Toblins.com

Alice asked:


I never thought I’d hear myself saying this, but music just isn’t the same as when I was young. Yes yes yes, I know I am still young at the tender age of 24, but I’m referring to the young when you’ve just got your first sprout of pubic hair, you can’t wait to start your periods and what music you listen to plays a big part in defining “who you really are”.

To go through my teenage years with the likes of Steps, Britney, Boyzone and Craig David topping the charts, I deliberately listened to music that proved I was “different” to everyone else, or really my group of friends was different to everyone else. Music for the white, middle classed and angry teenager who quite simply would not conform to the bomber jacket wearing, cigarette smoking, scraped back hairsprayed pony tailed way of life that made up the “kevs”, “chavs”, “townies” (or whatever you called them) majority of the school population. The people that scowled at you when you produced you homework diary which was covered in your poor attempts at drawing the Smashing Pumpkins logo, or the Nirvana smile or some depressing quote “I hate myself and I want to die” etc. They didn’t get it did they. They were quite content to get fingered in the cupboard at break or argue whether or not Jamie and Kim were “seeing each other” or fully blown “going out” when Kerry snogged him after 3 bottles of Hooch at Luke’s party over the weekend. (Because if they were only seeing each other it is ok for this to happen, in case you were wondering – if they were going out Kim has every right to have a bitch fight with Kerry who is now going out with Tom anyway so it doesn’t really matter anymore). I was classed as a “freak” and I loved it! I wasn’t a freak at all. I did enjoy the music, but put it this way, when Kurt Cobain topped himself I didn’t sit there and think “oh the tragic irony that everything he stood against, the mainstream, fame, the commercialisation of rock music was the very thing that lead him to his suicide” and consider taking my own life as statement of my loyalty to him and his message. Oh no, I had my 12 plus to sit that year and I had practise papers to do if I was going to get in to grammar school! I wore the t-shirts and tried to look scary with my dark makeup and headphones in nodding my head to the dulcet tones of “silverchair” or something equally as hilarious but deep down I was just another teenager, I just didn’t want to get fingered in the cupboard or scrape my hair back with hair spray and music seemed the best route to get out of this. Obviously there isn’t any reason why I shouldn’t listen to the bands I liked and still get on with these people, and I know that now, but it seemed to me a good reason to divide myself from them – much in the same way you see in American movies that the sporty “jocks” or “cheerleaders” are divided you from the skaters etc, just listen to the gospel of Avril Lavigne!

And you know what, every school year needs me and my group of friends, much as you need the geeks, the rude boys, the fit (easy) girls etc. But recently there has been a massive change in the direction of music and it has thrown everything completely in to disarray.

Since the dawn of time the charts have been dominated by mainstream music created to please a population of idiots. Idiots who want to dance the locomotion and macarena. Idiots who get Robson and Jerome to number one, who love the cheeky girls and embraced Aqua and “barbie girl” as if they were revolutionists. The moments when these songs topped the charts gave my friends and me exactly what we wanted, something to moan about. I couldn’t count the amount of conversations I have had which went along the lines of “How the fuck can anybody actually go to the shop and buy these records, who ARE these people”. Or the amount of exchanged smug “we are so superior to them” looks to each other as Kim and Kerry (who now are best buddies again after Jamie dumped Kim and went round telling everyone that Kerry is “tight”) swap spice girls CDs.

Electric guitars did not make it in to the charts, and on the rare occasion they did the band were immediately dismissed from the “underground” world as we liked to call it. I’ll never forget the anguish when Bush appeared on top of the pops. What were they thinking?! They will last for one song in the ‘mainstream’ world, one song, while their true fans sit betrayed, hurt, cheated, never to buy their records again. How could they?! The fucking sell outs!

We (the underground) relied on the Great British public to buy crap so we could continue being angry and sulky about it, this gave us purpose! Recently though this turned upside down. We now live in a world where a nu-metal group can win Eurovision, “My Chemical Romance” get to number one and the charts are dominated by indie and emo groups. The worst thing about it is that very few of them are very good! In all honesty I would rather some shitty boy bands attempts to sing and perform some overly rehearsed dance routine than “just another fucking indie band” with some overly arrogant singer whose longish hair is perfectly straightened and gelled to look like he has just got out of bed. I just can’t find anything special with their music. At least the boy band was laughable and entertaining! It seems that all these bands have one catchy hit per album which inspires a whole festival crowd to whip out their lighters and inflate the lead singers ego further by doing his job for him and singing the whole song for him while he practises his sulky pout behind the messy hair. The fact that all the other songs they have written are crap and all sound the same doesn’t seem to matter. They should really save us all the grief of buying these shit albums to listen to one song and join forces to make an album of these classics. I can see it in the shops now – “Songs to get your lighters out to” by “Snow light razor party bloc fire arcade knives young play cold patrol” as forced on you by Jo Wiley. Of course there are a few that do have an edge, something a bit different and special. and The Arctic Monkeys are about the only thing Zane Lowe has got right this millennium and they are good. Also the Fratellis are great – chuck in a few trumpets and trombones and Robert’s your fathers brother! But the majority is 4 messy boys 2 guitars, a bass, drums and a droning “almost” singer singing songs they think are actually going to change the world – don’t even start me on the Killers, I’ll explode.

The other side of the charts gives us the latest sensation that is ‘emo’. I recently found out this stands for “emotional rock” which is fairly self explanatory however the term ‘emo’ does not only give you a music genre but is actually a way of life. There is a new breed of people out there everyone, make way for the emo generation.

These ants are taking over the earth’s surface with there blacked out eyes and ridiculous messy black/purple hair blocking out most of there face! Somebody should tell them I did this image ten years ago – and I did it better!

Only, there is a massive massive flaw in the Emo mentality/philosophy. Emos are angry, uber angry. The anger supposedly stems from the fact the way they are is not accepted in to society. People don’t get them and life is just unfair on these misunderstood souls. Kids are trying to be “different” but the irony is that they are all “different” hence, all the same, well, different in the same way! Does that make sense?!? The emo bands all sing about being unaccepted in the mainstream world. But they ARE the mainstream world. Bands like “My Chemical Romance”, “Fall Out Boy” and whoever else are just as commercial and manufactured as Steps were but at least those cheeky lot in Steps admitted this and took what they could from it!

This is terrible! Children have vulnerable, easily influenced personalities. Before you were safe in the knowledge that the majority of children were tuning in to Kylie Minogue, the Backstreet Boys and B*witched (what are you like) singing about all things pink and fluffy. Now the majority are listening to, for example the following lyrics by Papa Roach:

“Cut my life into pieces

I’ve reached my last resort

Suffocation

No breathing

Don’t give a fuck if I cut my arm bleeding

Do you even care if I die bleeding

Would it be wrong

Would it be right

If I took my life tonight

Chances are that I might

Mutilation outta sight

And I’m contemplating suicide”

Slightly different message than Gina G was trying to get across!

I listened to depressing music and may have pretended to be angry at the world, but I was clever enough to realise it was just music and not take it too seriously!! Most children are stupid and now this depressing, angry music is mainstream god knows the consequences! I also find it very sad they are being completely conned. These bands are all actually little rich kids whose Daddys have paid to get them recording contracts. They don’t know the first thing about struggling through life, they just cash in by singing about it! The lead singer of My Chemical Romance is called Gerrard for fucks sake!

One thing that has upset me, and I feel really embarrassed about this because it makes me sound so arrogant but a select few of MY bands, yes MY bands from when I was growing up have completely sold out on me. I was there when Green Day released Basket Case, when the Red Hot Chili Peppers release Under the Bridge. I saved my pocket money and bought the tapes – yes tapes, and I’ve been there since. Through the fuck up albums, the heroine addictions, the endless touring, interviews and scandals. I WAS THERE. I went to see Green Day with my lovely friend who was also THERE, 3 years ago at Milton Keynes bowl and I wish I hadn’t. I so wish I hadn’t. These boys I had grown up beside are now fat old men with huge egos too good to play personal venues for their proper fans. I had seen them play at V98 and they were the highlight of my day. Energetic, cheeky, naughty, fun etc. Now its just boring, rehearsed crap. And the crowd, oh woe on me. I looked around and aside from the 13 year old emo ants crawling around the field I saw hundreds of lagered up, skin head, tattoed, England shirt wearing wankers passing out from binge drinking/sunstroke or swaying with their arms around each other bellowing “Wake me up when September ends” (that song should be destroyed, every copy of it). How did this happen? I just don’t know, what makes these people think they have the right to sing along to basketcase – I bet they don’t know a single other fucking song pre 2004! The cunts. I hate it. Well being rock and roll as I am, in protest I left during that god forsaken song – mainly to miss the traffic out of Milton Keynes. I’d like to believe, however, that some how Billy Joe looked up across the cunts that now makes up their fan base and caught the disappointed look in my eye as I turned my back on them vowing to NEVER EVER go to a ego inflating gig like that again.

I’m on a mission to bring back pop. We need the great British public to revolt. Get Louis Walsh and Pete Waterman on the case to manufacture some more truly shit bands with catchy songs which in 20 years time will still be played on student nights – and I don’t mean one hit x-factor winners – I mean proper bands like east 17 and westlife, for fucks sake even they are aiming themselves at middle aged housewives now! Bring back the music the average Joes love and the non average Joes love to hate and take underground back underground where it should be. Where its makes no money, and the people that make it are full of talent, inspiration and doing it for the love and not the money.

So as not to break tradition I’ll leave you with the lyrics from a song aptly named “Underground” by the late Ben Folds Five. A bit of an anthem for me when I was growing up as a PROPER alternative!! Hope you enjoyed lovelies.

I was never cool in school

I’m sure you don’t remember me

And now it’s been 10 years

I’m still wondering who to be

But I’d love to mix in circles, cliques, and social coteries – that’s me

Hand me my nose ring

Show me the mosh pit

We can be happy underground

Who’s got the looks

Who’s got the brains

Who’s got everything

I got this pain in my heart, that’s all

Hey you with the long and lonely face

There’s got to be something else

Let me tell ya something else

There was a girl who passed me by

She gave a smile but I was shy

I looked down, so down

Don’t look there no no, go go underground

But now there’s a place to go

It’s the morning now, it’s the evening

It’s everything

I click my heels and I’m there

We’ll be decked in all black

Slamming the pit fantastic

Officer Friendly’s little boy’s got a mohawk

And he knows just where we’re coming from

It’s industrial, work it underground

Get down, get down, get down

Underground, underground

Everything’s happy underground

You been kicked around

Did life bring you down here

Everything’s heavy underground

Macie asked:


The Grammy Award-winning New Zealand comedy duo composed of Bret McKenzie and Jemaine Clement, Flight of the Conchords, come billed as New Zealand’s fourth most popular folk-parody band. The duo has found their niche by combining humor that ranges from the subtle to the outlandish with a variety of musical genres. Their self-titled, full-length debut for Sub Pop Records culls fourteen songs from their acclaimed stand-up musical act and hit HBO series.

The famous duo Flight of the Conchords formed in the year 1998. Since then, they have developed a mass cult following. The group uses a combination of witty observation, characterization and acoustic folk guitars. The duo’s comedy and music became the basis of a BBC radio series and then an American television series, which premiered in 2007, also called Flight of the Conchords.

Flight of the Conchords first performed as part of a five-man group called So You’re a Man, which included Taika Waititi, and had a small but loyal following in New Zealand and Australia. They performed their first televised performances over four nights on Newtown Salad, a show on Wellington’s short-lived local TV station Channel 7, which was later renamed as WTV. In 2002 and 2003 they performed at the Edinburgh Fringe Festival and were nominated for the Perrier Award in 2003. In 2004, the band created a radio series for BBC Radio 2, based on the band’s search for commercial success in London, and this series won the duo the Bronze Sony Radio Academy Award for comedy. They also performed at the Melbourne International Comedy Festival where they won the Best Newcomer Award.

The band again performed at the Edinburgh Fringe Festival in 2004. They were later featured in a 2004 campaign for British mobile phone retailer Phones 4U and on Australia’s ABC TV in the show Stand Up! The band also received a special on Friday night half-hour stand-up comedy series One Night Stand from HBO. They then headlined at the opening weekend at Comix comedy club where they recorded two tracks included on 2007′s The Distant Future. They also performed at the South by Southwest Music Festival in Austin, Texas. During their visit to Texas, they recorded a documentary titled Flight of the Conchords: A Texan Odyssey, which aired on New Zealand’s TV3 in late 2006. In the year 2007, the band performed on David Letterman’s Late Show, appeared at the 2007 Bonnaroo Music Festival in Manchester, Tennessee, and was also interviewed by Terry Gross on the NPR radio show Fresh Air. The year 2008 put a stamp on their success as on February 10, 2008, the band won the Grammy for best comedy album for The Distant Future. The band’s other achievements include many awards. Time magazine’s James Poniewozik named it one of the Top 5 New TV Series of 2007, ranking it at #2, whereas, Entertainment Weekly named Flight of the Conchords the seventh best show of 2007. Flight of the Conchords was nominated for two Emmys in 2008, for Best Writing- Comedy Series and Best Directing- Comedy Series.

The Albums which the Flight of the Conchords have released so far, include, Folk the World Tour in 2002, The BBC Radio Series: Flight of the Conchords in 2006, The Distant Future (EP) in 2007, Flight of the Conchords in 2008. Pencils in the Wind / Albi The Racist Dragon is a Single, and they are going to be coming up with their new upcoming album this year, that is, 2009.

The band’s most sold and hit album so far has been the Flight of the Conchords which was released in 2008, under the label of Sub Pop. All the songs in this album are already well known to fans through other mediums. “Foux du Fafa” is an infectious dance song that conveys the dangers and pure silliness of knowing just enough French to get you into trouble. “Think About It” is FOTC’s attempt to address the issues plaguing our society. Think Marvin Gaye’s “What’s Going On?” but about monkey diseases and bizarre accidents with cutlery. The best track on this album might be “Mutha’uckas,” a song that jokes about the censorship required to play hip-hop on radio and television. However, the most disappointing part of this album for the band’s fans is the omission of the songs which are loved by many. But perhaps they’ll make their way onto a future release.

The famous duo Flight of the Conchords will soon be performing in many US cities so if any one of you does not want to miss their chance of watching this great duo perform live, then you must get your tickets to Flight of the Conchords concert soon!

For more information about Flight of the Conchords Tickets visit:

http://www.ticketluck.com/concert-tickets/Flight-Of-The-Conchords/index.php

Liz Singer asked:


I grew up admiring the stunning vocals of sensational artists like Lauryn Hill and Mariah Carey, trying to mimic their soulful songs as I sang in my room. After hearing Lorraine Reid’s new album “Lessons Learned,” my ears were happier than they’d been when Lauryn Hill was still making records. This 7-time Juno nominee and breakthrough solo star not only poured her heart into her album, which served as both therapy for the past and inspiration for the future, but also shared the details behind her success as today’s voice of R&B and soul with an edge. More importantly, the wise teacher/singer/songwriter offered some lessons of her own for all audiences to reflect upon.

[Liz Singer] Every time I listen to Lessons Learned, I become more and more in love with your amazing voice. When did you begin singing? And when did you know you wanted to pursue music as a career?

[Lorraine Reid] Wow… well, my first public performance was on Parents’ Night in Junior Kindergarten… (I sang the “ABC’s” while my teacher played it on the piano).  I remember always singing in church, and loving church hymns as a child… I’ve always had a knack for hearing a melody or lyric once, and being able to mimic the vocal. I’d obsessively harmonize with songs on the radio, or commercial jingles on TV, and it’s always been really easy for me to pick that kind of stuff  up. I think once the ‘Whitney/Mariah’ era hit, I knew that I wanted to pursue music as a career.

[Liz Singer] It is truly astonishing that Temperance was nominated for 7 Juno awards, a feat that no other dance group has achieved to date. How did your previous experience with the group influence your readiness to make the switch to a solo career?

[Lorraine Reid] I did so much learning and even more growing – personally, vocally, emotionally – during my experiences with the group Temperance. Those years were the absolute best ‘lessons’ I’ve had in my life to date. That being said, it was never easy… quite the opposite, at times, in fact. I mean, I was young when we started out- about 17, still in high school – and quite naïve to the harsh realities of the biz… But thankfully, because I was young, I was also still fairly resilient.  It’s taken me some time- several years – to come down from it all and find myself again (still working on that)…and recording this album was part of that process. The R&B was always there; the soul was always there, so that transition was not difficult at all.  As for pursuing an R&B career,  I had no idea whether or not I’d record on this level again; but I did know that certain conditions would have to be met before I’d even consider it…so the rest is now history. Doing this record has helped me reconnect with my passion for music.

[Liz Singer] Since you have been involved in the education world as a teacher, do you feel that your time spent in the field has influenced your music career, in terms of providing content suitable for all ages, much unlike many contemporary artists?

[Lorraine Reid] Definitely…I am very conscious of the fact that my students will listen to my work…and I teach all grades from Kindergarten to Grade 10, so no age is really ‘safe’.  Generally, I’ve never really been interested in supporting any material with overt connotations – I don’t consume it, [and] would never produce it.

[Liz Singer] On Lessons Learned, which track did you enjoy recording the most? Which is your favorite to sing? And which will be most influential to listeners?

[Lorraine Reid] Enjoyed recording the most: “No More” (most challenging vocal to deliver). Favorite to Sing: “No Coming Back.” Most influential: I actually thought that “No Time to Throw Stones” would be the most influential…I wrote it to say something about the state or our communities…but it turns out that “How Can I Keep Him,” the first single, is striking a chord with many…that song’s a pretty personal one for me, and people are being inspired in so many different ways by it.

[Liz Singer] Clearly all of your fans will appreciate such a brilliant effort made on Lessons Learned. What aspect of this project gives you the greatest sense of pride?

[Lorraine Reid] This record is really my baby. It’s been a multi-step process, and we didn’t take the short road with it, I’ll tell you that. This project is also a true reflection of my ‘new’ voice, which I’ve had to embrace and get to know all over again. It’s the first project I’ve been attached [to] that I actually feel represents me completely. I don’t even listen to it that critically anymore, and for me to reach that level of comfort with my own work? …that almost never happens…that means a lot to me.

[Liz Singer] I got the impression that Lessons Learned is really about the ability of an individual to make it on their own; to move past heartbreak and become even more independent than before. I also felt an overall attitude of optimism for the future, despite whatever pain had been suffered in the past. Was this your intention for the album’s message?

[Lorraine Reid] You are absolutely bang on. The last thing I wanted – and something the team was very concerned about – was for this to come across as another ‘All men are dogs’ record.  Granted, on it I don’t have much positive to say in the relationship department, lol…but I’m thankful for every painful experience I thought I’d never recover from… they not only made me stronger, but they inspired some real emotion in studio…and on this record.  The optimism you sense is very real, and I’m glad we captured the emotions I’ve experienced, ’cause I don’t plan to stay there much longer!! I almost can’t wait to hear what my writing sounds like once I change phases again.

[Liz Singer] How do you feel that your own past has influenced the album’s content? Do you think that one’s past is always incredibly influential, or is it possible to move forward and make a completely new start without looking back?

[Lorraine Reid] I don’t think we can separate ourselves from who we are; I think those that try end up living in denial and pain, and sometimes we sit up and watch them on reality TV…I believe we’re all a mosaic of our previous thoughts, choices and experiences, and I thank God for that. I am so thankful to Him for the opportunities I’ve been blessed with so far in my life.

[Liz Singer] How have your career transitions and hardships with your health, with your vocal nodule surgery, provided inspiration for this album? How have these challenges influenced your attitude towards life?

[Lorraine Reid] I had vocal nodule surgery in the fall of 2005, and this record was recorded once I retrained my voice and found my new sound…I’m still getting used to this new voice. I try to take each day at a time and I’m very humbled when it comes to my voice…always have been.

[Liz Singer] Overall, what would you like listeners to gain most from listening to your record? What is the primary message you would like to send out to all your fans who will listen to Lessons Learned and fall in love with the beautiful melodies and influential lyrics?

[Lorraine Reid] The primary message I want to share is that no matter where we are in life, it is important for us to keep it real. That may mean admitting truths that are embarrassing, or appearing vulnerable at times, but that is when we are most human. I am still learning this lesson.

[Liz Singer] What artist or band do you remember being influenced by as a child? And how have those impressions affected you into adulthood?

[Lorraine Reid] Michael Jackson; Mariah Carey (in her ‘Vision of Love’ days); Sam Cooke; Whitney Houston; Mary J. Blige…perfect combination of soul, texture, emotion and grit that I strive to emulate.

[Liz Singer] Who are your favorite artists/bands? What are the last 3 CDs you listened to?

[Lorraine Reid] Faves: depends what day you ask me…today, they are Mary J. Blige, Jaheim, Alicia Keys, Sarah Vaughan, Tracy Chapman…I could go on & on… Last 3 CDs: Amy Winehouse’s Back to Black; LJX’s Two Chord Skankin’; Lauryn Hill’s The Miseducation of Lauryn Hill.

[Liz Singer] In regards to your personal life, how have you been balancing a music career and personal relationships? Has it been a challenge to “do it all” while pursuing your dream of recording a solo album?

[Lorraine Reid] I’m always challenged by the demands of my schedule and my desire to connect with the important people in my life. It was especially hard for me during the writing process to be emotionally available to others, because everything for me was living on the surface, you know? Very cathartic, yes, but also very emotionally taxing. Plus, I essentially have two full-time careers, so sometimes, even now, I’ll just go MIA  – you know, to preserve my sanity… maybe even sleep in??!!!…and people don’t know  that I’m in overload because I don’t share a lot. My family, especially my mom, is very understanding and supportive; my close friends…they are the ones who truly ‘get’ me, and respect why I am the way I am.

[Liz Singer] As an artist, what has been your greatest accomplishment? And in your life in general?

[Lorraine Reid] In my life in general, I think my greatest accomplishment has been being a mentor and role model to others. As an educator, you really have no idea who you’ve inspired, and sometimes once you find out, you’re more than surprised! I’m also really proud to be able to say I have two baby brothers…they’re 23 and 25, far from babies, but I just like saying it.

[Liz Singer] What are your main goals for the future? Do you see yourself recording more R&B albums, or are there different plans in the works for your music career?

[Lorraine Reid] I just wanna sing…I don’t really concern myself enough with the business aspects of things, and although that probably isn’t very savvy of me, it is part of what keeps me passionate about performing. We’ve already begun to conceptualize and pen tracks for the sophomore album so music is here to stay. I look forward to hearing how my sound will change as I gain more writing experience and maturity as a vocalist. Plans for the future…well, I’m game for anything, as long as I get to stay true to me…

[Liz Singer] As your album is clearly an inspiration to all aspiring, honest artists, is there any other advice you’d like to give others who want to follow in your footsteps? Is there anything you wish someone would have told you when you were starting out as an artist? And in your life, what has been the most valuable lesson that you have learned?

[Lorraine Reid] Thank you, Liz. Life is just one big classroom: some of us are the teacher’s pets, some of us are unpopular, some of us get the lesson the first time, every time; some of us need to experience it again, or pay closer attention; some of us even go try the remedial classes and still, nothing clicks…lol. But seriously, the most valuable lesson of all for me has been that on this journey called life, sometimes if we are not careful, we can miss the lesson, which is different for each of us. I wish I’d known that earlier – although I have no regrets. My advice to other aspiring artists is to take the time to figure out what your life lesson is; the rest will fall into place.

You can expect to see the highly anticipated Lessons Learned to be released this summer, and while you’re anxiously awaiting that day, go see Reid live at Michigan Reggae Festival this coming August. This follows on her successful performance at the Montreal Reggae Festival on July 12.

For more information, visit: http://www.myspace.com/lorrainereid

Lathum asked:


The rewards of creating music range from the deep satisfaction of writing a new song to the glowing pride of a successful performance. While these feelings bolster our confidence, they do little to compensate for the financial investment often tied to making music. While selling your music via CDs and downloads is a good start, you should also consider investing in band merchandise to promote your band and cover the cost of instruments, rehearsal spaces, recording equipment and more.

In a Rolling Stone article (7/04), Dashboard Confessional’s Chris Carrabba spoke about the importance of merchandise: “Merch sales are what kept us going. Even now, we’re still not making our living from playing the shows. Merch is where we make our profit.” In that same story, John Mayer commented on merchandise sales and the current state of the recording industry: “You’re not making that much money off records anymore, so until people can figure out how to make a re-writable Hanes Beefy-T, merch is one of the last bastions of individuality, commerce and style that an artist has left.”

Echoing those sentiments, Amanda Palmer of The Dresden Dolls told NPR (1/17/07): “We make almost no money off our recordings themselves.” To earn a steady income, NPR interviewer Chris Arnold noted that “The Dresden Dolls can take in more than $1,000 a night selling merchandise, which makes the ‘merch table’ a major source of income why they’re on the road.”

While generating money is the most obvious benefit of band merchandise, the valuable impressions made from exposure to potential fans is just as important. Arming your current fan base with a fashionable marketing tool will only help to promote your band and raise your profile. To this end, musicians should take great care in creating logos and images that accurately reflects their sound and image while appealing to consumers. For inspiration, turn to Threadless.com for a wide range of arresting designs. If you don’t have the skills to create the design, try cutting costs by recruiting a graphic arts student to handle the project for you.

Once the perfect design is approved, identify the medium that will give you the greatest return. A quick Google search found a wealth of companies dedicated to meeting the merchandise needs of independent artists. Here are just a few of the deals out there:

100 printed t shirts: $405 at WeNeedMerch.com

500 1″ buttons: $100 at BusyBeaver.net

250 5.5″ x 1.42″ stickers: $25 at StickerGuy.com

100 posters: $175 at BandWear.com

Selling your band merchandise can be done at live shows or online via your web site. Create links at social music sites like Echoboost.com to draw more traffic and use secure payment services, such as PayPal, to handle the monetary transactions. Email fan club members when new products become available and try offering special packages, bundling your CDs or downloads with t shirts, buttons and/or stickers to drive sales and spread the word about your music.

You shouldn’t let expenses drain your passion for music. Put your music to work for you with your own merchandise and keep making the music you love.

Ted Cantu asked:


The latest film by Anton Corbijn has received some interesting reviews in Indy film magazines. It chronicles the life of late post punk rock star Ian Curtis. This bio-pic sheds new light on the tortured life of Curtis and follows his brief rise into stardom as lead front man for Joy Division. This movie has a lot of complex layers to it. In fact, upon second glance these intricacies will hit you a bit harder. There is a lot to take in when you watch this incredible film.

One thing that may not be obvious is that this rise to pop status really takes place in a brief period of only two years. By the end of the Sex Pistols brief but destructive reign Joy Division took on a new life as the one band to watch. The theme here is momentum. I find myself walking out of the theater shaking my head over the whole spectacle of Ian Curtis and his destructive life/suicide.

FUELED BY REBEL MARKETING

The Sex Pistols had paved the way for the UK Punk movement in 1976 – 1978. Joy Division picked up right after that era and was the leading proponents into the new wave movement. Keep in mind that when they did this they never asked for anybody’s permission. In fact, they didn’t even wait to be classified as being as a new wave group or even qualifying as such. They simply arrived. When they arrived on the music scene they were darker and more introspective than the attention getting punks. The debut was somber and unrelenting and came in under the name Warsaw. That music is power driven, bass heavy and has thundering and crashing drums carrying the rhythm.

Warsaw dropped its name after doing some very powerful demo tracks. By the time they entered the studio they were named Joy Division – taking on the name of a German Nazi prostitute section in a WWII ghetto.

As the film progresses, you will see that the local media helped out to an extent by featuring them on television. Although you get a sense of constant touring there are no exact dates listed throughout the motion picture. But when you do a search on the biography of Ian Curtis but you should see the grueling tour schedule. I have to admit I was somewhat stunned when I saw how much this guy was on the road. One minute they were in London and the next they were off to Manchester delivering their howling sound at the Electric Circus, (a venue which no longer exists). There were many venues in between and radio interviews and insightful comments to the NME, (New Music Express).

So what has this to do with your business?

As a business coach, and an online marketer I am often appalled at how little the business owner will devote to his money making vehicle. In fact, it often seems as if the owner of the business goes way out of his way to do the bare minimum. And these are individuals who have sunk $150 – $250K into them. The budgets I have seen to promote these businesses have had as little as $100 bucks a month to promote them. They often balk at having to get off the couch and get the word out about their business. The goal seems to do as little as possible.

Since Joy Division had such a unique sound it is important to see what they did to get it out to the public. The mood was already set for discontent with all the political turmoil in the UK. Kids were looking for new heroes as the music scene lost direction from the punk movement. If you remember your history the Sex Pistols didn’t last long after they signed up with Virgin Records. Bassist Sid Vicious died of a heroin overdose and record labels signed up many other bands who rushed in to take their place, (The Buzzcocks, X-Ray Spex etc.). To help usher in a new brand of music they had to go toe to toe with the kids directly from town to town and try to win them over.

Keep in mind that when they debut in London they were met with only a handful of curious kids in the crowd. Some say it was a little over ten potential fans others place that number closer to three. Whatever the number one thing remains consistent – Joy Division took their vision to the streets. During this bleak and destructive campaign the entire assault was centered on confrontation. I just didn’t know that this was done so consistently in such a short time. It’s noteworthy to add that the sound of this band had become more desperate and at times more brilliant than earlier recordings. It sharpened up and in turn made them more interesting.

Constant booking and touring enabled the band to pick up a name for themselves in other countries. Since they were centered in the UK they became well known in Germany, France, Netherlands, and demand global attention. They were invited to come to the US. Rumor had it they were to appear on Saturday Night Live although I have yet to see this fact confirmed. Ian Curtis took his life around this time due to problems with prescription medication, epilepsy and depression.

The heart of Rebel Marketing is confrontation and never waiting for permission. The other component for being a Rebel Marketer is not waiting to be classified by an organization or a committee. How this relates to you as a business owner is get rid of all procrastination. Don’t worry about what the public will think about your product or service. There is a real danger in over thinking and over analyzing your outcome.

So what is the goal of failure?

Failure is inevitable in business and you should embrace it and learn from it. This is how you are going to become stronger in your field. The goal of failure should be to do it quickly and get it over and done with. Analyze your position and results and then change your game plan.

THE POWER OF MOMENTUM

Ian Curtis and Joy Division only put out two studio albums and a handful of singles. These days they have become collector’s items. Since 1980 many reissues have surfaced and they contain many live tracks and rare interviews. I find a compelling sound to the studio creations as well as the live performances. Each of these albums communicates to me differently. Seeing this new black and white film by Anton Corbijn really adds a complex dimension to the story. In many ways the story of Ian Curtis is now complete. The fact that film director Corbijn claims to remember things in black and white added more strangeness to this tale. Anton Corbijn was a rock photographer who was present during some of Joy Divisions chaotic performances. Curtis had notable epileptic seizures while he performed on stage in front of concert goers. Corbijn recreated those shows through memory and the scant amount of pictures taken during their heyday. These shocking black and white shots helped create the cinema of the recent release, “Control”.

Donald Trump describes momentum as a magical force that enables you to cultivate powerful deals and attain monetary satisfaction. It is something that you self generate when you feel good about yourself. In short it is the power of the self in action. The most obvious thought should be did Joy Division ever at any point feel good about themselves? I think they did. I don’t think any of them ever dreamed that Ian Curtis would destroy himself. But I do think Joy Division felt good enough about their work as a band to push their act out into the public eye. I don’t think it was a positive energy but they definitely felt confident. That energy was in fact momentum. It was enough to drive them into the history books and become a rock critic’s favorite.

There was only one real way to put an end to this movement. The demise of Ian Curtis definitely did that. Joy Division later regrouped and formed New Order. This band picked up where the old band left off but it was more positive in many ways. The earlier work of Joy Division fell into cult status.

The goal for many of these UK punk and post punk bands had a lot in common. They all stood up against the status quo, they all rallied against convention, they all represented change. All of these bands worked in a tight timeframe. They created history in a 48 month period. These acts reached international popularity and stardom and became memorable in rock history. The Damned, The Clash, Sex Pistols, Souixsie and the Banshees, and Joy Division ushered in a new era of rock music. They stamped out a blueprint for many other bands to follow worldwide. They helped launch a new type of sound that revolutionized the music industry. This is notable.

I find myself somewhat enamored by what these bands accomplished. I keep going back to the early recordings and analyzing them over and over again trying to find the seed of the creation. Each time I come up empty handed. After years of collecting punk and post punk music I am left with one thing and one thing only. That one thing is momentum – a truly powerful source of inspiration.

That type of energy comes from within. You have to have that vision and its got to come out of you from deep inside. It has a fearless edge to it. This type of energy never flinches and you have to defend your position. Once you understand this type of power it can become truly addicting. Personally speaking I find it useful and I am beginning to understand it. To get that type of reaction out of people you have to be truly unrelenting and hold your position.

You have to have control.

Andrew Good asked:


Bringing a bubbly exuberance and mainstream pop sensibility to the country scene made the Dixie Chicks one of the hottest country acts of the ’90s-and certainly one of the biggest in mainstream country history. Over the ensuing decades they’ve risen as the quintessential pop band for cowpokes of all brands, despite working through controversy stemming from their outspoken political beliefs.

The band’s history traces all the way back to 1989, when they were in fact a quartet. They were formed from fiddler Martie Seidel, banjoist Emily Erwin, bassist Laura Lynch and guitarist Robin Lynn Macy. The foursome started out the old fashioned way-busking on street corners. They named themselves after the Little Feat song “Dixie Chickens,” and dressed themselves to match their old-school country sound. They scored a record deal and released their debut, Thank Heaven for Dale Evans, in 1990. It didn’t attract much notice, but it was a start.

In 1992, they released a follow-up, Little Ol’ Cowgirl, and creative differences led to Macy leaving the band. They soldiered on as a trio, releasing 1993′s Shouldn’t A Told You That, which still saw them making little traction on the charts or in the minds of reviewers. Lynch left not long after that, and interviews with her suggest that, in her view, her band mates were looking to maintain a “younger” look in the band. The fact that she was replaced by 21-year-old Natalie Maines gives some credence to this theory.

There was a long break for the young trio, but in 1998 they returned in a big way, releasing their smash success Wide Open Spaces. No one-not even the band-expected the album to be the achievement it was. Several of its singles became number ones, and in less than a year the record went platinum four times. It wasn’t just a commercial success, either. Country critics loved the friendly pop sound, and the record won a Grammy for Best Country Album.

A year later, they put out Fly, which simply served to cement their status as country pop superstars. They earned some critical marks for songs such as “Goodbye Earl,” a dark tale about a young woman who marries young only to find her husband abuses her regularly. The conclusion is grim, with the woman poisoning him and disposing his body in a lake. This was not the typical face of country, and it shocked some listeners, while others were greatly impressed with the range of material the Dixie Chicks were capable of.

Several successful live tours followed, but controversy was waiting in the wings. In 2003, the band began to openly criticize the war in Iraq and President George Bush-and received plenty of criticism in return. It led to much consternation amongst fans when they finally released 2006′s Taking the Long Way, which still sold well despite fans still being irked about their anti-Bush views.

Though they’ve surely lost some fans during their career, there are many who find their music too good to keep away. Those are the people you still see waiting in line with Dixie Chicks tickets in hand from http://www.stubhub.com/dixie-chicks-tickets/.