Were you cheerleading like this for other labels' Kickstarters to fund original recordings, yes or no? If no, why? I have to laugh - I've had people come to me and ask me how I've done nine really successful Indiegogo campaigns, with most going well over the funding goal, a couple more than doubling it. And if I like the asker, I help them and give them what I think it takes to succeed and making it succeed is a full time job for four weeks. But not with Intrada - once they announce the campaign, they do NOTHING, do not lift a finger. And they fund. Why? This thread is why? They don't have to do anything with this kind of daily and relentless cheerleading, so good for them. But they are not the only ones doing this stuff, and I do not ever recall seeing cheerleading like this on other labels' recording campaigns.
My goodness, you sound like a jealous suitor who has been shown the door. Why don’t you list your “nine really successful Indiegogo campaigns” and explain how they are even slightly comparable to a Kickstarter campaign for the re-recording of a film score.
Have you even done a Kickstarter campaign? Please correct me if I am wrong, but weren’t you able to keep the Indiegogo contributions whether they met the goal or not?
In any event, once you start a serious compaign to re-record a film score, I’m sure that you will receive all of the cheerleading that you apparently yearn for.
In any event, once you start a serious compaign to re-record a film score, I’m sure that you will receive all of the cheerleading that you apparently yearn for. NK
It wouldn't have involved a Kickstarter back in 1992, but Bruce Kimmel is listed as Executive Producer on one of my favorite re-recordings, Korngold's "The Private Lives of Elizabeth and Essex" (conducted by Carl Davis).
Were you cheerleading like this for other labels' Kickstarters to fund original recordings, yes or no? If no, why? I have to laugh - I've had people come to me and ask me how I've done nine really successful Indiegogo campaigns, with most going well over the funding goal, a couple more than doubling it. And if I like the asker, I help them and give them what I think it takes to succeed and making it succeed is a full time job for four weeks. But not with Intrada - once they announce the campaign, they do NOTHING, do not lift a finger. And they fund. Why? This thread is why? They don't have to do anything with this kind of daily and relentless cheerleading, so good for them. But they are not the only ones doing this stuff, and I do not ever recall seeing cheerleading like this on other labels' recording campaigns.
My goodness, you sound like a jealous suitor who has been shown the door. Why don’t you list your “nine really successful Indiegogo campaigns” and explain how they are even slightly comparable to a Kickstarter campaign for the re-recording of a film score.
Have you even done a Kickstarter campaign? Please correct me if I am wrong, but weren’t you able to keep the Indiegogo contributions whether they met the goal or not?
In any event, once you start a serious compaign to re-record a film score, I’m sure that you will receive all of the cheerleading that you apparently yearn for.
NK
And what do YOU sound like, I wonder? Let's start there. I didn't make this about me, I made it specifically about re-recordings via crowdfunding. My campaigns were not about that, obviously, they were about other things. My point was, when Fitzpatrick did this I do not recall this kind of cheerleading ever. I have nothing against anyone who does anything for film music, especially Intrada. Now, you can take your little condescension fit elsewhere, friend. Oh, and yes, the very first crowdfunding campaign I did was on Kickstarter. Oops. And yes, you condescending oleaginous ort, we funded.
Were you cheerleading like this for other labels' Kickstarters to fund original recordings, yes or no? If no, why?
Was I cheerleading? Yes, absolutely...not "like this" I guess (just makes sense for someone with a Jerry Goldsmith podcast to more actively cheerlead for a Jerry Goldsmith recording, don't you think?) but I was absolutely one of the more enthusiastic and vocal people here about the importance of supporting Intrada's previous Kickstarter (even if Dial M wouldn't have been on my top 100 to re-record), the two Tadlow Music Kickstarters (King of Kings and the even the cancelled one for Moonraker), as well as your Kritzerland Indiegogo campaign a while back, Bruce. Go look at the old threads and you can see for yourself. Not only did I post support in your FSM threads and back your campaign myself (at the $50 level, I think, even though I was a poor student at the time), but I even shared your Indiegogo campaign on my social media, encouraging my friends to join in.
I have to laugh - I've had people come to me and ask me how I've done nine really successful Indiegogo campaigns, with most going well over the funding goal, a couple more than doubling it. And if I like the asker, I help them and give them what I think it takes to succeed and making it succeed is a full time job for four weeks. But not with Intrada - once they announce the campaign, they do NOTHING, do not lift a finger. And they fund. Why? This thread is why? They don't have to do anything with this kind of daily and relentless cheerleading, so good for them. But they are not the only ones doing this stuff, and I do not ever recall seeing cheerleading like this on other labels' recording campaigns.
They are the only ones running a Kickstarter campaign to fund a new recording of film music since the pandemic, as far as I know. Tadlow did one with success (two if you count Moonraker since it actually reached the funding goal before being canceled by James Fitzpatrick himself).
I don't remember seeing any other film music-related crowdfunding campaigns that you posted about here on this forum, Bruce. And the one I do know of was not for doing a re-recording. I know you talked about wanting to crowdfund a Morgan and Stromberg restoration/recording of one of your favorite classic scores, but you wrote it off as impossible to succeed without even trying a campaign, and without even telling us what the title was that you wanted, to see if there was any interest here! I was getting really excited about the possibility and I would have been a supporter at the $25-30 level at least without even knowing the score, based solely on liking your taste in film music.
I don't understand why you write here as if you have a chip on your shoulder about Intrada's success, when you've never even tried to run a crowdfunding campaign to re-record a classic film score, successful or not.
Yavar
I wasn't talking about me, I was talking about this campaign (and Dial M) vs. Fitzpatrick's, where I don't recall anything like this going on. I didn't write off doing a re-recording because it wouldn't succeed, I wrote it off because John Morgan said it was too much work and would be too costly. I found that weird, without even doing a budget, but when people take that stance, there's nothing to be done. I have a few ideas and if I can find the right folks to make them a reality, who knows, I may try one. But this wasn't about that. I don't have a chip on my shoulder, I just find it amusing that Intrada, who is actually doing the campaign, doesn't have to do anything in terms of cheerleading. I thought that was pretty clear in the post, but perhaps not. I also knew exactly the people who would come after me for posting it, which is why - I posted it. I find that amusing, too.
In any event, once you start a serious compaign to re-record a film score, I’m sure that you will receive all of the cheerleading that you apparently yearn for. NK
It wouldn't have involved a Kickstarter back in 1992, but Bruce Kimmel is listed as Executive Producer on one of my favorite re-recordings, Korngold's "The Private Lives of Elizabeth and Essex" (conducted by Carl Davis).
Yep, no crowd funding back then - we had to pay for it It was thrilling to do it, too, and having the amazing Carl Davis was fantastic.
I wasn't talking about me, I was talking about this campaign (and Dial M) vs. Fitzpatrick's, where I don't recall anything like this going on. I didn't write off doing a re-recording because it wouldn't succeed, I wrote it off because John Morgan said it was too much work and would be too costly. I found that weird, without even doing a budget, but when people take that stance, there's nothing to be done. I have a few ideas and if I can find the right folks to make them a reality, who knows, I may try one. But this wasn't about that. I don't have a chip on my shoulder, I just find it amusing that Intrada, who is actually doing the campaign, doesn't have to do anything in terms of cheerleading. I thought that was pretty clear in the post, but perhaps not. I also knew exactly the people who would come after me for posting it, which is why - I posted it. I find that amusing, too.
I think of your feelings that Intrada is 'making others do its work' (or whatever) is Intrada in general decided some years ago to step back from this board and not advertise here. On top of that, you specifically seemed to target Yavar in this, who is a known Goldsmith fanatatic so of COURSE he'll 'cheerleader' for this one (as for Dial M, most of what I remember was the bitching that they chose that score instead of something more popular/well liked).
It wouldn't have involved a Kickstarter back in 1992, but Bruce Kimmel is listed as Executive Producer on one of my favorite re-recordings, Korngold's "The Private Lives of Elizabeth and Essex" (conducted by Carl Davis).
Yep, no crowd funding back then - we had to pay for it It was thrilling to do it, too, and having the amazing Carl Davis was fantastic.
Leigh Phillips has posted another cue from his reconstruction of The Man on FB… one might call it “exciting” but apparently I’m cheerleading too much so I’ll just leave this here: https://fb.watch/7ylF_wBv4a/
And for anyone who missed it, here’s the first he shared — his reconstruction of Hail to the Chief (apparently arranged by Jerry) and the End Credits it transitions into: https://fb.watch/7ym3WtBZMu/
Thanks Yavar. That clip sounds great. Just the JG sound and style I really dig. Incidentally, I happened to catch the first few minutes of BLACK PATCH today (which is saved in my TiVo for a future watch) but the Main Titles was just wonky tonk piano saloon music.
Leigh Phillips has posted another cue from his reconstruction of The Man on FB… one might call it “exciting” but apparently I’m cheerleading too much so I’ll just leave this here:
This was almost half of your first post in this thread, Bruce: "I have to laugh - I've had people come to me and ask me how I've done nine really successful Indiegogo campaigns, with most going well over the funding goal, a couple more than doubling it. And if I like the asker, I help them and give them what I think it takes to succeed and making it succeed is a full time job for four weeks."
Sure feels like you're bringing yourself into it.
My campaigns were not about that, obviously, they were about other things. My point was, when Fitzpatrick did this I do not recall this kind of cheerleading ever.
I was talking about this campaign (and Dial M) vs. Fitzpatrick's, where I don't recall anything like this going on.
The other almost-half of your initial post: "But not with Intrada - once they announce the campaign, they do NOTHING, do not lift a finger. And they fund. Why? This thread is why? They don't have to do anything with this kind of daily and relentless cheerleading, so good for them. But they are not the only ones doing this stuff, and I do not ever recall seeing cheerleading like this on other labels' recording campaigns."
You said "other labels", not Tadlow specifically. So that would seem to have included your own, no? Excluding Intrada and Tadlow, what "other labels" were you referring to, exactly, if not your own Kritzerland Indiegogo campaign(s)?
I don't have a chip on my shoulder, I just find it amusing that Intrada, who is actually doing the campaign, doesn't have to do anything in terms of cheerleading. I thought that was pretty clear in the post, but perhaps not. I also knew exactly the people who would come after me for posting it, which is why - I posted it. I find that amusing, too.
It's weird that you say you made that post to provoke people to come after you, when your original post obviously led off with you coming after ME (hence my response to your challenge, directed at me and quoting my earlier post): "Were you cheerleading like this for other labels' Kickstarters to fund original recordings, yes or no? If no, why?"
This was to me clearly an interrogative (or at least challenging) tone, seeming to presume that I did not cheerlead for "other labels' Kickstarters" (there's that plural "labels" again -- which ones besides Tadlow?)
I was the very first reply in that thread, and the next post I made was, "That's awesome! Let's do this!"
Here's another lengthier thread, pre-release of the recording (there really were a TON of threads on the Tadlow King of Kings...and I'm sure there was an official Kickstarter announcement one which had people keeping track of its progress but I can't find it): https://www.filmscoremonthly.com/board/posts.cfm?threadID=138322&forumID=1&archive=0
My first post of several supportive posts: "After the superb Ben-Hur I'm excited to hear this, especially any cues that were written but not originally recorded for the film (those were some of my favorite bits of the Ben-Hur recording).
Amazing that Tadlow ended up recording all FIVE of Rozsa's epic scores: EL CID QUO VADIS? SODOM AND GOMORRAH BEN-HUR KING of KINGS
These will stand as some of the most important film music recordings of all time."
Well, it's out of print and fetching high prices on the secondary market, for one thing. I would welcome a new reissue of the original film recording, with the bonus tracks FSM later included on their Rozsa at MGM set included too, for completeness sake. But Warners owns the historical MGM library now and it seems that licensing from them is much more difficult and expensive than it used to be, so we may not see a reissue any time soon.
Another problem is that the original recording was done very "hot" and there's a lot of distortion in the louder passages which can't really be removed. Getting this incredible score in modern sound quality without that recording issue is one undeniable draw to the new Tadlow; another draw is the fact that it includes at least two cues Rozsa wrote for the film but never recorded (and therefore they weren't on the Rhino and are premiering here. When Tadlow similarly did a new recording of Ben-Hur a few years ago, I remember being surprised that one of the previously unrecorded cues was among my favorite pieces in the entire score!"
So Bruce, do you need me to dig up examples of my support for the aborted Moonraker re-recording Kickstarter of James's as well, or are you satisfied?
Thanks Yavar. That clip sounds great. Just the JG sound and style I really dig.
Me too. In the interests of full disclosure, there aren't really any other cues this lively in the score, which mostly consists of excellent patriotic sounding music (great solo trumpet writing) as well as a more sad/tired jazzy theme for the more personal side of the story. It's all good though. If you want to see the film and hear the original orchestral performance, here ya go: https://www.filmscoremonthly.com/board/posts.cfm?threadID=113568&archive=0
Incidentally, I happened to catch the first few minutes of BLACK PATCH today (which is saved in my TiVo for a future watch) but the Main Titles was just wonky tonk piano saloon music.
See my post in this thread on Aug 7, 2021 at 4:31 PM for more details, but to sum up: Leigh Phillips confirmed to me that the source music Main Title (which is playing when Jerry's credit appears onscreen) was actually not even composed by Goldsmith, at least according to the documentation Intrada's been able to find (where it's mysteriously labeled "anon"). It was therefore not on Goldsmith's original written scores in the Margaret Herrick Library, but Leigh did reconstruct the piece by ear for inclusion on the album (hopefully at the end as a bonus track rather than falling in between Goldsmith cues). None of the other source music in the film will be included.
Here's the part of the score I suspect you will gravitate towards most, Kev (courtesy of zooba here on the board):
Gorgeous melody that any fan of Golden Age film music should love (in theory).
Leigh Phillips has posted another cue from his reconstruction of The Man on FB… one might call it “exciting” but apparently I’m cheerleading too much so I’ll just leave this here: https://fb.watch/7ylF_wBv4a/
So happy the Kickstarter was successful and look forward to the Awesome CD to come. I think it will be brilliant, knowing it is in the hands of the magnificent Leigh Phillips and Entire Team that will be bring it to us! Simply Wonderful! Kudos to all who have encouraged and supported this project!
I'm not entirely sure of the outcome Bruce was hoping for with his post, but I can add some marketing context around the promotion. This message board is of course an important channel for the Kickstarter campaign, but it is probably the one that needs the least amount of effort. You guys are all in. As a channel, though, it's pretty small, with 10% of the funds raised coming from this site. Not that 10% is anything to sneeze at, but the project isn't made or broke based on the loyal, but small following here. I think we would have had the same result with or without Yavar's high level of engagement. Although I appreciate his passion. I think the heavy lifting on this campaign came from Jerry Goldsmith himself.
Leigh Phillips has posted another cue from his reconstruction of The Man on FB… one might call it “exciting” but apparently I’m cheerleading too much so I’ll just leave this here:
I'm not entirely sure of the outcome Bruce was hoping for with his post, but I can add some marketing context around the promotion. This message board is of course an important channel for the Kickstarter campaign, but it is probably the one that needs the least amount of effort. You guys are all in. As a channel, though, it's pretty small, with 10% of the funds raised coming from this site. Not that 10% is anything to sneeze at, but the project isn't made or broke based on the loyal, but small following here. I think we would have had the same result with or without Yavar's high level of engagement. Although I appreciate his passion. I think the heavy lifting on this campaign came from Jerry Goldsmith himself.
Jerry doing the heavy lifting is no mean feat So, if this site is only responsible from 10% of funds raised, I'd love to know where this other marketing is taking place, because I haven't seen it. I'm genuinely interested because I find the whole crowdfunding thing interesting. BTW, two things: I'm not even sure what outcome I was hoping for, other than knowing that mostly everyone would misinterpret it and misunderstand it, which proved accurate. Perhaps if I loaded it up with emojis that might help. I was just fascinated by the extreme cheerleading, and no, while there may have certainly been posts on other campaigns, it surely wasn't like this. It's all fine and dandy and it's funded so, there you are. Whatever was done worked. Oh, thing two, I sneezed but I'm not sure it had anything to do with the 10%.
The Kickstarter having been announced on the Intrada site as well as on their FB, it could be relayed on different sites and forums in different countries. The FSM forum is undoubtedly well known and remains privileged on certain subjects, but fortunately it is not the only one (in my case, in France, Underscores.fr). I'm not too surprised by the 10% figure, although it is perhaps undervalued (I guess we are only counted if we click on the link from this forum, but in some cases the info could be found here and the connection to kickstarter established in another way). The filmmusic community, small as it is, communicates in a variety of ways.
It was thrilling to do it, too, and having the amazing Carl Davis was fantastic. 
