Sweetness And Light
by Frank Deford
Looking For Lin In All The Wrong Places
This is a reprint from the above author and article. The main point is that, Lin does not fit the typical stereotype of an NBA athlete and because of this he was overlooked by the talent scouts. Due to some lucky breaks, he was found....but what about all the other talented athletes, artists, musicians, actors, etc that do not get these breaks and fall through the cracks? Somewhere there is a musician playing his ass off, an athlete tearing it up on the blacktop and an artist that just created a masterpiece....all of which will go undiscovered because they did not fit the mold.
-Fantazzmo
Jeremy Lin chases the loose ball in the first half of an NBA basketball game in Minneapolis. Lin is one of the few Asian-Americans in NBA history.
Enlarge Jim Mone/AP
Jeremy Lin chases the loose ball in the first half of an NBA basketball game in Minneapolis. Lin is one of the few Asian-Americans in NBA history.
text size A A A
February 15, 2012
By now, most everybody knows Michael Lewis' story of Moneyball — best-selling book or Oscar-nominated film — about the poor little franchise in Oakland that learned how to compete against the big-city rich teams by discovering overlooked players.
The maestro of this policy, Billy Beane, is an endearing character, but I've never been all that charmed by the story, because Beane was just employing cold statistics. Oh, he was right, but it was like rooting for a guy at the blackjack tables who counts cards.
The villains in Moneyball are not the fat-cat franchises, but the copycat scouts who are all on the same page, addicted to the same physical ingredients that make up their model prospect. It is the truly courageous judge of young talent — in any sport — who dares predict success for a player because of qualities that can't be quantified.
And the fact is that nobody — nobody in basketball — had the perception or the guts to say: You know, I don't care what anybody else thinks, this kid Jeremy Lin has it. Whatever it is.
It's not like he was tucked away in Bulgaria. Lin was hidden in plain sight. He led his high school at Palo Alto to the California championship. No, Harvard is not Kentucky or Carolina, but he was on display for four years in Division 1. Come on.
But none of the geniuses — not one scout, one coach, one general manager — could see what everyone sees now when it's fashionable. None of the people paid to envision, could envision. Obviously, some of it was simply that Lin wasn't the right heritage. No, I'm not saying basketball people are prejudiced against Asian-Americans. It's just the usual common stupidity of stereotyping. It wasn't just a matter of race. Scouts tend to be uncomfortable with anything different.
Now it's wonderful for Jeremy Lin that he finally got his chance. It's wonderful for fans that we got a lovely surprise. It's wonderful for Asian-Americans that they've got a new athletic hero. It's even wonderful for the Knicks, who don't deserve it, because their owner is the biggest creep in professional sports.
But what is so disappointing is that Lin finally was given his opportunity only because about a half-dozen weird happenstances happened to occur — the owners' lockout, salary-cap manipulations, trades that fell through, injuries and, at last, a coach's sheer desperation. Talk about divine intervention.
But, in counterpoint, what is so dispiriting is to contemplate not only how many basketball players, but how many other athletes, how many artists and actors and musicians and writers, how many special creative talents never get fulfilled because the so-called experts are always looking in the same places.
Jeremy Lin is a success, and hooray for him, but his example tells us that there are, surely, so many more brilliant might-have-beens in our midst who never get a chance.
And that's the sad part to such a happy ending.
www.FantazzmoRock.com
www.Facebook.com/Fantazzmo
Tuesday, February 21, 2012
Thursday, February 2, 2012
Back In The Day
See, back in the day our heroes were on labels with teams of people doing the dirty work. The members of Led Zeppelin,Beatles, Stones, Hendrix didn't have to book shows once their first album was released...no, they performed, did photo shoots, drugs and had sex with tons of groupies & most importantly, come up with new music.
Yes, I am jealous!!!! I wanna do all that shit too....minus the drugs of course!!! lol
Anyway, I have to pump out new material in 2012, book shows, revamp the website, maintain the social sites, blog, organize rehearsals, logistics, oh yeah & since the money isn't piling in, I have to earn a living doing something else while I sharpen my musical skills.
This is my passion in life and nothing worth having is easy. I'm just saying, a little help would Kick Ass!!!
Fantazzmo 1: Enter the Fantazz
OUT NOW.
Get ready for a new EP
New Video
New Cd
Summer tour
All in 2012
That's right, 2012 YEAR OF THE FANTAZZ!!!!!!!!!!!!!!!!!!!
www.FANTAZZMOROCKS..com
Tell your friends about Fantazzmo!
Website:
www.FANTAZZMOROCKS.COM
Myspace:
www.myspace.com/FANTAZZMO
Facebook:
http://www.facebook.com/Fantazzmo
Twitter:
http://twitter.com/#!/Fantazzmo
Blog:
http://fantazzmo.blogspot.com/
iLike:
http://www.ilike.com/artist/FANTAZZMO
Tumblr:
http://fantazzmo.tumblr.com/
YouTube:
http://www.youtube.com/user/FantazzmoRocks?feature=mhum
last.fm:
http://www.last.fm/music/Fantazzmo
Grooveshark”
http://grooveshark.com/#/fantazzmo/music
Soundcloud:
http://soundcloud.com/fantazzmo
ITunes:
http://itunes.apple.com/us/album/fantazzmo-1-enter-the-fantazz/id390562266
Amazon.com:
http://www.amazon.com/Fantazzmo-1-Enter-Fantazz-Explicit/dp/B0041MGLF6/ref=sr_1_1?s=music&ie=UTF8&qid=1310497015&sr=1-1
Thursday, January 19, 2012
Let Radiohead Be Your Guide
Let Radiohead Be Your Guide
(Reprint from Tunecore Blog)
Email
By George Howard
(follow George on Twitter)
Artists are an iconoclastic bunch. They tend to see the world in a unique manner, and often feel that their idiosyncratic world-view is sacred. This can lead to great art. We need artists to help us see things we otherwise wouldn’t. The downside of this point of view is that as artists adhere to a rigid perspective of self-reliance, they often exclude any other voices. In short, it’s the artist’s way or the highway.
While artists will (to a degree) look to other musicians whom they admire for musical inspiration, they too infrequently look to others when it comes to plotting their career trajectory.
This is a mistake. We all need Sherpas, guides. It doesn’t mean that we can, or should, try to follow exactly the path of those who came before us, but it does mean that when a learning curve that’s been flattened by the boots of those who came before you presents itself, you should avail yourself of it.
The problem, of course, is that there’s so much noise. The group think/conventional wisdom can be overwhelming when you’re trying to discern fact from fiction and anecdotes from something more empirical. Trying to determine to whom you should look to/listen to for guidance is challenging when everyone appears to be an expert.
To help filter some of the noise, I suggest the following:
As I discussed in my most recent article, you must work diligently to understand, establish, and make visible your core values. This includes everything from understanding what you feel your musical (if not life) purpose is, how you will articulate this, and how you will use this understanding to sustain yourself during the inevitable tough times. Significantly, understanding your core values allows you to target potential fans/evangelists (or, a new term that I like a lot, “igniters”) whose values align with yours. These igniters are the ones who will immediately respond to what you do, and, importantly, share your work with their friends. This is really the very best form of marketing: it works, it doesn’t cost money, and it can lead to building a sustained career that is far less affected by trends and market vagaries than careers built on things other than value alignment.
Understanding your core values creates a filtering process that will not only eliminate noise with respect to the potential fans you should be targeting, but also help in terms of where to look for guidance from artists who are a step or so beyond your current situation.
A few important details. First, while it’s likely that those artists you look to as examples for a career trajectory will align with your musical sensibility, it’s not crucial that they do. For instance, while I’ve never been a big jam band fan musically, I have for ages admired their values, and the way they go about developing sustainable careers. I feel that many artists — irrespective of whether or not they like “jam band” music — could learn a ton from the way these artists operate (their commitment to performing live; the ways in which they collaborate with other artists in the genre; the ways in which they nurture “community” with their fans). Similarly, many non-hip-hop artists could take a lesson from some of the marketing innovations that occur in this genre; I think, specifically, of the mix tape efforts, and the way in which more established hip-hop artists often introduce emerging artists via guest spots on their records.
Equally important to making certain that the artists you look to share your core values (even if they don’t share your musical tastes), is that you must look to artists who are in close relative proximity to you with respect to your career arc. While it may be somewhat helpful for an artist who is just starting out to look at a superstar in order to study a career trajectory, it is far more instructive to look to artists who are a step or two ahead of where you are. If, for instance, you are an artist who has developed a decent fan base in your home town, but hasn’t yet performed outside of this home town, don’t look to the band who tours 300 dates a year for guidance, but rather look to the band that is getting out of town two or three times a month. How are they doing it? What strategies are working for them that you can adopt to suit your needs?
Of course, this doesn’t only apply to playing live, but also to all efforts of brand building. What, for instance, are artists who share your values and who are a step or two ahead of you doing in terms of social media?
I would add that while you can do this from afar, voyeuristically studying an artist, I would strongly encourage you to reach out and talk to other artists. As I said in my intro, artists sometimes are reluctant to share their “secret sauce,” but not always, and maybe not even as much as we think — maybe we just haven’t been asking enough.
We desperately need more knowledge-share amongst those who are in the trenches doing this thing we love every day (hence, the TuneCore blog), and any opportunity to engage in conversations with people with shared values should be embraced. Doing so will not only help you with your career strategy, but also with maintaining the necessary empathy required to succeed today.
So, go find that Sherpa!
www.FANTAZZMOROCKS..com
Tell your friends about Fantazzmo!
Website:
www.FANTAZZMOROCKS.COM
Myspace:
www.myspace.com/FANTAZZMO
Facebook:
http://www.facebook.com/Fantazzmo
Twitter:
http://twitter.com/#!/Fantazzmo
Blog:
http://fantazzmo.blogspot.com/
iLike:
http://www.ilike.com/artist/FANTAZZMO
Tumblr:
http://fantazzmo.tumblr.com/
YouTube:
http://www.youtube.com/user/FantazzmoRocks?feature=mhum
last.fm:
http://www.last.fm/music/Fantazzmo
Grooveshark”
http://grooveshark.com/#/fantazzmo/music
Soundcloud:
http://soundcloud.com/fantazzmo
ITunes:
http://itunes.apple.com/us/album/fantazzmo-1-enter-the-fantazz/id390562266
Amazon.com:
http://www.amazon.com/Fantazzmo-1-Enter-Fantazz-Explicit/dp/B0041MGLF6/ref=sr_1_1?s=music&ie=UTF8&qid=1310497015&sr=1-1
(Reprint from Tunecore Blog)
By George Howard
(follow George on Twitter)
Artists are an iconoclastic bunch. They tend to see the world in a unique manner, and often feel that their idiosyncratic world-view is sacred. This can lead to great art. We need artists to help us see things we otherwise wouldn’t. The downside of this point of view is that as artists adhere to a rigid perspective of self-reliance, they often exclude any other voices. In short, it’s the artist’s way or the highway.
While artists will (to a degree) look to other musicians whom they admire for musical inspiration, they too infrequently look to others when it comes to plotting their career trajectory.
This is a mistake. We all need Sherpas, guides. It doesn’t mean that we can, or should, try to follow exactly the path of those who came before us, but it does mean that when a learning curve that’s been flattened by the boots of those who came before you presents itself, you should avail yourself of it.
The problem, of course, is that there’s so much noise. The group think/conventional wisdom can be overwhelming when you’re trying to discern fact from fiction and anecdotes from something more empirical. Trying to determine to whom you should look to/listen to for guidance is challenging when everyone appears to be an expert.
To help filter some of the noise, I suggest the following:
As I discussed in my most recent article, you must work diligently to understand, establish, and make visible your core values. This includes everything from understanding what you feel your musical (if not life) purpose is, how you will articulate this, and how you will use this understanding to sustain yourself during the inevitable tough times. Significantly, understanding your core values allows you to target potential fans/evangelists (or, a new term that I like a lot, “igniters”) whose values align with yours. These igniters are the ones who will immediately respond to what you do, and, importantly, share your work with their friends. This is really the very best form of marketing: it works, it doesn’t cost money, and it can lead to building a sustained career that is far less affected by trends and market vagaries than careers built on things other than value alignment.
Understanding your core values creates a filtering process that will not only eliminate noise with respect to the potential fans you should be targeting, but also help in terms of where to look for guidance from artists who are a step or so beyond your current situation.
A few important details. First, while it’s likely that those artists you look to as examples for a career trajectory will align with your musical sensibility, it’s not crucial that they do. For instance, while I’ve never been a big jam band fan musically, I have for ages admired their values, and the way they go about developing sustainable careers. I feel that many artists — irrespective of whether or not they like “jam band” music — could learn a ton from the way these artists operate (their commitment to performing live; the ways in which they collaborate with other artists in the genre; the ways in which they nurture “community” with their fans). Similarly, many non-hip-hop artists could take a lesson from some of the marketing innovations that occur in this genre; I think, specifically, of the mix tape efforts, and the way in which more established hip-hop artists often introduce emerging artists via guest spots on their records.
Equally important to making certain that the artists you look to share your core values (even if they don’t share your musical tastes), is that you must look to artists who are in close relative proximity to you with respect to your career arc. While it may be somewhat helpful for an artist who is just starting out to look at a superstar in order to study a career trajectory, it is far more instructive to look to artists who are a step or two ahead of where you are. If, for instance, you are an artist who has developed a decent fan base in your home town, but hasn’t yet performed outside of this home town, don’t look to the band who tours 300 dates a year for guidance, but rather look to the band that is getting out of town two or three times a month. How are they doing it? What strategies are working for them that you can adopt to suit your needs?
Of course, this doesn’t only apply to playing live, but also to all efforts of brand building. What, for instance, are artists who share your values and who are a step or two ahead of you doing in terms of social media?
I would add that while you can do this from afar, voyeuristically studying an artist, I would strongly encourage you to reach out and talk to other artists. As I said in my intro, artists sometimes are reluctant to share their “secret sauce,” but not always, and maybe not even as much as we think — maybe we just haven’t been asking enough.
We desperately need more knowledge-share amongst those who are in the trenches doing this thing we love every day (hence, the TuneCore blog), and any opportunity to engage in conversations with people with shared values should be embraced. Doing so will not only help you with your career strategy, but also with maintaining the necessary empathy required to succeed today.
So, go find that Sherpa!
www.FANTAZZMOROCKS..com
Tell your friends about Fantazzmo!
Website:
www.FANTAZZMOROCKS.COM
Myspace:
www.myspace.com/FANTAZZMO
Facebook:
http://www.facebook.com/Fantazzmo
Twitter:
http://twitter.com/#!/Fantazzmo
Blog:
http://fantazzmo.blogspot.com/
iLike:
http://www.ilike.com/artist/FANTAZZMO
Tumblr:
http://fantazzmo.tumblr.com/
YouTube:
http://www.youtube.com/user/FantazzmoRocks?feature=mhum
last.fm:
http://www.last.fm/music/Fantazzmo
Grooveshark”
http://grooveshark.com/#/fantazzmo/music
Soundcloud:
http://soundcloud.com/fantazzmo
ITunes:
http://itunes.apple.com/us/album/fantazzmo-1-enter-the-fantazz/id390562266
Amazon.com:
http://www.amazon.com/Fantazzmo-1-Enter-Fantazz-Explicit/dp/B0041MGLF6/ref=sr_1_1?s=music&ie=UTF8&qid=1310497015&sr=1-1
SOPA & PIPA The 4-Letter Acronym That Could Kill The New Music Industry
The 4-Letter Acronym That Could Kill The New Music Industry
(Reprint of Tunecore Blog)
Email
By Jeff Price
As some of you may already know, there are two bills bouncing around Capitol Hill called PIPA and SOPA that are supposed to stop websites and internet services from illegally giving away other people’s music (this also extends to film, books, software, video games etc., but I am only going to focus on the music side of things).
I adamantly believe that when an artist creates and records a song, the artist, and only the artist, should have the right to do with it what they want. If they want to sell it, they should sell it. If they want to give it away, it’s theirs to give away. No one else has the right to make those decisions for them.
As noble as this premise may sound, the reality is that the world is full of good people, bad people, and uneducated people. And, whether we like it or not, all these people have access to technology that makes a lot of my beliefs moot–what good is a belief or law if it is simply unenforceable.
To that end, Congress got lobbied hard by the RIAA to write a new law that allows its label members (note: the RIAA is the trade association for the major labels) to have a new legal weapon to go after “rogue” websites and services that give the middle finger to copyright by allowing people to get music for free from artists that do not want to give it away for free.
The problem is that the bills lobbied for were done so by the RIAA, the organization that no longer represents the music industry. The majority of today’s music is being created, distributed, bought, streamed and shared from artists outside of the RIAA label member system. The RIAA and its members are no longer the voice of the industry; they are the voice of what was, and an ever-shrinking part of what is. Congress needs to wake up to this fact.
Or said more eloquently by the Deputy Director of Future Of Music Coalition Casey Rae Hunter:
“Artists have every right to be wary when powerful entertainment conglomerates push for policies that could undermine free expression, all the while claiming to speak for creators.”
The second problem is that the bill gives the old school players the power to not only protect their copyrights (which I support), but also to kill the new music industry.
Simply stated, if the SOPA bill was signed into law in its original form, TuneCore could have been threatened to be turned off, and thus cut off the choice, freedom, and future revenue from the hundreds of thousands of TuneCore Artists that have earned over a quarter billion dollars. Fortunately, TuneCore would be able to handle the threat, but others with fewer resources may not have the same outcome (not to mention why should TuneCore have to spend its time and money to deal with another entity making frivolous claims).
And before you think I am being hyperbolic, here is a perfect example; the US is already seizing web properties through the Department of Homeland Security’s Immigrations and Customs Enforcement (ICE) division. One of their targets was a hip-hop blog called Djaz1.com which they literally shut down, claiming the hip-hop blog was illegally distributing songs it did not have the right to distribute. That’s right, the government just grabbed the domain and shut the thing down.
Turns out the government had it all wrong – and a year later they finally relented, but not before irreparable damage was done.
The article on TechDirt titled: “Feds Falsely Censor Popular Blog For Over A Year, Deny All Due Process, Hide All Details…” provides a great play by play. The author summarizes it well when he says:
The Dajaz1 case became particularly interesting to us, after we saw evidence showing that the songs that ICE used in its affidavit as “evidence” of criminal copyright infringement were songs sent by representatives of the copyright holder with the request that the site publicize the works — in one case, even coming from a VP at a major music label. Even worse, about the only evidence that ICE had that these songs were infringing was the word of the “VP of Anti-Piracy Legal Affairs for the RIAA,” Carlos Linares, who was simply not in a position to know if the songs were infringing or authorized. In fact, one of the songs involved an artist not even represented by an RIAA label, and Linares clearly had absolutely no right to speak on behalf of that artist.
If this doesn’t scare the crap out of you, it should. If the original versions of the SOPA or PIPA bills passed, TuneCore, just like Djaz1.com could have been targeted.
The concept behind the bill is good—protect copyright—but the execution stinks. Congressman and Senators don’t know that the power has shifted, and they need to hear from you.
Seriously, they need to hear from you.
Take action, get involved. Call your Senator and/or Congressman and tell them what you think and why.
Or go here to learn and do more.
www.FANTAZZMOROCKS..com
Tell your friends about Fantazzmo!
Website:
www.FANTAZZMOROCKS.COM
Myspace:
www.myspace.com/FANTAZZMO
Facebook:
http://www.facebook.com/Fantazzmo
Twitter:
http://twitter.com/#!/Fantazzmo
Blog:
http://fantazzmo.blogspot.com/
iLike:
http://www.ilike.com/artist/FANTAZZMO
Tumblr:
http://fantazzmo.tumblr.com/
YouTube:
http://www.youtube.com/user/FantazzmoRocks?feature=mhum
last.fm:
http://www.last.fm/music/Fantazzmo
Grooveshark”
http://grooveshark.com/#/fantazzmo/music
Soundcloud:
http://soundcloud.com/fantazzmo
ITunes:
http://itunes.apple.com/us/album/fantazzmo-1-enter-the-fantazz/id390562266
Amazon.com:
http://www.amazon.com/Fantazzmo-1-Enter-Fantazz-Explicit/dp/B0041MGLF6/ref=sr_1_1?s=music&ie=UTF8&qid=1310497015&sr=1-1
(Reprint of Tunecore Blog)
By Jeff Price
As some of you may already know, there are two bills bouncing around Capitol Hill called PIPA and SOPA that are supposed to stop websites and internet services from illegally giving away other people’s music (this also extends to film, books, software, video games etc., but I am only going to focus on the music side of things).
I adamantly believe that when an artist creates and records a song, the artist, and only the artist, should have the right to do with it what they want. If they want to sell it, they should sell it. If they want to give it away, it’s theirs to give away. No one else has the right to make those decisions for them.
As noble as this premise may sound, the reality is that the world is full of good people, bad people, and uneducated people. And, whether we like it or not, all these people have access to technology that makes a lot of my beliefs moot–what good is a belief or law if it is simply unenforceable.
To that end, Congress got lobbied hard by the RIAA to write a new law that allows its label members (note: the RIAA is the trade association for the major labels) to have a new legal weapon to go after “rogue” websites and services that give the middle finger to copyright by allowing people to get music for free from artists that do not want to give it away for free.
The problem is that the bills lobbied for were done so by the RIAA, the organization that no longer represents the music industry. The majority of today’s music is being created, distributed, bought, streamed and shared from artists outside of the RIAA label member system. The RIAA and its members are no longer the voice of the industry; they are the voice of what was, and an ever-shrinking part of what is. Congress needs to wake up to this fact.
Or said more eloquently by the Deputy Director of Future Of Music Coalition Casey Rae Hunter:
“Artists have every right to be wary when powerful entertainment conglomerates push for policies that could undermine free expression, all the while claiming to speak for creators.”
The second problem is that the bill gives the old school players the power to not only protect their copyrights (which I support), but also to kill the new music industry.
Simply stated, if the SOPA bill was signed into law in its original form, TuneCore could have been threatened to be turned off, and thus cut off the choice, freedom, and future revenue from the hundreds of thousands of TuneCore Artists that have earned over a quarter billion dollars. Fortunately, TuneCore would be able to handle the threat, but others with fewer resources may not have the same outcome (not to mention why should TuneCore have to spend its time and money to deal with another entity making frivolous claims).
And before you think I am being hyperbolic, here is a perfect example; the US is already seizing web properties through the Department of Homeland Security’s Immigrations and Customs Enforcement (ICE) division. One of their targets was a hip-hop blog called Djaz1.com which they literally shut down, claiming the hip-hop blog was illegally distributing songs it did not have the right to distribute. That’s right, the government just grabbed the domain and shut the thing down.
Turns out the government had it all wrong – and a year later they finally relented, but not before irreparable damage was done.
The article on TechDirt titled: “Feds Falsely Censor Popular Blog For Over A Year, Deny All Due Process, Hide All Details…” provides a great play by play. The author summarizes it well when he says:
The Dajaz1 case became particularly interesting to us, after we saw evidence showing that the songs that ICE used in its affidavit as “evidence” of criminal copyright infringement were songs sent by representatives of the copyright holder with the request that the site publicize the works — in one case, even coming from a VP at a major music label. Even worse, about the only evidence that ICE had that these songs were infringing was the word of the “VP of Anti-Piracy Legal Affairs for the RIAA,” Carlos Linares, who was simply not in a position to know if the songs were infringing or authorized. In fact, one of the songs involved an artist not even represented by an RIAA label, and Linares clearly had absolutely no right to speak on behalf of that artist.
If this doesn’t scare the crap out of you, it should. If the original versions of the SOPA or PIPA bills passed, TuneCore, just like Djaz1.com could have been targeted.
The concept behind the bill is good—protect copyright—but the execution stinks. Congressman and Senators don’t know that the power has shifted, and they need to hear from you.
Seriously, they need to hear from you.
Take action, get involved. Call your Senator and/or Congressman and tell them what you think and why.
Or go here to learn and do more.
www.FANTAZZMOROCKS..com
Tell your friends about Fantazzmo!
Website:
www.FANTAZZMOROCKS.COM
Myspace:
www.myspace.com/FANTAZZMO
Facebook:
http://www.facebook.com/Fantazzmo
Twitter:
http://twitter.com/#!/Fantazzmo
Blog:
http://fantazzmo.blogspot.com/
iLike:
http://www.ilike.com/artist/FANTAZZMO
Tumblr:
http://fantazzmo.tumblr.com/
YouTube:
http://www.youtube.com/user/FantazzmoRocks?feature=mhum
last.fm:
http://www.last.fm/music/Fantazzmo
Grooveshark”
http://grooveshark.com/#/fantazzmo/music
Soundcloud:
http://soundcloud.com/fantazzmo
ITunes:
http://itunes.apple.com/us/album/fantazzmo-1-enter-the-fantazz/id390562266
Amazon.com:
http://www.amazon.com/Fantazzmo-1-Enter-Fantazz-Explicit/dp/B0041MGLF6/ref=sr_1_1?s=music&ie=UTF8&qid=1310497015&sr=1-1
Thursday, January 5, 2012
Waves
Waves
The independent artist must create waves online the same way major label artists have people create waves for them. I have bumped into several articles here and there about a certain female singer and her "baby bump," then admitted pregnancy. Even sports heroes. I seen an article online about a famous football player who was trying to lower his child support payment's and the judge told him that at 38 and recovering from a knee injury, his career in the NFL is over. The judge went further and told the player that another player made a successful comeback to the NFL after a season in the arena league.
My point is that these people have publicists and teams that put out these releases to keep these people in the limelight.
As an Independent artist without a team or unlimited capital, we must create waves on the internet through social media, blogs, YouTube, anywhere someone will post our press releases and most importantly through fans spreading the word.
Fantazzmo's goal in 2012 is to make as many waves as possible by
February: I Know You're Mine Video
May: Cali Ep release
Drown Your Lies video
September: What You Doin To Me video
Remix Cd release
November: Hit the studio to record Fantazzmo II
2012 is the Year of Fantazzmo
www.FANTAZZMOROCKS..com
Tell your friends about Fantazzmo!
Website:
www.FANTAZZMOROCKS.COM
Myspace:
www.myspace.com/FANTAZZMO
Facebook:
http://www.facebook.com/Fantazzmo
Twitter:
http://twitter.com/#!/Fantazzmo
Blog:
http://fantazzmo.blogspot.com/
iLike:
http://www.ilike.com/artist/FANTAZZMO
Tumblr:
http://fantazzmo.tumblr.com/
YouTube:
http://www.youtube.com/user/FantazzmoRocks?feature=mhum
last.fm:
http://www.last.fm/music/Fantazzmo
Grooveshark”
http://grooveshark.com/#/fantazzmo/music
Soundcloud:
http://soundcloud.com/fantazzmo
ITunes:
http://itunes.apple.com/us/album/fantazzmo-1-enter-the-fantazz/id390562266
Amazon.com:
http://www.amazon.com/Fantazzmo-1-Enter-Fantazz-Explicit/dp/B0041MGLF6/ref=sr_1_1?s=music&ie=UTF8&qid=1310497015&sr=1-1
The independent artist must create waves online the same way major label artists have people create waves for them. I have bumped into several articles here and there about a certain female singer and her "baby bump," then admitted pregnancy. Even sports heroes. I seen an article online about a famous football player who was trying to lower his child support payment's and the judge told him that at 38 and recovering from a knee injury, his career in the NFL is over. The judge went further and told the player that another player made a successful comeback to the NFL after a season in the arena league.
My point is that these people have publicists and teams that put out these releases to keep these people in the limelight.
As an Independent artist without a team or unlimited capital, we must create waves on the internet through social media, blogs, YouTube, anywhere someone will post our press releases and most importantly through fans spreading the word.
Fantazzmo's goal in 2012 is to make as many waves as possible by
February: I Know You're Mine Video
May: Cali Ep release
Drown Your Lies video
September: What You Doin To Me video
Remix Cd release
November: Hit the studio to record Fantazzmo II
2012 is the Year of Fantazzmo
www.FANTAZZMOROCKS..com
Tell your friends about Fantazzmo!
Website:
www.FANTAZZMOROCKS.COM
Myspace:
www.myspace.com/FANTAZZMO
Facebook:
http://www.facebook.com/Fantazzmo
Twitter:
http://twitter.com/#!/Fantazzmo
Blog:
http://fantazzmo.blogspot.com/
iLike:
http://www.ilike.com/artist/FANTAZZMO
Tumblr:
http://fantazzmo.tumblr.com/
YouTube:
http://www.youtube.com/user/FantazzmoRocks?feature=mhum
last.fm:
http://www.last.fm/music/Fantazzmo
Grooveshark”
http://grooveshark.com/#/fantazzmo/music
Soundcloud:
http://soundcloud.com/fantazzmo
ITunes:
http://itunes.apple.com/us/album/fantazzmo-1-enter-the-fantazz/id390562266
Amazon.com:
http://www.amazon.com/Fantazzmo-1-Enter-Fantazz-Explicit/dp/B0041MGLF6/ref=sr_1_1?s=music&ie=UTF8&qid=1310497015&sr=1-1
Friday, December 30, 2011
Thank you for a great 2011
Fantazzmo would like to thank you for all your support in 2011 & we want to wish you and yours a FANTAZZ-TIC
2012!!!!
www.FANTAZZMOROCKS..com
Tell your friends about Fantazzmo!
Website:
www.FANTAZZMOROCKS.COM
Myspace:
www.myspace.com/FANTAZZMO
Facebook:
http://www.facebook.com/Fantazzmo
Twitter:
http://twitter.com/#!/Fantazzmo
Blog:
http://fantazzmo.blogspot.com/
iLike:
http://www.ilike.com/artist/FANTAZZMO
Tumblr:
http://fantazzmo.tumblr.com/
YouTube:
http://www.youtube.com/user/FantazzmoRocks?feature=mhum
last.fm:
http://www.last.fm/music/Fantazzmo
Grooveshark”
http://grooveshark.com/#/fantazzmo/music
Soundcloud:
http://soundcloud.com/fantazzmo
ITunes:
http://itunes.apple.com/us/album/fantazzmo-1-enter-the-fantazz/id390562266
Amazon.com:
http://www.amazon.com/Fantazzmo-1-Enter-Fantazz-Explicit/dp/B0041MGLF6/ref=sr_1_1?s=music&ie=UTF8&qid=1310497015&sr=1-1
Monday, December 19, 2011
iTunes Just Launched 2 New Stores: Brazil & South America
This blog is a combination of articles from Tunecore and the Mac Observer article by Bryan Chaffin
This is great news for the independent artist, now we have distribution in Brazil and South America. All we have to do now is figure out how to get people to discover our music! Once people find out about Fantazzmo, I know they'll love our music!
Hey, if it was easy...everyone would be doing it!!!!
Fantazzmo 1: Enter the Fantazz
NOW AVAILABLE IN BRAZIL & SOUTH AMERICA
Territories include: Argentina, Belize, Bolivia, Brazil, Chile, Colombia, Costa Rica, Dominican Republic, Ecuador, El Salvador, French Guiana, Guatemala, Guyana, Honduras, Nicaragua, Panama, Paraguay, Peru, Suriname, Uruguay and Venezuela.
Apple announced on Tuesday the long-delayed launch of the iTunes Store, as well as the somewhat unexpected launch of iTunes Match, in Brazil. The company said it was launching the store with 20 million songs
The iTunes Store is also launching with “over a thousand” movies to rent or purchase, some of which are being offered in HD. 20th Century Fox, Paramount Pictures, Sony Pictures Home Entertainment, Universal Pictures, The Walt Disney Studios and Warner Bros. Pictures are all on board for the rollout of movies in Brazil.
Brazil is the world’s 7th largest economy, making it the primary target for Apple in South America. The reason behind the delay has reportedly been the difficulty of managing local royalty payments, and in November is was reported that Apple had found a local solution provider to manage that process in time for a December launch.
Related: It’s December.
In addition to Brazil, Apple said that iTunes Stores are coming to 15 other South American countries, including: Argentina, Bolivia, Chile, Colombia, Costa Rica, Dominican Republic, Ecuador, El Salvador, Guatemala, Honduras, Nicaragua, Panama, Paraguay, Peru and Venezuela.
Music on the iTunes Store is being offered in the same 256kbps, DRM-free AAC format in the the U.S. iTunes Store. Local accounts will require a valid credit card with a Brazilian billion address.
www.FANTAZZMOROCKS..com
Tell your friends about Fantazzmo!
Website:
www.FANTAZZMOROCKS.COM
Myspace:
www.myspace.com/FANTAZZMO
Facebook:
http://www.facebook.com/Fantazzmo
Twitter:
http://twitter.com/#!/Fantazzmo
Blog:
http://fantazzmo.blogspot.com/
iLike:
http://www.ilike.com/artist/FANTAZZMO
Tumblr:
http://fantazzmo.tumblr.com/
YouTube:
http://www.youtube.com/user/FantazzmoRocks?feature=mhum
last.fm:
http://www.last.fm/music/Fantazzmo
Grooveshark”
http://grooveshark.com/#/fantazzmo/music
Soundcloud:
http://soundcloud.com/fantazzmo
ITunes:
http://itunes.apple.com/us/album/fantazzmo-1-enter-the-fantazz/id390562266
Amazon.com:
http://www.amazon.com/Fantazzmo-1-Enter-Fantazz-Explicit/dp/B0041MGLF6/ref=sr_1_1?s=music&ie=UTF8&qid=1310497015&sr=1-1
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