Year End Countdowns: Tabulation and rules

As with all of our charts the majority of the results come from the fan and listener voting. However some artists have bigger fan bases etc, while this is great for them, it gives them an advantage over others. Our systems are designed to attempt to make it so its not a popularity contest, as mentioned in a previous blog. So whether its for KB Radio or KB Country Radio, the year end polls will be calculated exactly the same.

There are some variations to the weekly polling, starting with the fact that weekly we take into consideration the previous weeks chart. Since this is a years worth of activity that would be hard, in the manner we do it normally to use, so it is not a factor. The other slight difference is that fan voting represents 75% of the total. A friendly reminder this doesn’t mean you get 75% of the votes that came in. What it means is that if you finish in 1st in the voting, you will get the highest amount of points. As an example 1st in voting gets 200 points, 2 in the voting gets 198 points, third gets 196 and so on. Again this is only an example and because the total polls have different sizes the number are different for each poll.

So what ever position you finish in those are your points, and they account for 75% of the total. This means, that if you finished 1st, or 5th or 25th in the voting, that is not your final position in the year end necessarily. Like the weekly voting the other 25% is made up of different groups and areas. For the year end we have a panel of people who assist us with each and every song that is voted for. They are given the criteria, and they take the time to score each song. We also have a couple areas we rank the songs on from the past year. We take all of those number from everyone and everything and take 25% of that total.

Our goal is to have the very best for the end of the year, and to present it as transparent and open as possible, so everyone understands how we do things.

We wish everyone the best of luck in the final week of voting and watch for the results coming soon.

KB Radio Year End Top 50 countdown Wednesday December 18, 2019 8PM EST www.kbradio.ca

KB Country Radio Juke Box Top 25 year end countdown Friday December 20, 2019 8PM EST www.kbcountryradio.ca

Any questions as always please ask.

al

The Charts.. its not a popularity contest!

We have talked about the Top 25 and Top 15 on KB Radio and KB Country Radio respectively,  but it seems that there is still a number of people who get upset with the chart because they don’t grasp how it works.  Yes I said it, the problem is lack of understanding on their part.  Hopefully this doesn’t offend anyone, but than again I would rather say it like it is than sugar coat some bullshit kind of explanation in an attempt to explain.

The charts are very simple;  they are based around the older, standard versions of charts where new music is released, and it breaks onto the chart and tries to climb as high as possible.  Back in the day, they used things like requests, record sales, and referenced other stations playing the same format to calculate the chart.  Things are different now, and the charts you find on Billboard etc, are nothing like they used to be.  That is fine, the same as other stations that strictly do a weekly most votes kind of chart, and your Top 10 can be completely different week to week.   the point is that there are different variations, but in each case if you want to play the game, you should really understand the rules. 

We attempt to bring the Top 25 or 15 songs that are most popular each week, using fan voting as a jumping off point.  But don’t let that fool you.  This is not a popularity system,  and if you finish in 1st week after week, with 200 more votes than the artist in second, the vote totals mean nothing.  Finishing position has a point assignment,  but from there,  just because you have more fans voting doesn’t mean your music will be sitting at the top of the chart and staying there. 

Let me explain it this way.  I can give you right now 25 artist or band names that have incredible fans who vote like crazy.  But if that was the only factor those 25 would be the top 25 all the time.  The listeners don’t want the same songs every single week.  Everyone involved, loves music.  But think about this, people get tired of songs.  Sometimes they just need a break from them but they have favorites, and they change.  So why would you want to push one song week after week at them.  Now let me clarify that statement.  Promote and push, but understand when its time to move on to your next track. 

This is why the calculations and points assigned put the onus on the fans to vote, however, that is not the only thing.  I won’t sugarcoat this, we don’t want the same song on the Top 25 for 52 weeks. Its the same reason we don’t want multiple songs by artists or bands on the chart.  If its strictly voting, and we had 2, 3 , 5 songs on the voting list by one artist, they could theoretically control the top of the charts with their music.   I built KB Radio around how things used to be, and the chart is no different.  Yes there have been anomaly’s over the years with songs that stayed on the charts (Billboard) longer than normal.  But lets not try to compare anything here to those famous tracks.  I don’t have a number that says after so many weeks a song is gone, there are a lot of factors that go into the chart, and its not based on one persons opinions. 

 

I want people to remember as well, I am running a radio station (4 actually) and we strive to have as many listeners as possible. The Charts are designed to promote the music and the radio station.  To do this I want the best sound possible, and we work very hard on many levels to try and achieve this, and improve on this.  One of our draws is fresh new Indie Music.  So take your music, and push like hell.  Ride it up the chart, and when its peaked let fall gracefully.  Songs that make it to the top spots on the charts stay on  the station permanently.  So it will always be here.  But if a song starts to get tired sounding, and listeners start saying, how long are you going to keep playing this track, I have to believe its been too long.

The final thought is that this isn’t driven by any one person or comment.  So if you are concerned I am singling you out or something like that, not at all.  Its a blog I have avoided and tried to do in a different manner previously, but maybe I just wasn’t clear enough, or maybe people don’t read or care?  lol  

I am always open to questions and willing to explain any of the system in more detail if required or asked.

 

al

The Charts; KB Radio Top 25 & KB Country Radio’s Jukebox Top 15

I have written about the charts and the processes in the past, but sometimes old blogs get lost and new followers are more inclined to read new posts.  So I thought it was time to update this a bit, plus with us fast approaching our year end Countdowns, it is a very good time to show how we approach things. 

The KB Radio slogan is What Radio Used to Be.  The idea is that terrestrial broadcast FM/AM stations have lost their way, and I want to bring back a style similar to what was in the 70’s and 80’s.  Now I don’t run with DJ’s 24 hours a day, so there are some differences but those are for those who want to be picky. 

Its more than just the DJ’s and shows, its how I approach things programming the stations and how we work our chart system.  There are lots of methods for charting music, and I am not going to touch on anything but our system.  I often say to think of how The charts on Billboard, Radio & Record, and every local radio station worked.  When people turned into Casey Kasem, Rick Dees, Scott Shannon or Bob Kingsley for Country music it wasn’t the 40 most popular tunes every week, with each week being an absolutely brand new Top 40.(ie This weeks 40 could potentially be 40 different songs)  There was consistency from week to week, and people turned in to hear their favorite Artist or Band and see if they can make it to number 1. 

No matter how high their favorite song did go though, when it peaked it started to decline and fall down the charts.  These charts weren’t just random ideas, it was a well thought out and developed process.  An artist releases a song, usually tied to an album release as well, and that song would climb as high as possible.  The length of time it took to climb depended on the popularity of the song, the artist, and more.  The big charts looked at stats from Radio Stations across the US and Canada, or in other regions of the world, the same thing but for that region.  The record companies were marketing the hell out of these songs,  with chart success came sales.  But everyone also knew that listeners get tired of songs, and like new music and variety.

Lets face it how many songs have you heard in your life and liked?  Do you have every single one in your playlists?  Of course not, there are too many but some songs survive the years with different fans and are forever in our minds and playlists.  So once a song had peaked on those charts and started the decline down, that meant the sales for the single were slowing down, requests were down, etc.  At this time it was when they looked for the next release to put out. 

When Garth Brooks released No Fences he had 4 hits off of that album, or when Michael Jackson released Thriller he had 7 singles hit the Top 10 and 2 number 1 songs.  The key in that last line is he had 2 number 1 songs.  You can’t have two number 1’s if you release everything at the same time or you don’t follow up with new music.  When you look at the two years each of those albums was released, and the respective charts, the artists dominated the charts.   Those albums and the music was there every day and when we started to get tired of one song, they went on to the next single and it picked up where the previous one left off.  No Fences to date has sold more than 17 million albums and Thriller topped the 100 million mark worldwide. 

Now before anyone thinks I can help you sell 100 million albums, that’s not what I am saying.  That album didn’t sell itself, the music did it.  The fact that every day Michael Jackson or Garth Brooks was on the radio sold it.  People also didn’t buy albums if there was one song they liked on it.  People were more fickle with their music purchases, and if an album suddenly had two hits on it, it changed the sales and when you get to 3 or 4 hits they went higher. 

So when it comes to programming that has been my approach from day 1 on my stations.  Play the new Indie Music like new releases and put it into rotation for a period of time.  After a certain amount of time has passed, we than hope for another release from the artists to update our music.  This works with the charts that we use and publish, and the most popular songs from our listeners perspective will climb the charts.  When that song has peaked its time for it to get out of the way so listeners can hear some fresh new music.  I know there are a lot of artists that with promoters or on their own work in a similar fashion releasing one song, and than waiting a month or two for the next release. 

I don’t want to single anyone out, but I will mention one band on our Top 25 as an example.  They are the band Transistor @transistorband who early on in the year sat down with me to have a conversation of how the charts work.  Steve who is usually the one online and the face of the band I guess, took hold of that information and they have worked the process for an entire year.  As of today, and heading into the year end they are the only band or artist to have 4 songs that hit the Top 10, of which 3 went to number 1, that will be on the voting list for the year end Top 50.    Now this is not a shot at anyone else or meant in a negative way.  Its not easy being a musician and working with different Internet Radio stations and podcasters, who each operate in a different fashion can be difficult. 

One of the biggest complaints I get from artists is that they hate the charts because its a popularity contest.  For some stations, you are right.  Who ever just gets the most votes for the week is the number 1 song.  Our process is different in that voting is only a portion of what goes into the calculations.  After the voting is completed the list of music that is eligible is than presented and is submitted as well for outside assessment.  What that means is its not just me going, I like this song and don’t like that one.  That are categories that are rated and ranked and it is done from more than just my perspective.  so let me give you a simple example of how it works.  For the example only I will use a Top 10 chart.

Each week for consistency we look at where the song sat for the previous week on the chart.  So what you would get would be something like this;

#1- 50 Points, #2 – 45 Points, #3 – 40 Points, #4 – 35 Points, #5 – 30 Points, #6 – 25 Points, #7 – 20 Points, #8 – 15 Points, #9 – 10 Points and #10 – 5 Points. 

That is again as an example the base points to start.  Now we look at the voting, and we look at the position in the voting, not how many votes.  So once again we use a similar points system, starting at who finished first in the voting down to the 10th position.  When asked why only 10 spots, because that is how many spots are on the chart.  Why would you give someone in 50th place points.  They didn’t get the support needed to crack the Top 10, so why give credit. So first in voting 50 Pts, second 45 Pts. etc and exactly the same format.  

The next area is where not only my data is used but I reach out for outside rating and judgement as well.  There are a group of categories, and each category, has a simple rating of 1 to 10.  Let me give you an example;  If there are 4 categories, and in two categories I rank a song with 6 and the other two categories I give and 8, my total points out of 40 possible would be 28.  Now for a broader perspective we now add in the other analysts points, so if they had higher or lower rankings, there totals would get added to mine.  So to not complicate things, if one other had a total of 32 for the combined total on the same song, we would than add those totals together.  This gives that song 60 pts from the analysts.

 Lets say the song was last weeks #1 so they got 50 points for that, and this week they finished 4th in the voting, so they get 35 points for voting.  Now we start the math!  lol

We will add the 50 and the 35 and that total of 85 will than represent 80% of the final vote.  So (50 + 35) = 85  and 85 x 80% = 68. 

The analysts had 60 pts, but that only represents 20% of the total, so we have 60 x 20% = 12

Combine the two totals and we have 68 + 12 for a total of 80.  This process goes on for not only all the songs on the Chart, but also any song that got voting points, which is how we get new entries week to week.  When we have all the totals we now put the songs in order based on the highest points to the lowest and that gives us the next weeks chart.  There is a great deal of effort goes into the chart system each week, time 2 because of 2 charts on 2 stations, but I also believe that is one of the fairest and most consistent systems on a week to week basis. 

The final product is a chart like I talked about in the beginning, with songs that go up and go down.  We actually had a song from the band Matlen Starsley drop out of the #1 spot this year and than go back up a week later.  They called it a dead cat bounce, because to be completely honest, its not supposed to happen that way.  But every once in a while, things happen and the numbers don’t lie.

So a band like Transistor will have 4 songs eligible this year for the top 50.  Other bands will have 2 or 3 songs as well, but you can only list so many for voting, and many of those will qualify as write ins.  Our year end Top 50 voting list will have 100 songs approximately on it.  That is a lot of music for voters to sort through.  That number represents every song that made the Top 10 this year.  Every song that made the chart is eligible, however if it didn’t crack the Top 10 it will need to be a write in.  We just can’t have 500 or more songs on the voting list.  LOL 

Does this mean Transistor is a favorite?  From an outside perspective when you have 4 choices from the same band I call that pretty good odds.  But the other side of that is this, at the end of the year when we present that Top 50, no matter where they finish, wouldn’t you say they are better off if they manage to get 2 of their songs on the list?  What if they get 3 on the Top 50 or even all 4 manage to crack the list.  Where one of them is the number 1 song or not, I would still call that a really damn good showing. 

We often see fans show up to vote for their favorite song week to week, finish high in voting, but than disappear the following weeks because they don’t understand the system.  This blog hopefully helps to explain, and truthfully I am going deeper in my explanation than ever before.  I honestly don’t like to, because its a system I developed years ago, so to share some of my processes hurts.  Too many others are known to use others work for their own gain.  However transparency is the ultimate goal, and more success for artists is also a priority. 

So be it week to week or the year end, good luck to everyone on their chart success.  For those that embrace it and bust their asses each and every week begging fans for votes, I thank you.  There are benefits for songs that make the chart, starting with website listing and visibility and extra weekly spins.  We can talk about more beyond that another time.

Any questions we always have the doors open, so please ask.

Thanks

al

Year End Countdowns: KB Radio Top 50 & KB Country Radio Top 25

So it is getting to be that time of year again, where we start to look at the end of the year, and another New Year is just around the corner.  With the approaching end of each year I like to take an opportunity to point out the great artists and fans who worked hard over the past year.  We have a countdown for each of the two stations and basically they function the same.  The numbers are slightly different, so I will use KB Radio as the example.

Since it is a Top 50 Countdown we will have approximately 100 songs on the nomination list, or voting list if you rather.  However, any song that has appeared on the Top 25 this year is eligible to be on the Top 50.  We just run into a space issue, with approximately 400 different tracks appearing on the chart over the course of the year, if we attempted to list every song, the list would be too long, and not user friendly at all.  What we do is take every song that made it into the Top 10 and they will appear on the voting list.  There will sill be the option to write in a song, as I said as long as it appeared on the chart through the past year.  For the KB Country version, because we started the chart in May and it just recently expanded from a Top 10 to Top 15, we are going with a Top 25 for the year.  There will be approximately 50 songs on the voting list and the same rules apply, if a song appeared on the chart it is eligible and can be written in under the other option.

The voting for both poll’s will start on November 1st and will end December 13th at midnight EST.  The same voting rules apply, you can vote once per day, no VPN’s and illegal voting will be removed.  The Top 50 Countdown will air on Wednesday December 18th on the Indie Music Show, and the Top 25 Jukebox Countdown will run Friday December 20th at 8PM on KB Country Radio. 

The point system is similar to the regular voting, however, points are awarded based on the chart performance for each song.  The fan voting accounts for 75% of the total points and as in the past I have asked a panel of experts, a combination of musicians and others in the radio industry to review the songs as well.  These reviews get points and that will make up the remaining 25% of the total points.   

There are multiple artists with more than one song that will be eligible,  and I would expect some of them to have multiple songs on the Top 50 or Top 25.  We look forward to the voting and the tabulations to find out what the listeners think is the song of the year for each station.

Any questions, feel free to inquire and we will be happy to answer.

Al

alyardy@kbradio.ca

The politics of the Radio business

As I sit here to write this I will start by saying that this is of course my perspective.  That is of course obvious, but I don’t work in terrestrial radio because of a different type of politics, and that is corporate.  I can’t give you a first hand description of how most radio stations work in North America, but I have enough experience and knowledge that I could probably break it down for you.  There are different levels as well for how they operate, and some of it will depend on the size of market that the stations serve.  Now with that said, some whiz bang genius who has no business being in charge of radio stations is running hundreds of stations that are owned by a corporate giant, and there is more than one instance of this, and these idiots think its all the same so they treat a station in Ottumwa, Iowa the same as they as a station in New York City.  All of that and none of it are what this blog is about.   But for independent artists it is part of the reason for their difficulty getting any airplay.  But maybe some day we will delve into that, or maybe not.

We talk on Twitter, through Facebook, here in blogs and even in person with lots of people about the processes, and what we do and don’t do, the efforts we make and how it does and doesn’t always work.   My goal has always been two fold; to help promote independent music and to run professional sounding and successful stations.  My approach has been different than a lot of others on the internet with stations and that’s good for everyone.  Its kind of like pizza!  I use this analogy for Raspin Stuwart who picks on me for my love of pizza.  Some people love there pizza loaded, some like it with 1 or two items, some with no cheese, vegetarian, deep dish, thin crust, you name it there are ways to make it.  My point is there is no one set way to do internet radio.  The only thing everyone must do is pay the royalties and broadcast based on the laws.  After that, the internet is the wild west.  You can get anything and everything if you know where to look, and as such broadcasters can do as they want.  The same ultimate goal exists for everyone, or almost everyone, and that is to get people to listen to your broadcast.  Whether you broadcast a one hour show once a week or do like we do and run 24/7 and in our case with 4 stations it doesn’t matter.  If you don’t get listeners it can be a lot of work for nothing.

Now with a certain amount of success and listeners, you than get a higher demand for artists who want you to play their music.  This doesn’t even mean you are good as a broadcaster, lol, it just means you have a good reach and as such songs getting played have a better chance for more people to hear them.  But with the higher demand comes an increase in the work load and I believe a need for better efficiency in how you handle your business.  As has been mentioned in blogs here before, many artists and promoters who submit music will tell you that they get very few replies back to emails.  I won’t pull punches here because this is where we start to get into the politics of the business.  I feel that if you don’t have time to respond to someone who has taken the time to reach out to you, than you either need to fix your system or give up.  I often wonder if these people run their social lives the same way.  Bob has a radio podcast, but he can’t be bothered to answer emails, only those he thinks are worthy of his response.  Meanwhile Bob has 5 friends who invite him out over the weekend for various things, does Bob ignore those 5 friends and only respond to the 1 he has interest in?  Well first thing is, if that’s what Bob does, hes not a Bob hes a Dick.  Second if he treats people that way in his personal life he will have a lonely existence, because those invites will dry up.

The difference with the music is that there are so many people trying to get played anywhere and any way they can, he will continue to get emails.  What Bob won’t notice is that he will stop get repeat emails from people because they will get sick of never getting a response.   I try, yes I  try to respond to every email.  I often say we respond to over 90% of emails but, the ones I don’t respond to are usually along the following lines.  You send an email that has nothing written on it.  Its in my inbox, with no hello, no message of any kind, and an attachment.  Again I don’t pull punches, if you are too damn lazy to even put hello, that I am going to put just as much effort into listening to your song and replying as you did with typing.  NONE!   We also get messages that are entirely promotional, not music submissions, and they of course are noted but don’t always need a response.

The other thing we did was I wrote a blog about how to submit music to us, and its not required reading, but I like to say its a way for artists to help us, so we can help them and make the entire process easier.  We don’t ask for a lot and if we don’t get everything we mention in the blog it doesn’t mean we don’t listen or don’t respond.  I read that from other stations and shows, to make sure your songs include X,Y,Z and if they don’t they won’t be considered.  If they are sent in Wav not MP3 they won’t be considered.  Their choice, hell I can’t count how many times songs are sent to us that the sound levels are off.  Times I have talked to an artist, and I hear something in a song and say, is it supposed to be there and if not I can help and fix it.   Some have gone on to take what i have helped them with and use in other submissions.  Is it extra work, of course it is, but we are working with artists that most times don’t have all the tools that artists that have big money support have.  So why not not give a little hand if I can.  I will say I will never edit a song without talking to an artist, and the term edit is used very loosely.   A song may get submitted that has 10 seconds of talking at the opening.  That is not what is called a radio friendly version and I would ask as an example to run the song without that 10 seconds.  I’ve never had any problems from anyone with this kind of request, and if you think back in history how many times there have been songs you hear on the radio, but when you buy the album the song is 3 or 4 minutes longer.  The shorter or edited versions are called the Radio Edit, and its been going on for years.

Over the years we have had problems with artists and promoters and fans, and that is just life.   I have a promoter, I believe he is in Germany, who sends us music still to this day, even though they just go in the spam folder and have done so for 3 months.  He submits on behalf of many artists, but his emails are short, with very little information, and to be honest might as well be blank.  Now there is a distinct difference between an artist who sends me one email that maybe doesn’t have all the information, and a promoter who is sending 3, 4  or 7 emails a weeks for different artists, and for some reason, they can’t seem provide information with the emails.  They always say, Hereby we provide you with artist X and their song YZABC.  Sometimes it will have a Facebook link and that’s basically it.  We discovered that with each of this promoters submissions it took us 3 times the average length of time to complete and email.  Most emails, and songs can be reviewed, assessed, processed and replied to in 4 to 5 minutes, on average.  So take 3 times as long for 7 emails every week and we found ourselves dedicating a couple hours every week basically doing this promoters work.   I tried to email and communicate asking for help so that we could better work together and got no response.  No his name is not Bob.  I went on his Facebook page and made a post about the same thing hoping maybe some of the artists he represents would say something even and we could sort this out.  Imagine my shock, no comment or response to it.  This by the way is not something over the space of a day or two, this was over a number of weeks, all the while still reviewing music.  I should add, we don’t play non English language music.  He likes to send us foreign language songs, which we have explained numerous times, but again chooses to ignore.

I feel bad for the artist he represents.  Let me correct that, claims he represents.  I am not asking for in depth information, some simple information, like a Twitter account, maybe some bio you know, things in my estimation that should be included in the submission.  When you are looking for someone to play your music and promote you, shouldn’t you give them the information or the tools to help them.  Like your website, or social media accounts.  Maybe its just me,  but someone like this is ripping off artists and wasting everyone’s time.  For what its worth, 2 months after I redirected his emails I did email him again, advising him that I wasn’t even looking at them, and we really should work to try and help his artists.  I still haven’t heard back from him.

The other side of things is a recent incident that is hilarious in many ways.   A promoter chose to attack a Twitter post of ours, someone who I didn’t know was a promoter.  Its true, I saw the attack, and reacted to it, but had no idea this person was representing an artist.  The next day when we are reviewing music, their name came up in an email with a song from their artist they wanted us to play.  Let me say for the sake of things, I can get upset, people know that and things happen.  But at this point we listened to the song and decided that we would give it a placement on one of the stations.  However things quickly went downhill, and I finally sent an email advising her that I was not going to be able to work with her.  When it comes to being abusive, I won’t put up with it.  I than reached out to the artist to contact me, to let them know as far as I was concerned, we would still play the music but I wasn’t going to deal with their Representative.  this isn’t the first time I have done this and won’t be the last.  Treat people the way you want to be treated and when someone takes to being ignorant, than thats it, I don’t need to be in contact with that kind of individual.  I have a simple plan.  I block you on social media and direct your email to the trash.  Why is that some may ask?  Simply put I have so many other people that act like decent people I am not going to give one more second to an idiot or stupid person.  But because this was not a large promoter, one artist one song, I didn’t want to penalize them so opened the door.   Seems pretty simple really to me, if they want to continue with us playing the music, just you handle the emails.  No disrespect we are not talking the Rolling Stones, and to be honest I get messages every day of the week from Mainstream artists with a long history of success who handle their own messages and emails.  But they chose not to respond either.  I didn’t block the artist its their choice and they have done nothing wrong.  Maybe some day they will reach out.

The other issue comes from blocking which I readily admit I use as a tool.  But we have seen some individuals use the blocking on Twitter suddenly, for no apparent reason and than a month or 6 weeks later, unblock and suddenly an email appears with a music submission.  Let me use this line again, I am not going to pull any punches.  Are you our of your fucking mind?  Go the hell away.  This is some kind of weird politics or just plain BS that again I don’t have any time for.  Do I like the politics, absolutely not, but some people just seem to think this is a game or something.  Here is how it appears to me and feel free to correct me if I am wrong.  If an artist or band is paying you for your time to promote and represent them, you need to work for them.  You act decently, you don’t have to kiss anybodies ass but you sure as hell better not act like an ass and risk missing an opportunity for these people who are paying you.  Now if you are a volunteer, and you are not getting paid, than there is a huge difference.  You aren’t getting paid that’s the huge difference, but if you can’t work and act respectfully as well, stop offering to help because you are doing them a disservice.  I would rather say to someone honestly I can’t help you than to say sure and do a crappy job.

So politics in music does not mean bending over and kissing someones butt, or anything else.  It doesn’t mean you pay to get your music played or have to do anything to achieve this.  What it should mean is working hard at what you do, working with people that you think can help you or those you represent and working together.  When you work together you get a lot more done, its a smoother process and takes a hell of a lot less time.  When the band said can you help us, if you said yes, but only on Mondays from 1 to 3, on Thursdays from 6 to 6:30 etc, and they were thankful for the time you can give them, it was enough in their minds to help, than you better make damn sure you are doing it because they have put their faith in you.

The final thought is the blocked list and people that are on it.  There really aren’t that many and some come off over time, depending on the person and circumstances.  Some people change, situations change whatever the case may be, and maybe an artist or promoter and I can actually work together again.  They say never say the word never, and that is very true.  But a very simple way to make sure, is don’t treat me, or Ruth (Sunny) like shit.  We are here to work with everyone we can.   If you don’t believe us, let me know and I will give you what maybe 500 references to start?  I like to think that since we work well with so many other artists and bands, more than 1000 different ones again this year so far, that if we have one or two problems, that’s not too bad, and that makes less than 1% dissatisfied rate.  Now if I could figure out how to do this in politics I would be king of the world.   lol    Cheers