All Known Metal Bands T-Shirt and Launch of New T-Shirt Line!

AKMB-t-shirt-1

Pre-order the “All Known Metal Bands” t-shirt and join me in launching my new line of t-shirts called Custom Flotilla. This is the 6 year anniversary of the book and I’m finally getting around to making a shirt that lists all the names from the book that start with “black.” Hallelujah! Err, I mean, Hail Satan!

This campaign will also help me launch my new line of t-shirts called Custom Flotilla. If you’ve ever found yourself in need of a humorous t-shirt but don’t want to look like a tourist in some baggy, scratchy shirt that says “Property of Alcatraz” or “1 Tequila, 2 Tequila, 3 Tequila, Floor”, then Custom Flotilla is for you. We’ll be making shirts that reveal you to be the clever, cool individual you really are.

Go here to see the Indiegogo campaign!

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The Peach Pie of Destiny

the-peach-pie-of-destiny

“Labor Day” was a fine movie to see on a rainy Sunday. Josh Brolin as the lovable fugitive with an undershirt clinging to his sweaty muscles and Kate Winslet as the troubled mother with a sun dress clinging to her sweaty…um, sorry, what was I saying? It’s an absurdly compelling blend of film noir and Hallmark TV movie. To paraphrase Anthony Lane’s New Yorker review: “Yes, Josh Brolin, tie me to a chair and bake me a pie, yes! Yes!”

Film noir is one of, if not the, classic American film style in that it reflects certain attitudes that we Americans have. Pretty obvious, right? Watching the two protagonists in “Labor Day” was a chance to observe two of the conceits that are the basis of all film noir. One is the idea that “if I can just do this one thing, it will all work out.” Whether it’s a heist, that “one last job,” taking someone out, getting the money, getting the girl, revenge, etc.: like gambling, it’s that one big chance to win big and forever. Also to make good in the face of all the suckers who ever doubted you. In a lot of movies the protagonist is considered guilty but actually innocent (an interesting tangent that might end up being a denial of original sin…?). In film noir it seems to be reversed.

The other is the inconvenience of other people and their agendas in the pursuit of the One Big Thing. Once you’ve sympathized with the character who’s taking the big risk in a film noir, other characters start to intrude with their sensible but maddening behavior: how dare that bank clerk wonder that our heroine wants to withdraw all the money out of her bank account! Well yes our heroine is acting suspicious, but going to get your supervisor’s approval is messing with the carrying out the One Big Thing, you idiot!

“Labor Day” puts us in the odd position of rooting for the protagonists while understanding the behavior of these side characters perfectly. As audience members, we’re allowed to not only root for them but buy into their crazy non-logic in a way that the characters themselves are not. In the case of “Labor Day,” holding those two attitudes at once creates tension, alongside the tension of wondering will they get away with it.

The idea that one action would ever solve everything in a life is alluring but ridiculous, like the attache case with the golden, glowing but never revealed contents in “The Usual Suspects.” It’s an escape fantasy in a reality that requires hard work, persistence, and a dizzying variety of actions, plans, and strategies. The Money, the Girl, the Heist, the Last Train: what we wish most as the Solution is not, and often twists Maltese falcon-like into the Problem and/or the Downfall.

That our multifarious actions and plans are entwined with those of other people, and that we succeed exactly to the extent that we finesse our relationships with them and mesh our actions with theirs is what film noir denies on the surface. But it’s the truth that is always proven in the film’s action, which is the ironic wall that we and the characters hit at The End. Take heart, though, because sometimes that wall is just vinyl siding with a brick pattern. And you never know what’s on the other side.

Would You Recognize an Avant-Garde on the Street?

avant-garde-echo-chamber

Moving from the economics of running a band into how being a band/brand that’s trying to make a living relates to and conflicts with being transgressive, my back-and-forth with Garth continues.

DN: Needless to say, there’s a lot to unpack in my blithe statement in the post about Suuns: “What has become of the avant-garde?!”

GK: So, your comment about the avant-garde? Watch this [link to a documentary featuring key US punks and post-punks from bands like Black Flag, i/o/w the folks who created the entire indie DIY music culture network as we know it] and remember that each and every one of the people interviewed is a brilliant and savvy promoter of their own artistic brand, especially when they become strident and shrill in their rejection of corporatism—it’s the most unimpeachable, pure ideal one can put into words, and it conveniently speaks to the heart of the youth rebel experience, which in turn fuels the entire economy of brand-loyal rock fans.

DN: Yes, punk was also a revolution in how artists stopped trying to get released and paid by record companies and figured out, if not how to pay themselves, then at least how to fund their music. Doing this required rejecting promoters and becoming a promoter, becoming your own record label, and becoming your own marketing machine. As GK says, “every one of [those people] is a brilliant and savvy promoter of their own artistic brand.” It’s interesting to think of how the cultural situation of 1978 is almost reversed now that DIY is the norm, and what it means to be avant-garde. Or would mean, assuming that anyone in 2014 is publicly avant-garde at all, with “publicly” meant to distinguish from people doing effed-up noise in their basement in utter obscurity and not really part of the larger culture.

GK: It is a very compelling question–what it would mean to be avant-garde, at this point. If you ask me, people may need to wake up to the possibility that Nietzsche was right—we are woefully under-equipped as a species to figure out what the hell we are doing, or why. Meanwhile, we persist in folly, vanity, vapidity, inanity, greed, violence, and ego-flexing. Merely mirroring these unbecoming traits back on ourselves with art and music has been done, and done, and done.

I am not a cynic. I am just as stridently anti-corporate as any of these people. I am just as frustrated and outraged at the absence of transgression in not just popular music, but all forms of music. Music that is made deliberately to be unlistenable misses the point, and is a lazy and bourgeois pollutant that obfuscates the potential of music as a tool for mass communication. I mean, I like a lot of it, but “We’re Fucked” is a one-note samba. I can’t help but laugh at the idea that everything from this moment on [with a link to a video of Elvis’s famous TV performance of “Hound Dog” in 1956, swaying pelvis and all] has been one more clever repackaging of simple, calculated “transgression” for the sake of getting attention.

DN: The Elvis thing is a trip, what’s he doing becomes a shtick in seconds, and then Berle comes out and confirms it by aping him, hilarious. It’s always been a fine line between the act of transgression and the act calculated to get attention. Think of the punks that talk about spitting, something that became “a thing” that audience members would do to a band, when the band didn’t even want it! Ripped clothes become runway fashion. Tattoos go from something only convicts and sailors get to one of the ultimate marks of hipness. A performer does something in the heat of the moment, like smash a guitar, and instantly realizes that fans love it. It becomes a staple gesture that helps get exposure for the music, until finally he’s obligated to make that gesture, over and over and over night after night.

GK: This is the meat of it all. Music can be a job, just like anything else. And when people want to get uppity about artistic purity, it’s just so much ego-flexing to me. I’ve had lots of jobs—contractor, carpenter, cab driver, busboy, clerk, session musician—and I’ve never seen a job that escapes its “job-ness.” You can do any job with style, but you can’t get away from who you’re doing it for (other people), and why (because they pay you). Which is the greater compromise? Playing music somebody asks you to play, or painting their house the colors they ask you to paint it? Meanwhile, no one is stopping you from spending as much time as you want writing the “We’re Fucked” Symphony.

Bands hustle for the same shows, whether they are house parties or supper clubs. They want attention. What happens after they’ve gotten some can, of course, be artistic and culturally significant. But let’s not act as if bands can or even should exist outside of the fundamental architecture of show business. If you’re on the stage, you’ve asked an audience to watch you. All highfalutin debate after that is showbiz. Those who refuse to admit this are either fools, liars, or both, in my book. Like I said, it’s rock and roll, not Mensa material. I include myself in this category!

“Avant-garde” belongs exclusively to action, not theory, at this point. I might also argue that it must leave the realm of art, if it is to be meaningful. Tongue-wagging, cleverness, and all obvious or sublimated tactics to gain attention are all, sadly, inadequate to the tasks at hand. What’s really interesting is that everyone knows this, through and through, from the top to the bottom. It’s where we are now. We have corporatized the weather, the oceans, the land, and each other. What choice does any one of us have?

DN: Well, this is the dark side of the punk rock legacy: we’re all our own marketers. It extends beyond creatives too, everyone is expected to be the promoter of their own brand, to think of themselves as a company or their own employer, and to act like an entrepreneur. To me the real tragedy of this is that those who are better at self-promotion get more recognition. This isn’t to gainsay the idea that “if you want more attention, make better stuff,” but I will state that there is a hell of a lot of noise and cutting through it favors, if not certain personality types, then individuals who have marketing savvy. The shy kid playing in his bedroom doesn’t have a chance in hell unless his type A personality friend gets the word out.

I’d agree with avant-garde leaving the realm of art. If you take Dada as an example of the avant-garde, it was formed initially as an anti-war and anti-nationalist group by Hugo Ball. Ball had a philosophy background and after being involved with Dada for two years left and basically became a monk. Wikipedia says: “In the first of the movement’s manifestos, Ball wrote: “[The booklet] is intended to present to the Public the activities and interests of the Cabaret Voltaire, which has as its sole purpose to draw attention, across the barriers of war and nationalism, to the few independent spirits who live for other ideals.” It was a form of resistance to prevailing ideas. Ball left the group actually because of a disagreement with Tristan Tzara about where it should go. Tzara was an artist, performer, dandy and showman and Dada for him was more vaudeville and sensationalist. This version of Dada is what we inherited. People now might have the impression that Dada was formed in order to promote the antics and showbiz of its members rather than to take an ideological stance. This is what makes the idea of avant-garde so difficult now. If every person and group is a brand, how do you make a gesture that’s not a promotion of that brand?

GK: Well, every individual is free to act in whichever ways accord with their beliefs. I wish more people would just live life for its own sake, instead of compulsively documenting it as if it were a reality show. But if you are an artist or a band, you don’t make gestures that aren’t representative of your voice. You can’t. It’s the way of this world. I didn’t make it that way, and neither did you. But if one hopes to communicate with a group of people that’s larger than one’s friends and family, one has to deal with it. This is to say, the tools for DIY self-promotion are more efficient and powerful than ever before. Older bands who did it the hard way are pretty resentful of how easy it is for kids today. Rightly so. At the same time, I think there’s an intractable gulf between what appears to be successful, and what the reality may be. The death of the record label has brought with it the crumbling of all standards of measurement. If someone tries to define “success” today, they’re only going to be able to describe one specific version of it, for no two are the same. And more than that, who gives a shit what anyone defines as success anymore? If bands are bummed out, they should quit. That goes for young and old alike.

DN: So your band/brand is expected to promote itself but the product has almost zero value. We could get into a book-length discussion about the schizophrenic attitudes people have about whether and how the arts should be associated with money and provide a living for creatives. I’d argue that, as a nation of consumers, we think of everything vying for our attention equally, it’s all content being advertised to our wallets and attention spans. We are the curators and select what to pay attention to and not. This is the major difference between the punk rock economy of 1980 with its emphasis on taking on the means of production and distribution, and the economy of 2014: everything is available to everyone instantly, the problem is one of curation.

GK: To me, the punks got off their asses, worked hard, got organized, and took on the Man. Then they became the Man. Then something weird happened, just like with the weather, just like with Monsanto in the Midwest. In 1999, Napster, iTunes, and the Music Genome Project arrived on the scene—three different entities with three different takes on digital music. The tools for the corporatization of digital music were put into use, and Pandora’s box was open.

DN: Like I said, music is social and wants to be part of the cultural dialogue of the time, whether it’s for or against that culture. I see two possibilities for the avant-garde, which are also responses to the oversaturation of culture: withdrawal or inclusion. The only radical thing you can do as an artist right now is to either make/do nothing or to carry on and just keep it private, like don’t share it with anybody. The other is to only do participatory art that is purely about participation and the participants, in other words as a social catalyst where the goal is purely social and products and ideas are simply tools.

GK: I’d disagree that there need to be any rules of conduct whatsoever. I think that it’s a good thing to remind ourselves and each other that this is the life we have. Applying rules, conditions, levels of access, and metrics of “success” are all kind of like living in a world where your lungs and heart say, “Hey, you know, I’m tired. I’m gonna take a break. I’ll be back in half an hour.” It doesn’t work that way.

DN: Well, there are rules, much as we’d love for there not to be. Punks becoming the Man is an example of that. What started as a broken rule became defined by it. You say “If bands are bummed out, they should quit” and I’m sure that makes a lot of people shudder. But so what? It’s not like quitting is committing suicide, is it? Is participating in culture as necessary as breathing? There are also metrics of success because we live in a capitalist/corporate society, and the only way for those metrics to not apply to you is to not participate in culture in that way. So non-participation or complete participation is my view of the avant-garde. What would another be?

Symphony No. 0 in the Key of F: More Thoughts About Bands Getting Paid

pay-to-play-record

A musician friend of mine who has some personal experience with song licensing, and who knows others who do, had some fruitful observations about my Suuns post. What follows isn’t a straight conversation or an Oxford debate, it’s a number of exchanges edited to flow loosely from idea to idea.

He (GK) says: There is still an enormous gulf between perception and reality when average people encounter licensed music in public. People assume that, because an artist’s work has been co-opted, the artist’s payout is commensurate with the listener’s perception of the co-opter’s financial clout. Simply put, people think that if Doritos uses a band’s song, the band must now be millionaires (or even hundred-thousandaires). The reality is that they maybe make $5,000, and that’s on the upper end of things. Divided among 4 band members (assuming they function as a collective, and share everything equally, haha!) that’s $1,250 per band member, or $24 per week, or $3.43 per day. Not exactly a living wage. Hell, let’s assume they hit the jackpot and got $50,000. That’s $34.30 per guy per day.

DN: A just correction of my sort of fantasy projection of what I thought a band would receive for a licensed song, which was more of a wouldn’t-it-be-neat-and-also-tidy if a licensing fee supported 4 members of a band for one year. (This is one manifestation of my semi-obsession with the idea of having one year without a day job and seeing what I could accomplish in unencumbered time.)
deep-purple-tour-fall

GK: Your average tour van costs $25 per hour to operate. Here’s my friend’s band’s last tour (click image above to expand). The total was 9,317 miles @ $.30/mile = $2,800 in gas alone (not including van rental if they don’t own their van, or wear and tear, tires, tows, insurance, etc. if they do). This also doesn’t begin to cover the daily expenses of hotels or food…and that’s for only 5 weeks, not 4-6 months of a year. At $560 per week, 6 months of touring would cost $13,440 in gas alone. So that $5,000 that a band makes for licensing a song is 2/3 gone on gas alone for a full US tour (most bands can’t even stand each other after 5 weeks). Gas stations don’t accept vinyl EP’s or live performances as payment for their services. This isn’t to say that they might not also get other licensing deals, or play a couple of festivals to hopefully offset the dismal return on a 10% capacity show (although some festivals pay even less than clubs, offering “exposure” instead of cash). Still, it’s fucking brutal, and a really stupid thing to do, even if all you want is to make money, regardless of artistic/cultural contributions.

DN: As you see, though, Garth jumps straight into the economics of touring. For a group of people who want to survive by playing music as their sole means of support, touring is the undeniable reality. Earning next to nothing from selling records, CDs or downloads, bands are driven (ha!) to playing live and selling t-shirts. Touring regularly is a way of keeping themselves in the public eye and conventional wisdom says that this is the way to build a fan base. (By “conventional” I mean “early ‘80s thinking”—I’ll return to that later.) If you have 10 people see you at the Rumpus Room, or whatever the black box you’re playing is called, on your first tour and 2 of those folks tell their friends, maybe you have 15 the next time, 30 the time after that, etc.

GK: Unless they worked hard back in the 90’s and early 2000’s to gain a name for themselves, or are independently wealthy to begin with, no band can afford to say no [to licensing], especially when 10% of the room comes to see their live show, which is the only area (outside of licensing) that bands can even hope to make money, now that all recordings, in all formats, are worthless. Without a label, private investor, trust fund, or super-high paying day job, who’s gonna pay for instruments, practice space, studio time, T-shirts, cassettes, CDs, vinyl, a van, gas for the van, and be able to cover time off from work for 4 people in the meantime? Don’t get me started on vinyl, if you don’t have a distributor. Expense of manufacturing/self-distribution outweighs profit margin by so much, it’s pure vanity to do it.

DN: I had a quote drawn up to press 300 copies of a 12” of “The Beige Album” and it was something in the neighborhood of $8 each vs. $3 for a CD. Vinyl is collectible and fetishized, while CDs are worthless as merch now. The only thing worse than touring this $8-a-pop “Beige Album” would be not touring it! Or is the reverse true? All is vanity.

GK: That said, pure vanity can go a long way in show business. The people who work in licensing today have spent most of their lives either in bands or working for labels and recording studios. They have done this math before. Anyone who has ever started one of these businesses will tell you that the glamour wears off as soon as you can’t pay your second month of rent. Where’s the money? With a seemingly endless supply of young bands motivated by pure vanity, there’s potential money to be made by producers and business people. Historically, rock bands aren’t Mensa material.

DN: I also have a parallel discussion going with a musician/writer friend Scott (who works for an online music streaming site) about matters that overlap with this, such as oversaturation, self-promotion, what artists give and require from audiences, etc. Simply trying to determine why a band tours exactly, given the expense, the periodic personal upheaval, the difficulty of maintaining jobs and relationships, the fatigue and tedium of it, and given the fact that it’s so easy to hear a band’s music online nowadays….this gets to the heart of the area where compensation and artistic expression…do what? merge? overlap? two sides of one coin? That’s the question. My argument is that bands want to get their music out there primarily because music is social and to be part of the cultural dialogue of the time, and that getting paid facilitates this, serves it. Shows are more fun with more people in the audience, and bands respond to the energy of that.

Suuns Gettin’ Paid

Art by Vincent the Artist (http://vincent-the-artist.deviantart.com/)

Art by Vincent the Artist (http://vincent-the-artist.deviantart.com/)

I went to see one of my favorite current bands Suuns. They were on tour from Montreal and had been getting solid press for their album, which had the one of the marks of an achievement: off-putting at first but then growing on me til it was clearly a step forward. Fearing the show would sell out, I got advance tix. They mopped the floor with the room…all 25 of us. Though I fully enjoy the elbow room of a half-full show this was more like 10% full, I was bummed for the band’s sake. At least with most business travel getting paid makes up for the mileage.

So the other Sunday, after hanging up a thousand little pieces of laundry on the drying rack out on the deck, it decided to rain for the first time in like 167 days. Bag it up, drive over to the laundromat next to the combination Chinese food/donut/pizza “restaurant” under the freeway. Inside the suds hut it’s the usual audio cocktail of three different TVs with three different channels on at a medium blare. You got your sports, you got your yahoos doing dumb things and/or getting arrested for them, and suchlike. With a garnish of some child having a meltdown inside and a parent outside arguing into the phone, clutching it and wailing like a pop singer with a microphone.

Loading the dryer in this state of ultra-low expectation, I hear something familiar being squeezed out of one of the tubes. It takes a minute to recognize it as a Suuns song–whaaa? Backing away from the machines, I identify it as coming from…a Nike commercial. Oiled people are taking their mark, running in slow motion, seizing life’s opportunities, hydrating, etc. Normally this would upset my constitutionally perfect psychic equilibrium, as it did when I heard an Iggy Pop song in a car commercial, or the Ramones. (Who would be next for the love of God, Patti Smith?! What had become of the avant-garde?! etc. etc.) Not judging, just too bad that’s the best card to play.

This time though, I smiled and nodded. Gettin’ paiiiiiid. Could be a year of living expenses for all four of them. Roll on, boys, with or without the help of the indie mini masses. You’ve already created your own soundtrack:

All Hail the Incomplete

You may be wondering what happens to the serial pieces I write, usually about music. They begin with a solid idea, a goal, like why Grace Jones made hardly any recordings for 18 years and then produced her best album, or how people could possibly like smooth jazz. Then they peter out. Part of the problem is reaching a point where ah-humming has to give way to research, which is not my strongest suit. To figure out the Grace Jones problem I knew at some point I’d have to attempt to contact the singer/producer Tricky, with whom Jones reputedly made an album that was never released. Me being me, i.e. one who has not shied away from the most improbable feats of communication in the past, I know there’s no chance of a response. At a certain point one’s unrealized ideas turn from cute and warming to disney and demoralizing, and avoiding a situation of disappointment proves one’s mettle as captain of one’s craft.

Then a month or two ago, it was announced that Jones’ autobiography will appear this spring: good news that solves the original problem but makes my further speculation superfluous. In the case of the smooth jazz piece, as soon as I realized that the genre was less the result of organic factors like aesthetic influence and socializing–as in rock or trad jazz or dance music–and more of the marketing efforts of producer and entrepreneur Creed Taylor, the jig was up. In the end, smooth jazz was a successful marketing campaign created by a record exec who sought crossover chart hits, and money explains its spread.

Perhaps there are still things to be revealed about human nature despite this, but you may as well wonder why cheez doodles are so popular. People have bad taste? People like inoffensive music they can relax to? People are idiots? People enjoy hybrid songs made of jazz, pop, and lounge forms? All answers are equally uninteresting to me, although part of me would love to go to a smooth jazz festival and interview fans. (Let me know if you hear of one coming up in California–or Vegas? i.e. somewhere reasonably close.) So was the initial writing process somewhat deceptive, a grace period of thinking blindly before figuring out enough to know that the answer wasn’t going to be satisfying? If writing is a way of thinking out loud, then certainly pleasure should be part of the goal of the activity, just ask Socrates.

“Avoiding a situation of disappointment”….hmm, sounds somewhat wise but potentially pathetic, doesn’t it? If, that is, you equate disappointment with failure, which I don’t. Since writing is thinking, let the editorial us start thinking more about engagement with strangers and less about private conclusions in drawing rooms, “putting things out there.” Where’s my Deep Throat? In the meantime, to hell with it, I’m going to email Tricky.

If You Hadn’t Bought It, I’d Still Have It: the Feedback of Winston Nelson

In the search for new forms of writing, I stumbled upon a list of gems in my own backyard. Here is the eBay feedback my brother Winston left for other users during the period of 6/23/09 – 12/6/13 displayed in reverse chronological order. The humor of these statements–which are constrained by an eBay character limit even shorter than Twitter–lies almost solely in the context and that’s what really works about them. The idea that a statement can be made funny by context alone is fascinating. Also there is the fact that leaving feedback on eBay requires two actions: to click either a “positive” or “negative” button as well as to leave a text statement. Winston and I agree that the text part is entirely superfluous as a requirement: someone either paid or not, shipped the item or not, and it was either as described or not. 90% of transactions require no further detail. Winston’s editorial response to the bureaucracy of this requirement is classic hyperbole. (Side note: Win claims that some of the feedback that appears to have been copied and pasted was in fact not, e.g. “This buyer sure knows how to pay for at item! Blew my socks off!” Instead, he believes that he simply typed it several times verbatim over periods of months!)

Great collection, super awesome collection very much very much mudge mudge mudge

OK thanks OK bye

Great! Sharp. Quick.

Pieces of wood.

Hablo espanol ahora!

Paid quickly, thanks.

Wow OMG so great. OMG.

Great! Great. Ok bye.

Nice.

This buyer sure knows how to pay for at item! Blew my socks off!

Hockey.

Positive.

Positive.

!

Positive.

Great.

Boots!

eBay

eBay

Nice

I am drunk.

Thanks for leaving feedback. Have some feedback.

Buyer paid and left feedback. What more to ask for?

Nice

Shipped it yesterday, have fun! Take some good ones.

Nice! Good job. Thank you. All right, nice.

Hey great, thanks! OK thanks. OK yeah I will. OK bye.

10 colorless mana.

Great

Nice

Trackballer.

Palomi knows how to buy an item.

Great!

It seems to work.

Underwear.

Awesome socks, feet stay dry all day.

Emotional distress had been nullified by the dilverance of the good provided.

This seller has sucessfully sold goods, and the customer has received the items.

Good job. A transaction has been completed.

Good job.

Nice

Cool

Nice

If you hadn’t bought the item from me, I’d still have it

If people didn’t buy stuff on eBay, I wouldn’t sell anything on eBay

The watch tells time. The watch looks good.

Thanks for the CD. It sounds like a CD.

Nice

Great condition, well-packaged.

Buyer paid and I bought earplugs so I don’t have to listen to my neighbors do it

Buyer paid the $20, now I can buy 1 gallon of gas.

Excellent feedback-giver

The knife cuts flesh very well.

The character limit on this doesn’t leave me with enough space to adequately des

The internet is a large place, actually I don’t even know where it is, but you p

The phone is no longer mine. It’s yours. You paid for it.

DPCONWAY is to be thanked for paying, now I can eat some food.

My girlfriend appreciates the fact that you have paid for this item.

You have paid for the item, now there is money in my pocket.

My socks had holes in them, but now they don’t because this person paid for item

I was able to buy my dog a large biscuit because this Ebayer paid for the item.

I have been leaving a lot of feedback lately, but this person deserves the good

This eBay user paid for the item, and I was able to eat that day.

Thanks breh!

Thanks breh!

Left positive feedback quickly. Paid quickly. Uses a cell phone.

Paid immediately and left positive feedback for me.

Paid quickly, thank you.

Nice.

Nice.

This buyer DEFINITELY paid for the item.

This buyer sure knows how to pay for an item! Knocked my socks off.

I got thumped.

Pretty great

Condition was not what I had hoped, rough crease along front cover near binding

This person paid for the item.

Prompt payment, thank you.

Yes

It came in the mail. Now it’s on my car.

Yes

thank you

A charm indeed.

I love you. Thank you.

Try to put it on right the first time. Or at least, the second time. Going on 3!

So cool! But I just ordered another… because I put it on crooked!

Great!

Great!

Great!

Great!

Great

Great

Great

Great

Legitimate item, works perfectly, excellent quality and shipping with speed.

Good job

Good job

Good job

Nice

Definitely hand made, and of acceptable quality. Shipped to US quickly.

Nice

Nice

Positive feedback

Positive feedback

Positive feedback

Perfect

This person paid for the item.

Nicely paid

Nicely paid

Nicely paid

Nicely paid

Nicely paid

Nicely paid

Nicely paid

Nicely paid

Excellente

Positive feedback.

Paid for the item in an honest, intelligible, nondescript and timely manner.

Some pay fast. Some pay slow. This person paid fast. I’ll ship the stuff.

This buyer paid for the item in a timely manner, unlike some other buyers.

Well-paid!

This buyer sure knows how to pay for an item! Knocked my socks off.

A great game at a great price in a great package shipped with great speed. OK!

Bought from them a couple times now. Best seller in this hobby as far as I know.

Great stuff.

I can’t believe I got 4 Orim’s Chant and 4 Isochron Scepter for this price!

This seller makes me want to @#$% my *^#@ with my girlfriend’s @$%^ up my &^%#@

This seller’s packaging was nicely packaged package!

Paid well!

This seller is the greatest thing since eBay!

This seller solves all my emotional and psychological problems!

What a great buy/seller. Let’s see how long I can go before I have to sell it!

Thanks for the AWESOME signed Mana Vault, always wanted one

Great!

Awesome buy, very happy with the condition of this card.

Awesome buy, very happy with the condition of this card.

Great!

Great!

I love you, Scooter Woman!

Great buy, thanks a lot!

Arrived very quickly, esp. coming from China!

Lovely!

Beautiful card in record time. Gotta love them 7th ed. Birds of Paradise!

I paid late, they understood, gave priority shipping, basically awesome seller

Great stuff.

Very good item, it actually works

Extremely fast shipping, genuine item not assembled in a basement in China

Good stuff.

Great

Good stuff.

: )

Great

Great game in great condition.

Nice

Nice and quick.

Disc a bit hazed but all in all a fine transaction.

Great!

Nice

Arrived as quickly as anyone could have expected.

Perfect condition magic cards.

Great!

Good stuff.

Paid in tune and on time.

Paid in tune and on time.

: )

These bulbs are EXTREMELY DIM, NOT fit for automotive use. No resp from seller.

These lights are in fact EXTREMELY DIM, and are NOT suitable for car interiors.

The stuff works, and it’s actually black as advertised.

Nice.

Ping Pong Playa!

Ping Pong Playa!

Good $#|+. 4 cards came with 2 top loaders.

Posted more photos on request. Condition better than advertised. Soopair!!

Not exactly Near Mint, but shipped quickly.

Great.

I love you.

Very responsive seller. Responds to questions. Fast-ass shipping.

I love you.

: )