities for his own portfolio for one year during the day, 
and by night, running Consumable Online.  
   The amount of time involved with Consumable left him with minimal 
energy, but apart from numerous music articles republished in other 
publications, his baseball writings (on the myths of clutch hitting, as 
well as an interview with Carl Pavano) have appeared in the Baseball 
Prospectus.   After the flame has been rekindled, you may see him 
managing other projects and contributing to other publications once again.  
But for now, having a ten hour work day seems relatively calming.

	Paul Hanson has been writing reviews on the Internet since 1997. 
He currently contributes to a number of sites including Flow Online, Daily 
Vault, Jersey Beat, Pandemonium, 181 Degrees From The Norm, Ballbuster 
and Moisst. The highlights of his career include interviewing Igor Calavera of 
Sepultura, Max Calavera of Sepultura, and face-to-face interviews with Lajon 
Witherspoon of Sevendust and Jeff Pilson of Dokken.
   On a personal level, Paul is married and has two children, Megan, 4, and 
Alexander, 2. Alex was named after Alex Van Halen.

	Chris Hill works in a Joe Banks day job at a major Seattle 
aircraft manufacturer.  He spends his spare time searching for his 
Patricia, replacing career genes with obscure film trivia genes 
(which are far stronger since they feed on microbrews), reading 
P.G. Wodehouse, learning how to kayak, and obsessively collecting 
the catalog of whatever band's striking his fancy that day.  
   Writing for Consumable has been a great experience.  First 
off, thanks to Bob Gajarsky for taking on a new writer solely on a 
friend's recommendation.  Second, reading and being influenced by 
the other CO writers has been wonderful for him.  Each issue brought 
new amazement at the depth of the staff's knowledge and interests.  
You guys rock.  And roll.  
   Hill's future plans include working with fellow fans and the 
artist himself on Lloyd Cole's website (http://www.lloydcole.com), 
enjoying life in general, travelling to Europe, and utilizing his 
English Lit degree to better professional advantage.   Best wishes 
to all the fellow writers and to everyone out there who's taken the 
time to read Consumable.  As much as you've enjoyed the reading and 
writing, so has he.  Look for him standing by the side of the road 
holding a cardboard sign that says, "Will write for compact discs."  
Throw cd singles.  He's not proud.

	Bill Holmes: I started writing reviews again five years ago after 
a long absence; the immediacy of the Internet seemed to be a logical way 
to communicate the excitement of a new release without the long delay of 
print magazines.  Consumable was my first online experience and will 
probably remain closest to my heart for its no-advertising, 
call-em-as-you-hear-em attitude that is lacking in so many of these 
puff-piece sites that boast "objective journalism". Never wise-ass or 
trendy, it was a consistent home for well-worded commentary, and it never 
lowered the bar for any writer, label or band. Thanks, Bob, for five great 
years together.
   I continue to write for a few other publications; Cosmik Debris and 
PopMatters live in the online world and Amplifier, Pop Culture Press and 
Bucketful Of Brains are my most frequent print appearances. I continue to 
seek out great music and deserving artists and hope that my words continue 
to entertain and enlighten the reader. Visit Dr. Bristol's Musical Prescription 
at http://www.geocities.com/SunsetStrip/8282/ if and when you are in the mood.

	Scott Hudson: For the past 12 years I have been employed as a Real 
Estate Appraiser with the Mecklenburg County Tax Office in Charlotte, NC. 
In addition to writing with Consumable, I am currently writing for 
http://PopMatters.com with a future goal of writing press releases for 
new and established acts. I reside in Concord, NC with my wife Lynda and 
our two children Chelsea and Ian.

	Jianda Johnson lives in Southern California, and writes music, 
film and book-related features and interviews for websites such as 
About.com and MP3.com and others.  She has also been published online 
in Clean Sheets,  Scarlet Letters and Doorknobs and Bodypaint for fiction, 
and is looking forward to her"carbon-based" publishing debut in the 
"Faster Pussycats" and "Well Rounded" anthologies this and next year.  She 
sings, studies Aikido, and dabbles in music video play at the L.A.-based 
production company, New Venture Productions.

	Reto Koradi: While not always a frequent writer, I had the 
opportunity to be part of Consumable since the early days. Being 
from Switzerland, I often wrote about artists from the European 
Continent that I thought deserved more world wide exposure, and 
also reported about concerts on a few occasions. I moved to the 
United States (St. Louis) a little more than two years ago, have 
a PhD degree in computer science, and work as a software engineer 
in the scientific (drug discovery) area.

	Wes Long: Take one young and very impressionable child, feed 
him on an elephant steady diet of Beatles and Marvel comics, and you're 
apt to create a beast not too dissimilar to Wes Long. Wes comes fully 
equipped with a piranha rabid appetite for hook laden power pop and a 
"so-called" unhealthy obsession for the written word (what the hell 
does his caseworker know anyway?).  He's studied at several easily 
forgotten North Carolina institutes and has a background in art and 
English. In addition to these rather freakish qualities and an 
uncanny ability to speak of himself in the 3rd person he's a 
published and award-winning poet, guitarist and frequent contributor 
to the fine print music magazine The Music Monitor. Wes was last seen 
on a downtown Charlotte street corner lying motionless 'neath a 
placard baring his name and the Sharpie scribbled words: WILL WRITE 
FOR FOOD. He ain't too proud to beg.

	Al Muzer: A longtime music writer and regular columnist for The 
Aquarian Weekly, Al has also shared his opinion with readers of The Music 
Paper, Live Wire, JUICE, AOL's HUB, All-Star Magazine, Rock Brigade, Hit
Sensations, The Musician's Exchange, CDNow, Addicted To Noise, Hits and 
The East Coast Rocker.
   Not particularly suited to any vocation other than writing (and, to 
further limit his options, writing about music) Muzer lists band and 
artist bios for Buddy Guy, Luna, John Mayall, Third Day, Pilfers, Kitty 
In The Tree, Country Dick Montana and The Rosenbergs among his 
accomplishments and has covered artists from Clint Black to the Circle 
Jerks and the Wallflowers to Waylon (Jennings).
   A knowledgeable fan of rock, blues, rock-a-billy, punk, power pop, 
bluegrass, classical, exotica and country music and a walking 
encyclopedia of seemingly pointless, music-related trivia -- Al Muzer 
also freelances as a copywriter for several publicity and Internet firms 
and is always looking for additional outlets for his creative energy. 
For examples of his work, check out http://www.musichead.com

	Nina Ramos: Scott Williams once had a dream...and a lot of time 
on his hands. So, he started this little thing called Consumable Zine. 
The point was to provide honest reports on the NY/NJ area music scene. 
Having a similar amount of time on my hands, I came on as assistant 
publicity director and advertising maven.
   After 2 issues Scott and I looked at each other and said - "This...this 
is hard." In comes Bob Gajarsky to the rescue! He took our fledgling zine 
and spun it onto the World Wide Web. Thus, Consumable became the first 
staffed online music reviews publication. 
   Scott and I remained contributing writers for some time. However, 
we developed lives that ultimately left no room for Consumable. With a sad 
heart, I left Consumable and went to Seattle for art school. Scott...well, 
no one really knows what happened to Scott.
   Since my last review for Consumable sometime in 1996, I have 
settled in Silicon Valley and become a Digital Video maven/computer geek. 
My time with Consumable is definitely one of the top 3 highlights of my 
life - next to breathing and being a girl. Mike Watt at Tramps, NYC...Shudder 
to Think's video release party...I am filled with much emotion at these last 
moments...I bid it all a fond adieu. Goodnight.

	Linda Scott: Music is a major part of my life. I am interested in 
listening to music, following artist and band careers, learning about the 
music business, and working on music-related publicity. I have done reviews 
for Consumable since 1995. 
   I am the webmaster for the official fan site of ex-Guns N'Roses lead 
guitarist and frontman for Slash's Snakepit, Slash.   I work with Slash and 
others in his organizationon publicity for the fans and useful information on 
Slash from his discography to his equipment, style and techniques. The page is 
located at http://www.snakepit.org .

	Don Share also writes on music for All Music Guide and MTVi's 
Sonicnet.com.  He is also a published poet and translator who recently 
won the London Times Literary Supplement Translation Prize, as well as 
a musician whose music has received airplay from Memphis to Sydney.

	Scott Slonaker is a lifelong music fan and college radio geek who began 
writing for Consumable in January, 1997.  Prior to this, he self-published 
thirty-two issues of his Take One music zine by email and Usenet.  (Take One 
may resurface with Consumable's dissolution).  Scott is completing his MBA 
at Ohio University at the end of August and has accepted a Sales 
Applications Coordinator position at Harris Corporation, producer of analog 
and digital broadcast transmitters, parts, and components.  He often does 
karaoke to "Ice Ice Baby", which usually proves excruciating for any and all 
listeners.  

	Chelsea Spear:  Hi there - you might remember me (Ed. Note: Troy 
Mcclure? Couldn't resist...) from my extensive coverage of indie-girl bands 
and worship of the Elephant 6 Recording Company.  Now that Consumable Online is 
ending its tenure I will be turning my attention to film, both as a filmmaker 
and a writer.  My film _Girl on a Bicycle_ will be screening at some 
film-festivals, and I will be contributing "vision" to one of my friends' 
bands at Terrastock 4 this fall.  In the meantime, I will be writing about 
film for Insound.com and attending courses at Suffolk University this fall. 
Check out my website at http://www.pixievision.tripod.com/home.html for 
further happenings.

	Lang Whitaker (Managing Editor): I got my start with Consumable, so I 
will forever be grateful for that. Since then, I've gone on to become the urban 
music writer for Creative Loafing in Atlanta, the second-largest newspaper in 
Georgia. I also contribute regularly to several magazines including Slam, 
Paper, The Source and XXL. In September, I will be moving to New York City to 
become the editor of http://Slamonline.com , the web site for the world's 
coolest basketball magazine, Slam. If you like basketball, we're going to make 
you extremely happy.
   As Consumable fades into cyber-history, I'd like to take this opportunity to 
publicly thank Bob Gajarsky for being a tireless worker, a dedicated music 
lover, and, more than that, a friend. Hopefully, my name will continue 
floating around in print for years to come, even if it's not under the 
Consumable banner. Thanks a lot everybody, it's been a blast. Last one out, 
don't forget to turn out the light. 
---
	WHY DO I BOTHER?
		- Bill Holmes
	I don't know any better, really. When I was young enough that standing 
in the crib was an accomplishment, my Mom would put the radio on to help keep 
me amused while she ironed, dusted, or whatever stay-at-home Moms did back in 
the day. She must have noticed something, because I have 45's that date back 
to those pre-toddler days, and I remember them vividly. "Little Star", by The 
Elegants, was the first, and it's still one of my favorite songs.  Thousands 
of records and... and... (gulp...I don't want to total the dollars!)... well, 
years later, I still have a voracious appetite for sounds.
	Growing up in the sixties and seventies in and around New York, my 
formal schooling was mirrored culturally by the classic AM jocks like Murray 
The K, Cousin Bruce Morrow and Dandy Dan Daniels. When I hipped to the FM dial, 
the baton was picked up by Scott Muni, Alison Steele ("The Nightbird") and 
Vin Scelsa, The Last Man Standing. Hearing the new singles and albums break 
the airwaves was a rush, and buying the latest sides was an event. I 
remember huddling with friends over everything from the latest Beatles and 
Stones singles to albums from Hendrix, Black Sabbath and Cream. Radio meant 
exposure to Motown and bubblegum pop, blues rock and surf music, progressive 
pomp and flowery singer-songwriter sides. Admittedly, it was a magical time. 
Think about the geniuses that competed for air time in the late sixties - 
Dylan, Lennon/McCartney, Brian Wilson, Ray Davies, Smokey Robinson, Marvin 
Gaye, Holland/Dozier/Holland, Jagger/Richards.  I could drop twenty more names 
with ease.
	Many people abandon their passion for music when they graduate school, 
get married, get a "real job". Or perhaps their "passion" is only a temporary  
burst when the music lingers in their psyche, before it dwindles into 
background noise, where it shall forever remain. I just don't understand 
that transition, for although my life is and has been grounded, there has 
never been a moment when music has not been as important to me as breathing. 
I've spent most of my life trying to share the pleasure music has given me. 
It's an emotional roller coaster, a drug, a confessor, a best pal and the 
soundtrack to a broken heart. It's ALIVE. It's boundless. And most 
importantly, it's a highly subjective art form, with the ability to appeal, 
at some level, to everyone, if given the chance.
	The byproduct of all this invested passion is that I have watched 
countless worthy artists toil in obscurity, as the corporate atmosphere continues 
to use demographics, shareholder profits and plain old greed to suck every 
altruistic blood cell from what once was art. There's an entire generation 
of listeners who cannot visualize the meaning of a song without a video. 
With AM radio devoid of sounds and FM radio tightly wound, those who know no 
better juggle the few songs that the powers that be select for them. What 
once was a stallion on a vast, uncharted landscape is now a trotter horse 
wearing blinders.
	So why do I bother?
	Anger, frustration and bitterness didn't help me push John Hiatt or 
Rory Gallagher or Matthew Sweet into the public eye any sooner than they got 
there; those emotions are helpless and weak. But the written word is a 
powerful weapon. If I can do the legwork, scour the magazines, surf the 
websites and turn over every stone looking for worthwhile music, and then 
communicate my discoveries and impressions in a cohesive and honest way, 
then someone WILL get it. And if those people who get it, in turn, play 
those songs or talk about those bands...hell, START a band...then the music 
is alive.
	And I know how to look, because when I see the offerings I am handed, 
I know what I am missing. I once had an aural encyclopedia on my radio dial, 
and that has been taken from me. But like the book-readers in Fahrenheit 451, 
even if it means starting over with the most basic of tools - passing the 
word - I must do it. The tools are there for anyone with two ears and a 
heart to discover a global community of wonderful music beyond the standard 
menu choices. I'm willing to forge ahead on behalf of those who need proof, 
and find those records and artists, and hold them aloft in my hands like so 
many jewels salvaged from the bottom of the murky ocean. And when I do, I 
know that the next time some of you will have already jumped in without 
being pushed. And some of you will share your treasures with me, and we'll 
sit around some virtual living room, reveling in the beauty and the energy 
and the emotion that music brings, and we will look at each other with that 
warm, knowing smile as another timeless moment is added to our lives. And as 
much as I will do it for you, I will continue to do it for me, too. I have 
to.
	And that's why I bother.
---
	EVENT REVIEW:  MP3 Summit 2000,  San Diego, CA June 22-23,2000
		- Joann D. Ball
	I want my MP3!
	Of course, CEO Michael Robertson wants his MP3.com to be the
digital music source of choice.  Better yet, he wants MP3.com to be "your 
music service provider," and that was the theme of the third annual MP3 
Summit held June 22-23 on the campus of the University of California, San 
Diego.  Robertson made his case at his alma mater, which is a stone's 
throw from MP3's headquarters, and before a record crowd of industry 
movers and shakers, artists and others who are trying to make sense of 
the ever-changing digital cyberscape.
	In his opening keynote address, Robertson was adamant that "a 
different mindset" is needed to maximize the potential of the digital 
music industry.  His own efforts involve repositioning MP3.com as a 
music service provider and infrastructure company to counter the 
perception that it is simply a content provider.  And the search for 
a viable business model was the main topic of interest, with proactive 
industry professionals all seeking ways to diversify the music 
industry's revenue stream so it isn't so tied to CD sales and radio 
airplay.  The focus of the first panel of the day, "Pay to Play: 
Models for Monetizing Music Content from Dollar-a-Download to 
subscription," advertising-based and subscription models were 
presented as having the biggest advantage on the open market. 
The over-riding question, of course, was how to generate revenue 
and profits when digital music listeners have expressed such an 
overwhelming demand for free music through Napster and similar file 
sharing options. Regardless of what the market may decide, there was 
agreement among attendees that songwriters and artists absolutely 
deserve to get paid.
	At a conference that was decidedly technology focused, the most 
entertaining of the nearly twenty panels, sessions and presentations of 
the Summit was about the music and those who make it.  "Sound Advice:  
Online Artist Success Stories and How They Can Work for You" featured 
the always entertaining rap artist Ice-T among the guest panelists.  
In his street-wise and expletive infused delivery, he made the whole 
Internet music situation extremely easy to understand.  Even though 
he compared major labels to the most ruthless gangstas who run thangs 
and control the turf, Ice-T still gave props to the Internet because 
it makes it possible for artists to own their own music.  And it was 
his vision of a phat Christmas in the future that captured the digital 
music industry's ultimate challenge :  "The Internet, music, MP3, is 
not going to move until the hardware catches up. The Christmas of 
the MP3 car stereo, the Christmas of the MP3 home system, the 
Christmas when the Rio player is playing six and eight hours... when 
that shit happens, sites are going to be bombarded because people are 
going to need content."
	Making digital music portable and freeing people from their 
computers, as Ice-T so eloquently explained is the key to a successful 
digital music revolution.  And to prove that it is a work in progress, 
many of the exhibitors in the Exhibition Showcase touted innovative 
products designed to facilitate the process.  DigMedia Inc. displayed 
the portable SoulMate and non-PC based jukebox MusicStore and 
NetPlayRadio introduced its FMP3 transmitter which makes it possible 
to broadcast MP3 files from the computer to any FM receiver.  In-car 
audio was represented by competitors Empeg which showcased its 
"ultimate in-dash mp3" player and PhatNoise which freely 
demonstrated its car audio system.  And such Internet notables as 
online radio site Live365.com, Scour,  CNET.com were side by side 
with Summit sponsors like MusicMatch and earjam.com.  And they were 
joined in the exhibit hall by emerging sites like kick.com, 
ListenSmart and MP3.com's new online/brick and mortar music store 
partner DjangosMusic.com.  In a separate space dubbed "the digital 
living room," companies such as S3, Zapstation, Xystos and MP3.com 
partner Panja showcased dynamic digital audio systems.  All of the 
flash and gadgetry in both spaces was a natural extension of 
Robertson's keynote address demonstrations where he used urban and 
hip-hop music to show how MP3.com music files can be heard throughout 
one's home courtesy of Panja, as well as through a newly developed 
Samsung mobile phone and even, should one desire it, through one's 
regular home telephone.
	Outside of the session and exhibit spaces, conversations about 
the current state and future of the traditional and digital music 
industry was as abundant as the unlimited supply of complimentary 
food and drinks provided throughout the two-day event.  The vibe 
was extremely positive, with networking and socializing just as 
important as hearing the latest about technological, business and 
creative innovations.  Robertson's repositioning of MP3.com as a 
music service provider was openly critiqued and discussed, and the 
obvious company shift in focus was not lost on a number of last year's 
attendees who pondered aloud about the shift away previous years' 
emphasis on "free music."  At MP3 Summit 2000, Robertson proudly 
claimed that "MP3.com and the entire digital music space is beyond 
its darkest hour" in direct reference to his company's legal battles 
and settlement with several major record labels.  Given subsequent 
legal activity and ongoing controversy surrounding Napster, however, 
the jury is still out.  But one thing is for sure... the times they 
are a-changing.  And of course, it is all happening at Internet speed.
---
	WHY NAPSTER ISN'T THE EVIL EMPIRE
		- Bob Gajarsky
	California-based Napster has been making headlines 
recently, and it isn't the kind the company would prefer.  
Rather than being heralded for a moonshot IPO pricing, 
Napster has been sued by the Recording Industry Association 
of America (RIAA) regarding its software package allowing 
quick transfer of MP3 files.  The point of this article isn't to 
reflect on the legality or illegality of Napster and sharing MP3 
files, but to reflect on the positive uses of Napster - and the 
many flaws in the RIAA's way of thinking.
	Napster serves as a clearinghouse of information - in this 
case, the information of which MP3s you have in a specific 
pre-defined directory on your machine.  Installing 
the Napster program allows users around the world to search 
for songs by title or artist.  When a match is made, the 
user clicks on the song, and in anywhere from several minutes 
to a couple hours (depending on speed of transfer on both ends), 
the song has been downloaded from one machine to the other.  
If one song is downloaded, it may or may not impact record 
sales.  However, if hundreds of thousands of songs are downloaded, no 
one will buy compact discs, and the label's artists will 
unfairly suffer.  Simple enough?
	The crux of the RIAA's argument revolves around a study they 
completed several months ago.  This shows a decline of 
compact disc sales in college towns.  If the major labels 
aren't getting as much money as before, it must be someone's 
fault.  Ergo, Napster.
	RIAA's first fault lies in the implicit assumption that 
the 'artists' are the number one concern of these labels involved.  
If the record industry really wants to support their artists, 
a far greater financial gain (for the artists) would be 
an elimination of the oppressive contracts (which have been 
ruled illegal in nearly every court judgment) which have 
plagued legal offices since rock and roll first became a 
profitable venture.  Instead, replace them with contracts which 
would reward newer artists for selling a 'measly' 50,000 copies 
of an album, instead of being in debt to a label for the 
life of the band's contract.  Then, there will be some 
proof that the record companies do care about their artists.
For further information on this subject, check the books by Donald 
Passman (All You Need To Know About The Music Business) and Stan 
Soocher (They Fought The Law: Rock Music Goes To Court), both of 
which cover the subject with far greater eloquence and details 
than could be covered in this small space.
	The next problem - declining CD sales in college 
towns.  I will assume that this is true (and personally, 
I believe it is true).  Why might there be declining sales?  
It takes about 5 minutes surfing the Internet to find the 
answer, and it comes in two parts.
	The first answer comes from the expansion of 
online music sites such as (U.S.) Amazon, CDNow and 
Barnes and Noble, or worldwide from such sites as 
Boxman or Yalplay.  With 'listening booths' allowing 30 
second snippets of more than half an album's songs, people 
don't feel as strong a need to go into the stores and make 
a purchase of two or three $17 discs (plus tax).  Instead, they 
purchase them online at $12 each - no tax, but $4 shipping. 
For a college student, the savings of $3-4 per disc can 
easily justify the cost of waiting an additional 3 days 
for the disc to arrive in the mail.  The merits of indie record 
stores are a subject for another time and place, but the fact 
is, these deep-discount online stores that stock ALL indie and 
major label music are choking the lifeline out of the smaller 
stores.
	The other reason for declining sales comes from 
online coupons.  In an attempt to gain market share, most 
of the online players have coupons designed to 
draw newer buyers to their site.  However, these coupons 
are quickly posted to some sites such as Deal of Day 
(http://www.dealofday.com), which compiles lists of 
online coupons / freebies for hundreds of different 
merchandising areas.  A common coupon is a "$10 off $40 
purchase".  So, in the above example, the college 
student would have saved $6-7 per disc by shopping online with 
the coupon.  One enterprising collegiate bragged that, through 
the use of online coupons and referral sites, he was able to 
purchase all his Christmas gifts (several hundred dollars value) 
for just under $100, and was able to receive a new stereo system 
for himself as a 'free' bonus.  With savings like that, is it any 
wonder that collegiate store sales might drop?
	Now that some of the RIAA's faults have been exposed, 
let's examine the positive services Napster provides.  Looking 
for out of print songs? There's a good chance if it was recorded 
in the last 20 years, someone on Napster might have it.  A search 
one night generated the Chicago Bears hit "Super Bowl Shuffle", 
never available on CD and changing hands on vinyl at $20 
a pop, as well as numerous other top 40 hits of the eighties 
that are no longer available on CD.  
	There are also other advantages to the Napster program.  
Miss the British radio broadcast of Fatboy Slim vs the 
Rolling Stones, "Satisfaction Skank", which was legally 
broadcast, and is unavailable in stores?  Check out Napster.  
How about some of the rare DJ-only megamixes and 
remixes, which have never been made commercially available, 
will never be made commercially available, and usually 
fetch $50+ upwards, with no compensation to the artists? 
Napster is your friend.  And what about the extra B-sides or 
Japan-only extra tracks (in Japan, many domestically 
produced albums include one or two extra songs, to deter 
the Japanese from purchasing the cheaper import album of the 
same title)?  Chances are, if you're diligent, someone using 
Napster will have included those.
	I talked with some high schoolers recently about this topic. 
Although they had heard of Napster, they had never used it.  
However, they also felt they wouldn't have a need for Napster at 
all.  Why?  When one of them finds a new album they absolutely must 
have, they buy it - and burn several copies of it with a CD burner.
	And that, my friends, is where the real problem lies.  Not 
with Napster.  I'm not proposing any quick fix technological solutions 
to this problem, but instead of spending millions of dollars on an 
easy target which won't solve the problem, shouldn't the RIAA be 
working on a way to 'educate' the public about the wrongs of copying 
music like this?
	If Napster were eliminated, there are still at least a dozen 
tweaked clones of Napster in the public domain.  The best-known of 
these, Gnutella, doesn't even reside on an individual server, making 
it impossible to 'shut it down'.  
	And even if all these clones were eliminated?  College students, 
with plenty of time on their hands and an ability to learn the latest 
technology far quicker than most, can easily circumvent Napster'fs 
hypothetical demise.
	Before Napster was ever finalized, advance copies of Pearl 
Jam and Depeche Mode albums had been posted on Web sites and 
Internet servers around the world - months before their official 
release, or before critics ever received their advance copies.
Users would resort back to posting a message on a Usenet news 
group (read by hundreds of thousands of people), or on Web sites, 
announcing where the files are - or that they can be e-mailed directly 
to your inbox.
	What will eventually happen, on the college level, is each dorm 
student will have their own dedicated IP address on the school's 
network.  They will set up an 'anonymous' area on the machine, which 
contains any MP3s or similar files that the user wants to 'share'.  Then, 
other people - whether on their campus, their town, or around the 
world - will 'FTP' to the user's secure machine, download the MP3s, and 
the same problem will exist - with no one to stop it.
	Is the RIAA really going to contact each school and ask them to 
enforce strict limits on the size of file downloads?  A system 
administrator might (if the college's servers are overloaded), but not 
the RIAA.
	This FTP / IP address wouldn't work for 'professionals' or 
teens without a high speed dedicated line, but the record industry is 
telling us "We're losing our income because of college kids!".  And I'm 
telling them that not only is that a lie, but worse, it will be nearly 
powerless to stop any potential theft of music.
	What's the solution to all this?  Make the music *available*.
If the labels were serious about protecting and generating revenue for 
the artists, they should keep out of print CDs digitally online, 
available for purchase via downloading.  The incremental additional 
cost of computer servers would be minimal, and at the same time everyone 
concerned - label, artist, and fan - could get what they want at a fair 
price.
	And given a choice, most people would prefer to legally buy a CD, 
complete with liner notes and front / back sleeves, than burn one.  
Those radio-only dance remix versions of hit songs?  Instead of throwing 
them in the waste-bin or destroying them, why not sell them direct to 
the consumer (3 months after their issuance to radio) and earn everyone 
involved a little extra cash?  Sell those Japanese-only tracks online.  
Again - little effort with extra money and appreciation by all involved.
	Will people stop swapping MP3 files, and copying music 
from others?  Unfortunately, no.  Will Napster weather the legal storm?  
That remains to be seen.  But with a little visionary thinking, record 
companies could easily survive any potential drains on their 
bottom line, and attack the real problems instead of a straw man.
---
	CONFESSIONS OF AN INTERNET ROCK CRITIC
		- Dr. Johnny Walker
	It's a long story, but I'll make it a short one.  Back 
around the end of 1994, I wrote a Bryan Ferry concert review 
for Consumable.  It was thrilling to see it published.  
Soon I was writing for a number of online rock publicationss, 
also including ex-MTVer Adam Curry's (remember him?) The Vibe 
and Michael Goldberg's fledgling Addicted To Noise.  Money 
began to trickle in, and eventually I had to go for the 
big bux and said goodbye to good ol' Consumable.  ATN struggled 
along, but there I got to write long essays in the style of 
my hero Lester Bangs, to whom ATN was dedicated.  I also 
met heroes like Ian McCulloch of Echo & The Bunnymen and James 
Dean Bradfield of Manic Street Preachers.  Mac was so cheap he 
made me pay for my own beer.  James Dean seemed to be running 
on a few hits of something very speedy.  But hey, they were 
British rock stars!
	* Best interview ever: a hilarious encounter with Portland's 
The Dandy Warhols.
	* Worst: a scrap with surly Mansun leader Paul Draper and 
embarrassed guitarist Dominic Chad.
	* And no one EVER offered me drugs - such was the life 
of a rock critic in the PC 1990s.
	Anyway, soon ATN was bought by Sonicnet and the money 
improved -- for me at least -- by leaps and bounds, but the spirit 
soon left, making a mockery out of the mag's dedication to the 
memory of Lester Bangs.  Adam Curry, meanwhile, decided he 
couldn't compete (a wise decision) and folded The Vibe.  I was 
offered a job as ATN reviews editor in San Francisco, but no one 
could figure out how to get me there from Toronto as anything 
other than an illegal immigrant.  I suggested doing the job by 
telecommuting, but that silly idea was shot down (the gentleman 
who later took over did it by - guess what - telecommuting!).  
ATN then hired a bunch of silly, shiny people who made rock and 
roll sound about as exciting as opera, and I slowly withdrew (or 
was _withdrawn_, more accurately) to the reviews page, the only 
place left were even a shred of vitality was allowed.
	Meanwhile, those writers and editors who had carried ATN 
in the all-important period leading up to its big-bux corporate 
sale (or sell-out) were slowly written out of history by the new 
crop of yuppies.  When the magazine inevitably (and thankfully - 
Lester can now stop spinning in his grave) bit the dust last 
month, it was as as if we all had never existed - not even a 
"thank you."  Well hey, and a hearty "fuck you" to all you boys 
and girls as well!  You're all about as "rock and roll" as a 
fucking tea cozy, I might add.
	Anyway, so now Consumable -- which always kept its integrity 
because it resisted the lure of big money -- is folding too.  Given 
the state of rock and roll, the timing is right.  I now often feel 
like my parents: "That rave shit, that's not _music!_" I find 
myself grumbling.  Like classical, like jazz, rock and roll is 
dead but lives on: there will always be a skilled new practitioner 
to come along and excite the remaining disciples, but the cultural 
currency of rock was used up when Kurt Cobain refused the mantle 
of rock star and instead embraced death as an alternative, not so 
neatly ending what started with Elvis.  Everything else from that 
point on is a mere footnote.
	But hey, at least I had something interesting to do while 
I finished my dissertation.
	Good luck, Bob!  (And I still say Rosa Mota was a _great_ band!)
---
	RANDOM THOUGHTS AND MUSINGS...
		- Bob Gajarsky

	> Did you know that Sonicnet started as a dialup BBS 
service?  I'll admit I was an early subscriber; it even offered 
the only way to quickly converse with Danny Goldberg (former head 
of Mercury Records).
	> One of the huge positives of the Internet lies in the 
easy accessibility of almost anyone.   When things were 'quieter' 
on the 'net, well-known people would respond to e-mails.   
However, as the number of people with net access grew in leaps 
and bounds, and those people became more demanding,  
the famous would often choose to lurk in obscurity.  
	> We conducted an interview with Carl Caprioglio, head of 
west-coast Oglio Records.  At the time, they were an 80s-reissue 
only label, though they have since diversified.  Although 
Carl and I were unable to arrange a time for an interview, 
we decided to do an online interview; I'd e-mail him questions, 
he'd reply with in-depth answers, I'd ask follow-ups, and he'd 
answer them.  When he was complete, he remarked that this was 
the "best interview", because he was able to think about 
his answers, and provide well-thought out responses.
   So, if you're looking for bulletin-board fodder, on-line 
interviews aren't the way to go.  But many other people are  
now utilizing the e-mail interview process.
	> Consumable had offers to be purchased several times 
during its run.  However, these were either inadequate, or did not 
allow us to retain control over editorial content.  If this had 
been a primary source of income, I'm sure Consumable would have 
been sold to an outside organization.  However, it would 
look much different than it has today.
	> A neat trick of some music critics who review a concert 
is to show up pre-concert, get the free food and drinks that 
are provided for bigger name (critics), demand a copy of the 
artist's set list, and then leave halfway through the show.  
One savvy publicist caught onto this, and provided a prelim 
set-list.  When the writer's column appeared, and included a 
list of 'encore' songs which were never played....busted!
	> When the major labels first found out about the 
Internet, they weren't quite sure how to approach it.
One of the majors hired a twenty-something college 
graduated, and paid him to write an online publication.  
This publication would be comprised 80% of all the 
major's (and their subsidiaries) artists, and 20% of 
all other reviews.  After a few months of this, however, 
the publication closed its doors.
   Another major hired an independent publicity firm back 
in 1996.  This firm would go on the newsgroups, making posts 
about "Hey, isn't (name of band / artist they were paid to plug) 
great?  And the new album is great, too!"  Eventually, their 
bluff was called by some of the astute observers of the group.  
When I called the publicist at that label, and asked them if 
they had any comment on that, they said no..."They're just 
doing what we are paying them for."

	THE FUTURE ON THE INTERNET

	In a Web-TV like setting, people will be able to turn on 
an MTV-like station, one of many - each of which have multiple
options.  Like the song that's on? Click this button to get 
a biography of the artist, click this to learn about the 
producer and the video, click here to get a review of the 
album and - most importantly - click this button to BUY the 
album, right now, and have it shipped to you...on CD within 72 hours, 
or digitally via MP3 that you can burn onto a CD Rom, that 
will expire soon afterwards.
	These reviews will, unfortunately, be total fluff.  After 
all, the purpose of the reviews is not to provide an impartial 
review, but to sell albums.  And with that in mind, people 
will have to read in-between the lines; light-hearted reviews 
need to be read as "don't buy"
	Hopefully, when this is created, there will also be an "author" 
button.  If a writer is a power-pop fan and can't stand rap 
music, there's no point in trusting his viewpoint on Eminem.  
This button will let you see the author's current favorite 
albums, along with his other reviews, to determine if his 
tastes fit *your* tastes.
---
THE READERS WRITE BACK!

	(We're only publishing a few of the e-mails from 
fans.  Suffice it to say we're all extremely touched by the 
outpouring of support we received at the news of Consumable's 
closure, from all of our readers - those in the industry, 
those looking to buy a new CD, or just those looking for a good 
read.  It's letters like these that somehow made it all 
worthwhile...)

	> Sorry to hear the news about your closure on August 1, 
but congratulations on what you have accomplished.  I've been a 
subscriber for many years -- in fact, Consumable Online was 
literally one of the first things I signed up for when I got 
email.  Many thanks for all of your hard work, and best wishes 
in all of your future endeavors.
	As a friend who works at a small record company signs 
all her notes to me:  "Rock on my friend." - C.M., Washington, DC.

	> I'm so sad that Consumable is retiring after 7 awesome 
years.  Yes it's true that there is more music info on the web 
but none of it with the quality and diversity of Consumable.  
No vested interests were ever served and music ruled supreme.  
I respect your decision to shut it all down but do know that you 
will be missed and all your hard work is appreciated by us all.
- G.A., Redmond, WA

	> I'm saddened to read of Consumable Online's planned 
closure.  I've richly enjoyed your reviews and found them very 
valuable -- and they have continued to be presented in a sensible 
electronic mail format when other publications have embarked on 
excursions into horrifying web design.  I'd like to thank you 
and your contributors for providing something worthwhile. - JSAM

	> I've been reading Consumable since the spring of '95, 
(religiously, I might add) and am incredibly sorry to hear you 
are folding.
	I first started reading Consumable while in college at 
the U. of Colorado at Boulder.  The Net was just gaining steam 
and the only publication I could read online was Consumable (and 
I also found Addicted to Noise, which was cool for a year or 
two before MTVi got its ugly hands on it).
	I continued to read Consumable after I left school and 
went into the music-journalism business myself... first as an 
entertainment editor at the local paper and now as the publisher 
of the sole music-only publication (Soundboard Magazine) in Colorado. 
It has not only given me great insight into a lot of music that I 
would have otherwise missed, but also a great deal of guidance in 
how to write *about* music.
	And for all of this, I am incredibly honored to have read your 
publication. Congrats to your entire staff on a job extra-well done! 
Best of luck wherever the music and writing takes you, one and all.
- Brian Sauer, Boulder, CO

	> I will very much miss Consumable as an easy source 
for new music reviews.  You've really done a fantastic job.
	The Consumable publication has been the only place where I 
could find reviews that correctly motivated me to buy/not buy a 
particular CD, or suggest a CD to a friend with complete 
confidence.  I'll miss it greatly. - A.L., Rochester
---
Founded in August, 1993, Consumable Online is the oldest 
music reviews publication on the Internet.
To get back issues of Consumable, check out:
        WWW:     http://www.consumableonline.com

To subscribe to Consumable, send an e-mail message to
consumable-request@westnet.com with the body of the message stating
"subscribe consumable".  To unsubscribe, send a message to the
same address stating "unsubscribe consumable".

Web access contributed by WestNet Internet Services (westnet.com),
serving Westchester County, NY.
===
