A bad pitch is still a bad pitch, even if the audience wasn’t really listening in the first place.
The problem is not so much a shortage of ideas, but rather a profusion of options.
If I’m reviewing albums, then at the very least I need to know a release date. The real question on my mind, though, will be “what is interesting about this record, and why am I the person to write about it?”
If I’m running a record store, I might presume that the record formed part of a request for shelf-space or promotional consideration, but without any information about what, precisely, is on offer (or at what price) there’s not much I can do.
If I’m running a label, I need to know if this is being offered for sale, license, distribution, or as an example of the artist’s work, offered in the hope that I might want to use them for something else.
This CD is going to sit on a pile at the end of my desk until one day, in about three months, I’ll be tidying up and I’ll realise that nobody is going to call to ask me about it, and then I’ll throw it out. I can’t be the only person in the world with better things to do than digging envelopes out of the trash to find a return address to send a letter that goes: “Why did you send me an inconsistently-produced recording of a competent but unspectacular performance of an interesting program that hangs together better in theory than in practice? I ask because I imagine that there must be something exciting enough about this record for it to have been made, and yet somehow any evidence of that excitement failed to make its way into the envelope.”
Proper Discord 
No sarcastically insightful sticky note means: Not from me.
I loved your pithy post-it pitches.
they probably thought you had a beneficent imagination. good thing you’re letting everyone know you don’t.
A bad pitch is still a bad pitch, even if the audience wasn’t really listening in the first place.
The problem is not so much a shortage of ideas, but rather a profusion of options.
If I’m reviewing albums, then at the very least I need to know a release date. The real question on my mind, though, will be “what is interesting about this record, and why am I the person to write about it?”
If I’m running a record store, I might presume that the record formed part of a request for shelf-space or promotional consideration, but without any information about what, precisely, is on offer (or at what price) there’s not much I can do.
If I’m running a label, I need to know if this is being offered for sale, license, distribution, or as an example of the artist’s work, offered in the hope that I might want to use them for something else.
This CD is going to sit on a pile at the end of my desk until one day, in about three months, I’ll be tidying up and I’ll realise that nobody is going to call to ask me about it, and then I’ll throw it out. I can’t be the only person in the world with better things to do than digging envelopes out of the trash to find a return address to send a letter that goes: “Why did you send me an inconsistently-produced recording of a competent but unspectacular performance of an interesting program that hangs together better in theory than in practice? I ask because I imagine that there must be something exciting enough about this record for it to have been made, and yet somehow any evidence of that excitement failed to make its way into the envelope.”