On November 1st, I will be launching a new online seminar for urban artists (it’s open to everyone, just urban focused). Today I wanted to share with you a little teaser video from one of the panelists, Conrad Dimanche, former A&R at Bad Boy Records and star of Diddy’s Making the Band, he is now the President of PMP Worldwide.

Below is some clip footage from an event thrown in Orlando a year or two back from the second half of the people throwing this event 4th Quarter Entertainment.

If you want to get on the early bird list, please head on over to BreakAnArtist.com now. You guys know my stuff sells out early and this program has 5 heavy hitters (well 4, if you count me) from the hip-hop industry.

Talk soon,

Greg

Today we are talking with Juan Cross of SongClash.com, a new community all about empowering fans to find new music through competitions. The site is starting to take off with over 400 indie musicians all over the world and has even been featured over at CSS Elite as one of the Best of the Best CSS websites.

Greg: So first, tell us a little about the why? What was the need in the market and what are you doing to serve it?

SongClash: There is a lot of music out there. The web has created a massive sea of music. The why for us is also a question. How does a music fan find songs that mean something to them throughout that sea of music? It’s more than finding a needle in a haystack out there.

The need is a music filtering platform that allows music fans to find these songs, or band/artists. SongClash does just that for the music fan and our platform allows direct fan to artist connection. Music fans want to know who these bands/artists are. What are they doing…a virtual friendship.

Greg: What can bands expect from the platform?

SongClash:Bands/Artists can expect the best at our site. Our platform is easy to use, easy to navigate and completely user friendly. Our platform concepts are determined by the need of our members.

On SongClash, is very easy to upload and add music to the ongoing monthly battles, users can “Tweet” songs from the bands/artists profile or from the battle sections and more. We are also working on a streaming service that will reward bands/artists. Soon after, we will launch our SongClash iPhone app and Facebook app as well.

Artists Services – for serious bands/artists we are implementing artists marketing services from Social Media to good ole Grassroots networking.

The platform is continuously expanding with new features and strategic partnerships.

Greg: How important is competition to an upcoming act? For me, feedback is key. Most just get feedback from friends, so really seeing what others think of your music is crucial. If you are in this business to make money, you are playing for your fans.

SongClash: For every band/artists, this is an extremely important part of what they do. How else can they know that their music career direction is headed the right way? Music fans and users on SongClash are always welcome to speak the truth, being a positive truth. Besides SongClash lending an ear to bands/artists out there, we have artist reviews by well know industry professionals.

Bands/artists need to know where they stand against their competition and most importantly, against those who will ultimately support their careers – music fans.

Greg: What are some of the prizes and incentives to getting involved in the battles and the site?

SongClash: The incentives will include cash, gift cards, record studio opportunities, artist reviews by industry pros, premium opportunities give a ways, video promotions, live event opportunities and plenty more…and the ultimate goal, our very own Music Label opportunity.

We are more than a website, so our brand will expand into external regional, national and annual festival events.

Greg: How does the site integrate with other social networks? Are there ways to share on other networks, grow virally, vote through widgets, etc.

SongClash: We are integrated with Twitter. Since Twitter is being integrated through Facebook and other networks, we thought using Twitter would be the most ideal network to use.

Our monthly battles artist preview pages provide every band/artists with song badges. These badges can be placed on personal sites or editable HTML networking sites like Myspace and other sites.

Greg: As you guys just went live, what can we expect as you grow?

SongClash: We just partnered with Ping Pong Music to start the SongClash & Ping Pong Music label. We will be on the look out for bands/artists that rise on SongClash. We have a tremendous team behind the label that, once we discover the “diamond in the ruff”. We have an incredible array of artist development, marketing and management services. Details to that will soon be here.

We have other amazing partnerships in the works that will enhance the user experience at SongClash greatly.

Greg: Where can we find you online to connect?

SongClash: Besides googling SongClash, all of our networks include the SongClash name.

• Twitter
• Myspace
• Facebook

_______________________________________________

I’d love for you to check out SongClash if you are looking for feedback on your music, trying to build a fan base that is engaged with indie music or have another outlet for your music. You can signup here as a fan, as a musician or check out their premium levels to get more exposure on the site and throughout their network.

These guys have been working on the site for about 2 years now and I am really proud of what Juan and his team have been able to do in that time frame. They have a great vision and a heart for indie music as they are indie musicians themselves.

If you have questions about the platform, leave them below in the comments and I’ll make sure to pass them onto Juan and the SG team.

-Greg

Last week I ran a story on the Kottonmouth Kings and their Pre-Launch strategy. I reached out to the man behind Suburban Noize Records, Brad “Daddy X” to talk about their relationship with their fans as well as how they determine their price points and the power of engagement. Below is what he had to say:

GYRS: You guys have always placed a premium on rewarding fans that take action early through pre-ordering. What is the affect of taking care
of your fans that are so vested in the KMK and Subnoize brand?

x: We have always strived to maintain a special connection to our core fanbase, the preorder packages give the fans a chance to get product and variations of a release that retail stores don’t offer. There is also an upside for subnoize , we sell direct to customer without a middle man. The fans take pride in knowing that thier purchase directly supports the band & the label.

On a good pre-order we can cover a lot of our costs associated with the release. So it’s a win ,win,for the label and artist.

GYRS: You have used 3 videos in the pre-launch process – Stomp/Rampage, Mushrooms and Let’s Go. What are your goals with the videos and what impact do they have on the brand?

x: Video has always been a strong tool for promoting songs and records. We know that our videos are not gonna be played on MTV so we don’t spend alot of money making videos. We just try to get creative and use our own resources. It is guerilla filming for sure. We use a lot of the Internet outlets and website to get videos viewed. Videos will also pop up on bonus or compilation DVDs we release.

GYRS: Typically, what % of sales come from the pre-launch/pre-order vs traditional sales? Are you expecting anything different this go around?

x: It really varies, but maybe 5 percent of total sales, on a record. That is in an albums duration, that percentage is higher on opening week.

GYRS: You have 4 tiers of products in the pre-launch. How did you get to the levels and why did you choose those price points?

x: We sit in a room with the subnoize staff and evryone puts in ideas. We run prices and all agree on interesting packages. We try to give alot of value to the customer, we understand the state of our economy, so we try to incentivize our fans with great value. Plus you can never put a price tag on the pride and personal connection that fan has to the band!

GYRS: How important is online fan engagement to the success of KMK today - from ustream to Twitter, Facebook and other channels?

x: I would say our strongest marketing tool is social networking sites. Word of mouth is still our biggest asset! It is real grass roots marketing, we do use commercial marketing campaigns also (commercials, radio & television, magazines, websites ect..that raises awareness but word of mouth is the key!

GYRS: What is the goal of the membership site past this initial release? Are you looking at recurring revenue, increasing engagement with “super fans” or building something bigger?

x: we have been talking about the premium membership site for a while. We just launched kingklick.com for premium and fan club members. It is just a site to get more personal and exclusive content that does not exist on our main sites. We hope to grow it into something really special, it is in it’s infant stages right now! Our goal is to generate revenue with the site as well as stoking out our members.

GYRS: Anything else you want to add about the new record and the way you are releasing it?

x: Long Live The Kings is in stores everywhere with different bonus discs and songs. Subnoize has one set of songs, Best Buy has another and iTunes has another. We recorded 45 songs so you can find them all if you look hard enough!

If you want to learn more about the Kings, check out:

• Daddy X on Twitter
• Kottonmouth Kings website
• Kottonmouth Kings on Myspace
• GRYS KMK Pre-Launch Article

-Greg

Note from Greg (Checking their site, they have launched 2 more videos on April 22nd, 2 days after the release. That is a total of 5 videos that are all of high quality, in addition to 45 songs, plus the pre-order specials. What are you doing that even comes remotely close to this?)

Looking at the music industry today and the new artists that are breaking through, there is really only one consistent theme that surrounds them all – they have been featured before they inked the deal on Crazed Hits. I have been reading Alex’s site really since it went online in Feb ’08 and over the years I have learned about acts, hit singles and songwriters months, if not years, before Ryan Seacrest gets to blab about them on his radio shows.

Over the years Alex has featured over 100 artists, bands and songwriters that have signed with major and indie labels before the pen dried and some have gone on to gain major international exposure (Drake, LMFAO, Owl City, etc).

I reached out to Alex to have a quick conversation on discovering new artists, how he got his start (he’s still a young gun) and what artists can do to get their music into his headphones. Check out the full conversation below:

Greg: How did you get involved in the A&R game and looking at such an amazing track record at such a young age?

Alex: I always loved music. I started out playing in bands when I was younger and always enjoyed searching for up and coming artists online. Prior to starting Crazed Hits, I found i.e. Katy Perry, One Republic and Colbie Caillat before they had record deals. In early 2008 I decided to start a website where I’d post the best unsigned artists that I came across. That’s how it all started.

I had absolutely no idea how to design or run a website. I spent a few days figuring it all out and then launched Crazed Hits on a $150 budget out of my bedroom in Germany. At that point, I was 22 and had absolutely no connections to anyone in the music business. I never worked at a label or any other music company before. I was probably as far removed from “the scene” in Los Angeles and New York as anyone could be.

Crazed Hits quickly created a buzz in the music industry and the thing that really made people pay attention was when I found BC Jean, who was back then without a record and publishing deal. One of her tracks really stood out – it was called called “If I Were A Boy.” I instantly freaked out and put it on my website. A few months later Beyoncè recorded it and the song became her biggest single to date.

I ended up finding more hit artists and writers such as Owl City, Kesha, Drake, Kid Cudi, LMFAO, and the website kept getting bigger and more influential.

Greg: I’m sure you found out about artists in a bunch of different directions. What are some of the more common ways that breakthrough artists end up in your inbox or on your radar?

Alex: I have developed a nice little scouting system. If an artist is making noise, it will definitely pop up on my radar. When I first started out I had absolutely no industry contacts, so all I could do is rely on myself and just go out there and find the best unsigned artists. That’s still how I do it today. A lot of people submit music to me, but the best stuff are usually things that I find on my own.

Greg: How important is online buzz to a label and what metrics are they really looking at? We always breach tangible things like email subscribers or PollStar stats, but that may not be the end all of what a label is looking for?

Alex: It really depends on the label and their philosophy. Some labels sign most of their artists based on research and numbers. There are signings happening where the artist has absolutely no traction, but that’s definitely the exception.

Usually, the label wants the artist to have some level of success on his/her own before signing it. They want to see anything from digital sales, to MySpace plays/friends, YouTube Views, TV synchs, and sold-out live shows. Having a well-known and established manager, producer and/or attorney on your team can help a lot too!

Greg: Are you familiar with the types of deals most artists are signing in 2010?

Alex: It’s very very hard to generalize. Every deal looks different, but it’s usually a 360 deal with little upfront money. A lot of singles deals are happening too, where the label invests a little bit of money and only commits to releasing one single.

Greg: Honestly, how important is the music vs. the buzz or commerciality of an artist looking for a major deal in today’s environment?

Alex: Again, it really depends on the label and their philosophy. Generally speaking, the more you bring to the table, the better your chances of getting signed, and the more clout you have when it comes to negotiating.

Greg: Going along those lines, is the album as important as the single – I know you typically pinpoint the go-to song for a new act on your site. Where should the focus be for a new artist?

Alex: The focus should be on writing great music and putting together an “artist pitch” that makes sense. Those are the most important things. After that, you need to focus on marketing your music and developing a fanbase.

Having one hit single is not enough. You need to deliver a body of work that showcases who you are and makes people attach to you!

Greg: We’ll close with this one…of all the acts that have gone through Crazed Hits and had a deal, how many have broke with huge singles/albums vs the number that have yet to release anything significant? Is there any pattern or telling sign as to why some have success and why the others never take off like they planned?

Alex: Most of the artists that got signed off of Crazed Hits have yet to release an album or single. The ones who have already put out a single and/or album have done really well (i.e. Owl City, Kid Cudi, Drake, Kesha, LMFAO).

There is definitely a strong pattern as to why certain artists work and have success. It all comes down to making people care! You accomplish that by being unique and showcasing your personality through your music, photos, videos, etc. You need to have an identity and stand for something! My analysis of Owl City elaborates on this.

Greg: Thanks to Alex for hanging out with us today and if you would like to check out what he is doing and the acts he is covering, you can stalk him here:

• Crazed Hits Site
• Twitter
• Facebook

Last week I got to catch up with one of my favorite voices in social media, Tamar Weinberg. I met Tamar at IZEA Fest in Orlando back in 2008. We ended up at lunch sitting together in a large group and ended up talking about blogging, Digg and how Twitter was blowing up. Tamar is a super cool chick that gets to work on some killer campaigns, writes an amazing blog called Techipedia and has written the definitive how-to book on social media, The New Community Rules.

Below is a really fun and laid back interview we did on social media rules for musicians. In the 18-minute iPod ready chat we look at the fine line between promoting and SPAM, how to start getting consistent with your content and how to pitch bloggers to promote your stuff. Digest, download and take notes folks. Tamar is ahead of the game and I’m glad we got to chalk it up for you.

Posts Mentioned In the Call

• 11 Characteristics of Highly Influential Bloggers
• Don’t Turn Twitter Into Myspace
• Imogen Heap Music Marketing
• Tamar on Twitter

To thank Tamar for hanging out with us at Gen-Y Rock Stars, we are going to be giving out a copy of The New Community Rules. This book is filled with case studies of what to-do with social media. We eluded in the audio about the similarities between the way that companies and artists should be marketing themselves with social media and this book will get your mind spinning with ideas to help promo your music.

To win the copy all you need to do is tell us in the comments what your biggest roadblock to getting fully engaged with social media is? And if you are already engaged, just tell us about what you are doing with social media to help promote and market your music. The best comment wins the book. I’ll pick the winner on Friday April 2nd sometime around 5pm EST.

If you want to beat the crowd and grab the hard copy on your own, head on over to Amazon and scoop it up!

Thanks for listening.

-Greg

(oh and as with nearly every promotional link, you should assume those are affiliate links, which they are. They help feed the staff.)

It’s always helpful knowing how musicians view the music industry and how they use their understanding to prosper. I was given the opportunity to interview the English duo, Georgia Wonder, on their musical pursuits and tricks of the trade. They had insightful things to offer:

Interview

Zach: Georgia Wonder’s social networking is evident in their persistent Twitter postings, mailing subscribers and visual updates. Is there a preferred form of networking that you favor more or find more efficient and effective that connects you to your fan base more than another form of networking? Similarly, is there a form of networking that you prefer, as a music fan, when trying to find out about musicians you like?

Georgia Wonder: More and more you read about the idea that the ‘email list’ is the most important thing to a band, and that collecting subscriptions is the ultimate form of connection you can create with your fans. We don’t necessary disagree with this, but the reality about people is that they will connect in the ways they want to connect. We all know there are ‘lurkers’ on forums, facebook pages and on things like twitter who never ever interact with anyone, but keep an eye out for new stuff. And the beauty of the internet is that there are now so many ways to communicate with other people. So if you had more fans on your facebook fan page than you did on your mailing list, does that mean you’re less popular? If you have 2500 followers on Twitter but you bore them all to tears, will they bother with what you’re on about, or just lose it in the mass of other messages? What we’re trying to say here is it’s very hard to join up the dots with your ‘reach’ – and email is becoming more and more irrelevant for the more social aspects of networking. People are checking their facebook as much as they used to check their email, and most people’s email inboxes are a total mess. Don’t discount anything and be prepared for all technologies to become obsolete in the near future.

At the moment there is a big gap in the market for music discovery on the internet – no one has really cracked it. We have the access with YouTube, Spotify, We7 and various other services, but as far as discovering new music is concerned I don’t think there’s anything out there that’s really fun and engaging that rewards people for actually looking for new music. I know there are things like Last.FM and Pandora which recommend things to you, but there is definitely something missing. It’s almost like we need the Rotten Tomatoes (film site) for music combined with something fun like a Facebook game to get people to actually engage with music they wouldn’t otherwise hear in a new way.

Z: All valid points, especially the point that people will connect in their own preferred way.

Georgia Wonder has been working on and promoting for some new material. Has the duo learned or changed its marketing techniques throughout its musical experience? If so, how would you describe the progress of your thoughts about marketing your music?

GW: You need to stay up to date with all the latest happenings with the internet and music, which is easy with sites like Mashable, Techdirt, Hypebot, and to some extent Boing Boing. But it’s easy to fall into the trap of fad based promotions. I think bands need to focus on creating stories that work away from the internet, that are real and tangible in their own right, and then use the internet to tell the story in many different places and ways. Our ‘Made In Nevada’ project is our attempt to record our entire new album in our local music store. This is a real thing we’re doing in the real world. But we’re blogging about it, creating videos for each song as well as ‘how we did it’ videos, talking about it on Facebook, Twitter and on our own Forum as well as using traditional press releases and other print and PR media to spread the word. A band’s current story could be based entirely on the internet which is fine, but although it’s tempting to do something gimmicky there is a new kind of one-hit-wonder nowadays – the video viral. Although we love cool, crazy and fun stuff like the rest of the planet, we think you should still try and plot a musical course rather than a here-today gone-tomorrow mentality. It may take longer, but it could be worth it. People are quick to point to viral stuff and go ‘see, that’s what you should be doing!’ but there seems to be little evidence of that kind of thing becoming a dependable long term strategy for success. And by long term how about more than five years?

Z: Much agreed. I think the long-term efforts are so difficult to give attention to these days – in our immediate lifestyles and culture.

You’ve been promoting your new song “No Credit” through various types of media, one being videos documenting your experience in the studio. You are recording your new album within the Nevada Music Center in the U.K., how would you describe your recording experience over the years? Have you recorded in the same studios? If not, have you discovered or changed anything new while working within different studios that you may not have picked up on earlier?

GW: Most of our stuff previously has been recorded at home, with the exception of drums when we’ve needed them. We were fortunate when we first started out that our very cool local music studio The Old Blacksmiths helped us out with a fair bit of studio time when we first met them. However, this didn’t solve the musical instrument problem, which of course using the music store does! It’s true you can get good results at home and recording has never been cheaper – however, creating something world class is something else.

We do get a bit tired of people saying it’s easy nowadays and great stuff can be recorded for peanuts at home. Well, it’s partly true, but in all honestly we all have far higher expectations when we listen to music nowadays than I think we give ourselves credit for as fans and bands. And more often than not, that quality can not be done on a budget of next to nothing with no facilities. You need guitars that aren’t crap, microphones that are better than your Skype headset and keyboards, synths and all other manner of stuff to get the job done. And let’s not forget you need the time to do it, and the money to make sure people involved aren’t starving.

Z: Indeed, the hyper-quality of music seems to be more expected and sometimes less appreciated the more we have access to more music.

For musicians, finding a balance in the quality of their product and the satisfaction of their work ethic can be tricky these days. Moving along. Reading up on your discography, I noticed you have two EPs out consisting of 5 songs each. Did you plan on this intentionally with any strategies in mind? How did you decided on this kind of model for your release?

GW: We think that recording tracks in bundles of five is far more true to the way we work than creating ten songs in one go and releasing them all at once. Also five songs feels like a body of work – it’s rare that in one period of time you can have a writing run of ten songs which all feel like they come from the same place. Five feels right. And didn’t LPs once have two sides of four to five tracks each? An EP is like the side of a long play record. We like that.

On the other hand we have our ‘Made In Nevada’ project which is an album project, but we’re recording as we go, releasing each track when it’s ready. This is great because it makes us focus on getting one track out at a time and tell the story as we go. We just released ‘No Credit’ – the first song from the project. We’re nearly ready with the second track and we’ve been working on the third, and have some idea of the fourth, fifth and so on. At the end of the project we’ll look over all the songs, assemble them into a good order and then release the physical copy of the album, as well as have the chance to add anything we thought was missing or think of when we’ve had a little distance from some of the material.

So strangely, our marketing for our first album is to release it as a series of singles! A rolling release. Feels good.

Z: I think your understanding of short, yet fully-embodied releases is a great method for today’s music industry. It’s a great way to adapt to how audiences consume and listen to music these days.

If you’re interested in finding out more about Georgia Wonder and checking them out you can visit their website or their ‘Made in Nevada’ website.

Today we have an exciting interview with Meghan McCormick of YouTube Tunes. She resides in the D.C. metro area where she’s a web content editor and social media strategist for the U.S. Army. Meghan is always up for grabbing coffee to chat about society, music, social media, technology or brainstorming words that rhyme with “purple.” You can connect with Meghan at mccormmk@gmail.com, Twitter at @meghankathleen and www.youtubetunesblog.com.

I asked Meghan to try something different for this interview. Since we are talking about YouTube videos and marketing I wanted to see if she would shoot an intro to this interview via video. Meghan rocked and was up to the on the spot opportunity. Here is her quick video and then some really great info on how indie artists are using YouTube to market their music!

GYRS: What are some of the things that make a YouTube video stand out?

Meghan: With 1.2 billion streams on YouTube each day, it’s highly important that musicians make their videos stand out on YouTube. Sometimes all it takes is a fun and charismatic personality that keeps people coming back, other times it’s a unique arrangement or cover of a song. Pomplamoose is a great example of this. Many of the videos on their YouTube page are VideoSongs, which follow two rules: 1. What you see is what you hear (no lip-syncing for instruments or voice). 2. If you hear it, at some point you see it (no hidden sounds).

They take popular songs that people love and transform the song to make it their own. Personally, I find some of their covers better than the original. It’s their unique style that keeps me coming back for more.

GYRS: Does quality of the recording have any bearing on what you consider a good video on YouTube?

Meghan: What’s really special about people “making it” on YouTube is that they don’t have the opportunity to hide their voice behind auto-tune and a mixing board. What you see is what you get. It’s amazing how far a strong voice and a little spark of personality can take an individual on YouTube. I’d prefer a fun, great sounding Web cam shot video over a high-def, Pro Tools/Garage Band produced video with an OK voice any day.

GYRS: How much does social proof (comments, ratings, etc) affect the viral and pass around characteristics of a YouTube video?

Meghan: Comments, ratings, views and subscriptions actually really help a video rise to the top. If you search for a video on YouTube, the search is filtered via those categories, so a video with more views, ratings, etc. will be seen by more eyes. When I’m browsing videos I’m more inclined to watch a video that has 10,000+ views over one that’s got about 300. A video with a views in the thousands means that for some reason, people are watching it. Numbers aren’t everything though; I’ve definitely found a few “diamonds in the rough” and I make a note to rate and comment, to help them get their video seen by more people.

People shouldn’t be discouraged if they only have a few views– everyone starts at zero. To help get more eyes on a video, artists should make sure they’re tagging their videos correctly, rating and commenting on videos similar to theirs and promoting their videos via their social networks.

GYRS: For artists looking to get involved in YouTube marketing, what are the 2-3 things they should focus on?

Meghan: A few things that help artist in YouTube marketing include:

1) Commitment and consistency

If you’re going to set up a channel with stellar music, make an effort to be consistent. Are you going to upload a video every week? Every day? Twice a month? Pick quality over quantity, but make sure you stick with it. Committing and building consistency will keep your audience assured that your channel is THE place to find great music.

2) Style

Are you a classically trained opera singer with a knack for covering 90′s pop hits? Do you do covers of hip-hop chart toppers on the piano (or banjo)? What is it about you that sets you apart from other musicians? Maybe you’ve just really got an awesome voice. Whatever it is, hone in on it and deliver something great.

3) Connect with your audience

On YouTube, your audience is your biggest ally. Without them, there’s no one to watch your videos or get your music noticed, so pay attention to them! Enable comments on your channel and videos, accept friend requests, ask your viewers for song requests that they’d like you to cover or ask them to contribute to your new original song. Try letting your audience participate in your videos. Julia Nunes did a really fun video where she had her fans record videos of themselves lip syncing one of her songs and she incorporated all the clips into her music video for Binoculars. It was a great way for her audience to be a part of her music.

4) Branding and promotion

Take a few minutes to customize your channel. Fill out all the biographical information and make sure you provide some form of contact (someone might want to book you for a gig!). Upload a profile picture, upload a background image, highlight the subscribe button. If you’re on Twitter, Facebook, MySpace, etc. make sure you include those links on you channel and then promote your YouTube page via those sites. Are you trying to get more views on your videos? Put your YouTube channel’s link as your bio link on Twitter, set it as your Facebook status, email it to your grandma (she’ll be so proud!).

GYRS: What are your 3-4 favorite music videos on YouTube, NOT from a major label artist? Why?

Meghan: It’s really hard for me to pick favorites, but here are some videos of musicians who’ve caught my eye on YouTube.

Michael Jackson Medley Sung by Sam Tsui arranged by Kurt Schneider

This video pretty much speaks for itself as to why it’s great. It’s a creative, energetic, and it is well produced. It’s got over 5 million views for a reason.

Mrs. Officer (Lil Wayne Cover) by Brad Doggett ft. Corey Smith

Brad and Corey are actually the reason I got interested in musicians on YouTube. I used to manage a band that they were both in and saw the power of YouTube when promoting their music. What makes this and their other videos great is their acoustic adaptations to popular hip-hop songs.

(500) Days AJ Rafael

With almost 151,000 subscribers on YouTube, Aj Rafael is the 28th most subscribed musician on YouTube of all-time. His channel features almost every genre, from R&B and Hip-hop covers to classical Disney tunes and catchy originals. Aj is a true musician who plays the guitar, the piano and has a strong voice. He collaborates frequently with other YouTube musicians (including current American Idol contestant, Andrew Garcia). These collaboration are a great way for his audience to discover new musicians, too.

L-O-V-E by Nat King Cole Cover

The videos of Julia Nunes are quirky and unique. She’s doesn’t just sing into the camera and call it a day. Her videos feature ukuleles, melodicas, hand-clapping, you name it- it’s probably there. Julia also does a really good job of engaging her fans (like I said earlier in this post), making them feel like they are on this musical journey with her.

Thanks Meghan for hanging out with us and shedding some insight into the world of YouTube. We see a lot of artists using it as a place to post, but not a place to interact like they would on Facebook or Twitter. The community on YouTube is really strong and you showed some amazing examples for us today. If you liked what Meghan shared, please go say hi and pitch her some fun videos that she needs to be aware of.

This week we are helping out a great cause here in the state of Florida as well as a huge festival for indie bands – the Harvest Of Hope Festival in St. Augustine, FL. Earlier this week Zach brought you some great information with Phil Kellerman, the President of the Harvest of Hope Foundation. Today I am happy to share a cool interview with Ryan Murphy from No Idea Records. Ryan is in charge of booking the wide range of artists at HoH including Dead Prez, Kid Sister, Broken Social Scene, Senses Fail, Anti-Flag and a ton more. We got to talking about the bands, the venue and mobile technologies. If you are in Florida and want to see 3-days of kick ass music while helping a great cause, come hang out with us at HoH.

(photo taken at HoH last year by nolongerhostage)

Greg: This is a big festival in the middle of a big field – what are you guys working on marketing wise, to attract a crowd that will both fill the field and contribute to your mission with the foundation?

Ryan: This of course is a huge challenge…we’re offered this huge awesome space at the St. Johns County Fairgrounds that literally could hold hundreds of thousands of people and we try to creatively fill it and make it fun, interesting and informative for all the attendees of the weekend. Having the option to offer camping to people is nice, because we are able to have them there all weekend…but also, we aim to divide the grounds up in a way that each day you can walk around and find something new or interesting.

Greg: At the event, what are some things you are looking at to get the crowd involved with the foundation – from an education and interest standpoint?

Ryan: One of the things we all agreed on that we wanted to improve this year was the overall visibility and access to all things that the Harvest of Hope Foundation stands for and all the great work that they do. We will have a large non-profit area as you walk into the festival that will be hosted by the HOH foundation and host a large group of non-profits that we work with and are involved with migrant issues. We are planning on making this area informative and interactive to help festival attendees learn about all the issues that HOH Fest stands for and is involved with.

Greg: Let’s switch gears over to the bands – what do you expect from them at the event, as far as helping to spread the message an in their promotion of the event to their fan base?

Ryan: This is definitely something we try to stress to bands to emphasize on campaigning and advocating for this event. Since we are a non-profit, benefit event we rely on all the grass-roots and street team aspects of promotion that we can use. We try to express to the bands what a unique event that they are helping to be part of, and how we rely on all the help we can promoting the event.

Greg: What can the bands that are playing look forward to at the festival?

Ryan: Even though the HOH Fest is a benefit, we make sure to let bands know that we will take care of them in every way we possibly can. We have amazing catering from local businesses that are able to work with donated food from local farms that we support, donated beer, camping, etc. Also, since we have friends who are in bands that play festivals around the world all the time, we made a point to ask them for things that they like and dislike about the festivals they go to and how they are treated at these events. We rely so heavily on the generosity of these great bands and want to make sure everyone feels taken care of and has a great time.

Greg: With the recent disaster in Haiti, there was one thing that helped the awareness and donations for the cause and that was the use of mobile technology (both SMS and Twitter) to make donations. Playing off the demographic of your audience – what are your thoughts on mobile marketing and how it can be used to get kids excited about donating and making a difference while listening to music?

Ryan: This is a good question…we’ve been approached by several people about this idea. We are constantly running fund raising campaigns and hopefully will be able to incorporate more mobile technology into what we do as it comes. Some bands (most recently, a band from Orlando called HOW DARE YOU) did a twitter campaign to raise money for the foundation and it went over amazingly. We also work with tons of media outlets and websites that are constantly running contests and fundraisers to help raise money and awareness for the foundation and festival.

Greg: You guys recently released a 2-disc compilation album – this is something that is a bit of a staple in the indie festival scene. Can you talk about its importance and why these things are still a big part of festival culture?

Ryan: The cd comp that Fail-Safe Records put out recently was a nice surprise off shoot from the festival and is actually working out great as a fund raiser for the foundation. Our friends at National Underground, had already planned on recording a bunch of the audio from the fest, and we knew at some point it would be used in a cool way. Shaun from Fail-Safe came up with the idea and reached out to the bands that seemed into it. The main reason I got behind it was not so much the fact that it helped spread the HOH Fest out there, but the fact that for every cd sold several dollars would instantly be going to the foundation and help Migrant Families. It’s really cool to get people to involved in ways beyond the festival itself. But, also, any kind of documentation (audio, video or otherwise) is always great to help a festival make it’s mark and capture the vibe and what was happening at that specific time.

Greg: Anything else exciting you want to share?

Ryan: Just the fact that I am really excited and inspired by the amount of people that come out to support the HOH festival and foundation. It’s really great to see that something that is extremely grassroots and does immediate and much needed aid for a population that is overlooked gets the support and attention that it truly deserves from the underground music community. In all the fund raising activities that HOH has been involved in, working with punk-indie-folk and other underground artists, we have received the most appreciation and support and that is really great!

Greg: Thanks Ryan for your time and we’ll see you in March!

Disclosure: HoH Fest is sending some members of GYRS to the event in March.

Continuing our live education series, we are very excited to announce that on Tuesday, March 2nd, we will have Steve Gerstman of CutMerch and Greg Rollett from Gen-Y Rock Stars talking about merchandise for artists. This is a free call and will feature an inside look at all aspects of band merch from:

• What types of merch offer the biggest bang for your buck
• What sells better and at what price points
• How to order – from bulk to print on demand
• How to position your graphics
• How to find graphics, logos and designs – from outsourcing to finding artists at your local colleges
• How to get images ready for print – from files to sizes and formats
• What quantities to order because no one wants a box of shirts in their mom’s garage
• Shipping tips from drop shipping vs shipping yourself vs fulfillment house
• Selling on your site – best ways to do it and how to position your items in an appealing manner that goes beyond stock photos and widgets
• Physical vs virtual e-commerce. How does it work?

Here is a video from Greg explaining more:

That form I was pointing to in the video is actually right here, below this sentence.

Here is a little more information on Steve and Cut Merch:

CutMerch is currently supplying merch for Colbie Caillat, Robert Cray, Big Bad Voodoo Daddy, Moonalice, Buddy Jewell, Todd Snider, The Temptations, Meat Puppets and others.

From Steve, “We have created Cut Merch to find the exact point where the band makes the best merch and most money from their merch activities, without taking up too much of their time and energy. We have a philosophy of putting the tools of music merch in the hands of the bands and the goal of becoming their perfect merch partner. We are already known for our quality and service, but in addition to that we will be launching a platform this year which will be the ultimate merch solution for hundreds of bands.”

Register for this call by filling out the form below (those reading in RSS can click here to register)

Looking forward to seeing everyone on Tuesday night.

-Greg

As I am sure a lot of you know, the Harvest of Hope Festival is just around the corner (March 12-14) and I am extremely excited that I’ll be able to take part in the eclectic array of musical finesse throughout the weekend! Earlier this month I was privileged enough to be able to conduct an interview with Phil Kellerman, the President of the Harvest of Hope Foundation, via email to ask him some questions about the grassroots Foundation and what this year’s Fest will have to offer its rosy audience. No matter what musical community you may come from, I think everyone can benefit from understanding the charity and generosity that goes into foundations such as Harvest of Hope and how fortunate bands are to have such foundations as another reason to play music that they enjoy! Check out this short-and-sweet interview to get a better grasp on the Harvest of Hope Foundation and Music Festival.

Zach: In 1997, you established the Harvest of Hope Foundation to help support migrant workers and their families by supplying them with everyday needs for their job and financial aid for their educational pursuits. The kind and giving virtue of this foundation speaks for itself. How would you describe your experience with this foundation and the impact that it has had on you and others?

Phil: In 1995 I began work at the State University of New York at Oneonta responding to calls from migrant farmworkers to a newly established National Migrant Education Hotline. A good percentage of the calls were requests for financial aid for car repairs due to breakdowns while traveling, gas, medical services, rent, utilities, food, clothing and funeral expenses. However, the federal funding for the Hotline did not provide money to provide emergency financial aid. I soon discovered that federal, state and local financial aid to migrant farmworkers was often limited or not available at all.

Prior to her passing in 1996, my grandmother, Dr. Helen Zand told me that I would be receiving an inheritance from her. I knew then that I was going to use part of my inheritance to set up the Harvest of Hope Foundation, in honor of her, to provide financial aid to migrant farmworkers calling the Hotline and other migrant farmworkers and families.

When I look back, the toughest thing was making the move to go into a lawyer’s office to begin the incorporation process because I knew very little about running a foundation, and I knew that I was chartering into new personal and professional waters. Operating the Harvest of Hope Foundation has been life changing for me in so many positive ways. Migrant farmworkers assisted by the Foundation have cried on the phone to me in thanks; have written letters of appreciation; and the social workers, advocates and teachers that work with migrants have been so grateful that the Foundation was there as a last resort for help to their migrant clients. I also believe that many of the friends, foundation volunteers and bands have had their eyes opened to those who work so diligently to harvest and produce their food, and have experienced their own personal development by contributing to such a unique and special cause.

Zach: The Harvest of Hope Festival is an amazing event to help plant awareness and harvest aid for the migrant community – all in a very fun and feel-good manner. This Fest converges two totally different communities, the musical and agricultural, in an effort to benefit the well being of those less fortunate. The Harvest of Hope Fest has only been around for two years (this March being its second playing). Would you say the existence of this new Fest has generously effected the Harvest of Hope Foundation in financial aid or in any other aspects?

Phil: Since the Harvest of Hope Foundation provides direct financial aid and advocates for a largely unknown and misunderstood population of workers, the organization receives almost no corporate financial support. Thus, the Harvest of Hope Fest has been a tremendous boost to the Foundation. The music at the Fest is progressive, alternative and non-commercial in nature and thus the musicians and fans are open-minded to the grassroots work of the Foundation. During the first Fest, I think we opened lots of eyes to the work of migrant farmworkers. For the upcoming Fest, we will have the opportunity to increase awareness of migrant farmworkers and the Foundation.

Other beneficial offshoots from the Fest for the Foundation have included a slew of smaller music benefits across the country to raise funds; the production by Fail Safe Records of a double CD from last year to raise funds, and a documentary of the Fest and Foundation by Double Donuts Productions to come out soon.

Zach: Taken from the ‘About’ section of The Harvest of Hope Foundation is a statement of how “Many Americans know so little of the agricultural, economic and cultural contributions of migrant farm-workers who harvest a large share of our nation’s fruits, vegetables and other foods. The goals of Harvest of Hope are to open the eyes of individuals to the hard work and struggles of our nation’s migrant laborers.”

I, and I’m sure curious other Americans (of all ages and cultural ranges), are interested in knowing more about our agricultural industry. Could you elaborate a little on some information that might enlighten us about the work ethic and labor conditions of migrant workers and the industry they work in?

Phil: The planting, hoeing, seeding and harvesting of fruits and vegetables is labor intensive, and most owners of farms cannot find, if any, local residents willing or able to work the long hours required to bring in the crops. Thus they rely on migrant farmworkers born in the U.S. and those from other countries who will travel to do the hard, physical work required of temporary or seasonal agriculture.

Many owners of small to medium size farms treat their migrant workers decently. However, their operating costs are high and the price that they receive for their produce by large supermarket chains is comparatively low; thus farms cannot afford to pay high wages to their migrant workers. The average annual salary of a migrant family is between $7,000-12,000. Some farm owners treat their migrant workers terribly and exploit them with threats of deportation, by not paying them or by making them live in decrepit housing. Heath services to migrant workers are limited due to the rural nature of their work. Pesticide exposure is common.

Why should we care? Because migrant farmworkers help to feed us by doing the field work most of us would not do. They earn our support.

Zach: Are there going to be any kinds of additional information and/or events available at the Harvest of Hope Festival that might help those interested become more familiar with the Harvest of Hope Foundation? If so, what kinds?

Phil: We are going to expand the non-profit section of the Fest to include more agencies and organizations that help migrant farmworkers with educational, health, legal and other support services. Items for sale such as the double CD and the documentary will serve to bring home the issue of migrant labor. The Mike Bernos Band will play their new CD which has two tribute songs to migrant farmworkers. My brother, Ed Kellerman, communications director for the Foundation, and I will be available for more interviews to talk about the work of the Foundation.

Zach: I always like when an issue ends with some kind of spirited solution or remedy that might help towards rectifying a problem. What would you suggest for those who want to be more supportive and aware about the agricultural industry and migrant community around them?

Phil: I like this question and I like to tell folks that there are several simple ways to support agriculture and the migrant farmworkers who work so diligently. One, shop at local farmers markets or buy produce from small to medium size farms. Two, demand that supermarkets buy their produce locally and pay a fair price to farmers without the “middleman.” Three, write to legislators about passing immigration reform to allow hard-working immigrant workers to come out of the shadows and become citizens. Four, support the Dream Act which would allow undocumented high school graduates the opportunity to adjust their status to legal if they can complete college. Five, make a donation or put together an event to help raise funds for the Harvest of Hope Foundation.

Zach: Thank you kindly for taking the time to answer these questions and for the generous attention of services that you have given to establishing and maintaining such a virtuous cause.

CHECK OUT THIS YEAR’S LINE-UP OF HEAVY-HITTING AND UP-AND-COMING BANDS HERE!

Disclosure: Members of Gen-Y Rock Stars will be attending the festival as guests of Harvest Of Hope.