Problem #1 – Most Bands Have No Money
Unless your daddy is a millionaire or is in the business, independent musicians don’t have money to make proper albums or promote them. While it is very cheap to make music for some people, it’s not for others that are less technically savvy. At the end of the day, even installing Ableton Live (not pirated) on your PC (needs to have serious juice), getting an audio interface (USB or Firewire) and buying 4-5 microphones and necessary accessories can cost thousands of dollars. Then you have to record the damned thing yourself, which takes skill, time and attention. It’s not impossible to do it on your own, but the process can be much simpler and professional if you hire someone to record you. Hence, the need for money. With studios costing anywhere between $15-150 per hour, plus engineer, a 10-song album can be a costly ordeal.

Problem #2 – Music Should Be Free Mentality
Also, it’s a widely-known fact that new music fans don’t want to pay for music, whether it‘s because they know that the “label“ makes all the money, $15 per CD is too much (you only like one song anyway) or that they don‘t care. While us old farts that grew up on tapes and CDs still hold on to them like family heirlooms, today’s music fans go on P2P sites and pillage hundreds if not thousands of songs they like, without having to sit through any of the filler that they don‘t. This devaluation of music has made the perceived price of recorded music near zero.

Economics of Being in a Band
People say, “musicians should make their money on the road touring and selling merch.” Sure. You can. Eventually. These people have obviously never been in a band.

In order for a band of 4 people to make minimum wage playing music they need to sell lots of music, let alone cover travel costs associated with touring. A van costs money. Gas costs lots of money. Food costs money. Promoting gigs takes time and money. Sure Radiohead can give away an album and make money on the road, but not 99% of independent bands getting out there for the first time. By the time you make a run of the Southeast, you have maxed out all your credit cards and have no money to show for your hard work.

As if that isn’t daunting enough, think about this: your average band getting started will book a gig at a local club. They will get paid around $3 per person they bring, which is maybe 20-40 tops (if it’s a new band, it’ll be work friends, close friends and family members). At the end of the night, they walk away with $100 if they are lucky. If you go out of town, your chances of making this money drop dramatically.

Locally, a new band may make a few hundred bucks in their first 3-4 months, assuming they pool the money into a collective band fund and not spend it on the bar tab. Then they have to pay for strings, drum sticks, drum heads, cables, rent on a practice space (sometimes), a PA, amps, guitars, basses, keyboards… If they have an album, they have to pay to either manufacture it or pay someone to host the digital downloads. It’s not cheap or free. So what’s a band to do?

And one more thing, lets not ignore that many musicians have day jobs that pay for these expenses. Those day jobs come with time restrictions that hinder the creative process and angry bosses that start to hate the fact that you come in on Friday smelling like Jack Daniels and haven’t showered because you had a gig in Tallahassee the night before. Day jobs, while necessary, slow a band’s momentum and provide another priority to juggle alongside writing songs, rehearsing, booking gigs, promoting, playing gigs, surviving gigs and recovering from gigs.

Now, onto the solutions and my new business model. Whereas many business models focus on how you can turn your investment into profits, mine focuses on reducing your own out-of-pocket and time investment while increasing your fans’ desire to help you succeed.

Solution #1 – Crowdfunding
Websites like Kickstater, Kiva and IndieGoGo are changing the way people raise funds for creative projects. Crowdfunding puts the burden of fundraising on both the band and the fans. I think this model works for independent artists, as it does two things 1) creates buy-in from the fans and 2) allows them to keep the music free. If you can raise the funds to make your next record, then there is no need to recoup costs. Hence, the recoding of the music can remain free and patrons can enjoy the perks and satisfaction of helping their favorite band out (or relatives can help Timmy fulfill his dream).

I am currently running this experiment with Rise of Saturn. The key to successful crowdfunding seems to be offering the right rewards for the backers, having a budget in mind and a good enough explanation of how you will use the money. With crowdfunding you can raise money for recording, manufacturing, distribution and promotions.

Solution #2 – Fanffiliates
After the music is recorded and you make your initial “CD release money”, a good next step is to enlist an army of Fanffiliates, or fans to help sell your music for you for a commission. This concept works well in the software world with resellers:

• They sign up and get access to the product (CDs, download cards, vinyl, etc…) and promotional materials (flyers, posters, Web banners, widgets, etc…)
• They do the leg work
• They collect a fee for each sale or you can sell them the products at wholesale
• You give them spiffs for certain volumes and promotions

Simple. But musicians are known for being tight with their money, so this concept may not go over well at first. But think about it. What if you had 100 people on the street, pounding the pavement for your new album and all you had to do was cut them in on the profits? On a $10 CD, you could easily give a Fanffiliate 20-30% per sale. Also, you can do this for show tickets and other merchandise. Why the hell not?

Solutions #3 – Webcasts
Webcasts can be an alternative to touring at first and can help you build out-of-town fanbases. All you need is a decent Webcam and a Ustream or StarCam account. With a little time spent on Facebook, Twitter and Reddit, you can draw 40-50 people to a Webcast without spending a cent on gas. You could actually spend $20 on a Reddit add and you are almost guaranteed a few hundreds views, which is more than you’d get at your first gig in Murphreesboro, North Carolina. Then, you can promote your wares during your Webcast, drive traffic to your online merch store (yes, you need one) and start building a hitlist of cities to go to. What’s more is that afterwards, you can have the video to share and promote to drive more people the next time you decide to Webcast.

Together, these three solutions can help bands increase their reach and maybe even make some dough. There a lot of stuff here and I could spend days expanding on everything. But I think you have enough info to start working on some of these on your own. Thanks for reading.

Epilogue
I  speculate that people are not mystified by the Rockstar anymore and that rock ‘n’ roll is too safe and bland. Back in the 50s, you got your ass beat by your dad for listening to Bill Haley or Elvis Presley (or in my case, White Zombie in the 90s). You had to hide your Doors and Zeppelin vinyl under your bed or it would get tossed with the trash “it belonged with.” Now, your dad buys you the latest in radio rock and listens to it in the SUV with you. Isn’t music about being a rebel? Music used to be dangerous and mysterious. Now, everyone knows that musicians are insecure whiners that like to make money (thanks Behind the Music) that have feelings and want to have careers as worshipped demigods. Please. Can this be part of the reason the music business is a joke?

Enjoy. Share.
Ivan

Cartoon source: http://www.clipperz.com/files/clipperz.com/

It is out of love that I share with you my Top 10 Drummers of all time.

10 – Josh Freese (The Vandals, A Perfect Circle, Devo, Nine Inch Nails, all over Modern Rock radio) – One of the most sought out studio drummers in Rock music, Freese — a Florida native — cut his teeth in a Disneyland band when he was 12. At 15, he was already touring with the seminal/joke/genius punk band, The Vandals. Freese has appeared on close to 300 records.

9 – Neil Peart (Rush) – Drummer and lyricist for Rush, Peart is hailed in many circles as THE drum god. He drew most of his inspiration from drummers such as Keith Moon and John Bonham, but his over-the-top, complex, syncopated drumming has its own distinct flavor. You always know when it’s Peart playing.

8 – Steward Copeland (The Police, Oysterhead, many movie soundtracks) – Copeland is known for precise, energetic, and creative fusion of rock, reggae, middle eastern and jazz rhythms. As the skins man for the Police, he brought dynamics and agitation to Sting’s melodies. After The Police stopped touring in 1984, Copeland established a career composing soundtracks for movies Airborne (1993), Talk Radio, Wall Street, See No Evil, Hear No Evil, Highlander II: The Quickening, She’s Having a Baby and many more.

7 – Ringo Starr (The Beatles) – If I didn’t have Ringo in here, I would be skinned alive by you people. Not that I am not a fan. Ringo’s subtle style was the perfect pulse behind the Lennon/McCartney hit machine. Starr described himself as “your basic offbeat drummer with funny fills”, technically limited by being a left-handed person playing a right-handed kit.

6 – Dave Grohl (Nirvana, Foo Fighters, Tenacious D, Them Crooked Vultures, Probot, Queens of the Stone Age) – We all know this guy. Due to his skyrocket to fame as the drummer for Nirvana, Grohl became the mold for all aspiring rock stars since 1991. His hard-hitting, Bonham-esque beating of the skins is legendary and a sight to witness. No wonder EVERYONE wants to jam with him.

5 – Carter Beauford (The Dave Matthews Band) – Often under appreciated, this maestro of the drums has been the breath of the Dave Matthews Band since back in the day. Beauford’s style, a mix of Dennis Chambers and Buddy Rich. He is known for his ambidextrous skills and his open hand drumming style, where his left hand leads on the hi-hat and ride cymbal in a conventional right-handed drumset set-up. He creates a splendid visual fabric with his flashy fills and sleek grooves.

4 – Vinnie Colaiuta (Frank Zappa, Sting, Jeff Beck, Herbie Hancock, Chick Corea, Megadeth) – Colaiuta is known for his technical skill and his musical versatility, having played with many artists from a wide variety of genres. Colaiuta has been known to pwn complex pieces of music, most notably Zappa’s “The Black Page”. There are so many stories about Colaiuta that you would not believe it if I told you. He is among the sickest of all time. Colaiuta has won a total of 18 Drummer of the Year awards from Modern Drummer Magazine’s annual reader polls.

3 – John Bonham (Led Zeppelin) – Bonzo was renowned for his velocity, intensity, speedy right foot and “feel” for the groove. He is considered to be one of the greatest drummers in the history of rock music by anyone with taste. He first learned how to play drums at the age of five, making a drum kit out of containers and coffee tins, imitating his idols Gene Krupa and Buddy Rich. Bonham initially used Premier drums, but in the late 1960s he was introduced to Ludwig drums, of which he was a major endorser of for the rest of his career.

2 – Tony Williams (Miles Davis, Lifetime, sideman to many) – At 17 Williams found fame with Miles Davis. Williams was a vital element of the group, called by Davis in his autobiography “the center that the group’s sound revolved around”. His inventive playing helped redefine the role of jazz rhythm section through the use of polyrhythms and metric modulation.

1 – Buddy Rich (Artie Shaw, Tommy Dorsey, Nat King Cole, Ella Fitzgerald, Louis Armstrong) – Rich was billed as “the world’s greatest drummer” and was known for his virtuosic technique, power, groove, and speed. Starting his career in 1919, he began playing drums in vaudeville when he was 18 months old, billed as “Traps the Drum Wonder.” At the peak of Rich’s childhood career, he was reportedly the second-highest paid child entertainer in the world. Rich’s technique has been one of the most standardized and coveted in drumming. His dexterity, speed and smooth execution are considered “holy grails” of drum technique and has been considered almost next to impossible to duplicate.

Hope you enjoyed the list. Who did I miss?

Your bio doesn’t need to be so detailed. Save that for books about your legacy and magazine feature articles. Keep your bio short and punchy. Like a brand statement or company overview. While I’m not claiming to have the answer to the perfect and entrancing band bio formula, I can however impart some tid bits of advice that will make your bio much more powerful and relevant.

Why do you need a bio?
Well, these are good to have if you are trying to get the press to talk about your band or if you are sending out EPKs/press kits to book gigs. A well-written, complete and short bio will get you some attention.

In my opinion, a good band bio must contain the following elements:

• A strong, yet succinct statement about the band’s sound
• Some mention or similarity to other popular bands in your genre or bands that your fans like in addition to you (recommended if you like…, for fans of…)
• A quick introduction of the band members and what they contribute to the band.
• 2-3 mention of significant events that will give your band more credibility in the industry. Have you won any awards? Have you been part of a festival/event for a charity? Have you been featured in a indie film or a TV commercial?
• References: Mentions of verifiable touring history, sales figures or sales volume are a plus if you are trying to get gigs. Quotes from previous press reviews or fan reviews will help with press.

6 Writing Tips
1) Don’t over hype your band. They know its from you, so don’t pretend like someone else wrote it. Stick to the facts and let them form their own opinion based on your music.

2) Don’t seek to over describe your sound or each of the players. Be impartial and write for quick impact.

3) Stick to details about this band. Unless your member’s old band is Metallica, The White Stripes or Rage Against the Machine, no one gives a crap.

4) Spell check and read out loud. You don’t have to be a literary genius or a ad whiz. It just has to sound coherent. *I neglect this one myself often.

5) Keep it fresh and update the bio every few months to include your new accomplishments or any changes in sound/members.

6) Keep it brief, 400-500 words max.

Now, get to work. It may take you 2-3 revisions to get it right. If you feel like you are stuck, walk away from it and come back later. Always re-read the morning after before making the final decisions.

Web 2.0 Band Bio: Rockumentaries and Video Blogs
Many bands are savvy enough and create mini-Rockumentaries or video blogs that cover the band’s sound and personality. Bands can center these around special events, rehearsals or everyday life. A mini reality TV shows about your band. I recommend doing this. You can say more in a 5 minute video that in any bio. Spend the time and learn how to record and edit videos, sync up audio and use social media to promote it. Here’s a sample of one I did for Soulfound.

Hope this helps someone out there.

Enjoy. Share.
Ivan

Ivan Pena writes “Bombardier Manifesto” for Creative Loafing — blog posts about the music industry, being in a band and marketing. Ivan also runs Mohawk Bomb Records. He is also the bass player for Rise of Saturn and former frontman/bassist for Soulfound.

Attention Unsigned Bands:

RT on Twitter: @mohawkbomb Deadline 2 Submit 4 No Lip 3 Comp Jul 5. Time Left: 4d , 3h, 38m http://tinyurl.com/maj92g #tampamusic #727music

But even knowing the perils, thousands of bands stills send in their CDs to music critics everywhere, hoping that one explains their music in such an accurate and flattering way that fame would be the only logical result from these words being printed. Here’s some advice that may help put things in a more realistic perspective and why it doesn’t really matter.

One Person’s Opinion
Keep in mind that no matter what, a review is only one person’s opinion of your music. One out of the 6 billion or so on this planet. Having reviews lots of music over the last 8 years, I can tell you 3 things for certain 1) opinions change with mood, 2) opinions change with food and 3) opinions change with time. Don’t live your life on someone else’s mood.

Got a good review? So what.
Did your EP get a great review from Interpunk, Creative Loafing or Pitchfork? Sweet. Did your sales increase afterward? Are your shows getting more crowded? If not, then who cares about that one review. Hype and buzz and burnout an act very quickly, so don’t bank on a career happening just because of a few good reviews. Keep promoting, keep playing and keep winning over more fans. For example, Kings of Leon has been getting favorable press in the US since 2002 without much traction in US until this last album.

Got a bad review? So what.
Did your singer’s voice get panned? Did your style get miscategorized? Did you get compared to an artist you hate? Who cares. Seriously, if someone hates your music, don’t let it get to you. Sure it sucks to hear, but as we covered above, its only one person’s opinion out of 6 billion in the World. Case in point: Nickelback. Nickelback gets panned in every hipster Website, blog and magazine. Do you think that matters? They are one of the top grossing music acts of the last 10 years. So if your new masterpiece gets ripped on, don’t stress about it.

Read. Share Good Ones. Move on.
It’s up to you which reviews you promote, so only promote the good ones. That is what every decent PR person would do in the corporate world. My advice is to read them, take whatever you want from them and move on.

Band Comparisons
If you get compared to another band, use the comparison to grow your fanbase. Even though the critic may be way off in their comparison, it doesn’t really remove the fact that you reminded them of the band and chances are someone else will. Embrace it and use it.

Fans: The Only Review That Matters
Your fans are the only reviews that matter. Ask them what they think and then take their input to heart. Ultimately, they are the ones that have greatest impact on your career.

Hope this helps someone out there.

Enjoy. Share.
Ivan

Ivan writes “Bombardier Manifesto” for Creative Loafing, blog posts about the music industry, being in a band and marketing. Ivan also runs Mohawk Bomb Records.

The purpose for the flyer/poster is to entice people who don’t know your band or the other bands playing to come check you out. You are asking them to take their leisure time and hard-earned money and spend a fraction of it with you. Also, the flyer needs to communicate to your fans and provide them an incentive to return to your concert. Here’s what 10 year of making flyers has taught me:

1) Highlight the date – The most important element is the time element. “When is the show?” is the most important question in your potential concert-goers mind. Also, the time the show starts is a nugget of information to never omit.

2) Include Websites for each band – Under each band’s name, you should include the URLs for each of their Websites. This will give people a chance to check out the bands to see if the want to come out. Including a “Recommended If You Like” for each band if you can. For example, let people show your style, genre or similarity to popular bands your fans would like. People like new styles, but usually when ushered in a familiar way.

3) Provide venue information – This is important when making flyers to hand out at other local establishments. This lets people know where the show is and they can just type it in to their GPS on the night of. Also, include the phone number to the venue in case people have questions.

4) Mention giveaway or raffle – Letting people know what’s in it for them for coming to your show is a good way to get those on the fence or first time fans. A good idea is to give away some music or tickets to a raffle. 2 or 3 songs on a download card or a CD-R works fine. Just make sure you provide a link as to where to buy more music or to find out when you are playing next. Remember, playing live can be very lucrative in the long run, much more so than music sales, so do not neglect your live experience and always give people more than one reason to come back out. Just ask The Dead, Phish, 311 or The Roots.

5) Provide ticket info and restrictions – Technology is making it easy for everyone to sell pre-sale tickets to their own shows, including will call and box office services using a laptop and a cell phone. Many bands and venues use these online ticketing box offices to get some cash flow to help with promotions. Also, you can measure the effectiveness of your marketing by seeing the number of pre-sales. If the online thing isn’t for you, you can do pre-sale paper tickets people can buy or reserve at the club at a discounted rate or through text/phone RSVPs. In my opinion, venues should always encourage pre-sales through their own marketing efforts.

6) Have a reproducible flyer – Make sure your text is clear and that your graphic doesn’t look like an ink blot when photocopied. Sometimes people will pass along the info. Since those types of referrals are invaluable, make sure you make it easy for people to be able to do so. Make a couple of versions for each medium: full color posters, black and white handbills and MySpace/Facebook banners.

Enjoy. Share. Promote.
Ivan

Many new bands ask me how they can go about booking a tour. Everyone is so eager to hit the road. I always tell them that it takes patience, perseverance and planning. Also, it takes money and self-sacrifice and its not for everyone. If your bass player needs to mommy and daddy (or his girlfriend) to tuck him in every night, or if your singer needs to eat sushi everyday and wash it down with Evian, chances are touring might not be the best for your band. If you get sick of a car after 2 hours of driving, don’t even THINK about touring.

Honestly, DIY touring requires cojones, determination and not minding sleeping on dirty floors and pool tables. It’s not for the weak or pampered. That comes later after you have a hit record or two and you can afford luxuries like hotel rooms, warm meals and drivers. If you have a girlfriend, things will get difficult. If you have bills, they might not get paid. If you don’t prepare, you will fail.

Don’t Tour Until…
I don’t recommend that your band tour until you have at least conquered your home town. Not that you have to sell out arenas, but you need to at least have a stable home base that you can use to spring board your next territorial conquest. Until you have a steady 50 people coming to your hometown shows, stay off the road and save your money. Also, I don’t recommend touring without a quality CD (EP is fine) and some merchandise to sell. You need those things to be able to gain traction and grow your fanbase.

Prerequisite Step: The Press Kit
Does your band have a press kit or an electronic press kit? If not, then you need to put one together first. Everyone will ask you for a press kit, if they have not heard of your band. The good thing is that your MySpace page can also serve as your press kit, but it must have all the key elements: a good promotional band picture, 3-4 of your strongest songs, a 3-4 paragraph bio that is not all fluff, at least 1 good live video, a list of past achievements and press coverage and samples of your past promotional efforts. There are many resources on the Web about how to create a press kit, so do your research. If you need help with your press kit feel free to contact me.

How to Book a Tour
Here’s my 7 step lesson plan for learning how to book a tour for your band. At the end of this exercise, you should have a Tour Plan document to keep you organized and a few dates to start your training as a Road Warrior. Best of luck!

1) Pick your route and dates: This is the most important step. Without knowing when and where you want to go, you can’t create a Tour Plan. A Tour Plan is your touring bible. It includes all your travel information, when and where you should be and what you are doing to get people there. Also, it includes a list of all your booking contact’s contact information. DO NOT LEAVE HOME WITHOUT THIS.

When thinking about what dates to tour on, pick a date that is at least 4 months out. This will give you enough time to find the right place and promote the event properly.

When thinking of where to go, don’t go too far out your first time (within 300 miles is close enough) and try to stay close to towns off major highways. For example, if you are in Tampa, plot a course up I-75, I-95 or I-4 if you can. This makes travel easier and cheaper. This is just a recommendation. If you feel more adventurous and you have the budget, go whereever you want.

2) Research venues on your route: The Internet makes this relatively easy, but due to the large volume of bands trying to do the same thing, many booking agents are a little jaded. Also, when contacting them, know what date you want to play there, but try to give them an alternate date in case they are booked.

Have at least 3 venues in each town on your list. Don’t put all your eggs in one venue. Also, once you do get a venue, still bring the contact info for the other two because sometimes you can jump on last minute bills.

What if your gig gets cancelled?
This happens. A LOT. But don’t get too bent out of shape about it. You have a contract and you can always leverage that. If this happens to you, find a local music magazine or newspaper and see if you can find a venue that can accomodate you on short notice. If you travel with a PA, find a non-conventional place like a pizza place or college common to set up an impromptu show.

3) Set a budget: Step 3 is the money step. You need to come up with a budget to cover the necessities: gas, tolls, food, lodging, promotions and vehicle emergencies.

• Gas and Tolls: Using Google Maps or Mapquest, try to estimate how much gas money you will need to get to your gigs. Specially when its your first tour, don’t expect to make enough money for gas from the shows. Plan ahead.
• Food and Drinks: You need to eat and you can’t be emaciated if you are expected to rock every night. Make a “per day” expense plan and don’t go hungry. Tip: bring a charcoal grill along and stop by the grocery store every few days. Hot dogs, burgers, lunch meat and peanut butter and jelly are great road food. Also, buy plenty of water and have a first aid kit around. Don’t eat gas station food all the time. It will make you fart like crazy.
• Lodging: If you absolutely can’t sleep the band in the van, I recommend you set aside a little cash for hostels, hotels or campground fees. Cheap motels can be a quick fix for under $50, but upgrading sometimes is necessary if you are in a shitty part of town. Hotels.com usually has good last minute deals. Tip: Bring a pillow and a sleeping bag. Sometimes, venues will let you crash on the pool tables or in the backstage area (if they have one). Also, new fans might open up their home to you. Don’t be a jerk and save your money. Plus, you will have some great tour stories.
• Promotions: Plan on making at least 5 posters for each gig, a few hundreds flyer handbills and sending CDs to local radio stations and promoters. All this costs money to make an send. Also, look into MySpace or Facebook online advertising to help create awareness for your band in those towns. They can do some cool things with social networking sites and it doesn’t cost too much.
• Emergencies: Things happen on the road: your van breaks down, the trailer hitch breaks, Timmy broke his arm while skateboarding… Have some cash in case of emergencies, or at least have a credit card readily accessible.

4) Contact venues: Now the hard work begins. After you have your target list of venues, contact them to find out what their booking process is. Many clubs have part-time booking agents with bizarre hours. Others only like email contact. This is where your networking skills and patience need to kick in. Create a spreadsheet or list of each venue, booking contact info and preferred follow up method. Play by their rules, and you should be OK. Don’t be too pushy or overly annoying, but don’t be afraid to follow up. Also, don’t pick venues that only showcase national touring acts, because they will not book an unknown band. Start small and build your fanbase and then work your way up.

5) Contracts: After you have agreed on a date and on terms with the booking agent, send them a one-page contract so that everything is in writing. The contract can be simple and should include: date of performance, booking agent who booked the show’s name and contact info, location of the venue at the time of booking (just in case), other bands on the bill, ticket costs and payment structure (if any), load-in and set time details, and sound information and contact info for sound man. If they need it faxed back and forth, Fedex Kinko’s has a fax you can use. Tell them that this is just a formality to protect all parties involved. They should appreciate this and they will think you are very professional for doing so. It’s a business. Remember that.

6) Promotions: This is what booking agents need to hear: “Also, we have a promotions budget, so we plan on…”. Spell out everything you are going to do and do it in a timely manner. Remember, start promoting the show at least 6 weeks out and really work your online community. Without this step, even if you don’t pull any people, booking agents will usually not book you again. Trust me. This is very important. Also, don’t be shy about contacting magazines, publications and college radio stations. These can all be key allies and help you get people out. In addition, network with people in your target towns through MySpace. Invite them to come out and ask them to bring friends.

7) Follow up: A week before the gig, I recommend that you follow up with the booking agent to make sure everything is still good. Confirm load-in, set times and the bands on the bill. A week or so after the gig — assuming you didn’t act like a jackbag and piss off the staff — contact the booking agent again and try to schedule a follow up gig.

How often should you tour?
Good question. As often as you can. But, as you grow your “touring circuit”, try to hit them up every 2-3 months. This will allow you time to properly follow up and promote the follow up gigs.

Enjoy. Share. You gotta go to know.
Ivan