FAO Everett True/Jerry - Careless Take Costs Lives - Update please !

When will the first edition be available? (you mentioned late October several weeks ago as a target you were aiming for) How much will it cost at the newsagent/point of sale? is your intention still for a fortnightly publication?

Are there plans for a (basic) website for Careless Take Costs Lives? for e.g

- details of subscriptions particularly for non UK readers. - to promote the magazine to potential readers /artists/ independent labels. (editorial and advertising contact details) - the contents of the next edition - additional info such as release dates for albums that constantly change and are better suited to a web format rather than print.

- How much will subscriptions cost for UK residents, Rest of Europe, US/Canada and OZ/New Zealand?

Do you have any further information so ILM folk can spread the news of Careless Talk Costs Lives on weblogs/mailing lists/other discussion forums etc

Do you have plans to interview both Trans Am and Lift to Experience for Careless Take Costs Lives (as both are playing dates in the UK soon)

Also other ILM readers do you have any further ideas or artists you would like covered in Careless Talk Costs Lives?

On this forum I found this

[Some of the formatting is distorted as it appears on the web]

...................................................................

DECLARATION OF INTENT (Careless Talk Costs Lives)

orS

HOW WE ARE GOING TO HELP YOU SAVE YOUR BUSINESS

1) The music press is in a dire state. While magazines aimed at an Oolder, more passive¹ audience like MOJO and Uncut are still (more or less) flying the flag for traditional music press ideals such as Ointelligent, soulful and stylish¹ writing and design, there is a vast gap in the market. Melody Maker and Select folded at the end of 2000, mainly because their companies insisted on dumbing down their content for an audience that clearly didn¹t like being patronised. NME and Q seem hell-bent on following the same route. (We fully expect to see NME fold within a year, especially as its publishers have no grasp of its natural audience.) Kerrang continues to appeal to the metal kids, ably. The Wire is an esoteric law unto itself, but that¹s not what we¹re discussing here. Dance and fashion lifestyle magazines aimed at a younger, hipper crew ­ like the rather disappointing Sleaze Nation ­ continue to multiply. WHEN SELECT AND MM WENT DOWN, THEY TOOK 70,000 DISILLUSIONED READERS WITH THEM. Where have they gone? Nowhere. There¹s nowhere for them to go.

2) Who is supporting the new, exciting bands that continue to spring up across the land, media coverage or no media coverage? Where is your label/artist able to put across their message? Is there a place you can even advertise in that is suited to your music?

3) The media in the UK is ridiculously London-centric, thus cutting out entire swathes of the population. It¹s also a clique, out of touch, old andS you name it. Our central core has been at the heart of the music business for years now, indeed some of us are infamous for it. We have never lost sight of a few simple truths ­ the industry NEEDS new blood constantly, lest its arteries become clogged and die. There is still nothing that compares to the thrill of hearing someone new create some GREAT music. Nothing.

4) Our contributors are web kids, fanzine editors, established broadsheet hacks, Australians, SerbiansS anyone we think has something vital to add to the discourse. We have plenty of female contributors, for sure. Why would you want to advertise with us? Why would you want to finance us? Because we¹re bloody exciting that¹s why, and because we don¹t think there¹s anything to be gained from giving lead reviews to Oartists¹ like Kylie Minogue when they¹ve been covered 500 times already across the country.

5) Here¹s a list of what¹s in our first few issues. Some will change, others won¹t.

MOGWAI ELECTRELANE BANNED RECORDS THE VEGAS COUNTDOWN LADYFEST QUASI DEF JUX TECHNO-ANIMAL HERBIE MANN DIRTBOMBS MEANWHILE BACK IN COMMUNIST RUSSIA ROCK OF TRAVOLTA APHEX TWIN ONEIDA CHICKS ON SPEED BOBBY CONN THE PATTERN AEROGRAMME THE PRODIGY HOWE GELB MERCURY REV DIAMANDA GALAS BRIGHT EYES JAJAGUWAR THE LEAF LABEL HEARTLESS CREW JAY-Z LES SAVY FAV SLIPKNOT HARMONY KORINE DANIELSON FAMILE LAL FUTURE PILOT AKA ELENI MANDELL SPIRITUALIZED GRAND DRIVE SLUMBER PARTY DENISE JAMES DANIEL JOHNSTON INTERNATIONAL NOISE CONSPIRACY MINUS NOAM CHOMSKY

6) We encourage discourse. One regular feature will give bands an opportunity to immediately answer back to criticism. In album reviews, we have For and Against views. Musicians write for us, loads of the bloody creatures. We have so many columnists, I can¹t even begin to tell youS all with one fundamental aim. To put across our enthusiasm and love for the music that moves us ­ to joy, and to despair.

7) Our photography and design will be absolutely second to none. No clumsy cover lines! No crap head and shoulders live shots! What do you expect from a magazine co-run by the finest rock photographer of the age, Steve Gullick?

8) Our rates are reasonable, and our expected print run for the first issue is 20,000. We have a heavy subscriber base. We are sold in countries my mum has never heard of. Don¹t worry: we expect to have overtaken the NME¹s pitiful sales shortly. This is the most media-literate generation ever, plus there¹s a whole section of society grown up ­ or too young to grow up ­ on the music we all love. We know that Othe kids¹ want to be treated with respect. We are the kids. (No not me, of courseS our contributors.)

9) Careless Talk Costs Sales, as all publications are finding out.

10) The fashion was for Big Brother, Celebrity Sleepover, and the crap media pages in the Guardian. That fashion is about to change: partly because of world events, and partly because it was a crap fashion. If you want to talk demographics, we¹re talking everyone who saw OHigh Fidelity¹ and OAlmost Famous¹. We¹re talking the massive rash of rock books. We¹re talking fans of Belle & Sebastian, Eminem, Radiohead and Mogwai. We¹re talking 16-25 year olds ­ but any age below and over, because in this post-millennial world of ours, everyone¹s a teenager, no one has grown up. We¹re talking an equal split between male and female. We¹re talking big disposable incomes."