Finally got around to it. check it out, have a listen, download for free, enjoy!
http://www.last.fm/music/Seamus+Anthony
P.S. drop me a comment or whatever as my last.fm thing is a bit lonely looking!
Here’s the closest I get to sending Christmas cards to anyone, posting a pic of me performing at the Empress the other night.
Thanks to Nic for taking the photo and yes, I really am this skinny … actually the photo s-t-r-e-t-c-h happened by accident but I like it so it stays like this or the friggin’ elf gets it …
… get drunk tomorrow night and Xmas day as well, that’s an order. Merry fucking Xmas to you 
I had my attention drawn to this post of mine yesterday because Derek Sivers tweeted about it, which drove over 150 people to the page (thanks Derek!) and as I also had a tiny set last night at the Empress Hotel, which I enjoyed beyond expectation, it made me think about this point that I made in the post:
“I don’t want to do the same old rounds of crap gigs all over again. I might take the easy gigs that come my way but I am sure has hell not going to invest bulk time and energy into chasing two-bit gigs.”
Well since I wrote that I have had a massive change of heart. You see I was simply defaulting to the mode my brain had been set to for the last few years: that of the world-weary musician who had seen it all and was over it yadda yadda yadda which is SO BORING and CRAP.
I forgot how much I LOVE PLAYING MUSIC.
I WAS over it, and I guess that’s just the way it goes when you’ve seen the highs and the lows and just wound up with more lows than highs (my own fault too I might add) but I had a loooong break and now I am like a teenage kid all over again. No really! I’m champing at the bit to play any gig half worth doing and I’m doing crazy shit like leave my incredibly cozy domestic arrangements, drive for 45 minutes either way and then hang out in a bar for a couple of hours without any close friend there to hold my hand (tough call for an introvert like myself) just to play a 15 minute set! (Thanks to Robin and Frank by the way for the very affable reception and professionally run open mic night. Open mics are usually so terrible that I was in two minds about doing the gig at all, but it was a lovely atmosphere.)
I simply needed a break and now that I have had a long rest and a good think, I know that gigs are worth doing and DO help you to get where you want to go, even if it does mean sometimes putting up with crap (or no) money, dodgy PAs/sound engineers and grumpy promoters.
Here’s why doing little gigs is a good thing:
More on the last point:
Sure it cost me a few bucks, but they were really happy to get the freebie and now they have something to remember me by, and will hopefully dig my tunes, and come again to see me sometime or something good like that.
The other option, as I allowed to happen for far too long during my cynical, unproductive late twenties, is to do bar gig after bar gig, enjoy the evening but leave the crowd with nothing tangible to remember you by. Sure they might recall you once you are doing well like I laid out in point A - but the irony is, if you don’t practice point B then point A scenario will most likely never happen.
Generally, you gotta spend a little to make some.
P.S. and this doesn’t mean I am not going to do ‘Purple Gigs”. This is still part of the plan - but it is, in my opinion, best to do BOTH (refer to point 1).
Been gigging more and more frequently and really starting to enjoy it all over again. Just got back from Adelaide where I did a solo set and then a set with my best mate Peter (who was in reckoning with me). Here’s some photos of the gig, I am the git in the blue shirt, plus an old photo of the two of us backstage somewhere circa 1894 for comparative purposes (thanks Sonja).
Pete and I have reformed as a duo now and will be recording some new stuff in 2009. Peter never does things by halves so I am very excited about it…
Hi - my name is Seamus Anthony*
I am musician, writer and entrepreneur.
Go here to buy my CD or here to buy it on iTunes
Go here to listen to my music free at myspace
Psychedelic Meditation: go here to check out my new eBook about meditating to get a Cosmic High.
Go here to check out Rebel Zen the left-of-centre personal development blog I co-write with my mate Steve .
Go here to check out the website that Steve and I run for LivingNow, Australia’s largest holistic magazine
Go here to check the page for the rockin’ cult 90s band I was in called Reckoning
Here’s a roughly hacked out bio about me for those who like to read roughly hacked out bios written by people about themselves in the third person who are too lazy to change it back to the first person even though third person makes no sense on a blog 
Séamus was brought up by a colorful mixture of Free-Love Hippies and Born Again Fundamentalists - but somehow he survived intact.
Then straight out of school, he cut his teeth rocking the town of Adelaide, South Australia during the nineties in cult band Reckoning. They did pretty good, for a bunch of slacker freaks - until the hammer came down.
By the age of twenty-two, Reckoning had imploded and Seamus was one feral freak indeed. On the run from the law, under cover of darkness, and wearing clothing inappropriate for the weather, he moved to Melbourne, Australia and turned to managing a health cafe whilst simultaneously struggling with a substance abuse challenge.
At the time, the irony was completely lost on him.
He then developed a passion for psychedelic meditation which enabled him to get back on the good-foot, and subsequently joined the band Quill. They did ok for a bit, but the heat was closing in, so Séamus stowed away on a rusty freighter and went adventuring through South East Asia until he got stuck - cashless and dazed by the bright lights in Japan.
After doing solo gigs in Tokyo to pay his way home (and doing some more meditation), he cruised back to Melbourne, where he was welcomed home by a pyscho who beat the living shit out of him at Greasy Joe’s in St Kilda. Once his broken bones healed, Seamus spent a few years playing in the front bars of Melbourne, honing his craft and always writing new songs.
Since then he has run a nightclub, made coffee in countless Melbourne cafes, had about 15 articles professionally published in print and on the web (sample1, sample2), wrote a thriller novel (unpublished, possibly crap), taught meditation, travelled to France, Ireland, Belgium, England, Malaysia, Vanuatu, and up the Australian East Coast, worked in the corporate sector (yuk), and become a father. He now works from home running Rebel Zen Media, with Steven Mills. RZM’s major commercial client at present is LivingNow (we built and manage their website) and there is more afoot.
Ok I am sick of talking about myself in the third person. I just finished a new collection of songs which sound a bit like this and which is available to buy on CD now. And there are several other new musical, written and entrepreneurial adventures about to hit the streets, (including a collaboration with Peter Owen from Reckoning).
*Well that’s my professional name, in reality you have to stick ‘Ennis’ on the end of all that, which would be fine but I don’t fancy a Google war with this Seamus Ennis.
Hi - have been totally busy with Rebel Zen but have been getting some key things done music-wise in spare moments:
So yes, has been a bit slow for the last couple of weeks, but this year has been all about laying the groundwork for me to re-enter the music business again in a sustainable way. Wish me luck (now go listen to my tunes at MySpace or just go buy them already!)
If you are so far ahead of the popular curve as to give a toss about what I do, then please join my email list by scrolling up to the top of this page and entering your details in the email list thingy, or get new blog updates by email or RSS.
When you make a CD of your own music for commercial release, the last thing you want is for people to pop their copy into their player of choice - whether it be iTunes, car stereo or a boom box - to get greeted by “unknown album - track 1″.
Not exactly great branding
Well I sent my first few home-made discs off to CDbaby for sale, and only then thought about this, so seeing as I am about place an order for a bunch of commercially made CDs, I thought I’d better get up speed on how to get the track listing information happening properly.
Well I don’t have time now to write up a funny rant about how irritating it was trying to Google that information, but suffice to say I didn’t really know the correct search terms (now I do, and you will too by the end of this post). After a couple of days and the help of a couple of mates, I was starting to get a pretty good picture although it was still all far from clear. (Why is everything so complicated these days? Am I really getting that old that I can’t keep up?)
Then today I got a reply to an email I had sent on a whim to Brian of CDBaby and ladies and gentlemen! We have a winner! Brian get’s the 2008 “legend award for explanatory clarity”!
I asked Brian if he would mind if I pasted his answers in here for the benefit of confused musicians everywhere and he said that was fine. But before I do, can I just say (and I am not getting paid for this) that CDBaby as an organisation of enthusiastic and pleasant individuals has consistently blown my mind over the last few months. They simply offer the best customer service of ANY organisation EVER.
Ever-ever ever.
The following words are Brian’s not mine, and admittedly I haven’t actually tested all this out yet, but I will post updates if anything turns out to be wrong (or you can leave a comment). Ok, so here goes, prepare to be enlightened:
“As for the information (metadata) on the CD…
There are 3 ways (I know of) that a CD can be inserted into a computer, and “automatically” know the artist, album, and song information.
== METHOD # 1: Directly recorded onto the CD
The name for the technology by which information about a recording is embedded into an audio CD is: CD-Text. The information itself (album title, artist name, etc.) is often referred to collectively as “metadata”.
CD-Text is part of the Red Book standard for audio CDs. Basically: if your burning program can do Red Book burning and offers the ability to specify the artist / album name and track titles for a CD, it can probably do the CD-Text when you burn the CD. Most reputable mastering houses will allow you to specify CD-Text to go on your CD, as well.
These links can tell you a hell of a lot more than I ever could:
http://en.wikipedia.org/wiki/
http://en.wikipedia.org/wiki/
http://en.wikipedia.org/wiki/
Be sure to see the links at the bottom of each article, too. For example: http://web.ncf.ca/aa571/
Here’s one I found when Googling “metadata audio.cd” which *looks* free: http://www.poikosoft.com/
== METHOD #2. Looked-up from an internet service like CDDB or FreeDB
There are several variants on this, and the only difference really is how they identify CDs when popped in.
The most common (and by “most common”, I mean “99.98% of time”) method used by the major audio players (e.g. iTunes, WinAmp, Windows Media Player) is extracting an ID number from the non-audio part of a CD and looking it up in an online database.
It basically involves getting some kind of unique “code” off the CD (usually referred to as a “catalog number” or “id number”), and then matching it up with an online database that stores all the information about the CD with that unique code.
Different online databases use different codes, but most of them are variants on the CD’s “table of contents”: http://www.cdrfaq.org/faq02.
The biggest online databases are:
CDDB/Gracenote: http://www.gracenote.com/
The most popular and widely used online database. Most media players get info from the CDDB. It used to be free for all, but since Gracenote bought it, costs money for software companies to use.
FreeDB: http://www.freedb.org/
Still free. Less comprehensive than the CDDB, but still very comparable.
AMG AllMusicGuide: http://allmusic.com/
AMG supplies data about releases to lots of other companies. They also maintain the allmusic.com website, which is sort of like Google for mass-released recorded music.
Muze: http://www.muze.com/
Kind of like AMG, except they also provide the music too. (One of CD Baby’s
Digital Distribution partners.)
== METHOD #3. Audio player software keeps a local database on your computer.
This is what iTunes and Windows Media Player and others also do.
If you pop in a CD and explicitly type in the artist, album, and track names, it stores all this in a file somewhere, probably accompanied by an id number like the CDDB does. Then, when you pop that CD into your computer again, you don’t have to type all that junk in again.
So… what should YOU do, for YOUR CD?
#1 - For future CDs you press, definitely look into #1, and try to encode the information directly into the CD.
#2 - Submit your CD’s info to CDDB/Gracenote.
The easiest way to do this is through iTunes.
1. Insert the CD into your machine.
2. Open iTunes. Be sure it recognizes your CD with your artistname / albumname. If it doesn’t, you can right click on both the CD itself (on the left-hand side of iTunes) and the individual CD tracks (usually in the playlist window on the right) and choose “Get Info” or “Properties”. There you can enter your artist name, track titles, and all the other info, and iTunes will save it (this is Method #3 discussed above).
3. Click on the “advanced” menu.
4. Then just “submit CD track info”.
Save the submission and it will automatically be uploaded to CDDB/Gracenote. (This is Method #2 discussed above.)”
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Derek Sivers: Promotion! Creating the music is easy (though still underrated). Distributing the music is so easy it’s moot. So now the delicate art of calling attention to your music means everything. Marketing is distribution.
I just read this interview and the above quote in particular got me my mind racing. Especially about this: If you are running around saying that you want to be “a successful musician” - what does that actually mean? What will you be doing from day to day when you are a successful musician?
When I started out in music I knew what I wanted - big crowds, pretty girls falling at my feet, free beer and weed - and a get-out-of-work-free card that lasted the rest of my life (which at that point I saw lasting until about 1998 if I was lucky).
Well I got the first three for a while before the sum combined effect of these gifts on my little boy mind caused a complete blow-out and I went off the music scene radar. And now, at the youthful age of not quite 35 I am playing a kind of music that I can see myself playing when I am 95 and I am eager to get out there and “be a successful musician again”. Not because of the same reasons though. Not because I need the ego trip - but just because I enjoy making music. Not because I think “I’ll be happy when” but because I am happy now - even when I am not (weird but true) - and this gives me a a kind of freedom and confidence to just do what feels right. And not because I want to get rich but (call me a hippy) because I am abundant.
So I have my new CD - click here and go have a listen and then if you like it you can buy it. It is also available through digital distribution outlets like iTunes and the like. And I have well and truly returned to live performance. Yup, I am slowly but surely getting my thang back on the boil.
But what does this actually mean?
Well I know what it doesn’t mean. It doesn’t mean hedonistic excess for me anymore - I’m over it. And it doesn’t mean ‘not having to work’ because I love my work which is more like play and have no desire to give most aspects of it up.
And it doesn’t mean “Rock Star”. That concept is hackneyed and irrelevant as far as I am concerned although I concede that this may just be because I am, like, totally ancient.
And I don’t want it to mean countless gigs in front bars full of barflies who don’t care about my music. Why would I bother with that strategy? Popular wisdom has it that you do it to build a following - but is it really an efficient way to do that? I seriously doubt it. All those hours spent negotiating with horrible grumpy egotistical promoters just for that? Pah.
Personally I think that what is called for is a new model. This may not be revolutionary for others, wiser than I, but for me it needs to get clear in my head if I am to take my new music and get it heard by a decent amount of folk who will appreciate it.
So here is the model I have in my head - well it’s a model in the making actually and far from complete (and assumes that great music is being made else why would you bother). It draws on Seth Godin’s “Purple Cow” book and the business strategy called “Blue Ocean Strategy” so instead of being a blue ocean it is a purple one to combine the two (very similar) theories.
My Purple Ocean Music Marketing Model
I know, revolutionary hey? But actually it is.
If you were to successfully use social media to actually sell a largish amount of music then you’d be a God in my eyes because you’d have done it from your lounge room which is actually very flipping revolutionary.
And in my limited but rapidly increasing experience with using SM it is not just a case of jumping up and down screaming “look at me, look at me”. You have to have something to say otherwise you might as well not bother. I suppose there are people who do this already. Be cool to know who and explore their methods.
Seriously you don’t want to be stuck in front of a screen all the time as this will never come close to the sensation if playing live. (I mean it’s just crazy how much screen I do these days and yet ten or twelve years ago I didn’t have so much as a hotmail account and everything to do with music had nothing to do with computers for me then.)
But like I wrote earlier, I don’t want to do the same old rounds of crap gigs all over again. I might take the easy gigs that come my way but I am sure has hell not going to invest bulk time and energy into chasing two bit gigs. But how to approach playing live then?
Well, I have this model in mind of basically just copying what theatre people do which is they book out a theatre and pre-sell the tickets so that on the night they know how many crew are going to be there and all the emphasis in the lead up to the night is on the actual show itself.
None of this madly texting everybody at 6pm to try and convince them to come out to some crusty bar to hear you sing. No way, instead the idea is to book one night in a small theatre, pre-sell the tickets and then make sure it is such an awesome show that word of mouth kicks into gear and the venues start getting larger.
Think about it like this: Hit theatre shows don’t do endless gigs in two-bit dive bars. They rely on good self-promotion and then word of mouth based on the quality of their show.
What I mean by this is:
So you might come across my free mp3s, dig them, dig my blogging style here, also get into my writing style over at Rebel Zen and then buy the e book.
Voila. I gave away music and free blog content to sell a book. And that’s just one cross selling example. I have many more. But I’d rather do them than hypothesize about them.
4. Start Pumping Out New Music - and partner up to do it.
Although ‘Dogs May Bark’is a 100% solo effort, and while I will surely do more solo stuff, I am currently preparing to team up with some other dudes to release music under a couple of different names. I don’t see why you wouldn’t. Mixing it up with dudes always makes for different music than I would just make by myself, and if one project takes off, then I suppose we’d just run with it. Meanwhile you could cross-sell the acts amongst each other.
5. Re-Package the Past
One thing I think is a real shame is how some bands burn really bright for a while and then just get forgotten because they are not then re-packaged and re-marketed (yeah, I sound like a corporate tosser I know, can’t help it, I flick from business to artists brain really easily, but really I am just a nuff-nuff in a funny hat).
For example I was in one band called reckoning, and not to blow my own trumpet but well, you know, Bwaarp! So me and Peter from this band are getting back together this summer to record new music and meanwhile we are going to put together a website and a best of compilation (plus make all the mp3’s available for sale too) of the old band because it was a great band and more to the point, when I get into a new band or solo artist, I always want to know what other stuff they have done, so I assume that’s how other music fans also think.
So yeah, don’t let the past just die (but focus on making new music of course). Your history gives you context and depth.
6. Just Study the way things are done and try to do new things. (or if not new then just plain excellent).
If any readers could offer some ways to help invent a truly different music marketing model then I’d love to hear them so leave a comment (so far very un-comment-y visitors to this site, I see the stats but I don’t get much feedback, speak up! I love it!)
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The following is the story of one idiot (me) trying to take the cheapskate option and hand-make five CDs to send to CDBaby to sell. And of how it nearly drove me to cause some kind of act of mass destruction that, had it actually happened, would more than likely have involved a printer, an Officeworks outlet, the five CDs in question, a life-size reconstruction of that zeppelin that blew up and one of those really long BBQ matches.
Let me explain…
A few weeks ago in an inspired (but stupid) moment I decided to hand-make the first five copies of my forthcoming “Dogs May Bark” CD. My rationale, if you can call it that, was to make them cheaply as a kind of mini-investment, sell them, re-invest the profits, make a few more and so on so that as I made more discs each time each batch pays for themselves and contributes to the next batch, or something like that.
I mean, I didn’t actually do a budget, I just figured it’d work out …
What’s more I gave myself 7 days to do it.
Yeah right.
I would like to say now, to the very few that will read this, that I will categorically never ever do that again even if some axe-wielding-maniac threatens to castrate me unless I do. I mean that. I will place my precious boys out on the block without resistance and contort myself in such a way as to give the man a clear shot and no chance of missing.
You see it should have been easy to make 5 CDs - but nay, it was in fact a complete pain the arse.
It started with the design. I asked my wife-except-for-the-marriage-bit to design the cover for me. That turned out ace but me nagging her to get it done within the 7 days didn’t do our relationship any good, especially seeing as our little darling 9 month old was keeping us up all night for no damn good reason (that we could ascertain anyway - you think WHAAAA! makes no sense during the day, try figuring out that shit at 4am).
Then I had to buy the discs. I went to Officeworks and bought those discs with the white printable tops - but they only seem to come in those thin covers with no back insert facility. This would have been ok if I hadn’t just spent five days stressing my girl out to get a back insert made. So I had to buy another bunch of non-printable discs so I could use their full size cases.
Of course I didn’t notice this in the shop, my girlfriend noticed it back home. So I had to go back to Officeworks to get those bigger jewel cases. That took me about a week to get around to. (It’s cold out there in Melbourne right now, and we live in the hills too. So you can see why I am so ambivalent about losing my nads - I can’t feel them anyway.)
Oh and on another tangent: Why are they called jewel cases? Is it because if you didn’t extract the oil to make the plastic covers that oil might turn into a diamond one day?
Anyway so then I needed five covers and we had run out of paper to print them and besides normal office paper wasn’t going to cut it so I bought some nice card but they only had 80% recycled. But this has nothing much to do with the story so let’s move on.
Yeah so look I went home and the printer was in it’s box because we moved house two years ago and we never seem to use it. Meanwhile we have changed computers to a nice new Mac (from a shitty old PC). Of course the printer wouldn’t work would it. And no idea where the driver disc is and it probably was just for PC anyway so spent an entire Sunday finding a driver to get it working. You know, searching through lame suggestions in forums until you finally find the answer yourself in some kind of zen-koan satori breakthrough. (I know what I mean, that’s all that matters.)
But, says the little pop-up, there are three empty printer cartridges….
One million dollars and another trip to Officeworks later…
Printed the covers. Ok. Look good.
Somehow it takes me until the next Sunday to get around to figuring out how to print the discs. By the very end of that nice sunny-outside Sunday I discover that although the driver I downloaded works for paper, it won’t work with the CD-Label print software that I spent the first half of the day discovering I needed. I think it was Tuesday before I printed the CDs.
And of course the whole 7 day thing is a dead duck by now obviously.
So now I have paper covers and sweet looking discs but I need to cut them out. I cut out one with some crap old scissors we have but it looks all wobbly and it took far too long. And then they don’t fit anyway. The cd artwork template we downloaded from the internet (we googled “CD artwork template”) wasn’t the right size! They were about a centimetre out!
Damn it! I DEMAND my free useful shit from the internet to be accurate ok?! Jeez!
So then (about a week later) I have to go to Officeworks AGAIN to get them to guillotine the covers. Which they slug me five bucks for. And while I was waiting for the McGenius who served me to find the time to slice my paper, I impulsively bought some cool computer speakers that I couldn’t believe were only $120.
Suffice to say, my little budget has gone right out the window by now and there is no way in hell I am making anything less than a $500 loss on these first 5 Cds - especially because in my infinite financial planning wisdom I totally forgot to factor in that I paid to get the recording done in a studio (well, the basic tracks, I did the cool computer sounds on my iMac). So what the hell kind of bizzaro-budgeting planet I was on in the first place I do not know.
And then I go to post them. I never post shit so I thought you know, maybe it’s be five bucks to send them to the USA from Australia. U-Uh. over $20 bucks. So I’m like “Oh so they get there pretty quick though huh?”
The post office lady just grunts. I had to strain to hear her sweet dulcet tones properly but I am pretty sure she said “A week”.
What are they sending them by? Canoe?
So suffice to say I was more than glad to wave those five little fuckers off and I hope the CDBaby people enjoy them and I went straight home and got three quotes for 100 cds done professionally and was perfectly happy to place a $500 order and I will never, ever go near the idea of home-making my CDs ever again. Good luck to you should you try.
And my back hurt typing this drivel so go to my myspace page and listen to my music already and then email cdbaby at cdbaby dot com and tell them you want one of the only five hand made CD copies of “Dogs May Bark” by Seamus Anthony, which are currently being paddled furiously to Portland from Melbourne, Australia by one poor sod who alone in this world truly knows the deeper hidden meaning behind the popular adage “to go postal”.
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Sad as it may be I spent my Saturday arvo getting some serious social media action happening to promote my music. Well, to my credit it is a rainy old winter’s day here in Melbourne, especially in the hills where I live. And I did break it up with a disgustingly healthy walk with the dog and other humans…
I was at a loss as to where to start so I just googled something like how to promote your music online and got this article and went off from there. I was obviously already on MySpace so decided to hit iLike.com instead. I was surprised to see it was considered such a big deal because I signed up once ages ago but had kind of forgotten about it. Anyway I relocated my log in details and found my profile, languishing and attention starved little bastard that it was. Well, still is really.
The short story from there is that I spent yonks uploading my songs and tweaking yet another fucking profile page, but at the end of the day I am not sure how to use it still. To promote my music that is, although I am sure I could use it to totally waste many, many precious hours, but when you get past 30 you don’t want to do that.
I read as much as I could stand but, call me a Luddite, I still can’t figure it out. I worked out that it somehow links up with Facebook, although (without asking me) it created a new artist page for me (Fuck! Like I need TWO goddamn Facebook profiles in my life! Aaagh!) and I am not sure how to link that in with my existing Facebook page yet. And besides, seeing as I use Facebook pretty much only to find out how fat or bald old school mates I haven’t seen in years have become, I am not really sure what the point of promoting my music through that service is yet. Like some girl you made a drunken fool of yourself in the sack back in 1990 is going to get all excited about your new tunes when she has three brats to look after and an alcoholic husband who never stops griping about how much he hates his job. Or whatever… anyway …
Then I figured out that it also linked up to Hi5.com - which seemed weird. I mean I really don’t think that all that many two year olds are going to get my particular brand of world weary grumbling but what the hey - get ‘em young right? So I went over there and realised that it’s just like ANOTHER Facebook or MySpace or whatever, and before I knew it I was slavishly filling out yet ANOTHER freakin’ profile page. Strange thing was I pretty quickly found out that there are at least 7 real world friends using the service, and all people who I know already use the usual culprits. What do people DO with their time these days? No wonder I never see anybody anymore! Everyone’s too busy keeping up with the rampant proliferation of social media sites to get out and visit each other in the real world!
And if you go and look at these two new profiles I created, here and here, you will see that they look completely and utterly lame. I really love the way they say things like “Seamus currently has no friends” or “Total fans: Zero” which, if anyone ever actually manages to stumble into these virtual-backwaters is just gonna look to them like “Ok, this guy is, like, the world’s worst Nigel-no-friends ever. I am totally outies.”
Anyway, jokes aside, I went through all this pain because apparently I am going to be able to promote my music through this beserko thang called social media, and if so, then fine by me. But I can tell you now, today I learned two things:
1) Social Media may work (I bloody hope it does) BUT it is fiddly stuff that will chew up a WHOLE lotta time. So you will need to figure out which strategies work for you and stick with them, but lose the blind alleys. I will be. Oh yeah, I’ll be like the Jack the Ripper of the social media world, silently killing off any street-scum profiles that don’t work (okay prostitutes do actually work so that analogy didn’t really fly did it…)
2) I gotta get out and do some real gigs or I am gonna disappear up my own butt. Amen.
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