SHOWING OFF BY FITTING IN

SHOWING OFF BY FITTING IN

 

A confetti cannon to the face can sure ruin a good night of local music. Live shows are a chance for a band to give their fans an experience. It should be more than a chance to hear the band’s CD played live. But developing and pulling off a great stage show takes time, practice, and thought. 

A stage show can be as simple as being consciously spaced out to fill any sized stage or include choreographed waives goodbye and t-shirt cannons filled with jell-o. Emerging acts often face the tough task of playing on the floor of a neighborhood bar one night and trying not to get swallowed up on a 50’x30’ stage at the House of Blues the next. A band could, and should, put as much thought into their stage show as they do mixing their songs. Nothing kills months of laboring over the music faster than a poorly executed performance.  Ever see a band who thinks they’re in Las Vegas putting on the rock equivalent of Zoomanity but they’re really just four overweight shirtless dudes? Avert your eyes! Face the bar and order some rum!

GIVE THEM A REASON

Central Florida calypso, punk, reggae group, Johnny Cakes and the Four Horsemen of the Apocalypso (JC) knows how to balance the idea of a stage show with the reality of performance constraints. They have 10 band members but that can vary by show.  Their goal is to bring the party to any sized venue. But it takes some thought to pull it off. Ostrich (vocals and steel pan) said, “We can play with members [off-stage] on the floor. But it’s more important to make sure the P.A. system can handle that many [members].”

 

A Johnny Cakes show can get quite elaborate under the right conditions. They’ve been known to have jelly fish dancers, cartoon pre shows, and other elements. They want people to think their show is worth leaving a warm and comfy couch for. No one wants to hear a CD they already have, played by drunk musicians.  And very few will come out just to support.  Tough times. We would all like someone to support us. It’s not a reason to spend money on a local music show. Give the people a reason. 

IT’S TIME

Before a band breaks out the welders and starts to create their own A-Team style grand finale or rents out the Haus of Gaga, there are a few details to consider. How long is the set time? When is load in? Is there a backline? How much time between bands? “If there are a lot of bands, we scale it back. We don’t want to interfere with another band’s time slot.”  If a band has extra materials onstage Ostrich suggests they ask friends to help them with the load in/unload process, and practice ahead of time so everyone knows what they’re supposed to be doing. “Our goal is to give people something interesting without causing problems for others.”

A band that’s been together for a while will naturally incorporate more and more elements into their show, whether that’s dance moves, projectors, audience participation segments, a blood volcano, or a chain saw (keep reading).  What works on one stage is not guaranteed to look good on another. Just simple even spacing may look professional at a coffee shop stage but it can look bare bones and downright sad at the Hard Rock. What killed with an audience of 800 can look a hot jumbled mess at the 250 occupancy local dive bar. “We can be too big for some venues but it can also be exciting to watch us try to pull it off.” Bands should consider the performance space ahead of time, if need be, practice in a similar sized space, and visit the venue before hand to be sure of the parking, door sizes, and to confirm any technical needs.

BIG STAGE - BIG PROBLEMS?

A big stage can make it harder for 4-5 band members to make exciting. “A good light system can make a real big difference, especially for instrumental bands.” But lighting systems can be expensive and a band must always check to see if it’s compatible with the venue’s system. 

At the local/touring level, a stage show can and should change with each new venue. While that may seem daunting, it’s a good thing. Really! It’s a reason for people to come out and pay to see you again and again. Fans might have seen a show 2 weeks ago but they will pay again if they know all 10 members will be playing on the drum riser…

GET IN THE GAME

“People can expect a wild, high energy show. There is not a typical Night for Johnny Cakes and the Four Horsemen of the Apocalypso.” Being conscious of having a stage show can start with what each member of the band intends to wear. Do you have a color scheme? Is it ok for a member to wear whatever they wore to their day job?  When it comes to dress, the style of dress must fit the style of music and the personality of the band. T-shirts mat look out of place in a jazz trio and a suit may look odd on a metal front-man. Johnny Cakes do not dictate what each member wears but they do often have themed shows.  At a benefit to raise money to help a local animal shelter, the band dressed in animal costumes. “Once, the entire band dressed as batman, except for the bass player. He was Robin.”

Benefits, charity shows, and holiday shows are great excuses to try out new elements of a stage show. If it works, great! Then incorporate it into other shows. If it fails, never speak of it again…unless interviewed by Quinton J Sheer, Esq.

IT WON’T WORK ALL THE TIME

Not every ‘Best Idea Ever’ will seem so once the rum has worn off. “We have a song [Super Black Death Cloud] about zombies. Our sax player took an actual chain saw and fired it up. The chain was removed but no one, not even the band, knew he was going to do it. I could see fear in some people’s eyes. A few ran out the back door.” 

Clear any out of the box ideas with the rest of the band and especially the venue.  Having to retool the show to accommodate the venue’s rules is better than being blacklisted from that venue and others. Elaborate stage shows can be very entertaining but are not always necessary. Just be conscious of putting on a good show for the people who come and the venues who allow it all to happen. Be exciting and easy to work with and there will be more shows and more chances to try something new. That way, the grand finale doesn’t end with giving the 50 people in the audience paper cuts in their eyes from an overzealous confetti cannon.

** Johnny Cakes and the Four Horsemen of the Apocalypso can be found at www.GutterCalypso.com.  Join the adventure and be their friend at http://www.facebook.com/guttercalypso.

Oops, We’re in Jail: The Dangers of Touring Abroad and Why We Shouldn’t Feel Sorry for Pussy Riot.

Punk music isn’t dead. It’s just imprisoned in Russia. The punk music genre is pretty much dead here in the USA.  The messages got lost in the lifestyle and it merged and morphed into other music genres. But in other parts of the world it’s alive and needed. Enter Pussy Riot, a Russian punk band founded in 2011, known for staging impromptu public performances based on Russian political life. 

This past February, the female group did one of their ‘performances’ in a Moscow cathedral in order to protest the close relationship of the Orthodox Church and the current government. The low budget guerilla performance did come with the price tag of 2 years in prison when they were convicted of Hooliganism motivated by religious hatred. It’s our version of really disturbing the peace and a hate crime. 

After their conviction this week, the world and its celebrities, are clamoring for their release. FREE PUSSY RIOT! Both fun and shocking to say. Freedom of speech is a right held dear to westerners (unless that speech is not agreed with; which is why dissenters at U.S. political rallies are rounded up and forcibly removed). But why are we surprised the Russian government acted like they did in response to this band’s publicity stunt? Like smokers who are surprised they got lung cancer because cigarettes are bad, this band should have known the potential cost of their actions and be willing to pay the price so that others do not have to. Hundreds of 80’s movies taught us Russia was the bad guy. They hate our freedom. They hate Rocky and Rambo. Their invasion of Afghanistan caused us to protest their hosting the Olympics and our athletes didn’t compete and millions of endorsement dollars were lost. (Now that we own Afghanistan, that won’t be a problem for the next winter Olympics.) 

Better said, if a shark bites a surfer, we don’t blame the shark. 

The public outcry has almost been Kony level. And like Kony2012, many who are posting on social networking and blogs have not bothered to get any information on the incident other than it’s a harsh punishment for something that would not have been as big a deal in other places. While their performance might not rise to the level of religious hatred, they certainly didn’t show the church any respect. Watch the video HERE.  Now imagine if the Occupy movement did this in a Baptist church.  Are we still chanting for their freedom?

Pussy Riot aren’t heroes. Their performance was not the best way to create the needed change in their country. True, they did spark a global conversation on free speech and political activism but now it will be much harder for other activists to protest. And if their actions do change things, and Russia follows the U.S. and only regulates the time, place, and manner, of speech – it’s unlikely a punk band would apply for a permit. And a church performance would be off limits. It’s not a stretch to say they would have done it anyways. And instead of being political activists would have been seen as disrespectful lawbreakers looking to promote their band.

When we visit another’s home, we take care to be respectful of the home owner’s rules. We might be asked to remove our shoes or avoid sitting in the host’s favorite lazy boy chair. Traveling and touring in another country is no different. There are rules.  It’s their home. And we have to respect that.

In a trip to China in 1998, I struck up a conversation with a Chinese teacher. For almost an hour we talked about a number of things from education to food and then I asked him about the 1989 Tiananmen Square incident. The conversation went silent. “I want to be here tomorrow to teach my students. I should not talk.” It sickens me that a government could control how, when, and the subject matter of its citizens’ conversations. But I knew the dangers of certain conversations in China, just as I knew not to litter in Singapore. I was there to learn and share ideas within the boundaries of each host country and its people. 

We do not carry our rights with us where ever we go. Laws vary state to state and country to country. We may want to buy beer on Sunday morning but if we’re in Mississippi that’s not gonna happen. Our rights are not as inalienable as we’d like to believe. Even in the U.S., land of freedom, we try change our Constitutions every election to reflect the current political climate. 

When a band tours, it is important to know the laws of the host city. From speed limits and parking ordinances, to drug laws, and what songs can be performed. If the singer is caught with an eighth of weed will he just get a ticket or will he be taken to jail and the tour canceled? 

Free speech isn’t free. There is a cost to affect change. Many have been fined, beaten, hosed, and imprisoned for the right to speak their mind. Protesting has always had an element of danger to it. Protesters must weigh the consequences of their actions with the possible gain for themselves and others. Some students in my middle school were suspended for participating in a walk-out. They wanted longer lunch periods. They also thought they should not be punished because theirs was a just cause. No country on earth has a law that gives its citizens the freedom to simply do what they want, when they want. That's anarchy. And almost every nation has opposed that movement. Even this one:  WATCH.

Pussy Riot knew what the consequences would be for their actions. To think we can break rules, avoid negative consequences, and become famous is the epitome of the current air of arrogance and entitlement. Like the middle school protest, the band’s stunt was not the best way to get the change they say they want. It might have been the loudest, but to save face, Russia can’t give in and free them. 

If they were really trying to change their country, they might have picked another way. But if they were trying to get more attention for a video in an antiquated music genre – then they succeeded. And won’t they happy with all the ‘LIKES’ they get, which they will see when they’re released in 2014. Who knows, maybe punk will be in fashion then.

Not All Music Placement Services Are Created Equal.

Not All Music Placement Services Are Created Equal. 

With the traditional A&R services of a label as common as the great Florida skunk-ape there have been many new independent and corporate run businesses that have popped up to fill the void. They can run from hands off online marketing to full scale Colonel Parker.  Which is right for your band? The important thing to keep in mind is that not all management and music placement programs are the same. Before you see your band’s name scroll on the bottom of the television screen during an all new ‘Snooki & JWow’ it would be best to ask a few questions. 

What is Music Placement?

Music placement services promise to get music played in commercials, DVDs, movies, online, television, and video games. Even with the rise of DIY in the music business, many media companies, when it comes to music placement, will still only deal with sources they trust. Which means little to zero chance of getting music placement without a middle man or gatekeeper of some sort. 

There are numerous ways these placement services operate. There are placement websites that charge to join. Some services then charge for each song you upload for consideration. Others offer a certain number of songs per month to be considered with a monthly subscription fee. Usually, the artists is able to keep all their rights in exchange for the upfront fees and then simply splits any earnings. The bigger the upfront, the more the artist keeps if and when their music is placed. 

Sometimes keeping track of the marketing effort of a song can be difficult. In order to make sure a company gets paid for its efforts in promoting certain music, some placement companies may ask musicians what many consider unthinkable – They ask the musician to sign away their publishing rights. In this scenario, the musician keeps the writer’s share but  they turn over all the publishing rights (which can include mechanical royalties, and synchronization licenses).  Some companies then rename the artist’s song in order to keep track of the impact of their efforts on promoting the song. If this seems shady, it can be. Unless there is a level of trust already there between the artist and the placement company, or there is a level of desperation on the part of the artists, there are better placement deals out there. 

Not all Placement Programs Are Created Equal.

A successful musician knows what they’re good at, knows what they’re not good at, and hires people to help them that are just as enthusiastic and dedicated as they are. Yet, there are plenty of desperate musicians  who throw money at these services hoping their music will get heard and downloaded a bazillion times just from the simple act of them uploading their songs online. Even in the digital age, its human efforts that give music the edge.

A placement service is only as good as its catalog.  But this can mean quality or volume. Many sites hope to find quality among the massive amounts of music being uploaded to their sites.  These sites promote themselves and their services to various music supervisors.  ‘Come to our site for all your music licensing needs!’ Wouldn’t it be better to pay for someone to promote the music or artist instead of paying someone to promote their own business? 

A step up from simple upload and pray sites are the placement companies that forward opportunities via email and allow the musician to specifically  ‘apply.’ While this may seem better, that email is not being sent to a select few. The chances of placement are the same for replying to job postings on craigslist. Either good candidates get lost in the mountains of submissions or there are mountains of good candidates and very few stand out.  

Websites are tools that people use to create opportunities. The websites are not the opportunities themselves. Personal relationships are still a factor in the placement industry. Find a company that has personal relationships with music supervisors. Hire a team that knows when ‘pitch season’ is and how to pitch music for placement. “It’s hard to know what is ok to ask for and what’s too much.” Said Joseph Pineda, co-founder of the Florida based JRNE Artist Management.  Getting that 1^st placement offer can be emotional and the desire to have your band’s song played can overcome the good business sense to not sign away all the rights that go with it. Having some kind of buffer between artist and business man who can speak both languages is key. 

As many musicians know, managing an online presence and promoting music online can be a full time job. Companies like the newly formed JRNE Artist Management not only save time by allowing musicians to focus on the music but are equipped to be as hands on as needed or wanted by their clients.   With any company, the more personal services offered, the higher percentage one can expect to pay them. Each artist should ask themselves how much of their income they can afford to pay out for promotional services and how much work they are willing or even are able to do themselves.  Whether an artist chooses to pursue music placement with strictly online efforts or they hire actual humans to work for them, there must be a level of trust between them. Being thorough and asking questions is a good thing. Not trusting the entities you work with is a bad sign. Be honest when determining your band’s finances, resources, and abilities then choose the music placement company that fits with your band’s personal and professional style. 

Free at Last?

Gratis Licenses are becoming more and more popular in the music business. It’s where a band gives away any value it has in its music just for the chance to their song to be heard. Many artists recoil at the thought of giving music away for free. After all, the company asking for the gratis license isn’t working for free, why should the musician? 

JRNE Artist Management co-founder, and EVP of Love Lamp Records, Mike Cathey said, “We try not to [take gratis licenses] but if we can turn that into marketing then it can be worth it.” Joseph Pineda said, “It’s a matter of how big the partner is.  We don’t want to just give things away. There needs to be back and forth talks about money, logos on the screen, etc.” 

Just giving a song for others to use for free makes no sense, unless the artist negotiates for prominent placement, web links, or something else that can actually drive people to buy the song, album, or other band related product. 

Watch Out!

·         It’s normal to use more than one music placement company. Avoid companies that want exclusive rights to the master recordings or to promote sync licenses.

·         If anyone asks a musician to sign away their writer’s share ask them if you look like Willie Nelson from 1965.

·         Take a pass on Buy Outs – where a company pays a once time price for a song to own all rights with it completely – unless it’s for use as a theme song. Then hire someone to negotiate for you.

·         Music rights can be complex. Seemingly simple short contracts are seldom just that. Get the advice of an attorney.

I Get Back to Basics in the Music Business.

I had the pleasure of being the featured guest on 'Inside the Music' radio program on Aii Radio. Pass some time and get 'Back to Basics' in the music business. We talk better business practices, the down side of streaming services, and more. Discover why I am more than your average attorney - I am also an educator - seeking to teach, to protect, and hopefully, to inspire those around me to follow their own dreams.

Listen by clicking below or HERE.

http://www.livestream.com/aiiradionet/video?clipId=pla_2cfe78fc-ac39-4fad-a1dc-b891d0b822b2&utm_source=lslibrary&utm_medium=ui-thumb

Super Sidekick Words From Q

It's Comic Books and Rock 'n Roll! I was asked to answer a few questions for Super Sidekick Records, Management, and Production this week so thought I'd share.

• Do you need a band agreement?
• When does a band become a business?
• When is the right time to hire an attorney?

CLICK HERE TO READ

GET THAT GIG…GET IT!

GET THAT GIG…GET IT!

Old News But Bad News: The dream of getting a major record deal, complete with a million dollars and free drugs, is a thing of the past for all but a handful of artists. 

The Good News: With that dream crushed, playing live can be the single most important thing a band can do. It builds a fan base in a way that Facebook cannot.  Think your band is hot shit for having 10,000 ‘Likes’ online? Then why are there only 15 people who gave your band name at the door? Playing live can get media attention. Playing live can give a band the momentum and numbers to get sponsorships, endorsements, and other business opportunities. 

So… live gigs are important. And that means it’s worth doing it right. J-Rock Staffieri (Events Coordinator & Production Manager for St. Pete, FL’s State Theatre and The Local 662) and Brandon Delph (Owner/Sound Engineer for BS Productions) outline the right way to get a gig:

    

     1. Have a Decent Demo: Home technology has come a long way so there is absolutely no excuse not to have a listenable CD. Then respect the time and effort that’s put into making that demo.  You wrote the songs and learned how to and recorded the songs, which is no small feat. So put a proper label on it, with the song names and your contact info printed on it. Why put in all the work and then scribble sharpie all over the Memorex CD you got on sale at Radio Shack?

2     2. Get a Calendar:  Know the schedules and availability of the entire band.  Ask for a specific date. Make it as easy for the booker to work with you as possible. Simply asking to play anytime means the booker has to do the work to fit you in instead of a quick no or yes. And if you take any date without knowing when you can play you run the risk of your bassist not being able to take off work. Asking for a specific date means you’re in control of your band schedule and that’s a good thing.

3      3. Pick a Venue: Find a venue that fits your style of music.  Just because it’s the hottest venue in town doesn’t mean your band will go over well.  Think out of the box. What kind of places do people who might like your type of music go to have fun? Become a regular there. Show them you support the venue and its efforts. Get to know the staff and if possible the owners. While digital is becoming the norm, “If you can bring a physical press kit with you when you meet the booking agent or owner and your band is ready to play that venue, 99% of the time, you’ll get a gig,” said J-Rock.

        4. Make Friends with the Right People: Go online, call or ask directly but get to know the person who can make it happen. Be it internal booking agent or outside promoter, pitch to the person who can make it happen. J- Rock said, “Be professional. Saying, ‘Hey, we’re a band and we wanna play’ won’t work. Include your bio and website. Especially for a national venue like the State Theatre.” Brandon Delph added, “Coming in the introduce yourself is the right thing to do but also be realistic for in the type of music you play and sound like, and what your draw actually might be.  If you’re new and don’t have a draw yet, just be honest. We’ll give you a chance.”

        

     5. Promote Your Show: It’s wise to clearly define who is responsible to promote the show.  Is it up to each band? Is one band coordinating the promotion? Does the venue have their own promoter? Who is responsible for labor and costs? Answer these questions up front and live a happier life. Both J-Rock and Brandon noted local bands who are shining examples of doing it right:

·         A Brilliant Lie does a great job in communicating with the venue and passing out flyers.

·         Sunshine & Bullets has done it by the book and they have a huge fan base now.

·         Team Cybergeist approaches it like a job, and they’re successful.

6     6. Confirm the Details: There is no need for a formal contract signing for every show but there should be at least an email confirming the important details. It should be clearly understood, how much is being paid, when to expect payment, when the venue wants load in and sound check, and performance time.

Once you’ve played, “If you want to come back, respect the venue – their policies and their employees,” notes J-Rock. The venue is their home and the employees are its family. Treat it like you’re playing in someone’s home – a very cool, smoky, home that charges for drinks. 

Play by these rules and getting a gig is the easy part. Being the rock stars you really want to be…now that takes work.

THE BUSINESS ETIQUETTE OF THE ENTERTAINMENT BUSINESS

There’s a time and a place to let that freak flag fly and if that place is not onstage or in front of a camera, it’s not the right place. All societies and groups have unwritten rules for properly interacting with each other and the entertainment business is no exception.  The environment may look different (less kakis and polos, more black t-shirts and tattoos) but there is still a business etiquette to follow. Business is about building relationships and there are guidelines to work within each relationship in order to make it successful. 

I spoke with Thomas “T” Jenkins III, CEO of Conscious Mind Records to get his thoughts on the best way to handle your (entertainment) business. 

SAYS WHO?!

The 1^st step in building relationships is to know who to talk to. If you don’t know then ask. Don’t spend all your energy sending press kits to a bar owner for a gig if they outsource to a booking agent. Otherwise you waste your time and theirs.  And make sure to tell them what you can do for them instead of just asking for something. T of Conscious Mind Records said, “I run a business…I have to have a product I can sell.  

Make sure all band members know who is allowed to speak on the band’s behalf.  An Orlando band booked a rare acoustic gig but because the bassist didn’t have an acoustic, he couldn’t play. So he emailed and canceled the gig without the rest of the band knowing. The venue was getting a cancelation email and an email confirming details from different band members. No one will work with a group that brings that kind of confusion and drama. 

When trying to make contacts, How you approach can be as important as Who you approach. T said, “I prefer people get at me through someone that personally knows me. If they can’t do that, then they need to have a package ready.  When they approach me cold, they need to have their music and themselves at the top of their game – READY.  If I ask you to sing right there, be ready. You only get one shot.”

FOLLOW UP

There is a fine line between following up and outright stalking. Have patience. “Wait 2 weeks before calling or sending another email. If nothing, then wait a week and send another.  If there’s no response after that – that’s your response. I may want to listen to the music but it can sit in the car for a while, so follow up is good.  Just space it out.”  

To avoid confusion and set expectations, indicate in your conversation or email, how and when you will follow up. It’s always nice to ask if they have a communication preference. If you ask for or give a time line of communication there is less of a chance it will be seen as unwanted or annoying. 

RSVP

Respond to all requests. Even if that response is, “I can’t address this right now. Please give me a few weeks.” People feel slighted when they are not acknowledged. Even if your response denies what they ask for, that you responded at all can earn their respect. 

WHO ARE YOU ANYWAY?

Even if you’re selling out hometown clubs and have 5 thousand LIKES on Facebook, no one knows who you are. It’s ok if someone doesn’t know your name. It’s not personal. In the beginning of conversations say a quick reminder of who you are and what you do. i.e. ‘Sue, booking manager for…’ If you are communicating thru emails, keep it semi formal. If you get to casual too quick and assume they know who ‘Sue’ is without any other indication, your email could end up in the trash bin. Don’t make them re read your previous emails. 

When you tell them your function don’t assume they’ll know what you want from them. If you want something, ask for it specifically. Saying, ‘We should work together!’ is a good start but should not be the sum total of your pitch. Being specific increases the chances of getting what you want. “Offer to do something. Impress me. Don’t just ask for a hand out. I get a lot of people who just want record deals. They’re still in that mindset.” 

KEEP YOUR COMMITMENTS

Shocker: Artistic folks sometimes run late. That doesn’t make it ok. Big stars can be on their own time but unless you’re that star, it’s not your time to waste. At risk of sounding school marmish, punctuality is a mark of professionalism in any business. It speaks directly to the issue of integrity to honor your commitments. Yes, it is possible to have integrity and swallow a roadside turtle on stage. (I wish I could unsee that…)

A No Show can kill a career faster than winning American Idol.  (See Ruben Studdard) A good excuse may make it excusable, but not acceptable. Find a way to do what you say.

If you do get some face time, treat it like relationship building it is. If you ask, you pay. (hear that ladies?)  If it’s coffee don’t take up an hour of their time. In any case, the meeting should be focused on the conversation, not the location.  “The Trick is to not be so flashy,” said T.  “It has to be real.  When money comes into the equation it can separate the artists/product from the artist as a person.”

LOOSE LIPS ARE ONLY GOOD ON GROUPIES

In contrast to traditional business fields, in the entertainment business, there is an increased likelihood of openly seeing alcohol and drug abuse, and infidelity.  T thinks, “To each his own. If it’s hurting me or my business, so be it. We’re all adults and are accountable for our own actions.”  Got dirt? Heard a rumor? Keep it to yourself. No one will work for you if they think you’ll talk out of school. Even if its them that are engaging in poor/illegal behavior, it’s you who will be seen as untrustworthy. “That behavior is taking a chance. It can put their reputation and career in jeopardy. We try to keep Conscious Mind’s artists out of all that.”

HATERS GONNA HATE

Not everyone will like what you do and that’s ok. (Say it with me now!)  It’s not like your last romantic break up. You don’t have to bang your head and wonder why.  Like romantic relationships, focus your energy on those who like you. Don’t hate the haters. Just move on. 

FREE COSTS MONEY

Someone pays for all that SWAG.  Ask sparingly and politely. I once overheard a radio DJ demand a free CD at a merch table cause he, ‘didn’t pay for music.’  He got one but the band called him a dick when they heard about it from their merch girl.  A better way would have been to ask and find out who the person who can authorize that is. 

How you ask is important but so is location. “If we’re at place, displaying our stuff, go ‘head and ask. The worst you can hear is no. If you see me walking down the street, it’s probably not the best time.  Consumers always reach for something free. I do give-a-ways as advertising. There’s a value I get back.” 

SAY THANK YOU

Thank You.