Saturday, December 27, 2008
Featured artist of the week - Fiction Family
I am going to make it a point to stream, for a limited time only, music from upcoming artists that people should check out. For my first artist, I have chosen Fiction Family! The two-man duo of Sean Watkins (Nickel Creek) and Joe Forman (Switchfoot) has collaborated to bring people an acoustic sound that will surely move you. The album, Fiction Family, will be released on January 20, 2009 on ATO Records. I have posted the video for their single, "When She's Near," below.
Tuesday, December 23, 2008
Interview with DJ Scott Allyn
The first article I would like to share, is one I actually wrote this past April, which was featured in the April issue of the Music Business Journal. The article is an interview with DJ Scott Allyn on the House music industry. For those who are unfamiliar with it, House music is a style of electronic music that utilizes turntables to mix different beats. This article/interview was a learning experience for myself because it allowed me to take a look at a genre that has gained popularity and is growing more than before, especially in urban settings. Before this article, I had many questions regarding the business behind House music. For instance, do DJs have to pay a royalty for the use of various songs in their mixes? How is a standard record deal constructed for a DJ? Are DJs registered with performance rights societies such as ASCAP or SESAC? This article is in-depth and gets you close up with a novice in the industry. Personally, I feel that the digital age and the market house music targets to has allowed this genre to grow and will nurture it for a long time.
Nightlife Uncovered: A Look Inside the House Music Industry with DJ Scott Allyn
By Ardie Farhadieh
In the early 70’s the disco became the center of urban nightlife. It was not uncommon for people to pour into nightclubs around nine o’ clock and party to the soul influenced music of Donna Summer and KC and the Sunshine Band. For some time, disco had become a staple in European nightlife, but eventually impacted the American music played in clubs. Early disco music is misconstrued and thought to be more electronic based but was actually a blend of jazz, classical, funk, and soul. Later on, the innovation of the drum kit would popularize and increase the appetite for beat based music in the urban club scene.
The transformation of disco to modern day house music was stemmed by Frankie Knuckles. Known as the godfather of house, Frankie Knuckles opened the first experimental music club, The Warehouse, in Chicago. Frankie was an innovator and was infamous for mixing various pre-recorded drum beats with a variety of musical styles. Soon, the old disco classics were being meshed with new beats to create a fast pace sound that would entice people to dance. The affects of Frankie’s music and The Warehouse in the American clubbing scene would continue to grow and create a international industry focused on urban nightlife.
What exactly is House music? House music is a type of electronic music that utilizes a bass drum on every beat. On top of the bass drum is usually a layer of synthesized sounds and a vocal phrase that are repetitive. Unlike techno or disco, house music is rawer and not course. House music is achieved through spinning by a DJ, whom utilizes turn tables to play vinyl records and mix and match various sounds. As technology has advanced, many affects have been designed to alter and contribute to the overall outcome of music that is spun.
Today, house music is an industry that has mainstreamed by current artists like DJ Mark Farina, Derrick Carter, etc. There are many record labels like OM Records that specialize in representing DJ’s spinning house. In every major city in the world, there are packed clubs and lounges that headline house DJ’s. The house music industry has set standards on electronic music and functions differently from other music industries.
In an interview with DJ Scott Allyn, he describes his transition into the world of house, how a house record deal is constructed, royalties, copyright, etc. Scott was a popular DJ in Chicago, has played in many famous lounges like Smart Bar, and has performed with many prominent DJ’s in the house industry. Scott took a hiatus from spinning house music but came back and currently performs occasionally in lounges and clubs around Chicago.
How did you get your start spinning and establishing yourself in the House industry?
Scott: I Started DJing in 1993. I grew up in Grand Rapids MI, which is basically halfway between Detroit and Chicago. As you know, these two cities were basically the “centers” of Underground Music in the US. Chicago is said to be the Birthplace of House Music and Detroit the Home of Techno. In the early to Mid 90’s there was an amazing rave Movement sweeping both cities. Every weekend, I would drive with my friends to either Detroit or Chicago to go to these unbelievable parties to see DJ’s that are still mixing today. I saw DJs that were well-regarded around the world such as: Richie Hawtin, Juan Atkins, Derrick May, Kevin Saunderson, Jeff Mills, Stacey Pullen, John Aquaviva, Kenny Larkin (in Detroit) and Derrick Carter, Mark Farina, DIZ, Heather, Frankie Knuckles, Green Velvet, Chez Damier, Rush, Sneak, Traxx , Miles Maeda (in Chicago) etc. There were also many Famous European DJ’s being brought in to play at these Raves as well. There was such an amazing energy to these Parties. Back then they called it, “JACK.” Yes. There were a lot of drugs involved at that time, but everyone was having such an amazing time. There was a sense of community and love in this Rave scene that is reminiscent of the whole Hippie Movement in San Francisco in the 60’s. I enjoyed these parties and music so much that I decided I wanted to try my hand at DJing. So I went in on a pair of turntables with a friend of mine and started buying records on my weekend trips to Chicago (at Gramophone) and Detroit (at Record Time). I had a good friend in Grand Rapids, Kikoman, who was already a pretty established DJ throughout the rave scene in the US, he was primarily a Techno DJ. Thus when I first started spinning, it was primarily techno. However, I ended up moving to Chicago in 1996 and developed a great appreciation for House music, and started buying and playing more House records. I developed a sound that was somewhat a hybrid of both the Detroit and Chicago Sounds. Right before I moved to Chicago, I was fortunate enough to meet and become friends with Derrick Carter, and after I moved to Chicago, we became great friends and he became somewhat of a mentor to me. The style of mixing in Chicago was at that time the most sought after in the world, with a combination of the right programming and blends lasting between 2-3 minutes to transition from one record to another. In 1997, after learning and honing my sound for about 4 years, I finally started getting some gigs at various establishments on the Chicago Club scene, playing mostly alongside good friends of mine such as JDub, DJ Heather, Dayhota, and Colette. I was playing at Smart Bar, Karma, Redno Five, Crobar, and Mad Bar. The mid to Late 90’s was a great time in the Chicago club Scene. House music had many loyal followers and there was again a great sense of community between all of us.
Did you use a different name when you were spinning?
Scott: I have a pretty long last name, so I decided to use my Middle name, Allyn, thus Scott Allyn. I just felt it had a better ring than Scott Heuvelhorst.
What makes House music different from other styles of electronic music?
Scott: There are many different Sub-Genres of House Music. The style I was, and still, into the most is the more minimal or Dub house, but I would say overall that House music just has more soul, and evokes more feeling from its listener.
Who are some artists and record labels in the House industry?
Scott: Some of my favorite artists in the House industry are Luke Solomon (UK), DIZ, Heather, Derrick Carter, and Green Velvet aka Cajmere.
My favorite labels are Sonar Kollektiv, Playhouse, MFF (music for freaks), Classic Recordings, Perlon, and Black Cherry Recordings.
I could go on for days naming various House music labels. There are so many labels out there along with some greats that are no longer around.
House music has acquired international recognition. Do you think House music has gained popularity? Does it have a strong fan base? Will it continue to grow?
Scott: This is where it gets a little tricky for me. Yes. House music has gained fame all over the world, but it has been, and is, far more popular in places like Europe, Australia, and Asia, than it ever was, or will be, in the USA. However, I believe that over the past 5 years, especially in America, House music has been on more of a downswing. There is just not the appreciation that there was in the 90’s. I mostly judge by what I see going on in the Chicago club scene. I call it, “Short Attention Span Theatre,” kids are not satisfied with hearing a great DJ play music that they have never heard before. For the most part, club goers want to hear commercialized music that they know and can sing along to. Please realize that I am somewhat of a snob and a purist, but I believe the Underground movement and all it stands for has all but perished, at least in Chicago. I have many great friends that are amazing DJ’s that once made a living by DJing in the US and all over the world and have now had to grow up and find day jobs to support themselves. I think one of the reasons for this is that everyone is a DJ. Nowadays, the scene is inundated by Sub-Par “music Selectors,” (I say this because the art of the blend is becoming a lost art) it has all been watered down to death. Another contributing factor is that a lot of people that grew up in the Hay Day, have now settled down, got married, had kids, etc.
Does House music face the same troubles other music faces? Is there a lot of pirating? Are record labels losing money?
Scott: You have to understand that House music was never extremely lucrative for many involved. There are exceptions, but they are few and far between. In the house record industry (Vinyl), if a record does extremely well, it maybe sells 3 to 5000 copies. I believe that most DJ’s play CD-R now.
MP3’s make music a lot more accessible online as opposed to the days when you had to drag yourself to the record store every week to stay on top of what was hot. But yes, it has succumbed to the same issues of pirating, and P2P sharing that the commercial record industry has suffered. Most great labels out there are people doing it for the love of the music, not doing it for the Money. The best Opportunities out there right now for House artists are to maybe get a track licensed for a TV show or Commercial. This could an artist anywhere from $5000- $20,000.
House DJ's utilize beats and music from other artists. Do DJ's have to license the music they perform in order to prevent copyright infringement?
Scott: If a DJ is going to do a Mix CD that will be put out, say on iTunes, by any given label, then yes, they have to license the tracks that they play in their mix. For music production, people might be sampling small tidbits and bytes of sound from a commercial piece of music, but they rarely license these samples and will most likely never get in trouble, as the final track will most likely only ever fall upon a handful of ears. However, there has always been, and still continues to be, a large amount of producers that make what we call White Labels. White Labels are unauthorized remixes of more popular commercial songs. The labels are white and blank on the Vinyl because this is highly illegal and no-one involved wants to get in trouble. An Example might be an Amy Winehouse track that a producer takes the vocal from and sets it to their own beats, whether it be house, techno, Drum and Bass, Broken Beat, Hip-Hop, you name it. There is another side to this where more underground artists are hired by Major Commercial labels to do Authorized remixes of commercial artists’ music, which can end up being quite profitable for these underground producers.
Do DJ's like Mark Farina and Derrick Carter copyright the mixes they record on their albums?
Scott: There is a big difference between an artist doing a Mix CD, and producing his or her own music that is released as an EP, LP, or Album. As I said before, if a DJ is doing a mix CD that is going to be put out commercially they will license the tracks that they play in a given mix from the various record labels that originally released these tracks. When an artist produces his own music and a label and puts it out for public consumption, this music is licensed most likely through ASCAP.
Do DJ's obtain performing rights royalties from companies like ASCAP or BMI when their music is performed by others?
Scott: See previous Answer. Yes. They receive royalties from others that license the music, however, these royalties are maybe a few pennies for every Mix CD sold.
How is a standard record deal for House music constructed? What are the standard rates and percentage for touring, producing, and record sale royalties?
Scott: Most House music artists I know are offered between $1000-$4000 to do a 3 or4 track EP for any given Label. Every deal is different and an artist might opt to take less money down on a project for a percentage of overall records sold (or MP3’s). When a bigger DJ such as Derrick Carter is booked to play for a club or party (around the world) the promoter of said club or party books him through his manager, and in return, the manager gets 10-15% of his fee. Derrick Carter might get paid between $5000- $10,000 for playing a 1 or 2 hour DJ set. For Derrick, this more often than not also includes business class airfare to the location, as well as, a 4 or 5 star hotel room to stay the night in.
How is money from touring incurred? Is there a standard percentage or set rate for each venue played?
Scott: A majority of larger artists require a deposit in good faith from the promoter, which might be up to 50% of their overall fee. For multi date tours, there might also be some sort of label or corporate sponsorship, where the DJ can profit a little more than a standard booking.
Is House music primarily distributed digitally or is there still a physical album market?
Scott: Vinyl is still around. Most people think it has been dead for decades, but I believe over the past 7 years, with the advent of CDJ turntables and programs like final scratch and serrato, the vinyl is finally starting its decline. Vinyl for me is still my medium of choice. I believe the sound quality is the best. However, I have always had a day job, and never relied on DJing to pay the bills
What do you feel about the presence of MySpace, iLike, and last.fm used to promote House music? Do you think artists are utilizing the Internet to promote?
Scott: Personally, when I want to know what is going on in my town on any given night, I look at MySpace and Facebook. I do believe that Artists are utilizing sites like this to promote more than ever, whereas, 10 years ago you had to rely on fliers.
On a sidenote, I pretty much listen to all podcasts these days when I listen to music. My personal favorite is the Basic Soul show by Simon Harrison.
Other Favorites are: Luke Solomons podcast, Delicasession, Real Tone Radio Show, Electrone Podcast, and Live at Focus
If you want to check out the last mix I did called Dirty Mitten, you can get it from the Audioplane podcast at:
http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=154602644
Nightlife Uncovered: A Look Inside the House Music Industry with DJ Scott Allyn
By Ardie Farhadieh
In the early 70’s the disco became the center of urban nightlife. It was not uncommon for people to pour into nightclubs around nine o’ clock and party to the soul influenced music of Donna Summer and KC and the Sunshine Band. For some time, disco had become a staple in European nightlife, but eventually impacted the American music played in clubs. Early disco music is misconstrued and thought to be more electronic based but was actually a blend of jazz, classical, funk, and soul. Later on, the innovation of the drum kit would popularize and increase the appetite for beat based music in the urban club scene.
The transformation of disco to modern day house music was stemmed by Frankie Knuckles. Known as the godfather of house, Frankie Knuckles opened the first experimental music club, The Warehouse, in Chicago. Frankie was an innovator and was infamous for mixing various pre-recorded drum beats with a variety of musical styles. Soon, the old disco classics were being meshed with new beats to create a fast pace sound that would entice people to dance. The affects of Frankie’s music and The Warehouse in the American clubbing scene would continue to grow and create a international industry focused on urban nightlife.
What exactly is House music? House music is a type of electronic music that utilizes a bass drum on every beat. On top of the bass drum is usually a layer of synthesized sounds and a vocal phrase that are repetitive. Unlike techno or disco, house music is rawer and not course. House music is achieved through spinning by a DJ, whom utilizes turn tables to play vinyl records and mix and match various sounds. As technology has advanced, many affects have been designed to alter and contribute to the overall outcome of music that is spun.
Today, house music is an industry that has mainstreamed by current artists like DJ Mark Farina, Derrick Carter, etc. There are many record labels like OM Records that specialize in representing DJ’s spinning house. In every major city in the world, there are packed clubs and lounges that headline house DJ’s. The house music industry has set standards on electronic music and functions differently from other music industries.
In an interview with DJ Scott Allyn, he describes his transition into the world of house, how a house record deal is constructed, royalties, copyright, etc. Scott was a popular DJ in Chicago, has played in many famous lounges like Smart Bar, and has performed with many prominent DJ’s in the house industry. Scott took a hiatus from spinning house music but came back and currently performs occasionally in lounges and clubs around Chicago.
How did you get your start spinning and establishing yourself in the House industry?
Scott: I Started DJing in 1993. I grew up in Grand Rapids MI, which is basically halfway between Detroit and Chicago. As you know, these two cities were basically the “centers” of Underground Music in the US. Chicago is said to be the Birthplace of House Music and Detroit the Home of Techno. In the early to Mid 90’s there was an amazing rave Movement sweeping both cities. Every weekend, I would drive with my friends to either Detroit or Chicago to go to these unbelievable parties to see DJ’s that are still mixing today. I saw DJs that were well-regarded around the world such as: Richie Hawtin, Juan Atkins, Derrick May, Kevin Saunderson, Jeff Mills, Stacey Pullen, John Aquaviva, Kenny Larkin (in Detroit) and Derrick Carter, Mark Farina, DIZ, Heather, Frankie Knuckles, Green Velvet, Chez Damier, Rush, Sneak, Traxx , Miles Maeda (in Chicago) etc. There were also many Famous European DJ’s being brought in to play at these Raves as well. There was such an amazing energy to these Parties. Back then they called it, “JACK.” Yes. There were a lot of drugs involved at that time, but everyone was having such an amazing time. There was a sense of community and love in this Rave scene that is reminiscent of the whole Hippie Movement in San Francisco in the 60’s. I enjoyed these parties and music so much that I decided I wanted to try my hand at DJing. So I went in on a pair of turntables with a friend of mine and started buying records on my weekend trips to Chicago (at Gramophone) and Detroit (at Record Time). I had a good friend in Grand Rapids, Kikoman, who was already a pretty established DJ throughout the rave scene in the US, he was primarily a Techno DJ. Thus when I first started spinning, it was primarily techno. However, I ended up moving to Chicago in 1996 and developed a great appreciation for House music, and started buying and playing more House records. I developed a sound that was somewhat a hybrid of both the Detroit and Chicago Sounds. Right before I moved to Chicago, I was fortunate enough to meet and become friends with Derrick Carter, and after I moved to Chicago, we became great friends and he became somewhat of a mentor to me. The style of mixing in Chicago was at that time the most sought after in the world, with a combination of the right programming and blends lasting between 2-3 minutes to transition from one record to another. In 1997, after learning and honing my sound for about 4 years, I finally started getting some gigs at various establishments on the Chicago Club scene, playing mostly alongside good friends of mine such as JDub, DJ Heather, Dayhota, and Colette. I was playing at Smart Bar, Karma, Redno Five, Crobar, and Mad Bar. The mid to Late 90’s was a great time in the Chicago club Scene. House music had many loyal followers and there was again a great sense of community between all of us.
Did you use a different name when you were spinning?
Scott: I have a pretty long last name, so I decided to use my Middle name, Allyn, thus Scott Allyn. I just felt it had a better ring than Scott Heuvelhorst.
What makes House music different from other styles of electronic music?
Scott: There are many different Sub-Genres of House Music. The style I was, and still, into the most is the more minimal or Dub house, but I would say overall that House music just has more soul, and evokes more feeling from its listener.
Who are some artists and record labels in the House industry?
Scott: Some of my favorite artists in the House industry are Luke Solomon (UK), DIZ, Heather, Derrick Carter, and Green Velvet aka Cajmere.
My favorite labels are Sonar Kollektiv, Playhouse, MFF (music for freaks), Classic Recordings, Perlon, and Black Cherry Recordings.
I could go on for days naming various House music labels. There are so many labels out there along with some greats that are no longer around.
House music has acquired international recognition. Do you think House music has gained popularity? Does it have a strong fan base? Will it continue to grow?
Scott: This is where it gets a little tricky for me. Yes. House music has gained fame all over the world, but it has been, and is, far more popular in places like Europe, Australia, and Asia, than it ever was, or will be, in the USA. However, I believe that over the past 5 years, especially in America, House music has been on more of a downswing. There is just not the appreciation that there was in the 90’s. I mostly judge by what I see going on in the Chicago club scene. I call it, “Short Attention Span Theatre,” kids are not satisfied with hearing a great DJ play music that they have never heard before. For the most part, club goers want to hear commercialized music that they know and can sing along to. Please realize that I am somewhat of a snob and a purist, but I believe the Underground movement and all it stands for has all but perished, at least in Chicago. I have many great friends that are amazing DJ’s that once made a living by DJing in the US and all over the world and have now had to grow up and find day jobs to support themselves. I think one of the reasons for this is that everyone is a DJ. Nowadays, the scene is inundated by Sub-Par “music Selectors,” (I say this because the art of the blend is becoming a lost art) it has all been watered down to death. Another contributing factor is that a lot of people that grew up in the Hay Day, have now settled down, got married, had kids, etc.
Does House music face the same troubles other music faces? Is there a lot of pirating? Are record labels losing money?
Scott: You have to understand that House music was never extremely lucrative for many involved. There are exceptions, but they are few and far between. In the house record industry (Vinyl), if a record does extremely well, it maybe sells 3 to 5000 copies. I believe that most DJ’s play CD-R now.
MP3’s make music a lot more accessible online as opposed to the days when you had to drag yourself to the record store every week to stay on top of what was hot. But yes, it has succumbed to the same issues of pirating, and P2P sharing that the commercial record industry has suffered. Most great labels out there are people doing it for the love of the music, not doing it for the Money. The best Opportunities out there right now for House artists are to maybe get a track licensed for a TV show or Commercial. This could an artist anywhere from $5000- $20,000.
House DJ's utilize beats and music from other artists. Do DJ's have to license the music they perform in order to prevent copyright infringement?
Scott: If a DJ is going to do a Mix CD that will be put out, say on iTunes, by any given label, then yes, they have to license the tracks that they play in their mix. For music production, people might be sampling small tidbits and bytes of sound from a commercial piece of music, but they rarely license these samples and will most likely never get in trouble, as the final track will most likely only ever fall upon a handful of ears. However, there has always been, and still continues to be, a large amount of producers that make what we call White Labels. White Labels are unauthorized remixes of more popular commercial songs. The labels are white and blank on the Vinyl because this is highly illegal and no-one involved wants to get in trouble. An Example might be an Amy Winehouse track that a producer takes the vocal from and sets it to their own beats, whether it be house, techno, Drum and Bass, Broken Beat, Hip-Hop, you name it. There is another side to this where more underground artists are hired by Major Commercial labels to do Authorized remixes of commercial artists’ music, which can end up being quite profitable for these underground producers.
Do DJ's like Mark Farina and Derrick Carter copyright the mixes they record on their albums?
Scott: There is a big difference between an artist doing a Mix CD, and producing his or her own music that is released as an EP, LP, or Album. As I said before, if a DJ is doing a mix CD that is going to be put out commercially they will license the tracks that they play in a given mix from the various record labels that originally released these tracks. When an artist produces his own music and a label and puts it out for public consumption, this music is licensed most likely through ASCAP.
Do DJ's obtain performing rights royalties from companies like ASCAP or BMI when their music is performed by others?
Scott: See previous Answer. Yes. They receive royalties from others that license the music, however, these royalties are maybe a few pennies for every Mix CD sold.
How is a standard record deal for House music constructed? What are the standard rates and percentage for touring, producing, and record sale royalties?
Scott: Most House music artists I know are offered between $1000-$4000 to do a 3 or4 track EP for any given Label. Every deal is different and an artist might opt to take less money down on a project for a percentage of overall records sold (or MP3’s). When a bigger DJ such as Derrick Carter is booked to play for a club or party (around the world) the promoter of said club or party books him through his manager, and in return, the manager gets 10-15% of his fee. Derrick Carter might get paid between $5000- $10,000 for playing a 1 or 2 hour DJ set. For Derrick, this more often than not also includes business class airfare to the location, as well as, a 4 or 5 star hotel room to stay the night in.
How is money from touring incurred? Is there a standard percentage or set rate for each venue played?
Scott: A majority of larger artists require a deposit in good faith from the promoter, which might be up to 50% of their overall fee. For multi date tours, there might also be some sort of label or corporate sponsorship, where the DJ can profit a little more than a standard booking.
Is House music primarily distributed digitally or is there still a physical album market?
Scott: Vinyl is still around. Most people think it has been dead for decades, but I believe over the past 7 years, with the advent of CDJ turntables and programs like final scratch and serrato, the vinyl is finally starting its decline. Vinyl for me is still my medium of choice. I believe the sound quality is the best. However, I have always had a day job, and never relied on DJing to pay the bills
What do you feel about the presence of MySpace, iLike, and last.fm used to promote House music? Do you think artists are utilizing the Internet to promote?
Scott: Personally, when I want to know what is going on in my town on any given night, I look at MySpace and Facebook. I do believe that Artists are utilizing sites like this to promote more than ever, whereas, 10 years ago you had to rely on fliers.
On a sidenote, I pretty much listen to all podcasts these days when I listen to music. My personal favorite is the Basic Soul show by Simon Harrison.
Other Favorites are: Luke Solomons podcast, Delicasession, Real Tone Radio Show, Electrone Podcast, and Live at Focus
If you want to check out the last mix I did called Dirty Mitten, you can get it from the Audioplane podcast at:
http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=154602644
Monday, December 22, 2008
The Reason
I find that the music industry always keeps me on the tips of my toes. Companies are either losing money, managers trying to find the next best way to market their artists, deals with online streaming companies (like Youtube) are still going through negotiations, etc.
Since I have entered Berklee College of Music, I have overwhelmed myself with numerous extracurriculars, such as writing for The Music Business Journal, and attempted to "get my feet wet" in the music business by interning at a record label/artist management company.
This past summer, I interned at Aware Records/A-Squared Management and could not have asked for a better internship. This internship gave me a closer look at how artists and bands are managed, record labels function, and the endless discussions that occur when trying to find the next best way to market artists.
I am now nearing the end of my education at Berklee, interning at Fenway Recordings and trying to learn everything there is to managing an artist. At the same time, I am applying all the skills I have learned so far to help further the advancement of the many artists on Fenway's roster.
However, the more I learn, the more I realize managing an artist is something you just do. There is no right or wrong way to go about artist management. I asked many managers, "How do you start managing an act?" Almost all of them have told me that they don't have one single way to go about it. As for myself, I have learned that I need to start taking on a band and trying out the various tactics I have studied and observed.
This blog is a way for me to not only learn about and feature educational articles I come across, but a method for me to discuss many ideas that could be helpful in managing and promoting an artist. Additionally, I hope this blog will be a way for music followers to read interviews, music reviews, follow up on certain acts, and listen to music.
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