I can't say I've ever been a Replacements or Westerberg fan. It's just not my kind of music. The videos didn't help, I just wanted someone to give him a toothbrush. I know people like pitching their ideas, and I'm always happy to read them. But at the most recent count, I still have 40 active requests in at UMG and some date back to 2017. I'm pretty much dried up on new request ideas but I also have far more in than will ever be addressed. And if I don't feel passionate about an album, I can't even consider adding it to the list. Even though I've done a total of four Divinyls releases, when I tried to consider doing the I Touch Myself album, at the very least for sales potential, I just couldn't do it because my interest stops with the 1988 album. So, I'll occasionally do risky things like Danielle Dax on vinyl or a Vivabeat CD and custom compilation LP because they are passion projects that I don't expect will have anything approaching Boingo-like sales, but because they mean something to me. I do still have to have titles that move or I can't keep going while draining my possible retirement fund on underperformers. And when you throw in potential customer challenges like increasing the prices of new LP reissues to $28.99 in 2024, you have to cautiously see how things play out. I'm still viewing things at the moment that the upcoming Guadalcanal Diary LP's and the Vivabeat releases could be the last, and that's partially because of no new clearances from UMG for a good while, the whole manufacturing and distribution crap detailed a few pages back, and the fact that there's been loads of stresses compounding about all of this. There's a lot of anxiety and frustration that goes along with this business, and you power through it out of determination, but it can have detrimental effects. While I'm happy the Lene Lovich box is coming out with my involvement, I'm sure most people don't recall what I went through for three years trying to license that catalog, and I don't care to relive it. That started even before I had a single release on my label, so now six years later I sometimes feel like I've been tumbling down a flight of stairs for the duration. The fun part (most of the time) is getting the final product and thinking "That's pretty damn good!", and then buyers sharing similar sentiments. I once remember reading about those Blank and Jones comp CD's, and someone involved with the project stated in frustration that "It took 6 months for us to get clearance on all of these songs!" Six months?! And you're complaining?! Six months to receive clearance would be a like a holiday surprise. Because of all of this, I've gotta have a personal interest in a title for it to even be considered. But fall has apparently come early in Ohio (along with non-stop rain all summer and extraordinary storms), so I'm getting in that mode where all I want to do is lay on the couch, pull out the Mary Hartman 36 DVD box set and just binge until next spring.