10 Songs For Rockin’ Thanksgiving #Music #Fun

    image from 2.bp.blogspot.com

  • “Alice’s Restaurant” – Arlo Guthrie
  • “Thank You (Falettinme Be Mice Elf Agin)” – Sly & The Family Stone
  • “Thank You” – Dido
  • The Thanksgiving Song” – Adam Sandler
  • “Thank You For The Music“- Abba
  • “Thank You Lord” – Bob Marley
  • “Thank You” – Led Zeppelin
  • “We Are Family” – Sister Sledge
  • “Thank U” Alanis Morissette
  • “Thank You Girl” – The Beatles

Turntable.fm To Shut Down: $7M and Celebrity Investors No Match For Music Licensors

image from msp.starshipmoonhawk.com

(UPDATE) After two years and $7 million, Turntable.fm is shutting down on December 2nd. The team will concentrate on its newer Turntable Live interactive online concert platform. Once again, the cost of licensing music has forced a promising platform to throw in the towel. “… The cost of running a music service has been too expensive and we can’t outpace it with our efforts to monetize it and cut costs,” the company said in a statement.

What Happens To Your Turntable.fm Playlists

image from www.turntable.comThe Turntable.fm team “want to at least go outin style”:
  • All playlists and songs can be exported to Spotify or CSV by going here.
  • All the avatars they’ve designed are now accessible for everyone.
  • They have created a special t-shirt to remember turntable.fm and it will be available for purchase next week.
  • Theys are working on making anonymous raw data dumps for developers to have fun with.
The company is planning a “last day party” online at turntable.fm on December 2.
From Founding To Failure
But the turntable.fm story began at launch in May 2011 Turntable.fm as a project of Seth Goldstein and Billy Chasen, the co-founders of Stickybits.
In less than a year turntable.fm was an underground hit on its way to the mainstream. Closet DJ’s were spinning online next to celebrities hoping to extend their reach. $7 million in investments rolled in from a who’s who list that included Union Square Ventures, Troy Carter, Jimmy Fallon, Tim Kendall, Courtney Holt, Guy Oseary, Lowercase Capital, Polaris Partners, First Round Capital and Vivi Nevo.
While presumably some of the $7 million invested remains and will be used to develop Turntable Live. But for turntable.fm, the cost demanded by a handful of powerful major labels and publishers to licenses music proved too high.
It’s a tale we’ve heard before, but one that we’re likely to hear less often as investors tire of of the losses.

SoundCloud Adds Explore With Trending Music and Lean Back Discovery


Yesterday SoundCloud introduced Explore, a discovery feature that should help connect more listeners with artists using SoundCloud though a more prominent homepage position would be a nice touch. It’s available on the web and on SoundCloud’s Android app. No word yet on iOS availability but their iTunes listing promises “bigger updates” than their recent design refresh.

To be honest, I’ve been checking out music on SoundCloud for what feels like a long time, at least in internet years, but I’ve never thought of it as a place to discover new music. The discovery happens on blogs and other external sites where SoundCloud happens and then in the related channel where I then seek out similar tracks but the external discovery has always been at the heart of the experience for me.
So their new Explore feature, also available on their Android app, feels like a long overdue touch.
Explore offers:
trending streams for both music and audio
trending streams organized by genre
lean back listening by simply pushing play from the main stream or genre stream
Explore is a great look for SoundCloud which is not just an indispensable service for so many artists but increasingly a key part of music’s infrastructure on the web and mobile.

Hypebot Senior Contributor Clyde Smith (Twitter/Facebook) is building a writing hub at Flux Research. To suggest topics about music tech, DIY music biz or music marketing for Hypebot, contact: clyde(at)fluxresearch(dot)com.

How The Echo Nest Is Reinventing Music Advertising

Over two years ago, The Echo Nest spotted a unique opportunity to leverage our deep musical intelligence to help advertisers reach the right music fans. We’ve been developing a solution ever since. Now, we’re ready to announce it.
Ad-supported radio is fast becoming the centerpiece of every music service — not just iTunes, Pandora, and Spotify, but across the entire industry. A streaming service’s ability to sell advertising is central to its survival — not just because it’s a popular core feature, but because not every user wants to pay for an ad-free experience.
Our insight: The same deep understanding of individual fans’ music taste, which already powers our unparalleled Music Discovery and Personalization solution, can also segment online music fans in a variety of useful ways. Not only does this offer advertising networks a more efficient way to target music fans (commanding higher CPMs), but it increases the revenue of ad-supported music services by making their audience easier for advertisers to segment.
Music Identity and Targeting
Music is an important proxy to audience, which is why advertisers spend more than $15 billion per year advertising on radio stations: Classic Rock, AAA, Urban, and so on. Those formats are overly broad compared to the one-to-one nature of personalized streaming radio services. This is why streaming radio presents such a large opportunity to advertisers: they can reach unique individuals, rather than vast swaths of people whose specific proclivities are more or less unknown.
To capitalize on this important shift in listening behavior, music services, and music ad networks need tools for understanding each fan; where their musical taste fits into the world of music; and what else their taste says about them as people. That way, services and advertisers can extend music taste to preference for a certain brand or product.
We call our new solution Music Audience Understanding. We’re confident in its ability to deliver segments of streaming music fans to advertisers more accurately than through terrestrial radio. As more music fans transition to music streaming, The Echo Nest is well positioned to help advertisers and ad-supported music services make radio advertising much more targeted, engaging and personalized.
Better Targeting Than $15 Billion Radio Industry Provides
All signs indicate that radio is going digital, fast, yet radio advertising is still very analog. This situation will not last. The streaming services that survive will be those that shift from running general run-of-site ads and targeting old-school radio formats to delivering micro-audiences with the same granularity that social media and search can deliver — age, demographic, lifestyle attributes, and much more.
Our Music Audience Understanding solution can help. So far, we have proven its ability to use music listening behavior to predict music fans’ age or gender; affinity for over 20 lifestyle categories (i.e. foodies, gamers, sports fans); and preference for music genres and styles. Privacy is important, which is why we do all of this anonymously, without personally identifying information or the need for our customers to purchase (controversial) third-party user data.
Fully Anonymous and Privacy Friendly
We are obsessed with making online music better. Creepy ad technologies that track you around the web and approach the line of “personally identifiable information” do not necessarily improve online music. Our approach to segmentation is based on prediction and machine learning, so it doesn’t need personally identifiable information, and we don’t track users around the Internet; the solution works completely anonymously.
First Ad Network To Use Music Audience UnderstandingTargetSpot
We’re happy to announce our first ad network customer: TargetSpot, the largest digital audio advertising network in the world, with over 85 distribution partners including CBS RADIO, ABC News Radio, Univision, Entercom, Live 365, and more.
Other customers of The Echo Nest’s Music Audience Understanding include several ad-supported radio services, because this solution is useful in both directions: for ad networks looking to target music fans across a variety of services, and digital music services interested in boosting the value of their advertisements.

How To Be Creative On A Limited Video Budget


Kelley James (@yourboykj) is a singer/songwriter whose music is a fascinating collection of acoustic guitars, hip-hop beats, thoughtful lyrics and freestyle flows. His brand new album ‘The Pattern Transcending‘ was released on Oct 1st, 2013.

Being a recording artist in the digital age means you have more resources than ever to share your content and engage your fans. With so many different blogs, music platforms, and social media outlets, it can start to get a little overwhelming, both from the sheer number of options and the other voices threatening to drown you out.

Despite all these avenues, there is one channel that many artists let fall by the wayside: video. At best, most will have a few videos of themselves performing live. On the other end of the spectrum, some have only a vacant YouTube channel, or worse, no video presence at all.
Creating engaging video content may seem like a burden, but I’m willing to bet it’s actually a lot easier than you think. I’ve pulled together a few easy steps every independent artist should take to not only amp up their content, but increase their digital footprint by connecting with the people who matter most – the fans.
1. When creating content, think outside the box.
Everyone is pretty familiar with the two main standbys that most artists will utilize when it comes to creating videos: the video-blog update and, of course, music videos. One is low budget with the potential to be stale and contrived while the other often seems like too big of an investment for artists who are still growing. That’s why it’s very important to think outside the box when it comes to video content. What are your viewers getting from your videos that they can’t get elsewhere? If the answer is “nothing”, they probably won’t be tuning in any time soon. When I’m creating content for my channel, I like to give my fans something they can’t see at a show or buy on iTunes, so I like to do one of my signature freestyles on-the-spot. Other times, I’ll mash up two songs into one streamlined acoustic performance. Once your viewers realize that they’re getting in on something special when they watch your videos, you can bet they’ll be back again next time.
2. More is less.
There’s proof all over the web that a clever idea can be as valuable, if not more, than a bloated budget. A lack of funds can be a blessing more than a curse in that it forces you to think creatively and work with whatever resources are immediately available. In 2012, I released my single “Summertime On My Mind” and wanted to create a unique video to promote it without spending a ton of cash. I was involved in a campaign for Patagonia at the time called “Repair, Reuse, Recycle” which was aimed at promoting cleaner environmental practices and conserving resources, and I saw one that one of the logos was an acoustic guitar with only one string. Inspiration struck. With the goal of showing that you can create something awesome with only simple tools, I rounded up five friends and six guitars – each with only one string. We played the entire song together, one string per person, and over 13,000 views later, I was able to prove that it doesn’t take more than a few buddies and some ingenuity to make something special. Don’t get caught up in trying to copy the music videos you see on TV, because the average major label video usually has a budget somewhere between $200,000-$500,00. Use your brain and remember, more is less.
3. Utilize live-streaming platforms to bring your content to life.
One of the greatest things that technology is doing for artists is tearing down the barriers between us and our audiences. Live-streaming services only continue to get better with time, and they can be a powerful weapon in your social media arsenal. Websites like StageIt can help you easily create streaming content to share with your fanbase. I use StageIt to turn any location with an internet connection into a concert venue by allowing my fans to tune into scheduled performances via webcam. Artists are free to charge whatever they please for access to the show, and can leave a digital “tip jar” open if audience members feel so inclined. This is a great way to let your audience know that they matter and that you’re willing to go above and beyond to provide them with a unique musical experience.
4. Get to know talented filmmakers and videographers.
Everyone dreams of the day when they’ll be getting paid big bucks to do what they love, but as most of us well know, you have to start somewhere. There are as many talented people behind cameras as there are behind guitars and microphones, and it makes sense for us as artists to get to know each other and discover ways we can help each other out. Filmmakers and videographers want their work to get noticed too, and it never hurts to ask to see if there are options for you to work together to promote your respective brands. Some of them may be willing to work with you for free, while others won’t consider it without some promise of payment – either way, it’s only beneficial to get a sense of what your options are. At the very least, you might find yourself inspired by some of the material you find. I constantly draw new musical ideas and vibes from my friend Mike Greene’s video work. Bottom line: you’ll never know until you get out there and do some research, and with the entire internet at your fingertips, you have no excuse to not do it.
At the end of the day, video content is one of many, many tools that can be used to make yourself stand out from the crowd and engage people. The fact that it gets overlooked by a lot of artist should provide you with that much more incentive to take advantage of it in the most resourceful, cost-effective means possible. Being creative with your webcam today means that you might get to be creative behind a big-budget music video tomorrow – so get to work!

How Can I Possibly Promote Every Show?

Today’s post is in response to a question one of our readers asked after reading 5 WAYS TO INCREASE YOUR SHOW DRAW.  How can anyone properly promote every single one of their shows when there’s only so much time in the day?  The easy, simple and truthful answer is…wait for it…YOU CAN’T!
It’s the truth, there’s really no way you can adequately promote your shows unless you’re consistently spamming your Facebook followers and spamming your subscribers’ inboxes. And that doesn’t count because eventually they”ll unsubscribe, unfriend you, or just tune you out. So we highly suggest reading the below tips for how to handle promoting your tour dates while staying likeable.

1. Play Different Types of Shows

You can essentially play 4 different types of shows in 1 city in the same week without wearing out your welcome.
  • a public show (club, coffeehouse, restaurant, etc)
  • a college
  • a private show (corporate, wedding, etc)
  • a house concert
In this scenario, you only have to promote one thing – the public show. When you have this type of arrangement, focus on the event that requires your attention. Don’t tell people about all of your gigs simply because you want them to know your busy. Tell them only about the one that matters. Sure, they all matter, but only one requires you to draw. You can still put them all on your calendar, but push the one that needs the most help. Be smart about it.

2. Play With Locals 

The whole idea behind sharing the bill with locals in other cities is that they can help with the draw, and they can help with the promotion. If you pick the right local(s) to share a bill with (an artist with a decent following and good social media presence), your job will be alot easier. In fact, everyone’s job will be much easier. Share the burden of promoting and do what you can to collectively make the event a success. 

3. Plan Your Promo

Put a buzz out. Tell fans to “save the date” for when you’ll be in their city on your upcoming tour. The following week, highlight the most important shows on the tour. The following week pick a few other shows to promote. Consistently space out your promo over a 4-6 week time period. It doesn’t require too much planning, but spend a little time deciding how you will put the word out without over-saturating your news feed.

4. Page not Profile…or both!

Remember that your Facebook Music Page is more conducive to sharing show information and music news. The more you use it, the more your fans will too. Still, we highly support sharing your music news on your personal page. But remember that the profile is more relational. So news updates will be less popular and less received. Be alot pickier with what you choose to post on your personal Facebook page. Break up your posts: instead of just sharing your news, share everyday things to remind your friends that you’re not an infomercial. Or use tip #5…

5. Get Creative!

Carefully choose what you say and how you say it! You’re an artist. Take advantage of your creativity.
  • Link to the event(s)
  • Share a video from an artist you will be splitting a show with.
  • upload a banner with your tour dates
  • Share an Instagram photo
  • Talk about the city instead of the show (i.e. “So what should the band do in Austin next week?”). Your fans will get the point. 

6. Ask Your Fans for Help!

And last but certainly not least…ask your fans to help you! Ask them to share show details with their friends in the cities you’ll be in. If you read our last post, THE ART OF ASKING YOUR FANS FOR STUFF, you’ll understand how important this is. Just remember, word-of-mouth is still alive and well!
Good luck! 

The Delusional Artist

6 Traits of the Delusional Artist

by Sebastien Elkouby
As a creative consultant and  publicist, I’ve worked with many Hip Hop artists, some big names, some up and coming. While half of them were a pleasure to work with, the rest were borderline insane, ego maniacs…or at the very least delusional. Although this is probably what most of us expect from superstar celebrities, it is even more amusing to witness the same behavior from unknown, unsigned, and no-name artists. These “special” characters usually fall under the following six categories for which I’ve included some of my best examples.
1. The delusional
I was recently contacted by a rapper, and I’m using the term loosely, who had an amazingly poorly written business plan, void of punctuation, grammar, and logic, outlining a nonsensical strategy for hiring fans to sell his CD’s. He even factored in getting the staff of Hot 97 to sell his music during their off days. Unbelievable! Surely, such a bold plan will be backed up by phenomenal music, right? But when I finally listened to his music, I thought I was on an episode of Punk’d. And then I started thinking that a friend might be playing a joke on me. Sadly, this was very real. Not only was this “rapper” completely off beats but his songs sounded as if they had been recorded on an old school cassette recorder, somewhere deep in a cave. To make matters worse, you could hear his mouth bumping into the mic every few seconds. I reread his initial email to wrap my mind around the absurdity of his request and noticed that I had previously overlooked his asking me how quickly I could get him 50,000 Twitter followers. Right then and there, I knew Mr. Delusional wasn’t dealing with a full deck and would soon be used as an example in this story.
2. The Dreamer
When this special lady reached out to me, she was looking for a publicist to take her career to the next level. She told me music was in her blood; she was born to do this. She said she had always dreamed of becoming a star. When I asked her to send me music to review, she nonchalantly informed me that she had never recorded any. WTF! Without missing a beat, she eagerly offered to rap for me over the phone. Hiding my shock and holding in my laughter, I declined and let her know that it would be impossible for anyone to take her seriously without any recorded material. She pleaded with me to give her a chance, which I did because I’m not a complete a**hole, but she was average at best. I gave her a reality check and gently let her go. Weeks later, I received an email from another rapper who also admitted to never having recorded anything but included her written lyrics, guaranteeing me she could make me millions. Being famous was her dream, she said. Honestly, I don’t remember what my exact response was but I never did make those millions she promised!
3. The Broke Ass
Unfortunately, the majority of people who contact me fall into this category. These artists want everything for free. Many of them have the basics (music, video, pictures, bio) but haven’t budgeted for anything else. I’ve had too many rappers sing the same sad song about having what it takes to make it but not having money for publicity and promotion. A handful of them have even challenged my love of Hip Hop for being unwilling to provide my services to them free of charge. Others promise they’ll have the money once they get their next paycheck. You’d think rappers who spend most of their time bragging about how much money they make would have stacks to invest in what they claim is their dream. Don’t get me wrong, I know times are tough, but the day I can afford to work for free is the day I no longer need to work at all.
4. The Sloppy Communicator
This artist has the social skills of a doorknob.
how much do u charge
This is an actual email, one of hundreds like it. No capitalization, punctuation, hello or goodbye. If first impressions matter, we’re off to a horrible start. Nine out of 10 times, nothing will come from such individual. I’ve gotten the same type of delightful introduction from artists who call my business line and respond to MY greeting with, “who’s this?” Ridiculous! And this is supposed to make me want to work with you? Others will also leave mumbled voice mails, sounding like they’re gargling rocks, as if anything about their inaudible message could even remotely motivate me to call back. C’mon people…a little common sense and effort please!
5. The Vanishing Act
This artist makes a good first impression. They say all the right things, appear to have done the research, and come off friendly and courteous. They ask the right questions and seem to have a grasp on the music business and where their career is heading. They schedule an appointment to start working, and then, POOF!… they disappear to never be heard from ever again. No replies to emails or phone calls. In the early days, I used to take this personal, assuming that I had done something wrong. What I found out long ago is that this is common among all professionals who work with aspiring artists. Nonetheless, to this day, I’m still taken back by this behavior.
6. The Social Media/Blog Whore
This individual thinks social media is the “end-all, be-all” to publicity. They believe Facebook, Twitter, YouTube, and Instagram will launch their career overnight because so and so was discovered on the internet. One artist, who had very little recorded material, was only interested in getting views, likes, and followers. At no point had it clicked for him that making more music should be his priority. When I told him to focus on perfecting his craft before worrying about followers, he got upset and was never heard from again. Some inexperienced artists also look at blogs as the epitome of success. Don’t get me wrong, blogs can generate a whole lot of publicity, but again, content is necessary. A while ago, an unknown duo asked what they could get for $150. I wrote a press release for their video and reached out to my media contacts. I told them that the chances of getting major exposure are slim considering their anonymity and that the money spent on their lavish video could’ve been used for publicity. I told them not to expect miracles with a $150 investment. A week later, they called me upset because they weren’t featured in HipHopDX, RapRadar, and WorldStarHipHop. I set them straight and sent them on their merry way.
There are many more categories but these are the ones most aspiring artist I’ve come across seem to fall under. Who knows, maybe I attract the “crazies”. But based on countless conversations with my industry colleagues, this phenomenon appears to be a national epidemic. And sadly, I don’t think we’re going to see the end of it anytime soon.
Sebastien Elkouby is a Hip Hop Culture historian, freelance writer, consultant, and award-winning educator. Check out his educational program, Global Awareness Through Hip Hop Culture and his blog, SebIsHipHop.wordpress.com. For more info about his services, contact him at sebastienelkouby@gmail.com or on Twitter @SebIsHipHop (Although he rarely uses it!)

Are Press Releases Still Relevant For Music Marketing?


The press release has lost value in recent years as the web has opened up a wide range of communication channels that bypass traditional gatekeepers. Yet, despite the reduced role of press releases, they remain in use on a daily basis and are the source for music industry coverage from small blogs to high budget news operatons. Press releases represent both an official statement and freely usable content. For those musicians and music marketers regularly dealing with the press, they remain a useful vehicle for newsworthy announcements and a supplement to more compelling content.

The press release has been declared dead many times due to the effects of the web on marketing and communication. I’ve been hearing it since around 2006 but most of the people saying that either stopped, for the most part, or don’t seem very visible anymore.
I get press releases every day and while I find the canned quotes particularly sanitized and annoying, they are an official statement from representatives of a specific business that can then be held accountable for those words.
For a writer they’re also really great to quote, paraphrase or just reproduce and front like you wrote it. I do the first two. The latter I leave to traditional media organizations and weak web operations.
Note: if you want to quickly identify press releases in my writing, look for the phrase “official announcement.” That’s what they are and that’s how I treat them.
The Value of an Official Announcement
Hypebot editor Bruce Houghton once encouraged companies to speak the truth in their press releases even if its surrounded by “spin and hype.”
I take a rather different stance in that the press release represents an official statement. Therefore, if it’s inaccurate, it exposes either the lies or the incompetence of those involved.
I’d say lie all you want because we will expose you but having just witnessedJimmy Iovine sucessfully hoodwinking the media over and over again with direct quotes that were clearly inaccurate, I think you can get away with quite a bit of lying these days.
People don’t really seem to care about truth, per se, and, sadly, that lack of caring often seems to extend to the press.
Make It Interesting and Readily Available
Generally speaking, part of a press release’s value is its mobility. Media entities are traditionally free to do anything they want with them including pass them off as their own work. Many are syndicated widely.
So if you want to take best advantage of a press release’s mobility, think about what message you want to spread and then make it as readily available as possible.
When you send it out, post it on your band or company’s blog or news section as well. Some of us like to link to the actual press release so that readers can verify it for themselves. As an official announcement it should probably be up on your website first because you should be the authority on your own act.
But Do Consider The Issue of Being Newsworthy
In a post on alternatives to press releases, Maggie Patterson suggests that the:
“Next time talk of a press release starts within your organization, carefully consider the audience and goals for sharing this particular story. Decide if your story is newsworthy and a press release is truly the right way to present this information.”
But keep in mind that newsworthiness is in the eye of the beholder. That’s why you have to know who you’re pitching when you send a press release directly to them.
On a related note, some bloggers are particularly adamant that they don’t want to see press releases. If they state that or never quote from press releases, you should know that.
And if you do research members of the media and know what they prefer, you’ll be ahead of most publicists at all levels of the game. Based on what I get from publicists on first contact, most of them have no idea what I do beyond having covered something at least vaguely related to what they want me to cover.
Is The SEO Value of Press Releases Gone?
As Lisa Buyer notes:
“Google has been slowly squeezing the SEO life out of press releases for a while now.”
Not only are they making the original press release harder to find, for example running obvious reproductions of press releases with the same headlines from numerous media outlets higher in news results than the original if the original is even listed.
We used to be able to get SEO benefit out of press releases so that they were valuable to websites even if no one wrote about them. Most services are widely syndicated so a press release with links used to really help with search engine positioning.
But Google’s most recent stance, that you should probably “no follow” all links on your press releases so that Google doesn’t spider them or else be penalized, is a real problem. It speaks to Google’s attempts to shape the web in its desired image. Unfortunately they have the power to do that now.
I’m waiting to see follow up reports of what people are observing in the field before I decide whether or not all direct SEO value has been drained away. Press releases are of value for SEO if media picks them up and links to you but I’m working on the assumption that the direct value is now gone.
So Why Do A Press Release?
For a lot of music news, press releases are probably not the best option. But if a major newsworthy event is coming up or an official announcement needs to be made, a press release still stands as an official document the media can recognize. If combined with other content, such as videos, it gives media an easy option for quotes and information.
Given media workloads, that’s no small thing.
Press releases also offer one method for controlling a message inasmuch as that is possible. I would like to say that people will see through your canned quotes and hype but, honestly, most of the media doesn’t bother.
So, yes, press releases are still useful for music marketing but their role has been greatly reduced.
[Thumbnail image courtesy KC Toh.]

Free: Must See Hip-Hop Documentary

Hip Hop, White Supremacy & Capitalism: Why Corporations Infiltrated RAP Music is an incredibly powerful and in-depth film focusing on the nefarious role corporations have played in co-opting Hip Hop Music (RAP), suppressing socially and politically progressive messages, while creating and promoting the most racist, misogynistic and hyper-violent images. Corporations have done all this while raking in billions and billions of dollars.
Hip Hop, White Supremacy & Capitalism: Why Corporations Infiltrated RAP Music” exposes seldom discussed facts regarding the relationship between Hip Hop and Corporations. This film features Hip Hop artists like: Narubi Selah, Capital-X, The Welfare Poets, Jasiri-X and media activists like: Rosa Clemente, Dr. Jared Ball, Paul Porter and Solomon Comissiong.
This documentary also showcases a ton of Hip Hop footage that places its focus in brilliant context for viewers. To say this film is a “MUST SEE” might be an understatement. This film should be used a tool to mobilize, galvanize and organize communities to reject Corporate Back Hip Hop, Create Alternative Media and to Support Hip Hop Artists whose music uplifts, empowers and educates its audiences.
Please share this video/documentary with all of your networks and contacts. Please encourage them all to share with their contacts, too, and so on. Encourage people to watch this film in collective settings as well such as community centers, schools, and places of worship. Due to the controversial (honest) nature of this film, we understand that the corporate media will not promote this important film. Please help spread this film around in a grassroots manner.

Why taking so long benefits your band

It just seems like an unnecessary waiting period. Why should you have to work your ass off for ten years before being the famous rock star you dream of?

  1. Experience:

    Despite what it looks like, rocking out for a solid hour and a half on stage in front of thousands isn’t an easy thing to do. People look at it and compare it to their day jobs, in which case it looks like the most appealing thing in the world. But no one ever stops to think about the production that goes into that sort of show, and how finely practiced and orchestrated every single detail is, and how hard the band worked to get there. This sort of thing takes years to develop! Don’t be surprised when your first shows aren’t living up to your favorite Incubus DVD.
  2. Quality Fan Base:

    Developing a fan base consistently over time creates loyal, quality fans. It really gives you time to develop your relationships with fans, and they will become people who support you at any price. Whenever you release a new album they’ll be first in line to buy it. When you ask for their help in contests they’ll be the ones that vote for you. Not all fans are created equal, and when they have become really vested in your project, they’ll be a thousand times more meaningful than someone who saw your video on TV once.
  3. Maturing As An Artist:

    Most rock stars are pretty good at what they do because they’ve been doing it so long. Over the time it takes them to grow their fan base and become successful, they are learning a lot of important lessons along the way. Everything from what to do when you break a string on stage to dealing with band drama. Did you ever wonder why you never heard from so many of those bands that hit it big with one video on MTV ever again? Because over time quality outlasts quantity.