It's not your grandmother's library, but there's no question that Amazon's Kindle Owner's Lending Library empowers indie authors. In both a strategy to add value for customers that pay the premium for Amazon Prime and also help increase the adoption rate of Kindle devices, Amazon provides subscribers with free access to a monthly book through their Kindle Owner’s Lending Library. How does this benefit authors? Each month Amazon allocates a budget that is split based on the percentage of “borrows” that the author’s title(s) represents. For January, Kindle Direct Publishing announced that the budget is "700,000 dollars."

According to a recent Amazon statement, “…KDP authors have earned $1.70 per borrow.” On top of potential revenue from the lending out of digital titles, authors and publishers can continue to also receive revenue from the sale of their book. The only restriction is that authors participating in this program provide a 90-day window of exclusivity for the digital version of the book. Beyond not making it available on the Apple iBook store or other platforms, authors are restricted from making it available in digital form on their own sites. From all indication, this initiative appears to be an immense step in the empowerment of indie authors and another step in a paradigm shift in publishing. -Israel Vasquetelle

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(Photo from Wikipedia.)

I had the opportunity to meet Bill Clinton during a late evening signing for his new book "Back to Work." So, after I got done getting a presidential hand shake, and telling him that I thought he was the best president in my lifetime, I decided to ask a question- "What's your favorite album?"

Once it was a record store clerk that would fill me in. Of course, friends and radio were also great places to get recommendations. Today, whether on YouTube, Spotify, or blogs, everyone's a curator of sorts. So, why not get official music insight from an actual president?

Upon being asked the question, President Cllinton smiled and then looked up, pondering the question at hand. He took a few seconds, and looked back at me and replied, "Jazz Samba." He then repeated the title once more for me and smiled. 

So, I got my first presidential album suggestion. With that, I'll start checking out the full-length bossa nova release from Stan Getz and Charlie Byrd, on YouTube of course. Take a listen. It came right from a president of the United States of America, you don't get that type of music discovery every day.

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(image used Flickr and Smithsonian Institute /Creative Commons)

I just published an in-depth story and interview with a seasoned media veteran, former music industry executive, and author by the name of Bill Adler. If you have any interest in music history or the groups that helped define the golden era of rap such as Run DMC, Beastie Boys, or Public Enemy, you should find his insight and story fascinating. During our talk, about his new book entitled “Def Jam Recordings: The First 25 Years of the Last Great Record Label” he provides a great perspective about the future of publishing physical books in an era of what is perceived as digitally dominated. He explains:

"…the future of books, per se, is very much in question. Having said that, I believe that there’s something to be said for an actual physical book and an image that is twelve inches square and is beautifully reproduced. I don’t think computer screens compete… If it’s a novel, go ahead to your ebook. If the story to be told requires beautiful pictures as well, then make an art book in the way that Rizzoli does and glory in that. It’s still the best medium for stories like that." 

Although the book is published by a traditional publisher, there’s still a lesson here for anyone that is publishing physical goods, including self-published authors. If you make something that is perceived as valuable to a specific audience, and make a concerted effort to present it as the work of art that it is, this will no doubt resonate with some. Plenty will decide to live without it, however, there are those who will receive it’s purpose, and desire to collect it.

In Adler’s case, his book’s shape and size is the same as the classic records that helped make the Def Jam label a success. For those in the know, it’s hard not to perceive this a thick record jacket. As the resurgence of vinyl has shown, people still crave physical media if it provides a significant amount of quality and helps to enhance the consumption experience. In this case, the book was designed by art director, Cey Adams. To convey his importance and involvement in perspective, I must say that he has been responsible for the artwork of countless classic Hip Hop and R&B covers over the last three decades. When discussing the value of physical art with this seasoned art director, he too provided an interesting insight:

“…there’s something valuable about holding it in your hands, seeing a photograph, touching it, looking at the type design and the choice in color.  I just think sometimes…things online just feel disposable to me.  When you hold a book in your hand the weight of it reminds you that this is something that is important because somebody spent time to give you 300 pages versus a 100 pages.  There’s something tangible.  It’s like a building.  It’s powerful.  I can’t explain it in any other way…We wanted to make something that was as big and as rich and beautiful as the history itself." 

I think it’s worth remembering that as physical beings we will still inherently yearn to have tangible goods when we recognize them as special because they offer us a value. During my discussion with Adams, which will be published in the near future, he adds an interesting point about the craze to own products from the company and man that certainly helped revolutionize the way we consume media today, Apple and Steve Jobs. He reminds me, "they’re not talking about something they saw online. They’re talking about the products that they hold in their hands." Interesting analogy from a man who's spent a life-time helping to create beautiful works of art that help tell the the story above and beyond what the music presents. Many of these works of art are being held and adored by fans  today.

 The challenge for authors is to create something that resonates with an audience, contains value for the consumer, and is perceived as a work of art.  Regardless of how many digital copies of the Mona Lisa there are online, there is only one that is protected and cherished by millions, copies haven’t diminished its value.

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It's so easy for artists, musicians, and just about anyone to get content on the biggest digital platforms in our universe. However, a misconception is that availability equals sales. These services bank on the sale of something from their immense catalogs, not necessarily what you are selling. Recently Seth Godin made a great case and analogy for this point. It's so important for anyone selling digital content of any sort (including music) to understand this if they are going to realize sales. I'll reiterate- AVAILABILITY  DOES NOT EQUAL SALES.

These stores/services/platforms offer consumers millions of options. They're not in business to sell your product- that's your job. What many of these popular services are in business to do is add as much content as possibly to their libraries. Your content is literally just a speck of dust in their deep space. Ultimately, to get noticed you must go well beyond just making your art available. The old saying "make it and they will come" is far from true. 

Making digital goods available in huge outlets is a phenomenal way to potentially reach many people, but ultimately it's going to take a strategic effort to realize sales.

(Image from Smithsonian Institute on Flickr Creative Commons.)

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Vimeo has been a popular service amongst indie filmmakers for quite some time. It's been used to easily upload, distribute and share quality resolution projects. Now, the video service enables creatives to seemlessly peruse, listen to and license music for their films. Here's an appropriate and informative trailer:

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As one half of the voice of Jedi Mind Tricks, Jus Allah lives, eats, and breaths in the world of indie Hip Hop. His group has enjoyed a significant cult following globally since the release of the their underground hit album, “Violent by Design,” over a decade ago. Since, the group has sold hundreds of thousands of units to their audience. In this interview that I conducted with him for Insomniac Magazine, Jus talks about thriving in an era where record labels aren’t nearly as necessary as they were when the band first emerged in the late ’90s. He also discusses his influences, connecting with fans, and promotions. As well, he shares some secrets about success in the music industry. 

For anyone starting to make their way in the music industry today, here are some valuable takeaways from the interview:

Promotions:
Labels can still provide value for artists, however, the Internet clearly makes it possible to reach many people and build a fanbase. Regarding connecting with fans, Jus states that being humble and open to communicate is key.

Illegal downloads, streaming sites, and sales:
For everyone that downloads the music, there may be at least ten people who they shared it with. In other words, the revenue from sales may be less than it once was, but the audience may be greater. So, touring and the sale of merchandise, specifically in the live environment, is really the salvation for independent artists. He states, “It’s another avenue for people to hear the music. If they download it for free, but they come and show their support at the shows, buy tickets…and buy merch, it levels it out.”

Regarding physical goods:
The band still sells CDs and vinyl and he explains that for some “…having a physical copy will never go out of style.” “There are people who, even after downloading, will still buy the physical CD.”

Reality of radio for indie artists:
Although he states that commercial radio doesn’t play their music, Jus believes that satellite radio and college radio are still very important. He states, “A lot of people don’t know what to listen to. If you’re into independent music, it gives you an idea of what’s going on in the scene.”

On traditional stores:
“It costs a lot to get your CD into stores…for us it’s always been a positive thing.”

Guest artists on your release:
“The real talent lies within. You’re going to get exposed whether you’re good or not.”

Staying relevant:
Passion is immensely important. He explains that even within the group, they are competitive. When recording, they do their best to out do each other’s efforts.

Interview and story by Israel Vasquetelle.

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There have been countless battles in the Hip Hop industry, and now Duck Down Music is in a battle of its own. However, it's not with recording artists from another label, it's to fightAlzheimer's.

Earlier in the year, Duck Down co-owner Dru Ha lost his Father to a decade long battle with the disease. In the honor of his father, Dru announced that he will run in the NYC ING Marathon in November with proceeds from donations that he raises going to the Alzheimer's Research Foundation. As well, Duck Down Music will donate revenue from the sale of a new track featuring several of the label's artists, including Buckshot, Smif-n-Wessun, Kidz in the Hall, and others, to the cause as well. Here's a sample of "Run to Remember," which can be purchased on iTunes for .99 cents.

Buckshot, Smif N Wessun, Promise "Run To Remember" (Produced By Double-0 of Kidz In The Hall) by duckdown</span>

Click here to purchase on iTunes.

The label also has created a new shirt featuring their famous logo. Proceeds from the sale of this new piece of apparel will also go to support the foundation. The shirt can be purchased on the Duck Down site.

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"The next time someone's teaching why don't you get taught?"

-RUN DMC (It's Like That)

New artists of any genre can learn some serious marketing lessons from RUN DMC. Here are 10 lessons from the Hollis, Queens trio:

10. Broke the rules: They dressed in street attire instead of flashy costumes or sweatshirts with their names ironed on like other rappers at the time.

9. Differentiation: Musically, they used Rock to differentiate themselves from the other groups. However, they didn’t try to dress or look like rockers. They didn’t try to be something they weren’t.

8. Unique: Their delivery was different. They didn’t sound like anyone else at the time.

7. Self-proclaimed: They dubbed themselves something totally unexpected- The King of Rock. And, they owned that.

6. Created a movement: They made their fans feel as though they were on a journey with them to spread this “new” thing. “My Adidas” is about more than a brand of sneaker. It’s about taking this particular style, culture, and vibe around the globe.

5. Made the rules: Their style, sound, image, and finesse set the stage for a new era of Hip Hop, with them at the helm.

4. Knew no boundaries: Their music wasn’t just for people that should like rap. This allowed them create their own audience, not just tap into the established rap base.

3. Consistency: They were consistent in their rock-themed sound; however, they grew and showed progression: “Rock Box,” “King of Rock,” “Raising Hell,” “Walk this Way.”

2. Branding: You knew the glasses, the derbies, Adidas, and the leather blazers as only RUN DMC.

1. Quality: The whole package known as RUN DMC was solid. At the time no one could rival them, they were the best. For all of these reasons, beyond being iconic Hip Hop artists that will be rediscovered by generations to come, they were inducted into Rock and Roll's Hall of Fame.

-by Israel Vasquetelle

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Just in time for Halloween, The Devil Wears Prada releases a video app game to help continue to tell the story they began on the "Zombie" EP via a different screen. This strategy will enable fans to interact with the TDWP brand and offer a new manner of engagement, including a different way to experience the band's music and creativity. 

Beyond engagement, this is also an opportunity for further monetization in the new era of the music industry. The "Zombie Slay" game is available for $1.99 in iTunes for use on iPhone and iPad.

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What better way to help launch a new video game about rowdy candy people? Enlist Wu's Method Man.

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The band Of Montreal just made available their new box set which is comprised of a collection of cassettes in a handcrafted and painted box. To outsiders, this may seem like an oddball item on the fringes of the entertainment industry. However, to those that have worked in the indie scene for years, this is quite an obvious offer. Embracing a DIY approach in the creation and selling of interesting limited edition items is something that's been practiced for years in indie circles. For decades, kids in punk bands have known the joys of screenprinting stickers, shirts, and even skateboard decks in their garages. Today's authors and artists will know the same joy, albeit not necessarily by making an mess with emulsion.

Whether it be books, vinyl, elaborate CDs, handmade apparel, or other items, tomorrow's artists who are successful in connecting with their audiences, regardless of the medium or size, will find that even in a digital age, physical goods will still have a significant place in their livelihood. Just ask Seth Godin, the hugely successful author that has sold tons of books through major publishing houses. His recent "Poke The Box" book came in a variety of options for purchasers, including one edition that sells on Amazon for over $100. This limited edition package comes with a letterpress cover, poster, and of course it's signed.

If you're a creator, take that title literally and create something meaningful that will be considered a keepsake by fans. To close, when talking with a veteran musician Dave Lombardo, drummer for the band Slayer, I asked what was the most distinct release they've made available. His response was the Iron Cross 7" record. After taking a look, you have to admit, regardless of how huge of a band Slayer has been for nearly three decades, this is certainly something that's only for those die-hard fans. What can you make that your fans can display, wear, or cherish like a badge of honor?

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Despite its low budget origins, "Phantasm" is a film that will live forever, fondly, in the minds of horror buffs. I never forgot seeing the creepy posters as a young child, however, I was much too young to see the film at the time. I have to admit, although the movie couldn't boast great acting, solid editing, or crisp production, I was riveted nonetheless. Phantasm is a great example of doing a lot with a little. A significant part of its success was the use of memorable visual devices, such as a tall creepy undertaker, mysterious dwarfs, and levitating silver drilling mirrored balls as antagonists. I didn't see the film until recently (on Netflix), but the haunting images from ads and trailers were sticky visuals that I have never forgotten. And, as the film's cult status can surely prove, it's clear there are many fans that haven't forgotten either.

How much of the media that you consume today, regardless of its budget, is going to be something that you'll remember decades later? I'm guessing not much. Take a page from this cult b-horror flick's playbook and create something with a presentation so distinct, that it indefinitely sticks. -Israel Vasquetelle

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Many creatives (artists, musicians, and yes, comedians) hone their art and deliver the goods time and again. However, that's what they're supposed to do. The greats go beyond and break new ground. These are the ones that have the ultimate staying power, because they're never afraid to reinvent themselves or their craft. Comedian Jim Breuer is one of those artists. Beyond being an amazingly funny stand-up comic, he's an author, great performer, actor, and has just expanded his repertoire by becoming a documentarian. His new film "More Than Me" is the touching story about his relationship with his elderly father. He pushes the boundaries by not just making a funny movie, but a film that is sure to tug at viewers' heartstrings.

As a creator, the challenge is to push the envelope and break new ground in your own creative life. This may make all the difference between being respected for what you do or acknowledged as a true one of a kind.

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A wonderful filmmaker named Gabe Garton that I know is working on a new documentary with director Jack Schurman. The film focuses on a couple in Maine that run an animal rescue. As you can see from the well put together footage below, the story is quite compelling. The film is being funded in a distinct way, through contributions made via Kickstarter. If you haven't heard of the platform, it allows anyone to support by contributing to the funding of a project. In turn, based on the level of commitment, the supporter can also receive various levels of acknowledgment, for example, a credit in the film. Take a look at the trailer, and then visit the film's Kickstarter page.

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After visiting Game Warp, a convention focusing on retro gaming with a particular interest in pinball machines, it was interesting to see the reach that entertainment brands licensed for some of these games have had. Names like Elvira (yes, she's still syndicated nationally), Doctor Who, and The Who’s rock opera “Tommy” have had staying power. However many others also continue to resonate, if for no other reason than nostalgia. At the event, game enthusiasts were lined-up, clamoring to play a round of The Creature from the Black Lagoon pinball. Today, reliving found memories of yesteryear may be what drives people to this type of convention; however, a visit to just about any casino today will also reveal tons of retro entertainment properties, from Popeye to Kiss, donning the facades of slot machines. The power of retro brands and the value of that intellectual property was recently brought to light in a lawsuit brought against CBS by actors of the classic TV show Happy Days for allegedly not fully compensating them for the use of their likeness on such games and products.  

How does this relate to you if you’re a writer, musician, or artist? The challenge for content creators is creating characters, music, art, and ultimately brands that resonate with audiences. That connection can bring with it the ringing reward of branching into industries never thought possible.

(images taken at the Game Warp event.)

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The Bynars do a wonderful job of providing an engaging way to watch a video, you actually change it while it plays. It's an impressive entry into what is possible with new media. Check it out here. You need to give it a little while to load, but it's worth the wait- if for no other reason than to see what's possible when you use technology and a bit of ingenuity to present music. 

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What better way to promote software for a video editing effects suite, than to make a movie that uses the product. Watch Plot Device and be amazed at what can be done with minimal gear and budget, and of course by using Magic Bullet Looks 2. Instead of shooting a video tutorial to show how their goods are used, they dazzle you by using it the way it should be used, in a film.

Once you watch the above short, take a look deeper at the behind the scenes documentary. Making movies to sell software, that will get it out of the box and into the hands of end users better than any other outside of the box marketing activity. Why? Because the target audience is all about watching films and learning where and how they got that really cool effect done. This get's the job done on both ends: it entertains and sells the product.

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In a world inundated with sound-alikes, look-alikes, and wannabes, it's refreshing to witness when a one-of-a-kind emerges. Andy Kaufman broke ground in comedy so many years ago. After watching the clip below, I find that most of what is purported as entertaining falls short. If you're an entertainer, watch this clip and be challenged to do your own thing and break your own ground.

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Even if you don’t believe you know their name, if you’ve been exposed to media as of late, you’ve probably heard the soul-filled music of Fitz and the Tantrums. That’s because although the band was formed just in 2008, they’ve made significant strides in gaining awareness for their throwback sound and stylized presentation reminiscent of 60′s rhythm and blues. In the recent past, their music has appeared on a T-Mobile HTC phone commercial and a television shows, including programs such as Criminal Minds, Desperate Housewives, Mob Wives, and Beverly Hills 90210. As well, the band has performed on late night television shows such as Jimmy Kimmel Live, Conan, and The Tonight Show with Jay Leno, as well as the Internet music powerhouse, Live From Daryl’s House. In this interview, frontman Michael Fitzpatrick openly shares the story of the indie band’s successes and path so far in the music industry.

Let’s talk a little bit about the inception of the band and also the band’s position in the music business. First of all, what inspired you to start Fitz and the Tantrums and specifically approach the music in this soulful way?

For me, I was just going through a bad breakup and the music in return will truly just come in and save my ass and heal me or give me an opportunity to express myself when I just am basically in a lot of pain. So that was kind of the catalyst. I just was needing to be creative and put my energy somewhere. And then it turns into the style of music, I’ve always been a big fan of it. For myself, I’ve been a singer my whole, entire life. I’ve always been in love with that period of songwriting, but never knew if I had the chops to be able to sing in that soulful style. Sometimes you’re lucky to get in possession of an instrument and it’s just a catalyst for everything and it’s so inspiring. And I got possession of this old church organ and as soon as I turned it on, it’s just like anything I did on it felt like it could be an idea. Maybe it was because it was late at night and nobody else was around, but I was just courageous enough to go for a vocal style that I always was in love with. As soon as I did, for myself as a vocalist, found light and felt genuine and [it] was a real moment of defining myself in terms of what my voice was. From those very first songs, the reaction I got from friends and family and other musicians was pretty crazy and encouraging, and it at that point, just really motivated me to keep pursuing it. You got to do this, this is your thing. This sounds like your thing.

I don’t believe that there are a lot of original soul bands out there. Am I missing something? Maybe I don’t hear a lot about them.

Unless you’re into the scene, I don’t know if you would necessarily in the mainstream, but there is definitely a soul movement happening right now. Most of that, in a ground paving way, can be given to Sharon Jones and the Dap Kings. And then there’s other artists like Aloe Blacc, Jamie Lidell, Plan B out of the UK. There’s this whole soul movement. Sharon Jones and the Dap Kings were the backing band and helped write a lot of the stuff for Amy Winehouse’s record. There’s the Adelle’s and Duffy’s. That music is out there. I’m not sure if it always reaches mainstream status or if the radio ever pays attention to it, but it’s definitely out there.

Sharon Jones and the Dap Kings have done a lot to bring that sound to the forefront, but what is it about popular music, that in many ways, it’s lost its connection withsoul, which really has been such an influencing catalyst and powerful component of music throughout the history? Up until recently, it was almost absent from most current popular music. Why do you feel that that’s the case?

I think these things are always kind of cyclical. I think that a lot of the remnants of what soul music found its way into R&B, and then R&B has just had its own evolution, and then there’s this whole convergence with technology and people getting into autotune-DJ-electronic-music culture, which are all totally rad and valid, but I think that one of the reasons why soul music is having a resurgence right now is because we’re just at a point where some people are maybe feeling disconnected from that music. There’s a certain amount of sterility to it and ultimately, people are responding to soul music because it has a heart; because it comes from an emotional place; and because it relies on nothing more than great musicianship, performance and just an old school sort of songwriting melody and great players. That’s really what our band is about. I’m so proud to play with these guys because they’re incredible musicians. Anybody can make a good recording these days, but to me, the true test is go see a band live. Can they pull it off because technology allows anyone to fudge it these days. But, if you’re up there playing live, you’re going to be able to tell if this is the real deal or not.

Let’s talk about the progression of the band, in regard to what you were doing up and to the point where you were signed to Dangerbird Records.

I started the project. Before that, I was working for an engineer and working trying to do composing and stuff like that to pay the bills. The band came together very quickly after those first couple of songs, and it’s been a kind of a blessed experience. Five phone calls and that’s the band that’s there today, which is not the case when you usually try and put a band together. It takes a lot of time to try and find the right people. There’s not really a soul music scene in LA, but we just started playing, started getting great responses from people and we just started building our fan base one show at a time. We did a little bit of touring on our own and we just got some really lucky breaks, and that was all because of word-of-mouth.

Word-of-mouth combined with the Internet. It’s like one person will hear about us, post it on their Facebook page or on their blog and some friend across the country or in another state would read about it and it was just a real do-it-yourself approach. And that landed us a couple amazing opportunities to go on tour with some very big name acts…at the same time that kind of stuff costs a lot of money to do. But the opportunity was so great that you kind of had to take the risk. Everybody in the band tightened their belt buckles. I dipped into my savings that I had gotten from doing composing for film and TV and just put it all out on the line to be able to take advantage of these opportunities that were coming to us by touring with these other people.

We were lucky enough to get KCRW here in Los Angeles, which is our station, which has a lot of influence world-wide. They have their own streaming site with listeners all around the world. They saw what we were doing, took us under their wing and let us perform on Morning Becomes Eclectic and that was one of the first big breaks we got and just slowly started to build one thing after an other and just keep pounding the pavement. We got a couple of those tours and we went into South By Southwest as one of the buzz bands from last year. We did our big KCRW showcase at South By Southwest. Literally, every president from every label was there. It was nerve-racking. We did the show, we put on a great performance, and then they all watched it and promptly left. It was a really stressful time because I had spent all my savings on this band. Everyone was broke and stressed and not knowing how we were going to continue even though there was amazing opportunities. Every one of those opportunities was more money, more time with no end in sight.

Our last show at South By Southwest was playing for Dangerbird. One of the owners of DangerBird is this gentleman by the name of Jeff Jeff Castelaz, who has a foundation called the Pablove Foundation, which is a foundation that he created to help fight children’s cancer after his son Pablo died of cancer. He asked us to play this show, being from the neighborhood. We live in the neighborhood that Dangerbird Records is in and we did the show and it was not an industry only show, it wasn’t an event from South By Southwest, so there was just a lot of regular people there, packed house and we had a great show. People really responded to us, and I think Jeff saw that connection we were having with just regular people. Flew back to LA, and he took me out to coffee and he said, “I really admire what you guys have done on your own. Not waiting for the opportunity, but creating your own opportunities and I want to be in business with you guys. I believe in your guys.” And, thank God because I don’t know what we would have done if he hadn’t stepped up in that moment.

What has Dangerbird provided? What specifically does an independent label mean to a band?

I think that some of those things about do you really need a label; do you really need retail anymore, are true, but then again they’re not. We’re lucky enough to be with an independent label that has some financial resources. So they were able to give us an infusion of a little bit of money, a modest sum of money where basically they were able to pay for us to make a record, pay for the manufacturing. They have their distribution channels set up to get our music into independent record stores and the like. So in that regard, it’s still something that’s important. Sure, Radiohead can go release their record on their own on their website and sell a million copies and say, “name your own price,” but that’s only because they were able to build their business on the backs of having a major label support them. There is always a Never Shout Never band…on the internet where some kid and his guitar is on MySpace and has 10 million hits and 30,000 downloads of his record, but that is the exception. You certainly as an independent band can go out there and build your following. If you can make it without the help of a record label and you can build your own fan base and put your record up on iTunes and keep all the money that you sell, great; that’s easier said than done.

Who handles distribution for Dangerbird?

It was ADA, and now it’s Fontana Music.

So we’re talking about Universal’s distribution.

Those kinds of bigger partners make a difference. All of a sudden, Fontana loves what we’re doing and they get our music video placed on Jet Blue’s airplanes so that you get on the plane and our video is playing on every seat in every Jet Blue airplane. Is that quantifiable? No, but it definitely has some real exposure. And also, our team before was six of us in the band and two managers that just believed in us. Once we got signed, it was the six of us, our two managers, and then a whole team at the record label: the president, the marketing director, the licensing person, the radio person, the retail person, all getting behind the record and using their expertise to try and see how they could help push this band further outwards.

Dangerbird has an amazing radio person who was able to actually get us playing on Triple A radio and it’s made a huge difference. I thought before this band that nobody listened to radio, but I was totally wrong. Lots of people listen to radio and it makes a huge difference, and we just got off tour traveling to every coldest city in America from Portland, Maine to Milwaukee and everything in between; cities we had never been before and every one of those shows was sold out and everybody knew the song and that’s because of radio.

Most independent artists don’t have much of a shot on commercial radio. What is it about your music that radio embraced it?

We’re not that radical of a band, but we’re definitely not usually categorized into the top 40 format, or the R&B format or alternative, but we’ve had some courageous program directors at some of these radio stations that just really love the record and take a chance on it. This guy Mike Kaplan up in Seattle at the alternative station saw us play in New Orleans and said, “I’m adding you guys. I believe in what you’re doing.” He’s an influential guy in radio. People look at him and take a cue from him. There’s a lot of smaller stations; we’re hitting the NPR stations and the college radio stations. We went all the way up to number two on the Triple A charts. This band has been so many different middle pieces, from playing a show with ten people in the audience, to doing Live From Darryl’s House, to radio, to having our song in a commercial or on a TV show, to doing Late Night with Carson Daly, or Kimmel, last night we just did Conan. There’s so many different little pieces that are all just slowly building on top of one another, including the most powerful one of them all has been word of mouth.

I don’t know if you can differentiate at all, but I’m curious what you feel the value specifically of college and/or community radio is in regards to getting your name out there and potentially selling music.

I know that all those things make a difference. Even if it’s a smaller college (station) with a very small radio station. It might be just a campus with a couple buildings and some houses around it, but if we got 10 new fans out of it, then we’ve got 10 new fans. Some other cities, the NPR station has a lot of weight in the community. It’s kind of variable depending on the reach and the influence that that station already holds within that community.

Indeed, but important nonetheless.

For sure. Everything big to small has collectively added, whether it’s a station that has a thousand college kids listening to it or if it’s a station in a major market like Manhattan that has millions of listeners. I’ve actually seen a lot of time those smaller stations have had more influence because they know better what their audience is.

Tell me a little bit about what performing on Live From Darryl’s House has done for your band.

It’s definitely been one of the most important things ever for us. We found that after doing that, his show has a huge, huge reach. Hundreds of thousands of people that come visit his site every month check out the music. They’re true music fans on the quest for a great musical experience and what we quickly realized coming off of this five week tour, or in the middle of that tour that we just finished, was that every city we went into, at the end of the show we do an old school meet and greet where Noel and I, the other singer will sell our own merch and shake anybody’s hand, take any photo that anyone wants to, and try and make that personal connection with the fans. What we found was that every city across America, people would be like, found out about you from Live From Darryl’s House. That was the number one thing we were told of how people came to discover us. Those fans are very varied in age range, but there are also a lot of older people that are hungry to discover a new band, and they click right on the iTunes button and they go buy the record. It’s been incredible for us. Unlike Jimmy Kimmel or Conan was just one night and it’s done. You do a tour with him and it’s the front page of his website for a month straight and then it’s in the archives forever. You just get introduced to so many new fans; it was incredible.

Tell me a little bit about the sale of music. You said that retail is still important.

There’s no doubt that you’re not going to sell anywhere close to the amount of records you were able to sell pre-internet. I think we sold about 30,000 records so far which in this day and age is not bad and certainly not a bad number for an independent artist, but I could tell you based on how much we’ve played out and how many people are knowing every word to every song on the record that there’s no way that half of those people or two-thirds of those people didn’t get the record for free. But at the same time, when you look at us and our business it’s like retail still matters. Half of the records we sell are from record stores. Obviously that matters when you’re making a physical good or an actual product of a record, a tangible record, there’s always that fine balance of how much money do you spend to make a record before the demand is there and that’s not my business. That’s the label’s business, but I’m sure they have to be kind of cautious and not manufacture more records, especially with a totally new, unknown band such as ourselves. At the same time, if your record’s not in the record store, people aren’t going to find it and go buy it, so they obviously know what they’re doing and have found the right balance between knowing when to manufacture more records and stuff. I’m sure everyone’s more into making more records and getting the record into more stores, from independent stores to the Best Buys of America.

Is your release available on vinyl?

Yes. We also did do vinyl because obviously that’s a specialty item that people are really, really hungry for and we’ve done quite well selling those, especially when we sell them at the shows and we’re sitting there and taking the time to sign people’s records. People are really hungry and excited. We sold out half or three-quarters of the way through the tour of all of our vinyl. If we had more, we could have sold a ton more.

If you could tell me a little bit about merchandise. Is that a big part of your business or is it a significant part of the business for you?

For us everything is about investing. Nobody in the band’s really making any money, even with the success. We’re just building towards something. We get offered better rates to play and bigger festivals, but you definitely want to be able to provide merchandise for fans. Fans are always hungry to have a piece of memorabilia whether it’s a shirt or a sticker or a poster from your show, especially if they had a great experience. They want something to remember it by. It’s definitely an added way for a band to make some money out on the road. It definitely adds into it. Then again, always kind of a catch 22, because how much merchandise do you make? It’s not made for free so you’ve got to do kind of a layer of how much money you want to spend.

Explain a bit about your activities on the social networking side.

For us, we are on all of the things from Twitter to Last FM…. we’re on all of it, and every one of those things has had different levels of influence and exposure for us. So I wouldn’t want to discount any of them. And we have our own website, or own mailing list. We use Topspin where we give away a track on our website in exchange for an email so we can stay in touch with people. All of that stuff has made an influence, but hands down, Facebook has been the number one way because to get anybody to click through to anything or to add another web address is a huge thing. Here you have this platform that everyone’s using on a daily basis to socialize, to post pictures, to stay connected with friends, to flirt, to do whatever they’re doing and here you can seamlessly integrate it into what they’re doing personally with their own social network. I personally believe that it’s because of that we’re able to have a deep connection and access because people don’t have to be typing in your web address or going to another website to stay connected. They see a comment you made in their news feed or you post a picture and it’s right there seen as part of what they’re already doing, so it’s easier for them to stay engaged and Noel and I, we do all of our own messaging on there. We take a lot of time to respond to people. We put a lot of time to let people see our journey, our lives, in this road of just trying to be musicians whether that’s a homemade music video we made, or posting a picture of us at the truck stop, or a funny thing we found, or just our every day experience of living on the road, or a funny picture of one of the guys.

All of that stuff has just given people a way to stay connected with us. It’s really helps form a long lasting relationship with a lot of these people. They feel like they have been living this journey with us because they have…for two and a half years cheering us on, telling their friends about it, commenting on our photos and living the experience with us. Now that all of this stuff is happening, they’re heavily invested in wanting to see us succeed because they really care about us as a band and as people. The other part of that too is that we are a very down to earth band. There’s no attitude. Nobody’s a jerk or arrogant. We spend the time to meet and greet anybody at every show. We are incredibly humble and appreciative of the opportunities that are happening to us. And that’s not show humility, that’s a genuine excitement and sincerity on our part and people respond to that and appreciate that and it just makes them be even more into what’s happening to us and wanting to see us succeed.

Let’s talk about licensing and any opportunities that you’ve had in that space of the business.

We’ve been lucky enough to get on a couple TV shows, and its interesting to see which ones make a difference and don’t. We were on a bunch of 90210 episodes, and then we got this one really prominent feature music video played on Criminal Minds in the opening sequence of whatever the thing was. That’s a show with millions of viewers. Thousands of new fans introduced to us from that moment. We had a really prominent commercial on an HTC phone ad, where they played the music and said our name– tons of exposure. I don’t know if it really sold any more records or if it also just put the name into people’s subconscious. Sometimes people need to hear your name or hear the song five or ten times before it can break through to their mind. There’s so much information out there.

Beyond the exposure, I’m curious how significant the revenue has been or has it mainly just been an outlet for promotion?

It depends. Some of them have paid out a little bit of money, some of them have been all about the exposure opportunity. It’s not like we made any enormous sums of money from it, but it all helps to feed the engine to be able to continue to pursue and continue to do what we want to do and keep building as a band.

In regards to what you’ve learned on your journey, if you don’t mind sharing one of the biggest lessons that you’ve learned.

One of the biggest lessons that I’ve learned is truly about putting in the hard work and if you’re willing to do that, and you have faith in what you’re doing, and you keep working towards it, hopefully everything lines up. It’s been a really humbling experience to watch all this stuff, but also feeling like you’ve done the hard work. We’ve put in the time to build this thing and it’s great to see that all the things that are happening are a direct result of every show where there were ten people there, but we gave it 110% even though no one showed up at the gig because we gained ten more fans. We put in the work. It is a lot of work, so you better really love what you do and just be appreciative of it, because I’ve seen bands here today, gone tomorrow. Who knows how long the ride lasts, so better really be enjoying the experience because that is the deal.

Thank you so much Michael. I wish you continued success. I appreciate you taking the time to speak and share your experiences.

Well, thanks so much. I really appreciate it. I appreciate having an interview where we actually get into some detail and talk about the real stuff. For other musicians and stuff it’s a hard road and it’s not all about glory, you’re a musician and that’s your calling in life. It’s important for people to know the realities of what it takes to have things happen.

- interview and story by Israel Vasquetelle

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J.J. Abrams delivers the goods in "Super 8." There are so many films that are visually stimulating, beating audiences over the head with CGI, however, fall short when it comes to storyline and character development. Like great films should, "Super 8" allows the viewer to care about its characters and become riveted in the tale as it unfolds. The film effectively captures a slice of late '70's life for a group of school friends that face real-life difficulties beyond the extraterrestrial encounters that eventually unfold. The movie also plays like the stylized delivery of classic monster movies, leaving plenty to the imagination, yet showing enough to keep the audience on the edge of their seats enough of the time. Beyond marketing, there's something to be said about starting with a good product; Hollywood should take some notes and acknowledge the value in storytelling while pushing visual effects to the edge. In an era when the surfacing of good sci-fi flicks is rare, "Super 8" is a wonderful reminder that the genre can still surprise, impress, and compel movie-goers, even if it's not reinventing the space.

(As a side note, below are some predecessors that "Super 8" will find itself in the lineage of.)

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