Since I have moved to Tucson I have noticed the same thing I have noticed in any city I have lived in for the past ten years, Local Hip Hop artists refuse to support other artists in their cities. There seems to be this accepted understanding that if you or your friends do not like another group of people you have to do everything you can to stop them from making moves. I understand that the complex mix of envy, jealousy, fear, anger, and loyalty drives this idea. The local hip hop scene is dying a slow death because of this philosophy.
The solution to this problem is quite simple, whether you like the music they make or not you should have respect for the fact they are trying to make it just like you. The other day on Facebook the guy who runs the Tucson Rap page posted a cypher which had 4 white guys on it as part of his Southwest Cypher Series. Almost immediately another rapper posted this:
"Y'all
need to stop showing these whack white boy rappers and focus on
artists. The only true artists in tucson are EMG, EZ Goin, the Kennedy's
and efresh. Stop showing this stupid typical tucson rap because that's
why no one gives tucson love."
This is exactly what I am talking about. This guy has a few people he supports and because of race has decided the guy on that cypher are whack. It is a fact one of the best rappers in the world is Eminem and he is white. I think it is time we move beyond the idea that a persons skin color makes or breaks their ability in Rap and Hip Hop. Why does it matter if the guys on the cypher are white? It doesn't. Stacc Styles is one of the best chopping rappers in this city. Crookyd is hands down one of the best battle rappers here. They have been asked to perform at shows and have been the only Tucson rappers on the bill. This isn't by chance it is because they work constantly on their craft. They don't make cheap ass music or music videos. The hustle hard, make quality music, and always have their eyes on what is important, their career and what they want to accomplish. That is how you succeed. They also show love to anyone trying to make it and actually doing the work needed to make it. Rap isn't a hobby, I have said it before, it is a business. In order to succeed you need to do anything and everything to make it. Deprive yourself of sleep and other things to make your dreams happen.
There have been times I have heard people say "I would love to see the headliner but I don't support the locals on the show so I am not going." How does this make any sense? You should be buying tickets to shows for the headliner not the locals. Who knows if people gave someone they heard was whack a chance they might actually dig what the guy(s) do. If local scenes continue to get shows of 25-30 people and by the time the headliner is out you can count the fans on your hands because the fans only came to support their friends then rappers and other artists who can give you exposure will not come to town. Then nobody wins. Small or big a national tour can get you exposure and fans nationwide. If any artists refuses to see that then it is time to quit and get a 9-5 job.
There is a movement by some on social media to "support locals" and that in words is great. But the same people who post such things do not back up that idea with actions. What they in turn are saying is "Come support my friends because I think they deserve it, but I will not return the favor." As local shows refuse to support one another the entire movement fails. Not until we can all band together and support people because of their hustle, abilities, and drive and stop hate because of envy, jealousy, fear, anger, and blind loyalty will the hip hop movement in any city begin to see success and love from anyone outside of that city.
MMFWFL,
Juggalotus
Showing posts with label Tucson. Show all posts
Showing posts with label Tucson. Show all posts
Sunday, November 24, 2013
Thursday, August 8, 2013
Paying dues
The more I work with artists on all levels in the music business the more I am seeing the downfall of the industry. Far too many rappers bring the street mentality to business. By this I mean they handle their music career like they would handle a drug deal on the street. Established artists continually fail to remember that they once were opening shows in their local areas and struggling to make ends meet. They use their position in the business to abuse, intimidate, and use local acts to pad their bank accounts. Popular performers in local cities are charging nationwide touring prices for a show in their home cities. And up and coming artists are no longer willing to put in work to get known and advance their careers beyond the local level.
Each of these things is killing the business locally and nationally. I am going to break each one down so I can expand on the problems I see and ways we can overcome these issues and once again make live music exciting, profitable, and most of all trustworthy.
First the big name acts. These people have paid their dues. They deserve to get paid above the cost of their tours to do a show. They have earned the right to ask people to pay a reasonable ticket price to see their shows. They have marketed themselves, have national exposure and following, and have earned their spot on the ladder. The problem comes in when these acts use that position to not only exploit promoters and local acts but abuse their position and prevent others from making moves up the ladder after them, thus killing competition. I have personally seen "street tactics" used to exploit promoters for money that they were not entitled because shows had been cancelled. These shows usually do not have a non-refundable deposit (Which would protect that shows cost for the artist) and normally do not have a signed contract to back up their claims. So the artists end up making verbal threats and resorting to these "street tactics" to exploit money they are not entitled. The other way they kill up and coming artists is by charging thousands of dollars to do a verse for the newer artists. Most of the time the big name artist does little to no actual thinking about the verse they record. They give a canned verse to a beat or a verse they had recorded for something else. There are some out there that do not do these things and those people have earned my respect.
Next we have the big local name act. These guys may be known in the city, state, or region they are in and are entitled to get paid a small amount to do shows in these areas. They have earned the right to charge a few hundred dollars and travel expenses to do shows but not more than that. These guys usually are easier to deal with but some can still have the ego issues and have been known to back out of shows at the last minute and not give the booker/promoter anything back for the time, energy, and money invested in promoting these guys for those shows. A lot of these guys promote their own shows and then fall into the habit of charging openers high amounts to fill slots on their shows knowing their notoriety locally will "encourage" the smaller local acts to pay just to have the right to say they were selected by the artist to open their shows. Once again not all of the bigger local names are like this and you can find trustworthy people to work with.
Lastly is the local guys who have paid to open shows for these big local or national names and now feel entitled to be paid for their performance, not have to sell tickets, or be treated like a big fish when they are not. These people usually resort to "street tactics" because that is all they know. Some sell drugs, are in gangs, and are too young to have any business experience or knowledge. Those reasons are why "beef" gets brought into shows causing violence and making venues not host any hip hop or rap shows. Cities that have been huge support cities for major artists have been crippled by these things. These artists have yet to earn their stripes. They haven’t paid their dues. They have no right to charge a promoter to open the show with no guaranteed ticket sales or assistance in promotion. In my blog "what-exactly-is-pay-to-play" I outline how a show should be booked and promoted. This format makes everyone some profit for every show. This is the format these types of people should be following when they do local shows.
I have quite a few low and mid-level artists in the business that I speak with frequently and they agree that this format is the best one for everyone. Many of the mid-level guys still only charge a small appearance fee and travel costs to go anywhere and do a show. They do this not because they can’t get paid more money but they understand they haven’t earned that right yet. They are still grinding and hustling to get known nationwide. They know how to properly work up in this business. These types of artists give me hope that live music isn't and will not be dead in the near future.
There was a time in this business it was like a family. We all looked out for one another and supported each other because we had to in order to survive. We all went to shows, stayed for everyone’s sets, bought merchandise from others, and stood by one another to make every show a kick ass time. I truly believe this mentality isn’t dead. I believe that honest hard working artists still exist and know that by grinding, paying their dues, and supporting others will pay off in the end. Yes there will always be snakes who take advantage of this. That is why we must stand up and stop these abuses from happening. Stop paying high value for minimal effort. Stop letting these abusers get away with it. This is a BUSINESS and should be handled as such. Live music should be an event. It should make people not want to leave because for several hours they were able to leave their problems and worries at the door and cut loose. In the end everyone should leave with something, whether that is money, memories, or new friends.
MMFWFL,
Juggalotus
MMFWFL,
Juggalotus
Saturday, May 25, 2013
What exactly is Pay to Play?
Promoters are often shady and take advantage of artists. I have pointed this out in several blogs on here. But not all promoters are snakes. Not all promoters want to screw the artists over. The one thing all promoters have in common is they invest their own money into booking shows. They have to pay for artist travel, hotel, riders, venue cost, ticket cost, promotional materials, and much more. This can be a very expensive venture and a promoter wanting to protect themselves so they do not continue to hemorrhage money hosting shows should be acceptable. At the same time not every artist is shady. They all don't want to get on shows for free, be allowed to not sell any tickets or get fans in the door, or have nothing invested in the shows they do. This blog is here to clear up my thoughts on show promotion and how in the end everyone can make money and be happy.
One of the most popular and shady promoter tactics is called Pay to Play. I recently started planning a
show here in Tucson and was accused of this tactic. So this blog is my response to this accusation and hopefully a better understanding of what the term means and why what I do is not pay to play.
The most simple explanation is this, paying to play is where artists pay the promoter a certain amount of money to secure a spot on the show. That money gets the artist nothing in return except a 10-20 min slot on the show. The artist gives the promoter the cash and gets no money in return. Quite simply they "Pay to Play." The biggest problem with this is that most promoter that do this do not care about the show. They only care about the money. They will book 10-15 openers at $150-200 per opener and essentially make their money off of the artist. They don't care about getting fans in the door or "Promoting" the show. To them their money is made off the openers. This leads to minimal crowds for the headliners and really poor performances. By doing this these promoters ruin tours and shows for everyone. All the benefits are on the promoters side.
Another tactic promoters use is having openers sell tickets to secure the spot. They will consign the openers a certain number of tickets (25-50 usually) and have them give them the money from the sales the day of the show. This is a perfect scenario for the artist. They get the tickets and are expected to sell them to secure the spot. There are three major problems with this. First all of the money from those sales is expected to be handed over to the promoter the day of the show. So the artist once again makes no money. It becomes a pay to play scenario which brings in fans by the artists hustling ticket instead of the promoter. These shows have a better turn out because of this but the artist is still without payment. The second problem is in the fact that the artists don't have to sell the tickets, they simply have to give the promoter the cash the day of the show. So this still allows for artists with minimal skills or hustle to get onto shows and not have to bring one person in the door. And finally if the artists do not sell tickets and show up with no money the promoter is really assed out and either has to let them perform or have a huge hole in their lineup. The benefits work more in the artists benefit here but still leave the financial benefit in the promoters hands.
The final way of promoting and booking a show is what I prefer. I ask the artists put a deposit on the tickets I ask them to sell. In this case I am asking the artist "buy" 25 tickets from me for $6 per ticket. This means when they pick up the tickets I receive $150. After they have the tickets they are allowed to sell them for $8 per ticket and keep all of the money from the sales, this is $200. So by selling the 25 tickets required they make $50 in the end. After the 25 tickets I sell them tickets at $4 per ticket and they sell them for $8 per ticket making $4 for every ticket they sell. So lets do some simple math:
Artist buys 25 tickets at $6 per ticket-I (promoter) get $150
They sell them for $8 per ticket- They (Artist) get $200. A $50 profit in their pocket.
Lets say they sell another 25. They purchase them from me for $4/ticket- I get another $100.
They sell those for $8/ticket. They get $200. Another $100 in profit.
So as you can see in this scenario I as the promoter am able to protect my investment in the show, the artists has a chance to make some good money with their hustle in ticket sales, and the fans are brought to the show because of the sales. This is the closest thing to a win-win in the business. The artist does take risk in the ticket deposit but that is mitigated when they sell the tickets. I as the promoter take a risk someone will "pay to play" and not bring anyone in the door but that is mitigated by the fact the artists have an opportunity to make money. I don't know anyone in their right mind knowing they can sell 25 tickets that wouldn't take the risk in the deposit to make $50 or more.
No situation is perfect and all can be abused. But I can promise any artist I work with an honest and fair deal that can be mutually beneficial. I can also promise that any artist on my shows that "pay to play" will never be asked to do any of my shows again. I am willing to give anyone a chance until they burn me. I want artists that are willing to put in as much effort as me in promoting, getting fans in the door, and putting on the best shows in Tucson.
We need to start being fair and helping each other make money. We need to get away from the me first attitude. The what are you going to do for me while I do nothing for you mentality. I would love to get your thoughts and opinions so feel free to let me know!
MMFWFL,
Juggalotus
One of the most popular and shady promoter tactics is called Pay to Play. I recently started planning a
show here in Tucson and was accused of this tactic. So this blog is my response to this accusation and hopefully a better understanding of what the term means and why what I do is not pay to play.
The most simple explanation is this, paying to play is where artists pay the promoter a certain amount of money to secure a spot on the show. That money gets the artist nothing in return except a 10-20 min slot on the show. The artist gives the promoter the cash and gets no money in return. Quite simply they "Pay to Play." The biggest problem with this is that most promoter that do this do not care about the show. They only care about the money. They will book 10-15 openers at $150-200 per opener and essentially make their money off of the artist. They don't care about getting fans in the door or "Promoting" the show. To them their money is made off the openers. This leads to minimal crowds for the headliners and really poor performances. By doing this these promoters ruin tours and shows for everyone. All the benefits are on the promoters side.
Another tactic promoters use is having openers sell tickets to secure the spot. They will consign the openers a certain number of tickets (25-50 usually) and have them give them the money from the sales the day of the show. This is a perfect scenario for the artist. They get the tickets and are expected to sell them to secure the spot. There are three major problems with this. First all of the money from those sales is expected to be handed over to the promoter the day of the show. So the artist once again makes no money. It becomes a pay to play scenario which brings in fans by the artists hustling ticket instead of the promoter. These shows have a better turn out because of this but the artist is still without payment. The second problem is in the fact that the artists don't have to sell the tickets, they simply have to give the promoter the cash the day of the show. So this still allows for artists with minimal skills or hustle to get onto shows and not have to bring one person in the door. And finally if the artists do not sell tickets and show up with no money the promoter is really assed out and either has to let them perform or have a huge hole in their lineup. The benefits work more in the artists benefit here but still leave the financial benefit in the promoters hands.
The final way of promoting and booking a show is what I prefer. I ask the artists put a deposit on the tickets I ask them to sell. In this case I am asking the artist "buy" 25 tickets from me for $6 per ticket. This means when they pick up the tickets I receive $150. After they have the tickets they are allowed to sell them for $8 per ticket and keep all of the money from the sales, this is $200. So by selling the 25 tickets required they make $50 in the end. After the 25 tickets I sell them tickets at $4 per ticket and they sell them for $8 per ticket making $4 for every ticket they sell. So lets do some simple math:
Artist buys 25 tickets at $6 per ticket-I (promoter) get $150
They sell them for $8 per ticket- They (Artist) get $200. A $50 profit in their pocket.
Lets say they sell another 25. They purchase them from me for $4/ticket- I get another $100.
They sell those for $8/ticket. They get $200. Another $100 in profit.
So as you can see in this scenario I as the promoter am able to protect my investment in the show, the artists has a chance to make some good money with their hustle in ticket sales, and the fans are brought to the show because of the sales. This is the closest thing to a win-win in the business. The artist does take risk in the ticket deposit but that is mitigated when they sell the tickets. I as the promoter take a risk someone will "pay to play" and not bring anyone in the door but that is mitigated by the fact the artists have an opportunity to make money. I don't know anyone in their right mind knowing they can sell 25 tickets that wouldn't take the risk in the deposit to make $50 or more.
No situation is perfect and all can be abused. But I can promise any artist I work with an honest and fair deal that can be mutually beneficial. I can also promise that any artist on my shows that "pay to play" will never be asked to do any of my shows again. I am willing to give anyone a chance until they burn me. I want artists that are willing to put in as much effort as me in promoting, getting fans in the door, and putting on the best shows in Tucson.
We need to start being fair and helping each other make money. We need to get away from the me first attitude. The what are you going to do for me while I do nothing for you mentality. I would love to get your thoughts and opinions so feel free to let me know!
MMFWFL,
Juggalotus
Thursday, May 9, 2013
Wicked Butterfly Update!
So the past few months I have posted a lot of things on this blog but today I am here to give a little update on Wicked Butterfly Entertainment and what we have going on, so here we go:
Black Project officially has a demo out in the public space. It contains five tracks from our upcoming album and is pure fire! This demo has two collabs on it that are absolutely the best of the best. The first is "Lay my body to rest" it features both Bukshot (Underground Avengers, Mobstyle Records) and T-Razor (Underground Avengers). This track took us several months to get together but it is one of the best things we have ever done. The second collab is with a guy named Stacc Styles of Cultivate Creative Sound. It is called "Wrote this letter" and shows a softer more deep side of Black Project. The demo is rounded out by "Darkest Place", "Dig ya Grave", and "Never make it out". If you are in Tucson or Amarillo hit up our Facebook page http://www.facebook.com/pages/Black-Project/479855342036749?fref=ts leave a message and we will hook you up for just $5.
Black Project has two shows coming up on the nationwide "Eerly Birds Tour" with J Hornay & Cultivate Creative Sound. The first is in Albuquerque, NM on June 8 @ Blackwater. The second is in Tucson, AZ on June 12 @ The Rialto. These shows are not to be missed!
Finally Black Project has been steady in the studio finishing off more tracks for the "Highly Classified" Album. We are hoping to have at least 4 more tracks done before the Eerly Bird shows, if so you might just get to see them performed live at the shows.
I have been busy working on a lot of concerts and scheduling with Unstable Promotions. The big news is that July 7, 2013 former Strange Music artist Snug Brim is bringing his Arrogant Tour to Tucson, AZ! You heard that right the show is 8 pm at DV8 on July 7, 2013. It will be headlined by Snug Brim, Mr. Grey and Cultivate Creative Sound. Tickets are just $8 presale and $10 at the door. Cheap price for a great show and one that shouldn't be missed!
At the end of July Unstable artist Jigsaw is going to be in Tucson for a show. Details are still being worked out and I will give you an update as they get finalized.
Wicked Butterfly Entertainment and West Coast Chill are teaming up to bring the new energy drink in a self cooling can into the market here in Tucson! This can is awesome, it cools the drink 30 degrees in just 3 minutes! We are also working on bringing West Coast Chill to the Gathering of the Juggalos so be on the lookout for that. If you don't know about this energy drink hit up www.westcoastchill.com and see what it is all about!
Finally it has been my pleasure to continue to do reviews for www.faygoluvers.net. Scottie D has kept putting his trust in me to give my honest straight forward opinion on the music he sends me and for that I am greatful. I have had the pleasure of hearing a wide variety of good, bad, horrible, and great music and hope to continue into the distant future.
With all that in mind here is my shout outs:
Scottie D- Much Love Homie. Thank you for the trust and confidence in me.
Randy Forester aka 806 Outlaw- Been a year man and I couldn't be happier with what we have accomplished with Black Project.
Cecil Martinez aka Narkotix- The past year you havent made my job to easy but it has been an awesome ride. Keep you feet to the fire homie and lets get this CD out this year!
Stacc Styles- Thank you for the love, support, and trust you have place in me for the past few months. Your new solo album is going to be pure fire. Still wanna work that Heel Stacc "I'll pull your Bitch" album.
Crookyd- Road trips have been interesting to say the least! Been a great time with you and all the guys from CCS. Cant wait to get crackin on that solo project!
Bukshot- As one of the truest and most honest musicians I have ever worked with it is my pleasure to call you my friend. I will get you out here for a show and we will bring that Mobstyle to Tucson!
Mars- People love you and people hate you man. Been that way since day one. I consider you my friend and have truely enjoyed working with you and hope we can do more together in the future.
Kung Fu Vampire- What can I say man you are doing big fangs! No doubt you have earned everything you have gotten and have still managed to stay humble in this business. I proudly say you are my friend and I am always here to help out.
Mr. Grey- Hopefully the beginning of big things man! I have enjoyed your work and the times we have had to meet up or talk have been awesome. I am here if you ever need anything homie.
Steven Natale- As Black Projects Producer and main mixer you have been awesome. One of the best I have ever worked with and I definitely look forward to a long and hopefully prosperous future making hits!
Kristina (My Wife)- I would not be where I am without your support. You have been there since day one in this music business. I have made good decisions and bad decisions and you have always had my back. I have no doubt with you in my corner I can make it in this cut throat business. I love you and thank you for everything.
Thats it for this post. I know a lot of shout outs and love in this one. But I feel truely blessed to be where I am and doing the things I am doing. Keep your eyes peeled on the blog for more info on the album release and upcoming concerts.
MMFWFL,
Juggalotus!
Black Project officially has a demo out in the public space. It contains five tracks from our upcoming album and is pure fire! This demo has two collabs on it that are absolutely the best of the best. The first is "Lay my body to rest" it features both Bukshot (Underground Avengers, Mobstyle Records) and T-Razor (Underground Avengers). This track took us several months to get together but it is one of the best things we have ever done. The second collab is with a guy named Stacc Styles of Cultivate Creative Sound. It is called "Wrote this letter" and shows a softer more deep side of Black Project. The demo is rounded out by "Darkest Place", "Dig ya Grave", and "Never make it out". If you are in Tucson or Amarillo hit up our Facebook page http://www.facebook.com/pages/Black-Project/479855342036749?fref=ts leave a message and we will hook you up for just $5.
Black Project has two shows coming up on the nationwide "Eerly Birds Tour" with J Hornay & Cultivate Creative Sound. The first is in Albuquerque, NM on June 8 @ Blackwater. The second is in Tucson, AZ on June 12 @ The Rialto. These shows are not to be missed!
Finally Black Project has been steady in the studio finishing off more tracks for the "Highly Classified" Album. We are hoping to have at least 4 more tracks done before the Eerly Bird shows, if so you might just get to see them performed live at the shows.
I have been busy working on a lot of concerts and scheduling with Unstable Promotions. The big news is that July 7, 2013 former Strange Music artist Snug Brim is bringing his Arrogant Tour to Tucson, AZ! You heard that right the show is 8 pm at DV8 on July 7, 2013. It will be headlined by Snug Brim, Mr. Grey and Cultivate Creative Sound. Tickets are just $8 presale and $10 at the door. Cheap price for a great show and one that shouldn't be missed!
At the end of July Unstable artist Jigsaw is going to be in Tucson for a show. Details are still being worked out and I will give you an update as they get finalized.
Wicked Butterfly Entertainment and West Coast Chill are teaming up to bring the new energy drink in a self cooling can into the market here in Tucson! This can is awesome, it cools the drink 30 degrees in just 3 minutes! We are also working on bringing West Coast Chill to the Gathering of the Juggalos so be on the lookout for that. If you don't know about this energy drink hit up www.westcoastchill.com and see what it is all about!
Finally it has been my pleasure to continue to do reviews for www.faygoluvers.net. Scottie D has kept putting his trust in me to give my honest straight forward opinion on the music he sends me and for that I am greatful. I have had the pleasure of hearing a wide variety of good, bad, horrible, and great music and hope to continue into the distant future.
With all that in mind here is my shout outs:
Scottie D- Much Love Homie. Thank you for the trust and confidence in me.
Randy Forester aka 806 Outlaw- Been a year man and I couldn't be happier with what we have accomplished with Black Project.
Cecil Martinez aka Narkotix- The past year you havent made my job to easy but it has been an awesome ride. Keep you feet to the fire homie and lets get this CD out this year!
Stacc Styles- Thank you for the love, support, and trust you have place in me for the past few months. Your new solo album is going to be pure fire. Still wanna work that Heel Stacc "I'll pull your Bitch" album.
Crookyd- Road trips have been interesting to say the least! Been a great time with you and all the guys from CCS. Cant wait to get crackin on that solo project!
Bukshot- As one of the truest and most honest musicians I have ever worked with it is my pleasure to call you my friend. I will get you out here for a show and we will bring that Mobstyle to Tucson!
Mars- People love you and people hate you man. Been that way since day one. I consider you my friend and have truely enjoyed working with you and hope we can do more together in the future.
Kung Fu Vampire- What can I say man you are doing big fangs! No doubt you have earned everything you have gotten and have still managed to stay humble in this business. I proudly say you are my friend and I am always here to help out.
Mr. Grey- Hopefully the beginning of big things man! I have enjoyed your work and the times we have had to meet up or talk have been awesome. I am here if you ever need anything homie.
Steven Natale- As Black Projects Producer and main mixer you have been awesome. One of the best I have ever worked with and I definitely look forward to a long and hopefully prosperous future making hits!
Kristina (My Wife)- I would not be where I am without your support. You have been there since day one in this music business. I have made good decisions and bad decisions and you have always had my back. I have no doubt with you in my corner I can make it in this cut throat business. I love you and thank you for everything.
Thats it for this post. I know a lot of shout outs and love in this one. But I feel truely blessed to be where I am and doing the things I am doing. Keep your eyes peeled on the blog for more info on the album release and upcoming concerts.
MMFWFL,
Juggalotus!
Sunday, February 17, 2013
Hottest rapper in the city of.......
The underground rap world is flooded with different cliques, different cities, and different views of "how" this game is played. This has become an epidemic that is eventually going to kill our movement. As a group we all should understand that we should be united against those trying to shut down what we are doing. The "Mainstream" is never going to understand what we are doing. Should that make us hate them? Should that make us take focus off of what we are doing to "make a statement?" If you answered no, congratulations you got the right answer. If you did answer no then why should what anyone else is doing in the underground affect what we do as musicians, producers, and promoters? You might be asking why I am dedicating an entire blog to something that should be common sense. Well the answer is simple, I see a problem and if someone doesn't speak up then we all will fail.
Here is the problem: We are so busy fighting amongst ourselves and fighting against the mainstream we are failing to protect ourselves from being taken advantage of. By this I mean in most cities you have two groups, the underground rappers and the mainstream rappers. Both of these groups proclaim to be the greatest thing in the game in their perspective city. Both claim the other side is horrible. Both claim to be "Making it" yet neither is. Both sides are so focused on the next diss track, the next thing to point their finger at and say look how horrible they are, and the next way to prove how great they are.
My solution is simple, stop focusing on everyone else and focus on what is important, the music! Sound easy enough? Then why is it not happening? Well I am going to break down each part of our industry Rappers, Managers, Promoters, and Producers.
Rappers: If you fall into this category you should be focused on making the best music you possibly can, period. From writing to recording, to performing you are the face of your brand. If your focus is on managing, merch, setting up shows, etc. you are going to fail. No one can do all of that and still make great music. You should hire a manager you trust. Someone who can take those responsibilities and make decisions that are best for you as a solo or group act. By "hiring" the right person you can focus entirely on making your music better. Yes it will cost you between 8-12% in most cases (if they take more than that you are getting ripped off) But hiring the right person will make you more money in the long run because the more money you make the more money they make. The next thing you need to focus on is recording. There is no shame in going to a professional studio to record or mix and master your music. The money you put into your product will directly reflect the benefits you get back. If you invest nothing and record in your basement your product is not good enough to make people want to buy your product. Believe me when I say I have worked with many people who found this out because I required them to go to a pro studio. Yes I found a place where cost vs quality was a great deal, thats what a good manager does.
Managers: Your focus should be on making deals that benefit your acts, not yourself. If you focus entirely on you then your acts suffer. You should be dedicating your time to finding better costs for recording, finding more shows to showcase their talent outside of your city, sending out demos to labels and businesses for promotion and/or contracts and reaching out to other artists for collabs. All of these things will expose your act to a broader audience and gain them noteriety in a much larger base. Once the deals come in you will start making money. The one thing you shouldn't do is rape your artists finances. Yes they are responsible to pay the costs for recording, travel and merch at first, but working this right can allow them to get paid in time and have those costs covered by other companies who sponsor your groups. The last two things any great manager should have is integrity and honesty. These two things will make you a valuable asset to any rapper.
Promoters: If you follow my blog you will know that this section of the business pisses me off more than any other. This is due to my experience with these people. The main problem I see in this field is charging artists for timeslots on shows. I see no problem with requiring an artist to say purchase a certain number of tickets from you directly and then in turn when they sell them they get their money back. Doing this it does not hurt you in any way. You are still getting money for the tickets and the responsibility to get them sold falls onto the artist. You should not be charging $250-400 to someone who is strapped for cash to lock in a 12-15 min slot on your show. This has been a huge epidemic in our industry. Artists think that they have to pay these fees to play, this is WRONG. I do understand you have to make money and have people at your shows. By giving the artist a cut of the ticket sales they become motivated to sell more tickets. If they can just pay $200 for a slot what is their motivation to get people in the door? This now becomes your problem. They don't care if people are there or not. By making them invest in the show they will fell more responsible if no one shows up. They will lose money that they could have made. This is huge motivation that will improve the attendance in your show.
Producers: It is ok to charge rappers to record and mix and master. The problem is if your equipment is low end your end product is low end. Invest in quality mics and software so the product coming out of your studio will be better received and make people want to buy it. The more quality recordings you send out the more people are going to come to you and spend money. Much like the rappers I feel like the money you invest in your studio directly impacts the money you get back in profit.
If you have read through all of this please understand I love this business. That is exactly what this is, a business. If you don't look at it as a business you will fail. Leave the street tactics out of the business. If your focus is not entirely on these things you will be spinning your wheels and getting nowhere. Rappers need to stop worrying about everyone else. Managers need to be concerned with making their acts money. Promoters need to stop making all their money back off the opening acts and learn how to properly and honestly make the money. Producers need to be reasonable in the amount they charge. If we all focus on these things we will be successful. And success is the best revenge to those haters we all have. If you have haters you are doing something right, don't let their crap stop you.
I have nothing but love for the underground and the movement we are a part of. I am not an expert by any means but all of these things I speak on are from experience.
MMFWFL,
Juggalotus
Here is the problem: We are so busy fighting amongst ourselves and fighting against the mainstream we are failing to protect ourselves from being taken advantage of. By this I mean in most cities you have two groups, the underground rappers and the mainstream rappers. Both of these groups proclaim to be the greatest thing in the game in their perspective city. Both claim the other side is horrible. Both claim to be "Making it" yet neither is. Both sides are so focused on the next diss track, the next thing to point their finger at and say look how horrible they are, and the next way to prove how great they are.
My solution is simple, stop focusing on everyone else and focus on what is important, the music! Sound easy enough? Then why is it not happening? Well I am going to break down each part of our industry Rappers, Managers, Promoters, and Producers.
Rappers: If you fall into this category you should be focused on making the best music you possibly can, period. From writing to recording, to performing you are the face of your brand. If your focus is on managing, merch, setting up shows, etc. you are going to fail. No one can do all of that and still make great music. You should hire a manager you trust. Someone who can take those responsibilities and make decisions that are best for you as a solo or group act. By "hiring" the right person you can focus entirely on making your music better. Yes it will cost you between 8-12% in most cases (if they take more than that you are getting ripped off) But hiring the right person will make you more money in the long run because the more money you make the more money they make. The next thing you need to focus on is recording. There is no shame in going to a professional studio to record or mix and master your music. The money you put into your product will directly reflect the benefits you get back. If you invest nothing and record in your basement your product is not good enough to make people want to buy your product. Believe me when I say I have worked with many people who found this out because I required them to go to a pro studio. Yes I found a place where cost vs quality was a great deal, thats what a good manager does.
Managers: Your focus should be on making deals that benefit your acts, not yourself. If you focus entirely on you then your acts suffer. You should be dedicating your time to finding better costs for recording, finding more shows to showcase their talent outside of your city, sending out demos to labels and businesses for promotion and/or contracts and reaching out to other artists for collabs. All of these things will expose your act to a broader audience and gain them noteriety in a much larger base. Once the deals come in you will start making money. The one thing you shouldn't do is rape your artists finances. Yes they are responsible to pay the costs for recording, travel and merch at first, but working this right can allow them to get paid in time and have those costs covered by other companies who sponsor your groups. The last two things any great manager should have is integrity and honesty. These two things will make you a valuable asset to any rapper.
Promoters: If you follow my blog you will know that this section of the business pisses me off more than any other. This is due to my experience with these people. The main problem I see in this field is charging artists for timeslots on shows. I see no problem with requiring an artist to say purchase a certain number of tickets from you directly and then in turn when they sell them they get their money back. Doing this it does not hurt you in any way. You are still getting money for the tickets and the responsibility to get them sold falls onto the artist. You should not be charging $250-400 to someone who is strapped for cash to lock in a 12-15 min slot on your show. This has been a huge epidemic in our industry. Artists think that they have to pay these fees to play, this is WRONG. I do understand you have to make money and have people at your shows. By giving the artist a cut of the ticket sales they become motivated to sell more tickets. If they can just pay $200 for a slot what is their motivation to get people in the door? This now becomes your problem. They don't care if people are there or not. By making them invest in the show they will fell more responsible if no one shows up. They will lose money that they could have made. This is huge motivation that will improve the attendance in your show.
Producers: It is ok to charge rappers to record and mix and master. The problem is if your equipment is low end your end product is low end. Invest in quality mics and software so the product coming out of your studio will be better received and make people want to buy it. The more quality recordings you send out the more people are going to come to you and spend money. Much like the rappers I feel like the money you invest in your studio directly impacts the money you get back in profit.
If you have read through all of this please understand I love this business. That is exactly what this is, a business. If you don't look at it as a business you will fail. Leave the street tactics out of the business. If your focus is not entirely on these things you will be spinning your wheels and getting nowhere. Rappers need to stop worrying about everyone else. Managers need to be concerned with making their acts money. Promoters need to stop making all their money back off the opening acts and learn how to properly and honestly make the money. Producers need to be reasonable in the amount they charge. If we all focus on these things we will be successful. And success is the best revenge to those haters we all have. If you have haters you are doing something right, don't let their crap stop you.
I have nothing but love for the underground and the movement we are a part of. I am not an expert by any means but all of these things I speak on are from experience.
MMFWFL,
Juggalotus
Friday, January 18, 2013
Opening acts and fans are being used
I have been rolling this idea around in my head for a while. Several years ago when Alex Abyss left Psychopathic Records I noticed a shift in the promotion, marketing, tickets, and merch that made me a little more than concerned. The focus of the label shifted from taking care of the fans (family) to making the almighty dollar. Now don't get me wrong I understand you are in the business to make money. But from the beginning ICP and Psychopathic Records has made great effort to treat the fans as family. They always kept ticket prices reasonable for most fans. The merch was relatively inexpensive. And the CD releases actually gave a little back with free add ons and other releases outside of the main ones. Since the change in management I now see ticket prices for shows higher than ever, the Gathering unattainable by most of the fans due to cost, VIP access is $100 and now does not include the $20-25 ticket for the show (the Gathering is only $175 and covers the 4-5 day event) making normal shows almost as much as the Gathering, album releases are at least 3 versions with the only difference being 1 or 2 tracks, and merch through the roof so most of the family cannot afford it. Psychopathic Records knows their fans are rabid and will buy almost everything they put out regardless of weather or not it is worth it. All of these things make me feel like they are taking advantage of us as fans. We deserve better and I think that is one of the main reasons Twiztid has left the label (although they have kept the VIP with no ticket thing).
When I moved near the Amarillo/Lubbock area I started this whole managing musicians thing. I also booked, promoted, and threw my own concert. That is when I noticed the opening acts being used. A promoter will book a show and then charge openers $200-$400 for a 10-15 min slot on the show. Then they book 8-10 openers which if you add it up comes out to $1600-$4000 from their opening acts! That covers all of their cost for the show so anything they make from ticket sales goes directly into their pockets. The crappy thing is opening acts feel that is just how the business works because they have been fed that crap for so long. Truth is if a promoter wants an opener to sell let's say 20 tickets for a slot at $10 a piece I understand that. It benefits everyone because more people are at the show and some of the cost is deflected. But if they do that they should be willing to give their opening acts say $1-2 per ticket they sell as incentive to sell more tickets! Then everyone is making a little something and is happy. This is how openers are getting robbed and being used. If you are an opening act don't fall for it. Find promoters willing to do the last thing I suggested. You will still have shows to do, you just wont be getting used to cover all of the promoters costs. If you guys unite against this stuff it will stop. The promoter should be making his/her money off the ticket sales from his/her own promotion of the shows. If they can't make their money back they shouldn't be doing the shows! I thought it might have just been that area but now I live in Tucson and am seeing the same thing here. For the upcoming Drive By shows in Farmington and Tucson openers are being asked to sell 75 tickets at $20 a piece. That comes out to $1500 for a 15 min time slot, or $100/min! Why would this be ok? Why would a struggling local act pay that much money to get on a show that will pull some fans but not anywhere near enough to justify that cost. The only Psychopathic group that would be worth that would be ICP. I have seen 40-45 date tours with a cost to join of around $2000. That is 40-45 shows not 1!
The last thing I wanted to touch on was the fact that in Amarillo, Lubbock, Albuquerque, Tucson and many other cities there seems to be a trend of division in the local scene. This means that any new acts to the area are forced to choose sides or not get put on any shows. It also means that quality acts from outside that city are not being put on shows so that the promoters friends, venue owners friends, or people down with a certain clique are the only people ever allowed to perform. Promoters if you have a quality act willing to pay their own way to get to your city to perform and all they ask is that you don't make them pay to play or sell a certain number of tickets (due to their cost of travel and hotel) let em get on your shows! It can only make it better. Local acts, don't be so quick to tell an outsider to get lost. They might be really good and you both can help each other. All the division is the reason we are losing the edge we once had. We are so worried about our own personal squabbles we are losing sight of our purpose, making money. If someone gets you into a diss war, you lose focus on making a great album which can make you money! If you are beefing in your city and fighting anyone who doesn't like you, you will end up in jail, which makes you lose money! Leaving petty difference behind and supporting another artist will not kill you and it improves your chance for success.
We need to change these things in our own community. If we don't we will continue to be used and continue to lose money. I am not an expert by any stretch but I have seen my fair share of business and how successful people make it. If we don't change the course of these things we can guarantee the Underground movement will not survive.
MMFWFL,
Juggalotus
When I moved near the Amarillo/Lubbock area I started this whole managing musicians thing. I also booked, promoted, and threw my own concert. That is when I noticed the opening acts being used. A promoter will book a show and then charge openers $200-$400 for a 10-15 min slot on the show. Then they book 8-10 openers which if you add it up comes out to $1600-$4000 from their opening acts! That covers all of their cost for the show so anything they make from ticket sales goes directly into their pockets. The crappy thing is opening acts feel that is just how the business works because they have been fed that crap for so long. Truth is if a promoter wants an opener to sell let's say 20 tickets for a slot at $10 a piece I understand that. It benefits everyone because more people are at the show and some of the cost is deflected. But if they do that they should be willing to give their opening acts say $1-2 per ticket they sell as incentive to sell more tickets! Then everyone is making a little something and is happy. This is how openers are getting robbed and being used. If you are an opening act don't fall for it. Find promoters willing to do the last thing I suggested. You will still have shows to do, you just wont be getting used to cover all of the promoters costs. If you guys unite against this stuff it will stop. The promoter should be making his/her money off the ticket sales from his/her own promotion of the shows. If they can't make their money back they shouldn't be doing the shows! I thought it might have just been that area but now I live in Tucson and am seeing the same thing here. For the upcoming Drive By shows in Farmington and Tucson openers are being asked to sell 75 tickets at $20 a piece. That comes out to $1500 for a 15 min time slot, or $100/min! Why would this be ok? Why would a struggling local act pay that much money to get on a show that will pull some fans but not anywhere near enough to justify that cost. The only Psychopathic group that would be worth that would be ICP. I have seen 40-45 date tours with a cost to join of around $2000. That is 40-45 shows not 1!
The last thing I wanted to touch on was the fact that in Amarillo, Lubbock, Albuquerque, Tucson and many other cities there seems to be a trend of division in the local scene. This means that any new acts to the area are forced to choose sides or not get put on any shows. It also means that quality acts from outside that city are not being put on shows so that the promoters friends, venue owners friends, or people down with a certain clique are the only people ever allowed to perform. Promoters if you have a quality act willing to pay their own way to get to your city to perform and all they ask is that you don't make them pay to play or sell a certain number of tickets (due to their cost of travel and hotel) let em get on your shows! It can only make it better. Local acts, don't be so quick to tell an outsider to get lost. They might be really good and you both can help each other. All the division is the reason we are losing the edge we once had. We are so worried about our own personal squabbles we are losing sight of our purpose, making money. If someone gets you into a diss war, you lose focus on making a great album which can make you money! If you are beefing in your city and fighting anyone who doesn't like you, you will end up in jail, which makes you lose money! Leaving petty difference behind and supporting another artist will not kill you and it improves your chance for success.
We need to change these things in our own community. If we don't we will continue to be used and continue to lose money. I am not an expert by any stretch but I have seen my fair share of business and how successful people make it. If we don't change the course of these things we can guarantee the Underground movement will not survive.
MMFWFL,
Juggalotus
Wednesday, November 28, 2012
New interview series
I wanted to take a few miutes and let you all know about the work I am doing with Faygoluvers.net. A few months ago I was asked to send in a review of the Mighty Death Pop as a try out for a spot reviewing CD's on Faygoluvers. I sent it in and a few days later was asked to join the team! To say I was excited would be an understatement. Well over the past several months I have done a lot of CD reviews including Twiztid's Abominationz which has gotten the most views ever for an album review on the site. A few weeks ago I had the opportunity to interview Potluck at the Abominationz tour stop here in Tucson. Now I had been trying since May to get an interview with those guys and our schedules didn't really line up until then. The interview itself was around 20 min long and that got me thinking.
So this upcoming weekend at Kung Fu Vampires Love Bites tour stop in Mesa, AZ I will sit down with the man himself. This will be the second interview I do for Faygoluvers. Since the first one was 20 min I decided that this one will be 20 min as well. This being my second of what I hope will be many interviews I made the decision to call my interview series "20 Min with..." So all of my interviews will be about 20 min, give or take, and be in a continuous series to set mine apart from the other guys on the site.
So be on the lookout for that interview this weekend and keep checking the album review section over on www.faygoluvers.net for all of my most current album reviews, many of which are from underground artists you may not have heard of before but will still dig. My reviews are my honest opinion of the album and I tend to not sugarcoat anything.
MMFWFL,
Juggalotus
So this upcoming weekend at Kung Fu Vampires Love Bites tour stop in Mesa, AZ I will sit down with the man himself. This will be the second interview I do for Faygoluvers. Since the first one was 20 min I decided that this one will be 20 min as well. This being my second of what I hope will be many interviews I made the decision to call my interview series "20 Min with..." So all of my interviews will be about 20 min, give or take, and be in a continuous series to set mine apart from the other guys on the site.
So be on the lookout for that interview this weekend and keep checking the album review section over on www.faygoluvers.net for all of my most current album reviews, many of which are from underground artists you may not have heard of before but will still dig. My reviews are my honest opinion of the album and I tend to not sugarcoat anything.
MMFWFL,
Juggalotus
Sunday, November 25, 2012
Twiztid Abominations Tour review
It has been like 20 days since my last post on here, but I have been hella busy and trying to do a lot for Faygoluvers! On Nov 17, 2012 Twiztid rolled through Tucson, AZ on their Abominationz tour and I was there to interview Potluck and check it out! Here is what went down and how I think the show went.
My wife and I left the house and got to The Rock about 20 min before the doors opened. Twiztid had tweeted out earlier in the day the venue was tiny but having never been there I had no idea. I do gotta give a shout out to the Potluck Street Team leadership as they supplied my ticket for the show! Anyway the doors opened and when we got inside I could see what Mono was talking about, the place was tiny! I think it maybe could hold 300-400 people if they were packed in wall to wall. We checked out the merch booth and saw some cool stuff but didn't have any $$ to get anything this time. Then it was showtime.
The first group up was Cultivate Creative Sounds or CCS Crew, a local staple here in Tucson. I have to say that my experience with Faygoluvers has been a blessing and a curse. It has been a blessing because I am getting to hear a ton of music from smaller acts and it has shaped my ear if you will to be more astute, a curse cause it has made me listen to music different and be more skeptical of new groups I haven't heard. That being said I was cautiously optimistic when they went on stage. My wife and I were blown away. These guys knew how to put on an energetic show that kept the crowd into it and definitely set the show off on the right foot. After their set we went and talked to them and set up an interview with them for later in the night. I will have that interview posted here in the next few days. They definitely gave me a good feeling about the music scene here in Tucson.
Next up was Potluck and I was very excited, I love these guys. Let me say I have now seen them twice live and they have yet to disappoint me. They did a ton of classics like "Stoner Bitch", "Hotbox Anthem", and "STFU" while adding newer flavor like "Pot City". They threw down a hella tight set and made themselves available after for autographs, pics, etc. I hit em up and got to sit down with them for an interview! You can see that here: http://www.youtube.com/watch?v=jAzn66C8mD8&feature=plcp.
While we were in back talking with them Lil Wyte went on stage and did his set. We missed all but the end of his set so I can't say if he did well or not. The crowd seemed to really like his set though.
Then it was time for me to interview Potluck. We went outside the venue and found a spot under a streetlight. Did the interview for about 20 min and during that time Hed PE came on stage. We caught the end of their set and while it did have people moshing and had decent metal I did not enjoy the Liberal interludes Jerod put in. I remember a time when Anarchists hated all government and fought the man, not sided with one or the other parties or affiliations. Kind of a let down but the crowd was digging it.
Then it was time for the headliners, Twiztid. We worked our way like 2 rows back from the stage middle. They came out and kicked it off with Bad Side off Abominationz. They worked a lot of classics in their set and added 5 tracks from the new album, "Bad Side", "Unstoppable", "Rep That Wicked", "This is your Anthem", and "LDLHAIBCSYWA" This set was not quite as good as the one they had for the American Psychos tour but it was still hella cool. The boys know how to set the crowd off and make the show hype as hell.
When the show was over we left and headed home. All in all another great show. My one complaint was the crowd. This had to be one of the worst crowds I have ever seen a show with. The venue being small was bad enough but it isn't like the extra 3 inches someone would get from crushing my wife and I was going to make Twiztid stop the show and be like "Hey come on stage with us you are so flipping cool" The crowd was rude, self absorbed, pushy, and willing to do things like pull my wife's hair to get her out of the way to get closer to the stage. For those that follow my blog you know that I am a huge supporter of the Fam, but I draw the line when the fam intentionally hurts another to "get closer" to the stage in a club where Twiztids sweat would hit you no matter where you were! The crowd was a lot of younger Juggalos and I think that was the problem. I have found as the years have gone by that younger Juggalos have less respect for the traditions of the Family. They feel entitled to everything from spot in the crowd to basic respect. They think being a Juggalo is a fad or something cool to do, they don't understand we as Juggalos/Juggalettes look out for one another and make sure no one gets hurt. I am hoping it was an isolated experience but fear it isn't. That alone did not take away from the fact the show was the bomb. Twiztid did it again and I cannot wait for their next album, tour, or whatever they are gonna do.
That's it for me fam. Lets remember what being a Juggalo or Juggalette means and show love at these shows.
MMFWFL,
Juggalotus
My wife and I left the house and got to The Rock about 20 min before the doors opened. Twiztid had tweeted out earlier in the day the venue was tiny but having never been there I had no idea. I do gotta give a shout out to the Potluck Street Team leadership as they supplied my ticket for the show! Anyway the doors opened and when we got inside I could see what Mono was talking about, the place was tiny! I think it maybe could hold 300-400 people if they were packed in wall to wall. We checked out the merch booth and saw some cool stuff but didn't have any $$ to get anything this time. Then it was showtime.
The first group up was Cultivate Creative Sounds or CCS Crew, a local staple here in Tucson. I have to say that my experience with Faygoluvers has been a blessing and a curse. It has been a blessing because I am getting to hear a ton of music from smaller acts and it has shaped my ear if you will to be more astute, a curse cause it has made me listen to music different and be more skeptical of new groups I haven't heard. That being said I was cautiously optimistic when they went on stage. My wife and I were blown away. These guys knew how to put on an energetic show that kept the crowd into it and definitely set the show off on the right foot. After their set we went and talked to them and set up an interview with them for later in the night. I will have that interview posted here in the next few days. They definitely gave me a good feeling about the music scene here in Tucson.
Next up was Potluck and I was very excited, I love these guys. Let me say I have now seen them twice live and they have yet to disappoint me. They did a ton of classics like "Stoner Bitch", "Hotbox Anthem", and "STFU" while adding newer flavor like "Pot City". They threw down a hella tight set and made themselves available after for autographs, pics, etc. I hit em up and got to sit down with them for an interview! You can see that here: http://www.youtube.com/watch?v=jAzn66C8mD8&feature=plcp.
While we were in back talking with them Lil Wyte went on stage and did his set. We missed all but the end of his set so I can't say if he did well or not. The crowd seemed to really like his set though.
Then it was time for me to interview Potluck. We went outside the venue and found a spot under a streetlight. Did the interview for about 20 min and during that time Hed PE came on stage. We caught the end of their set and while it did have people moshing and had decent metal I did not enjoy the Liberal interludes Jerod put in. I remember a time when Anarchists hated all government and fought the man, not sided with one or the other parties or affiliations. Kind of a let down but the crowd was digging it.
Then it was time for the headliners, Twiztid. We worked our way like 2 rows back from the stage middle. They came out and kicked it off with Bad Side off Abominationz. They worked a lot of classics in their set and added 5 tracks from the new album, "Bad Side", "Unstoppable", "Rep That Wicked", "This is your Anthem", and "LDLHAIBCSYWA" This set was not quite as good as the one they had for the American Psychos tour but it was still hella cool. The boys know how to set the crowd off and make the show hype as hell.
When the show was over we left and headed home. All in all another great show. My one complaint was the crowd. This had to be one of the worst crowds I have ever seen a show with. The venue being small was bad enough but it isn't like the extra 3 inches someone would get from crushing my wife and I was going to make Twiztid stop the show and be like "Hey come on stage with us you are so flipping cool" The crowd was rude, self absorbed, pushy, and willing to do things like pull my wife's hair to get her out of the way to get closer to the stage. For those that follow my blog you know that I am a huge supporter of the Fam, but I draw the line when the fam intentionally hurts another to "get closer" to the stage in a club where Twiztids sweat would hit you no matter where you were! The crowd was a lot of younger Juggalos and I think that was the problem. I have found as the years have gone by that younger Juggalos have less respect for the traditions of the Family. They feel entitled to everything from spot in the crowd to basic respect. They think being a Juggalo is a fad or something cool to do, they don't understand we as Juggalos/Juggalettes look out for one another and make sure no one gets hurt. I am hoping it was an isolated experience but fear it isn't. That alone did not take away from the fact the show was the bomb. Twiztid did it again and I cannot wait for their next album, tour, or whatever they are gonna do.
That's it for me fam. Lets remember what being a Juggalo or Juggalette means and show love at these shows.
MMFWFL,
Juggalotus
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