Friday, May 31, 2013
Monday, May 13, 2013
Making the Time
I enjoyed reading Cari Cole's "The Top 10 Bullshit Excuses" about the music industry and music careers. http://www.caricole.com/top-ten-bullshit-excuses/#.UZHDsaLvv9U
It occurred to me that I haven't posted on my own blog in over 8 months. I could have had a premie by now. What are our priorities? I often hear people say "I'm too busy". How busy are we though? Too busy to spend 10 minutes practicing? Too busy to take 5 minutes to call an old friend?
By realizing we are kidding ourselves when we say we are "too busy", we might tap into the truth...that our priorities we act on don't match up with the priorities we think about. Or, conversely that whatever it is we are trying to promise to someone, or make excuses for, simply isn't important to us. Perhaps "too busy" would be better to say "too wrapped up in my ego" or "I have my head up my you-know-what".
We need to suspend disbelief to be artists, we need to believe in something greater, but that journey has to start with reality. Let's start by being real with ourselves. I am not too busy for life, I have plenty of time for this.
There is "reality" aka the real world of course. We have bills, we have health, we have families. We have priorities that don't involve music. We also have fear. Fear of failure, fear of not being accepted. This is what really holds us back. We stay in our comfort zones. We do things people praise us for. We don't go out on a limb. We walk the safe path.
Here's to not only taking the road less traveled by, but doing it to the beat of your own drummer. Take the 10 minutes to practice today. Take the 5 minutes to call an old friend. You'll be glad you did. Not only will you be a better musician, but a better human being.
It occurred to me that I haven't posted on my own blog in over 8 months. I could have had a premie by now. What are our priorities? I often hear people say "I'm too busy". How busy are we though? Too busy to spend 10 minutes practicing? Too busy to take 5 minutes to call an old friend?
By realizing we are kidding ourselves when we say we are "too busy", we might tap into the truth...that our priorities we act on don't match up with the priorities we think about. Or, conversely that whatever it is we are trying to promise to someone, or make excuses for, simply isn't important to us. Perhaps "too busy" would be better to say "too wrapped up in my ego" or "I have my head up my you-know-what".
We need to suspend disbelief to be artists, we need to believe in something greater, but that journey has to start with reality. Let's start by being real with ourselves. I am not too busy for life, I have plenty of time for this.
There is "reality" aka the real world of course. We have bills, we have health, we have families. We have priorities that don't involve music. We also have fear. Fear of failure, fear of not being accepted. This is what really holds us back. We stay in our comfort zones. We do things people praise us for. We don't go out on a limb. We walk the safe path.
Here's to not only taking the road less traveled by, but doing it to the beat of your own drummer. Take the 10 minutes to practice today. Take the 5 minutes to call an old friend. You'll be glad you did. Not only will you be a better musician, but a better human being.
Monday, July 9, 2012
Making a Mailing List and Being as Tough as Nails About It
Now I apparently had fallen victim to the shiny what I call "Apple" world. Technology is the answer to everything...you are getting very very sleepy...log onto Facebook...yes, yes...drink the Koolaid....yes you are getting carpal tunnel syndrome....yes...you have forgotten what sunlight is....yes, yes, yes! You have 10,000 followers on (enter dramatic theme music here) .....FACEEEBOOOKKKK. Hey, we won't talk about their IPO. Neither will they most likely. Anyways.Facebook is cool. Being friends with people in real life is even cooler.
Text people individually. Email people individiually.
Don't just send a newsletter-- be personal.
This is the JEDI MIND TRICK behind developing a giant and useful email list. It just involves doing it. it sounds so simple. Yet it's kind of like abstract art. You see a painting with a bunch of paint splattered on it and you say, it's so simple, anyone could do that? REALLY? Try it then! (the mailing list not necessarily the painting although you are welcome to try the painting, throwing paint at canvas is really fun)
(by Jackson Pollock)
You would be surprised- and take this from personal experience- how many ambitious and really good musicians get a few emails, lose them, don't go through their emails and ask everyone if they can add them, and basically just don't send out consistent updates about what they are doing. It takes desire, drive and dedication to keep a mailing list and use it. That's funny-- those same qualities make good musicians and good friends. Be thick as thieves and tough as nails.
Have fun.
Helpful links to get started:
Also this book is not quite as cheesy as it looks, and has some good tips on mailing lists.
Saturday, May 12, 2012
7 Must-Haves for Music Marketing
Believe it or not, whether you are beginner or pro, some acts do not have all 7 of these. Let's think of 7 for a lucky rabbit's foot kind of approach to Music Marketing. So let's "hop" in:
1. Contact info including your email and/or phone number on your website, Facebook and/or ReverbNation site. This is not rocket science, yet some acts do not list their real email addresses on their Facebook, Reverbnation or websites. How is someone that wants to book your band, or reach you for a list-minute question going to find you? If you do not want to list your phone number, that's OK. How will someone reach you when they want to do business with you? Please put your REAL email address within your Facebook, Reverbnation or website description of your band.
2. Offer High Resolution pictures online. High resolution pictures are good for printing. Low-resolution images are good for the web. If your act is booked, or featured, and the Publicist/Promoter needs a high-res image to make a poster, article, blog post, etc. it's your job to make sure they have the right picture at the right time. An easy site to host high-resolution images is www.flickr.com. Make an account, upload some high resolution pics, and then offer the link on your website, Facebook, Reverbnation, etc. in an easy-to-find way. Add the text: "High resolution images available at this link: _____". The images can also be the images you approve of. This way you control what images are being used to promote your music. If you need good images, use Craigslist to get a college student to do a photo shoot on the cheap. Try to offer at least 3 good images to choose from.
3. Use the online sites to make a presence. Create a Facebook, Twitter and You Tube Channel. Try to use the same name for each, if possible. Make a Bandcamp, Reverbnation and Sonicbids page. This won't lead to gold at the end of the rainbow, but learn what each site does best and use it when needed. Try to use the same images for each site so people recognize it immediately. There is simply no good way to book your band unless you have a home for your music online. You cannot simply send mp3s to booking agents, and expect to be taken seriously. Present yourself on their terms. They want to see you online, in about 10 seconds. Reverbnation is free to make an account. So is Myspace. Sonicbids costs money but is solid.
Keep in mind there are two purposes to your online sites. A) To present yourself to the industry: promoters, booking contacts, venues, labels, partnerships with other bands, etc. B) To present yourself to fans. Make sure they can find your live show information and product information quickly. BOTH of them should be able to contact you easily-- see #1 again.
4. Name your email attachments with clear names. When you do finally get a big gig, and you need to send the Promoter, Venue, Publicist, etc. your sacred promtoional materials, such as pictures, press releases, posters, etc. PLEASE label the files clearly. What is easier to find "joesession454738_edit.jpg" or "BlueFace Band Promo Image for 6.7.12 Show at Viper Music.jpg". Help people out who may be searching for your informaiton on their crowded C drive. Also try mentioning your genre in press releases. What is easier for the music critic to understand: "The Pillow Band Press Release.pdf" or "Rock.Pop 4.3.12 The Pillow Band at Good Theater Press Release.pdf"? It doesn't have to be long, but please make it clear.
5. Don't tell a club you will bring 300 people and bring 5. This is common sense but be honest about your draw. Ask the promoter: "How can I bring in more people? May I ask your advice?" Promoters, if they have time, want to help you bring more people to their club. Be honest. You will get more opportunities when you approach your goals with honesty. Ask for help. When you're in over your head, know it. Pull back and redouble efforts. It's OK to say NO.
6. Get really good at your instrument. You would be suprised how many decent, perfectly good musicians become frustrated when they have to jump through all these hoops in #1-5 to not be treated like the "great" and "phenomenal" musicians that spent millions of hours studying, expanding and honing in on what they do.
7. Have one really good video online. We don't need to see 15 live shows with shaky camera work. Drop $200-500 on a professionally shot live performance video. This is NOT a music video. It's a live video of your act performing in a studio. Use the sound board recording. Point people, industry contact and fans to this video.
More Tips About Promoting Online...
As this can get very in-depth, you may want to read "The Zen of Social Media Marketing". If you are not big on reading, see #6 and hire a Publicist. Chances are though, you will have to do hours and hours of research on online promotion to get to the point of having a Publicist. That's just the way it is. Think of online sites as your own magazine, where you can put any information and pictures you want about your act. Then, play shows to get people to go look at the magazine. While they are leafin through, they may find out about products they want to buy, or an event they want to come see. Kind of like what you do when you're reading a magazine. It's all fodder. Make lots of it. Keep in mind what the goals of your act are. Once you know your goals, make lots and lots of content.
1. Contact info including your email and/or phone number on your website, Facebook and/or ReverbNation site. This is not rocket science, yet some acts do not list their real email addresses on their Facebook, Reverbnation or websites. How is someone that wants to book your band, or reach you for a list-minute question going to find you? If you do not want to list your phone number, that's OK. How will someone reach you when they want to do business with you? Please put your REAL email address within your Facebook, Reverbnation or website description of your band.
2. Offer High Resolution pictures online. High resolution pictures are good for printing. Low-resolution images are good for the web. If your act is booked, or featured, and the Publicist/Promoter needs a high-res image to make a poster, article, blog post, etc. it's your job to make sure they have the right picture at the right time. An easy site to host high-resolution images is www.flickr.com. Make an account, upload some high resolution pics, and then offer the link on your website, Facebook, Reverbnation, etc. in an easy-to-find way. Add the text: "High resolution images available at this link: _____". The images can also be the images you approve of. This way you control what images are being used to promote your music. If you need good images, use Craigslist to get a college student to do a photo shoot on the cheap. Try to offer at least 3 good images to choose from.
3. Use the online sites to make a presence. Create a Facebook, Twitter and You Tube Channel. Try to use the same name for each, if possible. Make a Bandcamp, Reverbnation and Sonicbids page. This won't lead to gold at the end of the rainbow, but learn what each site does best and use it when needed. Try to use the same images for each site so people recognize it immediately. There is simply no good way to book your band unless you have a home for your music online. You cannot simply send mp3s to booking agents, and expect to be taken seriously. Present yourself on their terms. They want to see you online, in about 10 seconds. Reverbnation is free to make an account. So is Myspace. Sonicbids costs money but is solid.
Keep in mind there are two purposes to your online sites. A) To present yourself to the industry: promoters, booking contacts, venues, labels, partnerships with other bands, etc. B) To present yourself to fans. Make sure they can find your live show information and product information quickly. BOTH of them should be able to contact you easily-- see #1 again.
4. Name your email attachments with clear names. When you do finally get a big gig, and you need to send the Promoter, Venue, Publicist, etc. your sacred promtoional materials, such as pictures, press releases, posters, etc. PLEASE label the files clearly. What is easier to find "joesession454738_edit.jpg" or "BlueFace Band Promo Image for 6.7.12 Show at Viper Music.jpg". Help people out who may be searching for your informaiton on their crowded C drive. Also try mentioning your genre in press releases. What is easier for the music critic to understand: "The Pillow Band Press Release.pdf" or "Rock.Pop 4.3.12 The Pillow Band at Good Theater Press Release.pdf"? It doesn't have to be long, but please make it clear.
5. Don't tell a club you will bring 300 people and bring 5. This is common sense but be honest about your draw. Ask the promoter: "How can I bring in more people? May I ask your advice?" Promoters, if they have time, want to help you bring more people to their club. Be honest. You will get more opportunities when you approach your goals with honesty. Ask for help. When you're in over your head, know it. Pull back and redouble efforts. It's OK to say NO.
6. Get really good at your instrument. You would be suprised how many decent, perfectly good musicians become frustrated when they have to jump through all these hoops in #1-5 to not be treated like the "great" and "phenomenal" musicians that spent millions of hours studying, expanding and honing in on what they do.
7. Have one really good video online. We don't need to see 15 live shows with shaky camera work. Drop $200-500 on a professionally shot live performance video. This is NOT a music video. It's a live video of your act performing in a studio. Use the sound board recording. Point people, industry contact and fans to this video.
More Tips About Promoting Online...
As this can get very in-depth, you may want to read "The Zen of Social Media Marketing". If you are not big on reading, see #6 and hire a Publicist. Chances are though, you will have to do hours and hours of research on online promotion to get to the point of having a Publicist. That's just the way it is. Think of online sites as your own magazine, where you can put any information and pictures you want about your act. Then, play shows to get people to go look at the magazine. While they are leafin through, they may find out about products they want to buy, or an event they want to come see. Kind of like what you do when you're reading a magazine. It's all fodder. Make lots of it. Keep in mind what the goals of your act are. Once you know your goals, make lots and lots of content.
Wednesday, April 11, 2012
Yellow Music is On the Rise: Stop the Trend Now Before it's Too Late
On the 100th Anniversary of the Titanic (which was yesterday) it seems fitting to write about one of the biggest potential disasters of the new music century.
Let me tell you about my morning.
I awake to check my email and whatsoever should appear but eight tiny reindeer..oh wait, no that was something different. I did have more than 8 emails though. At least one of them was the mailing list update from "that band"-- the one I saw once, and I was like, OK, I'll sign up on the list-- or maybe it was even one of those bands that I emailed about booking and just PUT me on the list-- but I think I signed up. So it's OK that I got the email.
It's NOT OK what the email said. The email was all about how their music was going to enhance my life in some way. After listing 4 things I could get or buy from them, their whole reason for contacting me (what, no dinner and a movie first?), the email, closed with the following testament to absurdity: "Treat yourself to something fun, you deserve it."
First off, good god, is what they are offering truly fun? Do I really deserve it? Regardless of the subjective nature of these claims, it is advertising and art all in one, after all, I found them absurd for an entirely other reason.
In fact, so absurd that I had to go make a pot of coffee while I mull all this over.
It's clear they are trying to sell something. [Is it four scoops or five full teaspoons these days for my four-cup maker]? It's clear that that is why they are contacting me. It's great advertising in a way. It's a nice, sunny email inviting me to buy their vintage soft-t's. It's clear they have a marketing budget. Just like Leo Burnett, wherefore art thou.
So, you could say, here's a band, and they are really advertising their product they are doing everything "right". [I opted for four scoops and then 1 heaping tablespoon then we'll see how strong this coffee is...I turned the machine "on" and it starts to percolate...]
Point being, I'm really gonna need some coffee for all this when I lay it on you. In fact, you might need some coffee too.
Come into my world briefly, look from behind the glass. Ok, now break the glass because we're all in the same world. The same way we all have different professions that deal with different things, we are all exposed to different amounts of this or that. I have been exposed to, that I consider to be, toxic levels of music promotion. Like radiation, in parts per million, waaaaaaaay over normal levels. It's toxic, baby, call in the EPA.
Like any drug, it started easy at first. I thought it was a "good idea". I got my website together, I thought about video, I hauled ass to book shows, I scraped together events, I emailed bands back and forth tirelessly, I scouted the web for venues, I listened to advice, I tried to paint that picture...I tried to approach it like an entrepreneur. It all seemed so shiny, the world of social media and I read the book "The Zen of Social Media Marketing" and I wrote press releases, and I got a MailChimp account, and I tried to make messages for my email list, I made Facebook invites, I racked my brain thinking of ways to get people to shows.
What at first seemed like a GIFT or a BONUS from all this effort-- which would be increased exposure for my music soon had the tables turned. Like a drug that seems to get you through the day, then ends up having you steal from mama's wallet to get a fix, music promotion had become a life-sucking entity.
Why? Because it took up all my time allotted for music. I wasn't getting better as a player. I wasn't writing new songs. I wasn't using music the way it had always worked for me. I wasn't creating as an artist at the highest level of my ability.
I had become a jukebox of my own music. A Jehovah's Witness of my own medicine.
Well, great god almighty I am free at last.
Notice that at the top of this site it says "Music Journalism". It doesn't say Music Publicity. Music Publicity is like that email, trying to get you to buy something.
Music Journalism is the real facts, the stories, some of them painted in such a way that it's not just the facts but a story about life of artists in a context. That's what's interesting.
But back to the Titanic for a moment. The crash occurred in the era of "Yellow Journalism". Let me tell you what that was. There were two big newspapers and both of them were competing for people's attention. Before Internet this was the main way to get info. It was like Mac vs. PC on a large scale, or VHS vs. Beta. These two papers were competing so to get people's attention they started running stories and headlines with the rule of "if it bleeds it leads". Man Dies In Fire! Girl Strangled by Dog! Boat Collapses and Kills Many! Point being, it was no longer stories with the facts about life in all it's realms, but the most gory, shocking news of the day-- because that's what sold papers.
(Most of American media still uses this technique but that's another essay). This type of Journalism was called "Yellow Journalism".
Well, I'd like to introduce a catch phrase today. I'm a blog writer, so you heard it hear first. "Yellow Music". It's when you stop getting the stories and the facts and the broad perspective from your music and you just go for the guts and blood of your sales pitch. I think it's a problem. I think it's prevalent. We're so deep into it we don't even see it.
Of course you should promote your music, of course that's professional, of course that's the next level, and so on.....but really?
The captains of the Titanic were plagued by something called "water glear" in the North Atlantic. Mariner air temperatures and reports for the month of April in 1912 showed this. It works similar to a mirage in a desert. Air temperature versus water temperature creates the mirage. The iceberg didn't appear until it was too late because the crew couldn't see it.
Allow me, with all due respect to the dead, to use this as a metaphor.
How do you see the mirage in your music? It's hip today to actually have a mirage in front of your music, and in fact, there's many resources that teach you how to cultivate it. The mirage of it being so great, so wonderful, so necessary to buy....so necessary to buy.....you are getting sleepy....oh, but buy something it's fun, and you deserve it.
Click! That was my mouse as I buy a $4.99 MP3 package and then a vintage soft-tee.
Creating that mirage...that's hard work. It's a lot of work to create that mirage.
Everything might be going great, you might be "unsinkable" you might be selling like gangbusters...putting those other papers out of business.
Yet I think the mission of music and of journalism gets lost with "Yellow Journalism" and "Yellow Music".
I'm going to do something truly revolutionary today. I'm not going to promote my music at all today. I'm going to play it. I'm going to develop as a musician and work on my craft.
Oh, and by the way, I finally got the cup of coffee out. It's a little strong, but just about right.
Let me tell you about my morning.
I awake to check my email and whatsoever should appear but eight tiny reindeer..oh wait, no that was something different. I did have more than 8 emails though. At least one of them was the mailing list update from "that band"-- the one I saw once, and I was like, OK, I'll sign up on the list-- or maybe it was even one of those bands that I emailed about booking and just PUT me on the list-- but I think I signed up. So it's OK that I got the email.
It's NOT OK what the email said. The email was all about how their music was going to enhance my life in some way. After listing 4 things I could get or buy from them, their whole reason for contacting me (what, no dinner and a movie first?), the email, closed with the following testament to absurdity: "Treat yourself to something fun, you deserve it."
First off, good god, is what they are offering truly fun? Do I really deserve it? Regardless of the subjective nature of these claims, it is advertising and art all in one, after all, I found them absurd for an entirely other reason.
In fact, so absurd that I had to go make a pot of coffee while I mull all this over.
It's clear they are trying to sell something. [Is it four scoops or five full teaspoons these days for my four-cup maker]? It's clear that that is why they are contacting me. It's great advertising in a way. It's a nice, sunny email inviting me to buy their vintage soft-t's. It's clear they have a marketing budget. Just like Leo Burnett, wherefore art thou.
So, you could say, here's a band, and they are really advertising their product they are doing everything "right". [I opted for four scoops and then 1 heaping tablespoon then we'll see how strong this coffee is...I turned the machine "on" and it starts to percolate...]
Point being, I'm really gonna need some coffee for all this when I lay it on you. In fact, you might need some coffee too.
Come into my world briefly, look from behind the glass. Ok, now break the glass because we're all in the same world. The same way we all have different professions that deal with different things, we are all exposed to different amounts of this or that. I have been exposed to, that I consider to be, toxic levels of music promotion. Like radiation, in parts per million, waaaaaaaay over normal levels. It's toxic, baby, call in the EPA.
Like any drug, it started easy at first. I thought it was a "good idea". I got my website together, I thought about video, I hauled ass to book shows, I scraped together events, I emailed bands back and forth tirelessly, I scouted the web for venues, I listened to advice, I tried to paint that picture...I tried to approach it like an entrepreneur. It all seemed so shiny, the world of social media and I read the book "The Zen of Social Media Marketing" and I wrote press releases, and I got a MailChimp account, and I tried to make messages for my email list, I made Facebook invites, I racked my brain thinking of ways to get people to shows.
What at first seemed like a GIFT or a BONUS from all this effort-- which would be increased exposure for my music soon had the tables turned. Like a drug that seems to get you through the day, then ends up having you steal from mama's wallet to get a fix, music promotion had become a life-sucking entity.
Why? Because it took up all my time allotted for music. I wasn't getting better as a player. I wasn't writing new songs. I wasn't using music the way it had always worked for me. I wasn't creating as an artist at the highest level of my ability.
I had become a jukebox of my own music. A Jehovah's Witness of my own medicine.
Well, great god almighty I am free at last.
Notice that at the top of this site it says "Music Journalism". It doesn't say Music Publicity. Music Publicity is like that email, trying to get you to buy something.
Music Journalism is the real facts, the stories, some of them painted in such a way that it's not just the facts but a story about life of artists in a context. That's what's interesting.
But back to the Titanic for a moment. The crash occurred in the era of "Yellow Journalism". Let me tell you what that was. There were two big newspapers and both of them were competing for people's attention. Before Internet this was the main way to get info. It was like Mac vs. PC on a large scale, or VHS vs. Beta. These two papers were competing so to get people's attention they started running stories and headlines with the rule of "if it bleeds it leads". Man Dies In Fire! Girl Strangled by Dog! Boat Collapses and Kills Many! Point being, it was no longer stories with the facts about life in all it's realms, but the most gory, shocking news of the day-- because that's what sold papers.
(Most of American media still uses this technique but that's another essay). This type of Journalism was called "Yellow Journalism".
Well, I'd like to introduce a catch phrase today. I'm a blog writer, so you heard it hear first. "Yellow Music". It's when you stop getting the stories and the facts and the broad perspective from your music and you just go for the guts and blood of your sales pitch. I think it's a problem. I think it's prevalent. We're so deep into it we don't even see it.
Of course you should promote your music, of course that's professional, of course that's the next level, and so on.....but really?
The captains of the Titanic were plagued by something called "water glear" in the North Atlantic. Mariner air temperatures and reports for the month of April in 1912 showed this. It works similar to a mirage in a desert. Air temperature versus water temperature creates the mirage. The iceberg didn't appear until it was too late because the crew couldn't see it.
Allow me, with all due respect to the dead, to use this as a metaphor.
How do you see the mirage in your music? It's hip today to actually have a mirage in front of your music, and in fact, there's many resources that teach you how to cultivate it. The mirage of it being so great, so wonderful, so necessary to buy....so necessary to buy.....you are getting sleepy....oh, but buy something it's fun, and you deserve it.
Click! That was my mouse as I buy a $4.99 MP3 package and then a vintage soft-tee.
Creating that mirage...that's hard work. It's a lot of work to create that mirage.
Everything might be going great, you might be "unsinkable" you might be selling like gangbusters...putting those other papers out of business.
Yet I think the mission of music and of journalism gets lost with "Yellow Journalism" and "Yellow Music".
I'm going to do something truly revolutionary today. I'm not going to promote my music at all today. I'm going to play it. I'm going to develop as a musician and work on my craft.
Oh, and by the way, I finally got the cup of coffee out. It's a little strong, but just about right.
Sunday, March 25, 2012
OnAxis Does Social Media Campaigns for Facebook & Twitter-- so you don't have to!
First things first. You might be familiar with Helen Keller. Well, I am not a miracle worker. I am not a "Publicist" of the days of yore with a big black metal desk and lots of "press contacts" I obtained through smoking cigars or doing coke on the bathroom floors with rock stars before it all ended badly. Strangely enough, especially for me, the mere mention of the "P-word" brings all kinds of requests from the trenches of musicians' egos. Apparently, I will single-handedly be able to bring Jesus into their living room with my "press contacts".
In fact, I have no press contacts to give you. Pick your heart up off the floor-- and really check out what I am about to tell you. Social media is the new black. It's so black, that people in New York are wearing it now, and people in Indiana will be wearing it in 2045. Besides giving me a chance to feel bad about making fun of Indiana perhaps too gratuitously, the metaphor ends there as it's not a trend, it's not a "dot com" that's gonna burst, it's not the housing market that's gonna tank, it's very real that the online thing is the exact same thing as what "press contacts" used to be.
People everywhere, from every angle, soon, will start telling you little bits and pieces which you can put together slowly...here's the latest:
Myspace is dead. God, it was great while it was in its heyday. And yes, if you're Rhianna, or Estelle, it's probably relevant, but please, don't worry about it any longer. Sniff, sniff...
Facebook is the new coffee bar. Get in there, make some friends, start some conversations. By the way, the metaphor of Facebook being like a cafe isn't mine, alas, it belongs to the author of "The Zen of Social Media Marketing".
Twitter is not rocket science. Yes, it got a bad name when Ashton started using it and John Mayer, or a celebrity of note, started telling people about pooping-- actually Ashton uses it for cool fundraisers connecting with his thousands of followers and John Mayer, he probably didn't mention pooping- but at some point people failed to understand Twitter. Do I just get on it, and tell people when I burp?
No, silly. Please, try it. It's not rocket science. Spend 10 minutes.
Please!
Similar to Helen Keller, if people can't see you, or hear you, your career is going to travel about as fast as snail hog-tied to a corpse. Therefore...let me lay it out for you.
First, and foremost, let me say a little somethin-somethin for the Publicists out there that DO have press contacts and do make it happen, and do get people in the press. I hope you enjoy your job. I'm sure your clients enjoy the publicity.
However--my bold statement that social media is TAKING THE PLACE of press contacts is a "zorro" mark on the wall of music marketing that will serve to become more apparent with "the writing on the wall" as it were. So let's go with that wall theory.
(Put the Pink Floyd record away, can listen to it later)!
1. Every publication that you want to be written up in has a Facebook page and a Twitter account. Most of the staff, editors and journalists have accounts as well. Are you friends with them or following them?
In fact, I have no press contacts to give you. Pick your heart up off the floor-- and really check out what I am about to tell you. Social media is the new black. It's so black, that people in New York are wearing it now, and people in Indiana will be wearing it in 2045. Besides giving me a chance to feel bad about making fun of Indiana perhaps too gratuitously, the metaphor ends there as it's not a trend, it's not a "dot com" that's gonna burst, it's not the housing market that's gonna tank, it's very real that the online thing is the exact same thing as what "press contacts" used to be.
People everywhere, from every angle, soon, will start telling you little bits and pieces which you can put together slowly...here's the latest:
Myspace is dead. God, it was great while it was in its heyday. And yes, if you're Rhianna, or Estelle, it's probably relevant, but please, don't worry about it any longer. Sniff, sniff...
Facebook is the new coffee bar. Get in there, make some friends, start some conversations. By the way, the metaphor of Facebook being like a cafe isn't mine, alas, it belongs to the author of "The Zen of Social Media Marketing".
Twitter is not rocket science. Yes, it got a bad name when Ashton started using it and John Mayer, or a celebrity of note, started telling people about pooping-- actually Ashton uses it for cool fundraisers connecting with his thousands of followers and John Mayer, he probably didn't mention pooping- but at some point people failed to understand Twitter. Do I just get on it, and tell people when I burp?
No, silly. Please, try it. It's not rocket science. Spend 10 minutes.
Please!
Similar to Helen Keller, if people can't see you, or hear you, your career is going to travel about as fast as snail hog-tied to a corpse. Therefore...let me lay it out for you.
First, and foremost, let me say a little somethin-somethin for the Publicists out there that DO have press contacts and do make it happen, and do get people in the press. I hope you enjoy your job. I'm sure your clients enjoy the publicity.
However--my bold statement that social media is TAKING THE PLACE of press contacts is a "zorro" mark on the wall of music marketing that will serve to become more apparent with "the writing on the wall" as it were. So let's go with that wall theory.
(Put the Pink Floyd record away, can listen to it later)!
1. Every publication that you want to be written up in has a Facebook page and a Twitter account. Most of the staff, editors and journalists have accounts as well. Are you friends with them or following them?
Friday, February 24, 2012
Matthew Morgan & The Lost Brigade
Matthew Morgan and the Lost Brigade is a hard-working band that has made its mark on the Chicago music scene, and is now pushing into the Midwest. With the diversity of banjo and mandolin alongside a female rocker that has shared the stage with Joan Jett, this band blends hopeful and upbeat rock with the deep reality of folk roots. Neil Young, Paul Simon and R.E.M. are among influences for the five-piece outfit that is poised to take on new musical territory with its follow-up to 2011’s Red Silhouettes.
With songwriting led by Matthew Morgan, the group rotates as backing musicians and a full-fledged collaboration. Morgan is a visual artist and musician, as is bassist Kavin Lahvic. This connection to Chicago’s Wicker Park art scene is another factor that sets the group apart, as MMLB carved a niche with well-attended shows at local art galleries including Chicago’s renowned Flat Iron Gallery.
MMLB is as “intense as whiskey with all the flavors of fine wine. Bombastic, upbeat pop/folk grabs audiences by the hand. It’s a sweet slow dance…” (OnAxis Music). With each show, responses from fans of both music and art have been overwhelmingly positive. CAUDog Records of Chicago, IL recognizes the band’s solid reputation and is partnering to produce and release the group’s first professional EP, expected in Fall of 2012.
The group began carving a niche in 2009 as previous members of Black Bottle Junction, who joined as recruits to support Morgan’s album project. The home-spun DIY album shines with quirk and charm, as acoustic guitars are paired with distorted electric guitar, accordion, driving drum beats, banjo, bells, keyboards and atmospheric gems which work together in surprising ways.
2011’s Red Silhouettes nods to stories from Civil War letters and victories from personal battles. Morgan (lead vocals, guitars) was diagnosed with a rare disease which he fought against and won. He now brings his zest for life and pursuing dreams to the fullest to the table. The experience gave Matt “a better idea of how important life is and how lazy we are when we think we have all the time in the world to do things."
The band is not a group of hobbyists. “I’ve wanted to do this since I was a little kid,” says Matt. The band met through a wide variety of means, from chance encounters to friends that “forgot” to mention they were wildly talented. Each member brings strength to the band adding harmonies, multi-instrumentalist skills and a plethora of life experiences. Their energetic live shows are a sonic feast. MMLB satiates the hunger for honest roots music mixed with fresh, fun creative rock. Matthew Morgan and the Lost Brigade make music we're glad to find.
www.matthewmorganmusic.com
With songwriting led by Matthew Morgan, the group rotates as backing musicians and a full-fledged collaboration. Morgan is a visual artist and musician, as is bassist Kavin Lahvic. This connection to Chicago’s Wicker Park art scene is another factor that sets the group apart, as MMLB carved a niche with well-attended shows at local art galleries including Chicago’s renowned Flat Iron Gallery.
MMLB is as “intense as whiskey with all the flavors of fine wine. Bombastic, upbeat pop/folk grabs audiences by the hand. It’s a sweet slow dance…” (OnAxis Music). With each show, responses from fans of both music and art have been overwhelmingly positive. CAUDog Records of Chicago, IL recognizes the band’s solid reputation and is partnering to produce and release the group’s first professional EP, expected in Fall of 2012.
The group began carving a niche in 2009 as previous members of Black Bottle Junction, who joined as recruits to support Morgan’s album project. The home-spun DIY album shines with quirk and charm, as acoustic guitars are paired with distorted electric guitar, accordion, driving drum beats, banjo, bells, keyboards and atmospheric gems which work together in surprising ways.
2011’s Red Silhouettes nods to stories from Civil War letters and victories from personal battles. Morgan (lead vocals, guitars) was diagnosed with a rare disease which he fought against and won. He now brings his zest for life and pursuing dreams to the fullest to the table. The experience gave Matt “a better idea of how important life is and how lazy we are when we think we have all the time in the world to do things."
The band is not a group of hobbyists. “I’ve wanted to do this since I was a little kid,” says Matt. The band met through a wide variety of means, from chance encounters to friends that “forgot” to mention they were wildly talented. Each member brings strength to the band adding harmonies, multi-instrumentalist skills and a plethora of life experiences. Their energetic live shows are a sonic feast. MMLB satiates the hunger for honest roots music mixed with fresh, fun creative rock. Matthew Morgan and the Lost Brigade make music we're glad to find.
www.matthewmorganmusic.com
Wednesday, January 25, 2012
OnAxis Music is Alive
Here's our latest bio for Matthew Morgan & The Lost Brigade...
Matthew Morgan and the Lost Brigade are folk music with flair. Bombastic, upbeat pop/folk grabs audiences by the hand. It’s a sweet slow dance when they dip into country roots. When the 5-piece connects with rock, MMLB is an intelligent, barreling good time: a bottle of whiskey with all the flavors of fine wine.
Distorted electric guitar, accordion, driving drum beats, banjo, acoustic guitar, bells—you are surprised by music as creative as it is easy to like. Relating to life issues and overcoming adversity, this band of champions gives power, strength, good vibes and fills the rock spectrum taking cues from R.E.M., Paul Simon and Neil Young.
Matthew Morgan and the Lost Brigade are folk music with flair. Bombastic, upbeat pop/folk grabs audiences by the hand. It’s a sweet slow dance when they dip into country roots. When the 5-piece connects with rock, MMLB is an intelligent, barreling good time: a bottle of whiskey with all the flavors of fine wine.
Distorted electric guitar, accordion, driving drum beats, banjo, acoustic guitar, bells—you are surprised by music as creative as it is easy to like. Relating to life issues and overcoming adversity, this band of champions gives power, strength, good vibes and fills the rock spectrum taking cues from R.E.M., Paul Simon and Neil Young.
Wednesday, June 8, 2011
Left Turn at Albuquerque: Worth the Detour
Left Turn at Albuquerque
Layered pop/rock music that's epic, tasteful, quirky and robust-- and that's just the first verse. With a sense of humor and rich life stories, lyrical depth joins forces with musical prowess. Multi-instrumentalists harmonize poetic lyrics as rhythmic jamming takes delightful, unexpected turns. The result is solid songcraft with elements of jazz, pop, bluegrass, folk and roots music. The group's first full-length album, In Broad Daylight (Twitter @leftturnalbuq #inbroaddaylight), produced by Chicago's CAUDog Records, is set for release this month. Take the detour and check out LTAA at Bottom Lounge June 26th at 7:30pm where they are joined by Aaron Williams Band, 3 in Counting and Trevor McSpadden and the Peacekeepers.
www.leftturnatalbuquerque.com
Layered pop/rock music that's epic, tasteful, quirky and robust-- and that's just the first verse. With a sense of humor and rich life stories, lyrical depth joins forces with musical prowess. Multi-instrumentalists harmonize poetic lyrics as rhythmic jamming takes delightful, unexpected turns. The result is solid songcraft with elements of jazz, pop, bluegrass, folk and roots music. The group's first full-length album, In Broad Daylight (Twitter @leftturnalbuq #inbroaddaylight), produced by Chicago's CAUDog Records, is set for release this month. Take the detour and check out LTAA at Bottom Lounge June 26th at 7:30pm where they are joined by Aaron Williams Band, 3 in Counting and Trevor McSpadden and the Peacekeepers.
www.leftturnatalbuquerque.com
Wednesday, February 23, 2011
Matthew Morgan – Red Silhouettes
ALBUM REVIEW
While Chicago artist Matt Morgan's visual art pares images down to basic shapes, simplifying objects into blocks of color, his recent music album is just the inverse of that-- it turns the sweater of life inside out and shows us the fascinating patterns, loops, twists, turns and strings behind it. He does this through simplicity, complexity and through a word not often used outside overly-serious law firm advertisements, yet is in “Red Silhouettes” in spades: integrity.
Why might you need integrity in music? Perhaps to combat the disc's biggest charm- and notably not its achilles heel- the fact that Matt records and plays nearly all of the instruments in the DIY spirit and reality that marks independent music as a slightly different breed than its glossy Billboard chart counterparts. It might have been easy to worry that, as bands or artists obtain a few pieces of gear and rush to make an album, that Red Silhouettes may walk about with a scarlet “DIY” on the chest.
In fact, it should. The DIY creation helps the album at every turn. This home-spun album is peppered with detail and salted with a quirky charm that make it surprisingly complex, entirely original and fit like a perfect hat. It makes it unexpected, bitter and tasty; warm and conversational, light-hearted as tea and dark as strong whiskey, and as eye opening as a cup of coffee or transcendent as a peek at a the perfect ray of sun.
Bell-like gongs, electric and acoustic guitars, keyboards and jiving organs mingle with triangles and harmonica. The collection of sounds and the way they are placed in arrangements keep the album's head high above water in what could otherwise be just a splash in the folk/country ocean. The variety in the choice of instrumentation has a “Where the Wild Things Are” vibe or the color half of The Wizard of Oz...it's a new reality. Red Silhlouettes is grounded in experience from real life- the stories are of battles, soldiers, and friends.
The lyrics, in part, are loosely based on letters from the Civil War. Within ear-shot of a folk fan, this mere idea could easily become sentimental, either full of reverb or heart-bleeding sonic memorabilia from the glory days of Alan Lomax- but this doesn't go in that direction. Instead, due to the number of different and unexpected sounds, there is musicality and sense of adventure. The battles can be war or personal battles.
The illustration on the album cover is based on brass buckeles from different insignia in the Civil War. The idea for the imagery of album was based on tintype pictures from the war, as Morgan looked to the era initially simply for ideas for lyrics. Morgan has found that starting with a story from another source is a way he can invent lyrics. In fact “My Country's Son” is attributed to J.D. Flowers, who is not a songwriter but a soldier that lived over 100 years ago. Matt came across his letters, as well as those of another soldier, a 12-year-old boy who ran away from home to join the regiment, and who “Drummer Boy” is loosely based on. The battles throughout the album are tempered with graceful realizations and a life-affirming energy.
Rather than dwelling on war, the album is more a commentary about life in general. Morgan states, “One pervasive theme is facing the demons in front of you-- taking your flag and going to the front of the line, [saying] “I'm gonna face this down, I'm gonna take charge of life and be who I am” and make your life into how you want it to be.”
The arrangements are fresh, ebbing and flowing through verses and choruses with musical moxie. The instrument sounds are modern, well-crafted digital simulations at times, but the energy with which variety is entertained with helpless aplomb keeps the disc raw. The combination of sounds creates a backdrop of sonic texture that raises up like braille (Inside the Bone). Morgan's steady voice is the constant, which presides over the tracks like a violin, as his phrasing mirrors the way a violin can hit a note and play it the length of the bow, drawing out the sound. It's low, deep and somehow sounds selfless- but it's entirely confident and lyrically wise. When it arrives, it settles in like a pendulum.
Matt's rich tenor voice pulls the album out of folk trenches and adds to the musicality. Melodies are hypnotic and Gregorian-chant-like at times, cresting and falling in waves. There's a reggae vibe all over “Be Good” including a fife (a small flute circa 1776). It's as if the sounds of two revolutions (Jamaica's and the Revolutionary War) come together. The Civil War theme is just part of the album, which is overall about life's struggles and wisdom gained.
In the same way that some movies are loosely based on real events, the word “transcendence” is loosely based on a real human experience that may be overshadowed by our busy lives. The term itself can be eclipsed by new-age feel-good lingo. Within the sonic adventures of these songs, like a ship with its sails set on something real, transcendence is returned to a tangible feeling.
Transcendence comes from a general sense of triumph-- sometimes subtle, and sometimes overt. Triumph in lyrics “like bells in the wind, you rise up for your song to begin…”(Last Song) and "search for my triumphant day" (For All This Time). The latter song calmly leans like the giant arm of an oak tree. Background vocals by Anita Chase (½ Mad Poet) add a full aural experience. The violin is a feat of soaring country fiddle: lush, full and never itchy. The tone is haunting and rich, like a dark wood bookcase talking.
What you'll find in this album is something that makes you feel good. Red Sihlouettes is upbeat and melancholy. The acoustic guitar, ranges from deliberate single note picking, to strumming, full of dissonance and hungry, appearing even gospel-like in its movement. You can hear in the details it's clearly a labor of love- neither quick nor drifting. The album is easy to champion as simply an “indie musician makes good” but it's more than that. Novelty in sounds keep it fresh from without while lyrical substance for the soul makes an impression within. Together, you've got unique musical integrity ripe for repeated listens.
The CD Release show will be Friday February 25, 2011 at the Jackson Junge Gallery (1389 N Milwaukee Ave.) from 8pm - 11pm. Admission is free.
Red Silhouettes is available for download on all major digital distribution websites (iTunes - Amazon - Napster - LastFM) and is available for purchase in physical format on CD Baby here: LINK
Matt's website: www.matthewmorganmusic.com
To learn more about the people, musicians and organizations that contributed to Red
Silhouettes, check out Matthew Morgan's blog: http://matthewmorganmusicart.blogspot.com
While Chicago artist Matt Morgan's visual art pares images down to basic shapes, simplifying objects into blocks of color, his recent music album is just the inverse of that-- it turns the sweater of life inside out and shows us the fascinating patterns, loops, twists, turns and strings behind it. He does this through simplicity, complexity and through a word not often used outside overly-serious law firm advertisements, yet is in “Red Silhouettes” in spades: integrity.
Why might you need integrity in music? Perhaps to combat the disc's biggest charm- and notably not its achilles heel- the fact that Matt records and plays nearly all of the instruments in the DIY spirit and reality that marks independent music as a slightly different breed than its glossy Billboard chart counterparts. It might have been easy to worry that, as bands or artists obtain a few pieces of gear and rush to make an album, that Red Silhouettes may walk about with a scarlet “DIY” on the chest.
In fact, it should. The DIY creation helps the album at every turn. This home-spun album is peppered with detail and salted with a quirky charm that make it surprisingly complex, entirely original and fit like a perfect hat. It makes it unexpected, bitter and tasty; warm and conversational, light-hearted as tea and dark as strong whiskey, and as eye opening as a cup of coffee or transcendent as a peek at a the perfect ray of sun.
Bell-like gongs, electric and acoustic guitars, keyboards and jiving organs mingle with triangles and harmonica. The collection of sounds and the way they are placed in arrangements keep the album's head high above water in what could otherwise be just a splash in the folk/country ocean. The variety in the choice of instrumentation has a “Where the Wild Things Are” vibe or the color half of The Wizard of Oz...it's a new reality. Red Silhlouettes is grounded in experience from real life- the stories are of battles, soldiers, and friends.
The lyrics, in part, are loosely based on letters from the Civil War. Within ear-shot of a folk fan, this mere idea could easily become sentimental, either full of reverb or heart-bleeding sonic memorabilia from the glory days of Alan Lomax- but this doesn't go in that direction. Instead, due to the number of different and unexpected sounds, there is musicality and sense of adventure. The battles can be war or personal battles.
The illustration on the album cover is based on brass buckeles from different insignia in the Civil War. The idea for the imagery of album was based on tintype pictures from the war, as Morgan looked to the era initially simply for ideas for lyrics. Morgan has found that starting with a story from another source is a way he can invent lyrics. In fact “My Country's Son” is attributed to J.D. Flowers, who is not a songwriter but a soldier that lived over 100 years ago. Matt came across his letters, as well as those of another soldier, a 12-year-old boy who ran away from home to join the regiment, and who “Drummer Boy” is loosely based on. The battles throughout the album are tempered with graceful realizations and a life-affirming energy.
Rather than dwelling on war, the album is more a commentary about life in general. Morgan states, “One pervasive theme is facing the demons in front of you-- taking your flag and going to the front of the line, [saying] “I'm gonna face this down, I'm gonna take charge of life and be who I am” and make your life into how you want it to be.”
The arrangements are fresh, ebbing and flowing through verses and choruses with musical moxie. The instrument sounds are modern, well-crafted digital simulations at times, but the energy with which variety is entertained with helpless aplomb keeps the disc raw. The combination of sounds creates a backdrop of sonic texture that raises up like braille (Inside the Bone). Morgan's steady voice is the constant, which presides over the tracks like a violin, as his phrasing mirrors the way a violin can hit a note and play it the length of the bow, drawing out the sound. It's low, deep and somehow sounds selfless- but it's entirely confident and lyrically wise. When it arrives, it settles in like a pendulum.
Matt's rich tenor voice pulls the album out of folk trenches and adds to the musicality. Melodies are hypnotic and Gregorian-chant-like at times, cresting and falling in waves. There's a reggae vibe all over “Be Good” including a fife (a small flute circa 1776). It's as if the sounds of two revolutions (Jamaica's and the Revolutionary War) come together. The Civil War theme is just part of the album, which is overall about life's struggles and wisdom gained.
In the same way that some movies are loosely based on real events, the word “transcendence” is loosely based on a real human experience that may be overshadowed by our busy lives. The term itself can be eclipsed by new-age feel-good lingo. Within the sonic adventures of these songs, like a ship with its sails set on something real, transcendence is returned to a tangible feeling.
Transcendence comes from a general sense of triumph-- sometimes subtle, and sometimes overt. Triumph in lyrics “like bells in the wind, you rise up for your song to begin…”(Last Song) and "search for my triumphant day" (For All This Time). The latter song calmly leans like the giant arm of an oak tree. Background vocals by Anita Chase (½ Mad Poet) add a full aural experience. The violin is a feat of soaring country fiddle: lush, full and never itchy. The tone is haunting and rich, like a dark wood bookcase talking.
What you'll find in this album is something that makes you feel good. Red Sihlouettes is upbeat and melancholy. The acoustic guitar, ranges from deliberate single note picking, to strumming, full of dissonance and hungry, appearing even gospel-like in its movement. You can hear in the details it's clearly a labor of love- neither quick nor drifting. The album is easy to champion as simply an “indie musician makes good” but it's more than that. Novelty in sounds keep it fresh from without while lyrical substance for the soul makes an impression within. Together, you've got unique musical integrity ripe for repeated listens.
The CD Release show will be Friday February 25, 2011 at the Jackson Junge Gallery (1389 N Milwaukee Ave.) from 8pm - 11pm. Admission is free.
Red Silhouettes is available for download on all major digital distribution websites (iTunes - Amazon - Napster - LastFM) and is available for purchase in physical format on CD Baby here: LINK
Matt's website: www.matthewmorganmusic.com
To learn more about the people, musicians and organizations that contributed to Red
Silhouettes, check out Matthew Morgan's blog: http://matthewmorganmusicart.blogspot.com
Monday, October 25, 2010
About The Name
On Axis is inspired by the Jimi Hendrix tune Axis Bold As Love.
I was astonished to read a biography about Jimi Hendrix to learn
that the man was much, much more than Foxy Lady. I read about how
he used to wait until closing time at a neighborhood hamburger
stand where his friends worked to get the extra food they would
have otherwise thrown away, poor and no different than an alley cat.
I learned how he was never even given the opportunity to see his
mother after she passed away- his own father prevented him from
attending his mother's funeral. This sadness he may have carried
around surely gives the song Angel ("Fly on..sweet angel") depth
I had not anticipated on first listen, as I am now convinced he
was singing, in a way, a lullaby to his mother's spirit.
It is this writing about Mister Hendrix that made me see both him
and his music in a new light. It gave me an appreciation for the music
and I welcomed it. However, behind it came a strange wind at the door.
It was a bittersweet recognition of the forces that water down and
simplify music into consumer soundbites where celebrity eclipses the
real life of musicians.
This is not to say I don't write hype. The music industry needs it to live,
it's like that. Trust me, I make sure everybody cleans up good. That's my job
to put the best foot forward. But on my best days, I want to bring out
the life of the musician.
I have a journalism background but realized that I don't have an interest in
reporting fires or school PTA meetings. To be a journalist you need
years and years of life experience, as well as a deep understanding of society
and its dynamics. As a guitar player and poet of sorts, I find the energy required
to understand "current events" depressing. Let's live a little. Let's make our own
reality. I want to write about it. I always learn something. I hope you do, too.
Hannah Frank
Lead Writer
On Axis Music
I was astonished to read a biography about Jimi Hendrix to learn
that the man was much, much more than Foxy Lady. I read about how
he used to wait until closing time at a neighborhood hamburger
stand where his friends worked to get the extra food they would
have otherwise thrown away, poor and no different than an alley cat.
I learned how he was never even given the opportunity to see his
mother after she passed away- his own father prevented him from
attending his mother's funeral. This sadness he may have carried
around surely gives the song Angel ("Fly on..sweet angel") depth
I had not anticipated on first listen, as I am now convinced he
was singing, in a way, a lullaby to his mother's spirit.
It is this writing about Mister Hendrix that made me see both him
and his music in a new light. It gave me an appreciation for the music
and I welcomed it. However, behind it came a strange wind at the door.
It was a bittersweet recognition of the forces that water down and
simplify music into consumer soundbites where celebrity eclipses the
real life of musicians.
This is not to say I don't write hype. The music industry needs it to live,
it's like that. Trust me, I make sure everybody cleans up good. That's my job
to put the best foot forward. But on my best days, I want to bring out
the life of the musician.
I have a journalism background but realized that I don't have an interest in
reporting fires or school PTA meetings. To be a journalist you need
years and years of life experience, as well as a deep understanding of society
and its dynamics. As a guitar player and poet of sorts, I find the energy required
to understand "current events" depressing. Let's live a little. Let's make our own
reality. I want to write about it. I always learn something. I hope you do, too.
Hannah Frank
Lead Writer
On Axis Music
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Image source It's Not Me It's You. Music is often a me-focused enterprise. Independent artists are asked to develop their brand, soc...
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While in a meeting with fellow musicians, the topic of social media came up. I found myself saying, "artists are what make social media...
