Music 101, Platinum Articles

Artist Development Makes A Difference and Why

Hey Y’all!

It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing another relevant topic to you!

Artist development in the music industry has evolved over time, leaving most of the early progress to the artist themselves. For the most part, the days are gone when a record label developed up and coming talent. The question continuously arises for those young artists, “where do I start”? With the advent of the Internet, the possibilities are mind-boggling.

Many artists put in their mission statement, simply that they want a record deal, thinking that is all they need to succeed for career in music. Most don’t have a clue what it takes to get that deal, let alone maintain that career.

Artist development is a huge area overlooked by far too many artists and bands. Let’s explore the question, “What is artist development”?

A record label A&R rep once “discovered” fresh new faces in clubs, bars or word of mouth and would then support them, cultivate their creativeness, build up their fan base, and guide their direction with the intent of turning them into superstars.  All of this,  of course, was with the intent of selling those 45’s, LPs, cassette’s and CDs. Gradually, many labels moved more into product development, which meant they are focused more on the immediacy of sales of the latest CD (product) released, and not bringing the artist up to that point. And more often than not, naive artists were at the labels mercy.

In this Internet age, it is more the artist or band themselves that must build the quality sound that is ready as a commercially viable product. On top of that, they need to have an already established fan base, basic music business skills, perhaps even the early music sales of a well produced CD. Labels are looking for pre-packaged, very talented musicians that are already showing their value.

A music career is a charted path to follow. Artist development involves all the issues surrounding and arising from that charted path, and crosses into knowledge of product development – the ultimate sale of the music.

Checklist on what artist and product development need: 

*Exceptional vocals, musicianship and/or songwriting skills

*Continued education and enhancement of musical skills

*Quality equipment

*Performance ability

*Image creation and maintenance

*Plan of action, goal setting

*Exceptional promotion materials, including photographs, press releases and artwork

*Business management skills

*Marketing, publicity, and promotion knowledge, online and offline

*Professional management

*Basic knowledge of recording, producing, engineering, and mastering

*Basic knowledge of manufacturing, distribution, and sales online, brick and mortar and air-play

*Good choices in members, staff and advisors

*Physical and mental preparedness

*Basic knowledge of finances, accounting

*Law and legal issues: publishing, copyrighting, trademarks, and an attorney

*Alternative career options – even athletes need to have other options!

Tending to all areas of your music career may make the difference between a one hit wonder and longevity in this business. It’s been said, “If you think this is a piece of cake, you better go bake one.” The music business, again, is a business. Businesses need to make money. That’s worth repeating – the music business is a BUSINESS. Take the time to find out all you can about each of these steps in your journey.

That being said, an up and coming artist must begin somewhere…and if a career in the music business is the goal, then any naiveté must be addressed immediately! Knowledge is power. Power gives you leverage. And who knows…that entrepreneurial artist may just find they don’t need that particular record deal after all.

In Closing, You never know where I may be; bringing you the events of Chicago and other relevant topics, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.  Until next time, See ya later Babies!

Disclaimer:

(PlatinumVoicePR is the source for the events and has no legal bindings with associated parties)

(Music Videos and Links are for promotional use only)

Source: electrogarden

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Music 101, Platinum Articles

Managers! Is Your Artist Good at Interviewing?

Hey Y’all!

It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing another relevant topic to you!

Many recording artists will do interviews. They will have interviews on many formats including radio, television and magazines. Many artists and record labels waste their time when they are interviewed.

Why???
It is because their interviews are boring. Their consumers are not even interested in reading the entire article or listening to the entire radio show. It is a major problem for record labels.

The Boring Recording Artist
If people are not interested in listening to your artists, you cannot convince them to purchase your artists’ music. If you cannot convince them to purchase your artists’ music, you record label will never be successful.

You Have Responsibilities!!!
As a music executive, it is your job to entertain your fan base. Your artists’ interviews must make your consumers interested in their music.

To Do This Correctly . . .
You need to get your artist ready to make an impact when he or she conducts interviews .

Three things that you must do are the following:

Artist Interview Part A: Personality
Artist Interview Part B: Direction
Artist Interview Part C: Practice
ARTIST INTERVIEW PART A: PERSONALITY

Most artists answer questions, but they do not have a personality. Your artist must have a personality, and it should be easily identified in his or her interviews.

Please Do It Right
You need to make sure that your artists’ personalities match their images. More importantly, their personalities must be entertaining. There is a reason that several artists on a magazine cover cannot sell ten copies, and one artist on the same magazine cover will sell out on every newsstand.

The Reason Is . . .
Popular artists have personalities that make their consumers interested in them, so they become extremely popular and newsworthy.

ARTIST INTERVIEW PART B: DIRECTION

Your artist should never conduct interviews for his or her health. Something needs to be going on in your artist’s life.

Something . . . Anything
Your artist might have an album release party, release a new single, get involved in charity work, etc. Your artist needs to be interviewed for a specific reason.

The Common Mistake
The mistake many artists make is that they do not direct their consumers to take a specific action. Your artists must direct their consumers to purchase an album, go to a website, etc. when they are being interviewed by any media outlet.

Do Not Lose Your Potential Fan Base
You are wasting your artists’ time if their media coverage does not increase their income and/or popularity. It will only happen if your artists give their fans instructions during their interviews.

ARTIST INTERVIEW PART C: PRACTICE

The only way people become good at their craft is with practice. Interviews are not any different. You need to practice interviews with all of your recording artists.

When People Do Not Practice . . .
Many artists sound stupid when they are being interviewed. Many fans lose respect for their favorite artists because their interviews are so horrible. The biggest reason is their artists are not coached. They have not been trained to sound smart and be entertaining at the same time.

You put your artists in the best position to have great interviews when you take the initiative to practice this craft with them.

Source: Learn the Industry

You never know where I may be bringing you the events of Chicago, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.  Until next time, See ya later Babies!

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Music 101, Platinum Articles

#ChicagoMusic-Do you actually know what an advance is?

Hey Y’all!

It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing another relevant topic to you!

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Many recording artists work hard to get record deals, so they can receive big advances. Do you actually know what an advance is?

An Advance Is  . . .
An advance is a loan given by a business in the music industry to the company’s talent. For example, a record label will give an advance to its recording artists, or a publishing company will give an advance to its songwriters.

You Have To Pay It Back
When an artist receives an advance, it must be recouped from the artist’s record sales or another form of music industry income. A record label can now recoup their advance money from stage performances, music publishing and other forms of music industry income thanks to 360 deals.

What About Taxes???
If an artist is released from his or her contract before selling the album, he/she keeps the advance, and does not have to pay it back to the record label. The artist must pay taxes on the money now, since it is no longer a loan.

The Advance Options
When an artist receives an advance, the money is given to him in either one of two ways. They are:

  • Advance Option A: The Fund
  • Advance Option B: Spending Money

ADVANCE OPTION A: THE FUND

In this situation, an advance is called a fund. The advance takes into account paying for a recording artist’s studio time. Any money left over from the fund goes into the recording artist’s pocket as an advance. If there is no money left over after the recording costs, the artist does not receive any advance money.

For Example:

  • Example One: Recording Fund With An Advance
  • Example Two: Recording Fund Without An Advance

Example One: Recording Fund With An Advance 
A recording artist gets a recording fund of $350,000. The total recording cost for the artist’s album is $250,000. The artist would receive $100,000 as his advance because:

  • $350,000 (recording fund) – $250,000 (total recording cost) = $100,000 (artist advance)

The artist receives an advance of $100,000, since it is the amount of money remaining after paying the studio cost.

Example Two: Recording Fund Without An Advance
A recording artist gets a recording fund of $400,000. The total recording cost for the artist’s album is $400,000. The artist would not receive an advance because:

  • $400,000 (recording fund) – $400,000 (total recording costs) = $0.00 (artist advance)

Not Always This Easy!!!
In some situations, the recording costs are higher than the recording fund. The recording fund is the recording budget. When the recording costs are higher than the fund, the project is over budget.

What A Decision
The record label must decide if it is going to pay the remaining recording costs to complete the album when the project is over budget. The artist will usually not get an advance if the record label decides to pay to complete the album, since the project is already over its current budget.

ADVANCE OPTION B: SPENDING MONEY

It is when a record label gives an artist a specific amount of spending money as the artist’s advance. If the artist receives a $50,000 advance, the artist keeps $50,000. If the artist receives $8,000, the artist keeps the $8,000 advance as spending money.

THE MILLION DOLLAR ADVANCES!!!
When artists receive very large advances, they usually do not keep all the money. The advance does not only include recording costs but promotions and marketing costs in most situations.

For Example . . . 
An artist receives a 25 million dollar advance for five albums. The artist will receive a five million dollar advance for each album because:

  • $25,000,000 (total advance) / 5 (total albums) = $5,000,000 (advance money per album)

Wait A Minute!
The artist will not keep five million dollars on every album release. The artist will usually receive a six figure advance. The rest of the money will be used to create, market, and promote the album. The large advance number just lets the artist know that he/she will have money invested into creating and promotion his or her album.

The artist knows that he or she is a priority on the record label.

Source: Learn the Industry.com

You never know where I may be bringing you the events of Chicago, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.  Until next time, See ya later Babies!

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(PlatinumVoicePR is the source for the events and has no legal bindings with associated parties)

(Music Videos and Links are for promotional use only)

 

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#ChicagoMusic, What does A&R stand for?

Hey Y’all!

It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing another relevant topic to you!

Time and time again, I hear the question, “Are you an  A&R?” and I have to honestly answer, No, I’m not an A&R rep. I can say that I’m passionate about the music that I hear from Chicago. I scour the internet on a daily basis so that I can give you the most sources for you to be successful in the industry.

For those that do not know what an A&R rep does here is some information for you:

What does A&R stand for?

Artist & Repertoire. The term was coined to describe the function of people at record labels who are in charge of finding and developing new talent.

Development typically includes finding the right material for the artist to perform if they don’t write their own songs, hooking them up with the right producer, engineer, studio, etc., deciding which of their songs are the most practical, and shepherding the making of the record.

After the track has been recorded, it’s not unusual for the A&R person to be responsible for getting the other departments such as retail sales and radio promotion excited about the record so that they do their jobs well. If all the parts of the record company “machine” work well together, the act just might have a hit.

Today, A&R people seem to concentrate less on developing artists, and often look for artists that have “developed” themselves. It’s common for the boards of directors to look more at the bottom line and less at talent development. Hence, A&R people are under pressure to find hits, rather than finding potential hits and nurturing them until they bear fruit.

How do I get my music to an A&R person?

The best way to get your music to an A&R person is to cause them to come to you. You can do that by building a fan base through constant touring and relentless self-promotion. Couple that with making, marketing, and selling several thousand of your own CDs, and it’s likely that you’ll show up on their radar. When you do, they’ll call you.

Can you get through to them with an unexpected phone call? Very doubtful. If they took calls from every person who wanted to pitch their music to them they wouldn’t have time to do any of their other work.

Can you send an unsolicited demo? Yes, but it will most likely come back to you or end up in the round file. A&R people are extremely busy, and generally listen only to the material that comes to them from a trusted resource such as a high-level manager, a publisher, a music attorney, and if you’ll forgive the little plug — DrumSquadDJs.

What makes an A&R person want to sign you?

Hit songs and “star” quality. Those are requisites. Beyond that, you can increase your odds by doing your own artist development and proving that the public loves you and is willing to plunk money to buy your CD.

Source: Taxi

You never know where I may be bringing you the events of Chicago, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.  Until next time, See ya later Babies!

Disclaimer:

(PlatinumVoicePR is the source for the events and has no legal bindings with associated parties)

(Music Videos and Links are for promotional use only)

 

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ChicagoMusic, Do You Know The Art Of Networking?

Hey Y’all!
It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing another relevant topic to you!
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Networking is very effective if you apply the drive and initiative to it. It’s so much more than the social media, it’s also the face to face approach as well.

I love to network and build relationships. Hopefully after reading this; you will like it too.

Networking

Don’t be afraid of the word. It doesn’t bite. In the music business, “networking” is just a fancy term for “hanging out.” For our Jewish readership, it’s “schmoozing.” There, I can see you’re smiling already. That’s better.

The best way to learn and to make connections is to hang out—I mean network. Back in the ’70s, when I wanted to learn about producing records, I hung out at recording studios and asked questions of other producers and engineers. And even though I was just hanging out, to others in the Biz, I was in fact, networking.

Enough already. I’m going to assume you now know what the word means and move on to more important things—like how to network and why it’s so incredibly important to your careers.

Let’s begin by telling you what networking is NOT. It is NOT ass-kissing. It has nothing to do with cuddling up to one particular executive or top-level industry guy and saying yes to him repeatedly. It’s more akin to infiltration—to putting yourself into that “inner circle” of party-goers, movers and shakers and seminar speakers. It’s getting to meet as many important people as you can—and leaving them with a positive impression. These are two completely different things. Watch this: (1) Getting to meet as many important people as you can and (2) leaving them with a positive impression.

The people in the music industry who can help you are really fairly accessible—if you know where to look. Remember, they all have egos and all want to be seen and heard. They all need to be asked for their opinions to confirm their existence (and in some cases, their exorbitant salaries) in this business. Here are some tips on great networking opportunities:
Many local and national magazines and newspapers list upcoming events in their calendar sections. This will give you advance notice about seminars, conventions, meetings, classes, and mentoring sessions scheduled in the near future. Check out the topics, the list of guest speakers and the cost of attending. If the cost is out of your financial range, you might want to split it with a friend (or all of your band mates) and tape the seminar so you all benefit. At least that gets one of you in the door with the opportunity to meet and greet.

When large music conventions are held in giant hotels (EAT’M, for example), entrance is never restricted. It’s almost too easy to walk into the hotel and up to the convention area. My first suggestion would be to try talking your way in. Failing that, you need to realize that these all-day conventions are usually divided into many different sections, each lasting an hour or two. Remember that whatever walks in, must walk out.

On a smaller scale, many music education schools and colleges host weekend seminars are attended by some pretty important guest speakers—people you want to meet; People who can help you. Since attendance is usually limited, you should have no trouble approaching your target. Keep in mind that many people in the audience might be industry employees, as well.

If you stop to think for a moment, you’ll realize that there are probably two or three people who you deal with on a regular basis who have some industry ties—a local club booker, a journalist, or writer, a local recording artist, a promoter. This is the best and most direct way to begin the networking process. Start hanging out. See if you can get invited to an industry party. If there’s a special show at a local club featuring a hot new band, try to get in. There is certain to be a bevy of A&R activity there.

The best of all possible ways to both network and learn about the Biz is to try to get an internship at a record company, publishing company, or management company. This not only gives you hands-on experience on a day-to-day basis, but it allows you to meet and mingle as an “insider.” Failing that, getting a day job at a giant record store (Tower, Virgin Megastore, etc.) will do wonders for increasing the size of your Rolodex. Many aspiring stars got their first big break by talking it up with customers at the check-out counters and handing them a tape with their receipts.

And let’s not forget networking via e-mail. Today, almost everyone at the major record companies has an e-mail address. Take a shot. While you’re sitting home in your underwear playing computer games, send a short message to a manager or label exec. It couldn’t hurt. In fact, many industry veterans give online seminars and lectures. Check ’em out.

Always remember that you don’t get a second chance to make a first impression. Boy, I wish I had said that. Nevertheless, it’s true. Meeting someone is only half the battle—leaving them with the impression that you’re intelligent, hungry and talented, is another, entirely. Since I’m big on lists, here’s one that’ll help you make a lasting impression:
Take a lesson from the pages of the Boy Scouts—be prepared! If you’re going out for the night, always carry a CD or tape on your person . Keep additional ones ready (along with full press packages) in your car. Strike while the iron is hot. (Have you noticed that I’m trying to use every cliche possible to make my points?)

Look cool. Be yourself. These industry Big-Wigs are only people, after all. They also dress in jeans and go out drinking. So just be yourself and don’t do anything that is unnatural for you. You want them to see what they’ll be getting if they’re interested.

Knowing what to say once you meet your connection is perhaps the most important part of the networking process. Be clear, concise and gracious. Try this on for size: “Hi, my name is Bobby. I’m in a band called Cracked. I’d appreciate it if you could take my CD and listen to it when you get a chance. Cool. Thanks a lot.” Congratulations, you’ve reached first base.

Never try to force someone to make a commitment to listen to your music or to come down and see your band. It’s your job to make the connection and then do the follow-up work. These guys are not always at a club or a show to do business.

Never go out networking with your friends. This is something you need to do alone. You don’t want an A&R rep showing more interest in your guitar-playing buddy than in you. Your friend is your competition. Where’s that killer instinct? And besides, networking is not a game, it’s a career move.

Dan Kimpel, author of the best-selling book, Networking in the Music Business, adds this sage advice: “Don’t look up—look around. It’s too easy to imagine that networking with some powerful entity will instantly elevate you to his level. This is simply not the case. The truth is that Clive Davis (president of J Records) probably doesn’t need you, Babyface probably doesn’t want to write songs with you, and Celine Dion doesn’t need your material. You need to network for the future: cultivate relationships with minor executives who may well be the Clive Davis’s of tomorrow; find collaborators whose vision and drive may lead them to Babyface-levels of success and write songs for artists whose drive and talents will lead to mega-sales in the next millennium.

“People prefer to do business with people they know, so don’t treat people like stepping-stones, treat them as friends. Spend as much time developing your relationships as you do working on your music. Networking is something you can do every single day of your life.”

Here are some tidbits on how to increase your networking:

Music-specific social networks

These help you showcase your music and engage briefly with your fans. The three of them don’t demand constant updating, and they offer many possibilities.

  • Once you get your profile and music on Last.fm, you can see what songs are the most listened to and who listens to you the most, get on their targeted radio system, be paid when your tracks are streamed on the website, let your fans share pictures, news, etc. with their own contacts. I would recommend uploading your photos, videos, and gig dates while making the most of the stats, they’re incredibly useful.
  • SoundCloud is awesome for embedding a track on other social media, like Tumblr, Facebook, etc. Once you’ve uploaded your tracks, fans can share them, but also comment on very specific parts of each piece and join groups to discuss music with like-minded people, possibly you.
  • MySpace are currently preparing a new version, and from what the preview shows, it’s likely to finally stop falling on its face, maybe. More updates on this one later. In any case, industry professionals still check MySpace to hear what you sound like, so you better get used to it.

Source:Kenny Kerner

You never know where I may be bringing you the events of Chicago, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.

Until next time, See ya later Babies!
Disclaimer:
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Do You Have What takes to get a Record Deal?

Hey Y’all!

It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing another relevant topic to you!

 

Want a record deal?  Here is what you need to do.

To get signed, it used to be enough to simply have a talent and bump into the right person, or by sending your demo into a label, but not any more.

With the changing landscape of the recording industry, A&R’s are a lot more hesitant to sign unknown acts, so unless you can prove to the record label that there’s a good chance they’ll recoup the money they invest in you, it’s very unlikely you are going to get signed.

So, what are A&R’s looking for when they’re getting ready to potentially sign someone? Here are a few things you can to do to increase your chances of getting their attention.

1. Having an amazing draw at your shows
If you want to get a record deal, you need to prove that you can draw in big crowds to your shows. These crowds pay for tickets and show up at all your gigs. They buy your merchandise, sing along to your lyrics, and go home and tell everyone how amazing you are. These are the type of fans every label likes to see.

2: Sell Units (Physical or Digital)
As well as selling out live shows and making good money on merchandise, another thing record labels want to see is you selling units. This shows that people are willing to support you, and your fan base is still willing to spend money on your music. You won’t be expected to sell anywhere near the amount that major artists do. Record labels realize that there’s only so much promotion you can do as an independent artist. Despite this, they do want to see some numbers. If you can prove you can sell a good amount of songs, A&R’s will be more interested considering you for their label.

3: Have a big, engaged fan-base.
Having large numbers is a good thing, but not enough by itself. Having many of Twitter followers for example, who never re-tweet you or mention you in their feed, is ultimately worthless. If you have 17,000 people on your mailing list,  but no one reads any of your emails for example, your list is pretty much garbage. The goal is to build a big, loyal and engaged fan base. Anything less, you’re just wasting your time.

I hope this helps you in your career!

You never know where I may be bringing you the events of Chicago, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.  Until next time, See ya later Babies!

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How to Write an Artist Biography: A Bio Made Simple

Hey Y’all!

It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing another relevant topic to you!

When you write your bio, you are NOT writing your autobiography. You are writing a music business document. Your bio then is written FOR the music business contacts you want to impress, deal with, and create lasting relationships with. (because you are into this for the long haul, aren’t you?)

Before you begin to write your bio, be sure you have taken an inventory of your background, accomplishments, goals, and objectives as a musician, and, once again, remember who you are writing the Bio for: A&R Reps at Record Labels, Media Contacts, Booking Agents, and Management Contacts, Booking Agents, Promoters, etc.

These professionals in the music business are busy people, who may deal with dozens of “wannabe’s” every week, so make your bio informative, upbeat, and filled with useful comments, descriptions, quotes, and motivational language that can make them want to listen to your music, and help you on your musical way.

When you are ready to write your Bio using this outline can keep you focused and organized.

Note: The instructions and suggestions below are for traditional music business oriented needs. Since we are in the midst of the digital music revolution, I would ask you to do one other thing besides write a traditional artist or band bio. Please visit http://www.sonicbids.com. They can help you with what are called EPKs (Electronic Press Kits.) However, the information I am providing you with will go along way to helping you with your EPKs, but you WILL need both at this time.

So, let’s get going. Follow these directions and you will have the tools to write your own bio, and essential part of any Press Kit, analog or digital.

1st Paragraph:

Start with an introductory sentence that clearly defines the essential band/artist name, your specific genre of music, where you are from, and perhaps a positive quote about your music from a contact you have made in the music business.

2nd Paragraph:

This section should address the immediate purpose of the Bio. What are you doing at this time? Mention a current activity you are involved with. If a new CD or digital release is coming out, that should be the main topic of the first sentence of the second paragraph. In other word, a reason the Bio has been written should be clearly stated early on. Hints about any promotional activities that will be occurring to support the CD or digital release is also useful in this paragraph.

3rd and 4th Paragraph:

At this point, information on any other band members can be introduced, and background information on the forming of the group, experience, accomplishments, and recognition issues can be addressed. If you have developed a plan for your career path, additional paragraphs elaborating on this type of can be written, that show how your current project is part of a larger career development plan. Quotes from a couple of your songs can be useful to highlight your new release.

Ending:

Remember, the bio should not waste words. For a new artist 1 page is enough to get the job done. For more experienced artists, a page and a half to two pages should be the maximum length. So, ending the Bio in an efficient way should be the aim; use another quote from a gatekeeper who supports the artist, or summarize the 2nd paragraph information, reminding the reader of current activities.

Source:Chris Knab

You never know where I may be bringing you the events of Chicago, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.  Until next time, See ya later Babies!

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(PlatinumVoicePR is the source for the events and has no legal bindings with associated parties)

(Music Videos and Links are for promotional use only)

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