Wonderbred World - The Tale of the Tape

DO NOT UPLOAD MY CREATIONS ANYWHERE, EVER, IN ANY WAY, SHAPE OR FORM WHATSOEVER. DO NOT MAKE COPIES OF MY CREATIONS ANYWHERE, EVER, IN ANY WAY, SHAPE OR FORM WHATSOEVER. THIS INCLUDES ANYTHING I EVER CREATED, SUCH AS MY TAPES, TAPE COVERS, PHOTOGRAPHS, CDR COVERS, 7" VINYL SLEEVES, DRAWINGS, PAINTINGS, ZINES, ETC...

PLEASE FUCK OFF.

Gallerymjb does not exist for you to scrape, borrow, quote or steal from. Everything contained in this blog, and in the Internet Archive items that it links to, is © Michael J Bowman, All Rights Reserved, and may not be used without my permission. Under no circumstances are these images, whether existing here or as a painting, drawing, collage, art object, photograph or jpeg, on a cassette, CDr, 7" sleeve, or internet page, or previously published zine, available for re-use in any way, shape or form. DO NOT UPLOAD OR REPRODUCE MY IMAGES, MUSIC OR IMAGES OF MY CREATIONS ANYWHERE. This includes blogs, database websites, internet archives, commercial websites, data file tagging, and/or reprinted materials of any kind. THERE IS NO LICENSE.

Between 1988 and 1990 I lived in a share house in Nutley, where I commuted 30 minutes by bus every day to my job in Manhattan. In the basement of that house my friend and housemate Paul Rose had built a rehearsal/recording room. I made many recordings there. After I'd moved out of that house and into an apartment on 12th Street in NYC above the Strand bookstore, I compiled some of the leftovers, the weakest recordings, into a tape I called "Wonderbred World". The other recordings from Nutley ended up on other tapes, some issued earlier in 1989 (Charm , Fuzzy Logic) and some later on, after "Wonderbred World".

35 years later, I still hate this tape. It is my least favorite of all my recordings. This is the tape that Maximum Rock'n'Roll reviewed as "Don't bother." Bad song ideas, bad lyrics. The only tracks I still like, I have cut and combined into a new track. Other tracks I have cut down to the bits that had any legitimacy.

None of this matters now. What matters now is, some shit-head named Karsten Rodemann has put this tape into the horrible Discogs database, a database which REFUSES to remove it. So how did my handmade tape from 1991, of which I distributed a very small quantity to a very small circle of people, wind up in a big money corporate shit hole of a database 30 years later?

When I made these tape copies in 1991, I made sure each copy was unique. I did that by using a stencil to cut unique cassette labels out of magazines, as shown in the photo below:

There is only one particular copy with that particular magazine cut-out glued to it. Here is the other side of that particular copy, with a picture of a swimsuit model, cut from a magazine and glued to the tape:

So, if there appeared to be TWO COPIES of my tape with these same labels, one of them has to be a bootleg. And people who make bootlegs are complete scum, even lower than collector scum.

And here is where it gets really scummy. You see, a guy named Frank "Bull" Maier, created a website called "Tape-Mag". In that website he listed my Wonderbred World tape (without consulting me first), and showed a photo of the cassette with the unique, one-of-a-kind grass/swimsuit labels. And then Karsten Rodemann uploaded that tape to Discogs WITH THE SAME UNIQUE LABELS. SOOOO, how is it that Karsten Rodemann can also have this tape and upload it to Discogs? The tape cannot be in two places at once, can it? Please refer to the images below, one from Frank Maier Bull's Tape-mag, and the one Karsten Rodemann uploaded to Discogs, both on the web AT THE SAME TIME:

There also appears to be some type of business-card sized item in both listings. It was not uncommon for me to place all manner of art, ephemera and found objects into my tape mailings (it was MAIL ART you fucking douchebags, NOT THE MUSIC INDUSTRY), so who knows what that card is, but it would not have been one of a batch of duplicate cards, so whether it was actually in the original, who knows, BECAUSE I NEVER TRADED TAPES WITH EITHER FRANK MAIER OR KARSTEN RODEMANN. SO HOW THE FUCK DID THEY GET MY TAPE? AND DID THEY MAKE BOOTLEG COPIES OF IT? AND WHY DID THEY UPLOAD IT TO A SHITTY CORPORATE WEBSITE WHICH REFUSES TO REMOVE IT? Why? Because they are assholes, that's why.

When I raised these issues with Maier and Rodemann, Maier removed my tapes from his "Tape-Mag". It should be noted that years earlier, when I first heard about Tape-Mag and saw my tapes in there, I contacted the Tape-Mag, but nobody responded to me. Karsten Rodemann, however, argued with me on Discogs, and continues to upload my tapes to that place despite the fact that I have asked him not to do so, tapes that I never gave, traded, or sold to him. When asked where he got them, he told me Lord Litter. However, the tape Karsten uploaded to Discogs is clearly the one Frank Maier had on Tape-Mag, so Karsten's a liar as well.

DO NOT BUY THESE TAPES FROM KARSTEN OR FRANK EVER. This tape is a piece of shit just like the clowns trying to flog it. Anybody who owns one, sells one, buys one, listens to it or uploads it, or digitizes it, or even thinks about it, is A PIECE OF SHIT AS WELL.

How the fuck do these tapes end up in Discogs?

Karsten Rodemann enters my tapes into Discogs without consulting me first, unique one-of-a-kind tapes, that appear to be in Frank "Bullshit" Maier's collection as well. How can a unique item be in TWO collections at once? And when I contact Mr. Rodemann about it (see below), he lectures me about politeness and says I'm "full of shit". The facts are, the FACTS that cannot be denied, are that Karsten Rodemann is UGLY, TWERPY, CREEPY, SNEAKY, LITTLE, OLD, a piece of shit parasite.

Everything written and pictured here is © Michael J Bowman, All Rights Reserved, and may not be used without my permission, including things I created not pictured here.

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