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I am not going to monetize this for obvious reasons lmao To quote "CFTV Data", "There is, but unfortunately the taper - who was paid to film numerous bands as the club's videographer - is something of a profiteer who has, in recent years, opted to sell some of her recordings via her website and keep others under tight lock and key. Sadly, the full Colin Newman / Soft Option recording falls into the latter camp. It's disappointing, to say the least. I don't have any issue with bands opting to put the time and resources into commercially releasing high-quality archival footage, as long as it's done with care. And I see no issue with those who provide the source material receiving payment (at the artist's discretion) for their role in making these releases possible. But by monetizing the clips she uploads to YouTube and selling homemade DVDs of the gigs she shot, this particular taper has opted to wade into some pretty unethical territory. Within tape-trading circles, the two biggest faux pas that one can engage in are selling privately-made recordings, and hoarding rare / uncirculated ones (especially when one opts to publicize the fact that those rare recordings exist but will never see the light of day). I hope Ms. Aldighieri eventually comes to realize that her approach is a misguided one. The recordings she produced are special and have an enormous amount of value, no doubt about it - value to music fans, and value as one-of-a-kind cultural artifacts that represent some of the best surviving footage of the bands and music scene that they document. There are thousands of tapers and collectors constantly uploading the fruits of their own labor to YouTube and the Internet Archive, giving the public a chance to experience the value that lies within their own personal music archives; I commend each and every one of them for their dedication to preserving and freely sharing so many recordings of immense cultural significance, and I would sincerely encourage Ms. Aldighieri to do the same. The alternative is often that these unique and priceless recordings disappear forever - whether by physically decaying in an attic or garage over the years, being discarded after the collector passes away, or any number of alternative tragic circumstances. I had to learn this lesson the hard way, sadly... I spent a decade building up a collection of several thousand unreleased live / demo / rehearsal recordings, many of which came to me as analog masters from collectors who taped or acquired them in the 1970s and '80s. I convinced numerous "retired" tapers and/or traders to mail me large swaths of their cassette collections, which I then digitized and send back to them as CDs. As far as I know, none of them began trading again after these exchanges, and I lost contact with most of them as time went on. Of these recordings, there were hundreds that I never got around to trading out or uploading to the then-nascent DimeADozen tracker. When my hard drives and all of my boxes of tapes / CDs / DVDs were lost in 2015, I tried to get back in touch with the folks who provided me with the originals but was largely unsuccessful; as such, many of those hundreds of recordings effectively disappeared forever. It's something that genuinely haunts me to this day, knowing that so many mind-blowing sets will never be heard and enjoyed again. It would be such a profound loss to the cultural record and to the world of music fans at large if Merrill Aldighieri's Hurrah recordings went on to eventually meet a similar fate. They deserve to be archived and put on display for music lovers everywhere to experience and enjoy, and thankfully we live in an age where even the most sprawling collections can easily be uploaded to sites like YouTube or the Internet Archive, facilitating their access free-of-charge and allowing new generations of music fans to get a taste of what it was like to visit the Hurrah club in the early 1980s. Perhaps this prospect will become a reality at some point. I am certainly hoping that it will!"