Quoting RMStringer <rmstringer@gmail.com>: "I agree 100% with all that is said on this email." WAAAH! I CAN'T ILLEGALLY DOWNLOAD THIS PAINTING THAT BILL MADE TO BE EXHIBITED IN A SITE-SPECIFIC GALLERY SETTING, THEREFORE HE IS INSULTING ME! Drummond and Cauty owe all of us absolutely nothing. They fulfilled their side of the bargain that our money got us for their in-print records: we got to listen to that music. All of their videos, newspaper-reported stunts and conceptual background was a great bonus. Drummond is an author now, and all the magazine and newspaper coverage of The 17 recording sessions IS SOMETHING HE IS DOING TO ADVERTISE THE 17 BOOK. It's not taunting you with something that you have a right to hear and he is depriving you; it's like the NME reporter going to Sweden, or PeteR seeing them do that graffiti after the 2K show. Now you know that he has a new book coming out, and you can either spend money on it, or decide that it doesn't sound interesting and NOT THINK ABOUT IT ANY MORE. I loved Bad Wisdom, loved 45, and got halfway through How To Be An Artist before putting it aside "for now" and never going back. The latter doesn't mean that he ripped me off by not entertaining me as much as America: What Time Is Love or The Man or 45 did, and I'm certainly not entitled to have him come to my house in Australia and make me soup just because he did it for some families in Scotland. He's a man in late middle age doing what interests him at the moment, just as he did in 1978, 1984, 1990 and 1999. You can like it or not, be interested in it or not, but to feel *entitled* because he made a handful of single you liked TWENTY YEARS AGO is ridiculous. And people who make a point of not paying for artists' work having a whinge about it is just mind-boggling.