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So I met President Bill Clinton and him to share his favorite album
(Photo from Wikipedia.)
I had the opportunity to meet Bill Clinton during a late evening signing for his new book "Back to Work." So, after I got done getting a presidential hand shake, and telling him that I thought he was the best president in my lifetime, I decided to ask a question- "What's your favorite album?"
Once it was a record store clerk that would fill me in. Of course, friends and radio were also great places to get recommendations. Today, whether on YouTube, Spotify, or blogs, everyone's a curator of sorts. So, why not get official music insight from an actual president?
Upon being asked the question, President Cllinton smiled and then looked up, pondering the question at hand. He took a few seconds, and looked back at me and replied, "Jazz Samba." He then repeated the title once more for me and smiled.
So, I got my first presidential album suggestion. With that, I'll start checking out the full-length bossa nova release from Stan Getz and Charlie Byrd, on YouTube of course. Take a listen. It came right from a president of the United States of America, you don't get that type of music discovery every day.
Self Publishing Success: A new author shares her journey in new era book publishing
I recently had the pleasure of interviewing author M. Louisa Locke. Her first novel, a Victorian era mystery, has managed to reach an audience despite not benefiting from the resources of a traditional book publisher. She’s not a household name, at least not yet, however, in the era of new media and the technology that makes it these channels possible, it’s not necessary to have a huge audience to find success. Locke is part of a growing contingency of authors that have chosen to bypass the lottery-like odds that require the need to gain the limited attention of traditional publishers. Instead of chasing a middleman, she reaches a potential audience by utilizing the democratizing services of digital distributors and print on demand services that helped her to make her title a reality.
Traditionally, authors with aspirations of making it alongside bestsellers on bookshelves would need to convince gatekeepers of their potential to sell huge quantities. Obviously, only a tiny percentage of those considered ever garner a book deal. Once getting through that level of immense scrutiny, typically, for a new author, that means a small advance and a ticket on a waiting list that could last many months or years. Furthermore, for better or worse, the author’s words are subject to a barrage of changes and revisions by editors. If, and when the book finally hits the market, it will only receive the promotional resources of its publisher for a very short window of time.
In many instances, the author also finds themselves investing their own funds and efforts to further promote the title. If an author is to realize income from the sale of the book, the revenue realized by the publisher first must offset expenses associated with the printing, packing, shipping, and marketing of that title. The publisher first has to recoup a bulk of their investment-- including advance monies paid to the author-- before the book’s creator ever has a shot at realizing further revenue. Even then, the potential of revenue in most cases is miniscule. This is because the author’s share is derived from a small percentage of sales. Because of this fairly standard model, only a small percentage of authors actually reap financial rewards from the sale of their product- beyond an initial modest advance. Without an impressive amount of sales, it may take quite a while for their next book to reach a bookshelf, if ever. Many authors understand these issues, however, continue to choose this route as a shot at reaching an audience and for the potential prestige associated with being a published author.
Distribution for Indie Filmmakers, Artists, and Media Entrepreneurs: Talking to 101 Distribution's CEO
After working for an established distributor that was purchased by EMI, Damon Evans decided it was time to launch his own distribution company. In 1998, he founded 101 Distribution to provide traditional music distribution services to independent labels. This included the facilitation of titles to both independent and major retail outlets. Today, what makes 101 Distribution distinct in an environment of a growing list of music distributors that offer mostly digital delivery, is that they provide their clients much more. During the last several years, Evans’ company has added a slew of options, including digital distribution, to their robust repertoire of services. The company touts itself as “North America’s only independently owned, full-service music and film distributor.” In this interview, Evans provides a great amount of insight regarding how his company assists labels, artists, and independent filmmakers compete in the new and evolving music and film industries.
Are you providing the service of distribution of digital products to various mobile outlets?
Damon: The mobile aspect is probably the most developed of our channels and that’s because we built a proprietary system that sits on top of a carrier gateway. So what that means is that if you were to come to the site and set up a project and you want to sell one ring tone or thirty ring tones, it’s unlimited in terms of how many different edits or tracks that you can create ring tones out of. Once you’ve edited those tones as thirty second clips and uploaded them, they go through an approval process that might take less than an hour or two just to verify that there’s no explicit language or verify that the quality of the content is where it needs to be before it’s encoded. After it passes that quality control, we can make a ring tone or mobile image live on any major carrier in the US and Canada, any regional carrier like Cellular One or Alltel, any pre-paid carrier like a Boost or a Cricket. We can make that content live in less than five minutes.
So say for example you are a dance artist or you are a hip-hop artist and you’ve got a single that hits radio and it gets hot, well, in this day and age the digital life of a single or album is right around four to six weeks. After that, consumers seem to get distracted by other groups, other offerings. But when it comes to music that moves fast like that, it’s absolutely critical that an artist can capitalize on that momentum and so that was one thing that we made sure to definitely focus on when it came to developing our mobile applications is that it makes no sense for content to go through a process where it takes four to six weeks to get on Verizon, or AT&T, or Cricket. You need it up there immediately. Same with the digital. When we activate a single or an album through iTunes or set up the ring tones from mobile it takes less than 12 to 24 hours for that content to be live and purchase-able across the world.
From Gangsta Rapper to Entertainment Mogul: The Ice Cube Interview
Ice Cube has conquered music, film, and most currently television. In this interview, Cube talks with me about his transformation from gangsta rapper to film star and entertainment mogul. He also sheds insight into his journey within this turbulent industry. As well, he gives advice and shares a valuable lesson learned from his own experiences in the entertainment business. Cube also discusses the plight of the recorded music industry, and the importance of putting a value on music. This candid discussion is both intriguing and inspirational, and provides a distinct perspective into the success of this talented entertainment icon. - Israel Vasquetelle
Charlie Murphy interview: Biggest lesson learned and talks comedy
In this interview, Charlie Murphy shares his most valuable lesson learned in the entertainment industry. He also talks to me about peoples' misconceptions about comedic actors' skills, including those of his brother Eddie Murphy. He also shares this thoughts on the importance of Richard Pryor to the comedy world. Charlie also discusses the infamous incident involving Seinfeld's Michael Richards' outburst that immediately labeled him a racist.
Charlie Murphy interview by Israel Vasquetelle
Inside Independent Digital Book Publishing and Distribution: Interview with SmashWords' founder Mark Coker
(Interview and forward by Israel Vasquetelle.)
Mark Coker has developed a powerful platform and service to deliver digital books to significant sellers such as Borders, Barnes and Noble, and Amazon.com, as well as smaller specialty and niche outlets. In this interview, SmashWords’ founder provides a great amount of insight into the independent side of the digital book publishing industry. He also discusses his motivation behind the launching of his company and shares plenty of information about the ins and outs of distributing ebooks using the service.
You started Smashwords because you had a book that you were going to have published the traditional way and I guess you found that there were some significant obstacles with the traditional book publishers?
Yes, definitely. My wife is a former reporter for Soap Opera Weekly magazine. And when I first met her she was telling me about all these crazy stories of what went on behind the scenes of the daytime television soap operas because she used to visit the sets. And I suggested she wrote a book about it and she said, “Well why don’t we write a book together?”
And I thought well that'd be a lot of fun. I'd always wanted to write a book just I never thought it would be about soap operas. But we moved down to Burbank for a couple of months and interviewed - conducted anonymous interviews with about 50 soap opera industry insiders. We gathered all the dirt about the industry and then took that information and fictionalized it as a novel called Boob Tube. So we did everything that authors are trained to do or taught to do.
We did multiple revisions on the book, hired professional editors and proofreaders and copy editors, got the book all ready for sale to a publisher, shopped it around to agents, got represented by one of the top literary agencies in New York City. The same agency that represented Barack Obama’s first book, and they were excited about the book and we were excited that they were excited and so they shopped it around for a couple of years to major commercial women’s fictional publishers in New York and none of them purchased it.
And, you know, at the end of that process it was actually our agent who suggested that we consider self publishing. He told us about a former client of his or actually a current client of his at that time who had another book that he was unable to sell. And so the author self published it and then after a year sold a few thousand copies on her own. Went back to the agent and the agent was able to sell the book in a week because she’d proven that there was a commercial market for it. So that’s what he suggested we do.
I took that suggestion and I thought well that makes sense to do self publishing but, you know, my background here is in Silicon Valley as an entrepreneur and for me this was just a big eye opening experience. It exposed to me what seemed to be a really big problem facing not just my wife and I but potentially millions of authors around the world who had poured their heart and soul into creating a book, you know, and in many cases spent a lifetime creating this book only to have a publisher slam the door in their face and say “Sorry, we’re not going to let you have a chance in reaching your audience.”
I thought, why not create an online publishing platform that would allow any author anywhere in the world to instantly publish their book as an eBook and make it available for sale online at the price that the author decides. And let's go a step further and let's take the industry’s current compensation models for authors and let's turn that model upside down.
Let's put 85% of the profit into the pocket of the author as opposed to the publisher. And so that was the general idea behind Smashwords and that’s what we launched about a year and a half ago. We first announced the company in February of 2008. We started doing private Beta testing and then in May of 2008 we launched the service to the world, focused on self published authors. Then in -publishers- so now we support both independent authors and larger publishers.
We’re publishing multiple authors. And then the latest development at Smashwords - this has happened just in the last three months we've signed distribution agreements with all of the major online eBook retailers. So we have just reached agreements with Barnes and Noble, Sony, Short Covers -- now called Kobo and Amazon. Smashwords has really taken on the role of a full service eBook distributor.
You encourage your authors to publish a print version and make it available as well. Today, some of the barriers for print have been brought down due to technology. For those that have taken your advice, do you know what percentage of their books sold have been physical versus digital?
What artists of any genre can learn from his 35 years of success in children's music
Depending on your age, and where you grew up, Barry Polisar might have played a significant role in how you first started listening to music as a child. Barry is a veteran entertainer who has spent decades making music and performing it for kids. His impressive career is filled with accomplishments, including: writing songs sung by the character Big Bird in Sesame Street, publishing several children’s books, starring in his own television show, and even performing at the White House. Of all of his successes, the one that is the most telling, in regards to the significance of his career, is a recent tribute compilation entitled “We’re Not Kidding.” This release consists of Barry cover-songs, and was recorded by artists of all genres that grew up listening to Barry’s music.
Beyond Barry’s success as an artist, he’s also a music entrepreneur who began his career by booking himself in unique venues, including schools and libraries. He’s also sold music directly to his audience (and their parents) live and online for many years. Barry’s non-traditional music industry story is compelling and full of lessons for artists of all genres.
Barry, can you discuss how you sell music?
For 35 years I put out a series of record albums for children and basically marketed and sold them myself. Although I do have distribution through Amazon.com, CD Baby, and iTunes for the longest time it was just people either buying my albums on my Web site or after concerts.
There were significant barriers to selling. How were you selling your music for all those years before the Internet?
Aston "Family Man" Barrett of the Legendary Wailers
"Reggae is the heartbeat of the people. Some of the modern music nowadays they are playing the wrong drum beat.
They’re playing the beat, which is called war drums."
Here I speak with Aston "FamilyMan" Barrett, the bassist for the legendary Wailers. He is responsible for the basslines and other creative elements on many of Bob Marley and the Wailers' classic songs. We discuss his thoughts about why Bob Marley and The Wailers' music continues to resonate with fans decades after its creation. He also discusses his thoughts on current state of music, and how he met and started working with Bob Marley. Yvad, the Wailers' Band's new vocalist shares his views on the power of Bob Marley and the Wailers' music.
Veteran Hip Hop artist and music industry entrepreneur gives advice to aspiring artists and label proprietors
One of Hip Hop's most respected lyricists, Buckshot, talks to me about his career, the music industry, and success after nearly two decades in Hip Hop. During a Duck Down Records' 15 year anniversary show, the emcee, whose career was launched with the classic "Who Got The Props," showed respect to me and Insomniac Magazine for being the first to put him on a magazine cover nearly 15 years ago. The entire Duck Down roster of artists graced the cover of Insomniac's second issue. Buckshot and DJ Evil Dee (two thirds of his group Black Moon) also appeared on a later issue's cover.
Buckshot- Da BDI Emcee started Duck Down Enterprizez with his business partner Dru Ha after the success of Black Moon and fellow artists Smif n Wessun's debut albums. Both acts were hugely embraced by fans internationally during the earlier '90s on Wreck/Nervous Records. After that, they brought their "backpack" Hip Hop sound over to their own label and management company, and the rest is history.
During the concert tour dates, Buckshot takes the stage with fellow Boot Camp members The Cocoa Brovaz (Smif n Wessun aka Tek and Steele) and Sean Price to perform their impressive string of Hip Hop hits. Pharoahe Monch (originally one half of Organized Konfusion), who will release his album "W.A.R." with Duck Down, also performs on the tour. The collective is the only east coast group to complete an album with the late Tupac. I recall talking to them years ago about the amazing experience. Dru described Tupac's hospitality and respect for the crew during their time together. During a recent talk, General Steele mentioned that it was all documented by Tupac's people on video, however, the actual music project has never been released.
Duck Down continues to thrive in the music business by releasing impressive projects, including collaborations with Buckshot and KRS One, and also his work with producer 9th Wonder. As well, the label has released many other albums, including "Smoke n Mirrors" from Cypress Hill's B-Real. Recently, Duck Down announced their signing of former Bad Boy artist Black Rob, as well as the upcoming album for Cocoa Brovaz entirely produced by Pete Rock. In an era where artists of all genres rarely enjoy longevity, Buckshot and Duck Down continue to shine. Enjoy the interview. -Israel Vasquetelle
Interview with the creator of Tubeify, the new media music player that gives access to millions of songs for free
Tubeify is a free online service that has recently started to make some waves with music fans seeking a better way to experience music online. It mines established services such as Last.FM and Billboard for data pertaining to music catalogs and then uses that information to tap into content available on Youtube to provide results for searches entered by users. Results are displayed and streamed from Youtube to Tubeify’s player, which allows users more control over playing and arranging those results. Unlike using just Youtube alone, these results are extremely intuitive, permitting users to play continuous music in queue. For example, a user can enter the name of an artist, and the results will provide a list with links to the artist’s music. It also identifies what album or collection each song is from, similar to iTunes. If the user chooses to, they can select a song or an album, which can be listened to all the way through. The most impressive feature offered is one that allows users to scroll through a timeline bar consisting of months and years. Upon selecting a place in time, the player will pull up the Billboard charts for that given period, those results, in turn, are all playable within the player itself. Tubeify, essentially empowers users to listen to hits from any era documented by Billboard.
In this interview, Tubeify’s developer, Tomas Isdal, answers questions this platform and its features. He also shares his thoughts behind the creation of this interesting service that puts further control into the hands of music fans.
Why did you develop Tubeify?
The Prince of the new recorded music industry talks about how you can start your record label and have global distribution
Jeff Price is the prince of the new music economy. In an environment where major labels are less likely than ever to easily produce a new Platinum selling act, highly unlikely to score a Diamond selling one, and site’s like YouTube have made Andy Warhol’s prediction of everyone achieving a stint of fame a reality, the stars are now aligned to sell millions of one and twos. Even small indie labels typically had no place for artists without the potential to at least sell thousands of units. However, Price’s Tunecore is set up to be profitable doing just that. They provide a new era version of major distribution to any artist, regardless of the sales potential. This is possible because the business model is not biased towards how much content is sold. Instead, they are set up to charge based on the delivery of content, not unlike Fed Ex, an analogy made by Price himself about his company.
…no one saying you’re good enough or you’re bad enough, or you should make it or shouldn’t make it… you can come to the website, and you can upload your music and say ‘put it into iTunes.” The cost for that, instead of giving away a piece of your soul and your rights and your money and your control, is just a simple flat postage fee. It’s like Fed Ex- you pay the fee and the package gets delivered.
Price, former proprietor of indie record label spinArt, describes his current company as a place where “anybody can…sign themselves.” The company has been delivering on this promise for five years. Tunecore is in many ways responsible for democratizing digital music distribution. They’ve helped bring down the barriers that had previously prevented most recording artists and independent record labels from selling their music on as broad a scale as possible. Before their existence, there were other companies providing digital distribution. However, Tunecore’s unique approach in regards to how they charge users made all the difference. Instead of charging based on a percentage of sales, they charge a flat fee. Because they generate revenue based on each user that signs on to have content delivered, this permits them to open up their service to anyone who creates or controls music.
Teena Marie: Soul Diva Connects with Fans for Three Decades
In a day and age of commodity artists who are forgotten shortly after a year or so of a radio hit, and in an environment where hit artists of yesteryear are remembered only by those who were raised on their sounds, it is rare to find an artist who continues to resonate with new and old audiences decades after launching their career.
Teena Marie stepped on the scene in ’79 and continues to touch music fans with her amazingly soulful voice. Not only has her music swept her fans off of their feet for years, but she has also influenced new generations of hit makers. The list reads something like a who’s who of Hip Hop stars, including Jadakiss, Ludacris, The Fugees, and Snoop Dogg.
Music Industry Talk with Jason Spiewak of Rock Ridge Music
Rock Ridge Music is a label operating in future mode. They're not tied to the old ways of the industry, in fact they're not locked into the supposed new 360 model adopted by major labels either. Instead, they operate by fulfilling a variety of services including marketing, publishing, management, etc. However, not all services are provided to all artists. With some, they work in a label capacity, for others, they provide specific services needed to fill a void in their clients' business models. Rock Ridge Music is definitely not just a tiny label working in a vacuum with just upstart obscure talent, some of their artists are hugely successful and garner very dedicated fans such as Sister Hazel and Reel Big Fish. In this discussion, the head of the label, Jason Spiewak, speaks with me about his thoughts on the music industry and explains a bit about his label's approach to music in a new media era.
Tell me a little bit about the transition from your earlier days working college radio to working within new media.
The job that really started me on this path was the position that I accepted at TVT, working with a woman named Christina who was one of my bosses at Artemis Records as a marketing person. Christina hired me based on understanding the music market place from a more traditional sense, with the idea that I could apply that view of the world to new and emerging media. It was a great, great opportunity to learn that world on the fly while working with massive artists, people like Lil Jon and the Ying Yang Twins and Sevendust. It was great because people were willing to return my phone call based on the clout that the acts had, and I got to develop some relationships that way.
TVT was a significant label. It’s kind of interesting that they’ve come across some hard times. What do you think that says about the future of the music industry: one of the top independent labels coming across such difficult situations?
My interview with entertainment mogul Ice Cube about the television industry and his new show
When it comes to the pinnacle of the entertainment industry, Mr. O'Shea Jackson, better known as Ice Cube to the world, arrived quite a while ago. As a performer, he's transcended from Hip Hop legend to movie star, all while maintaining credibility in both worlds. As an entertainment entrepreneur, he's successfully conquered the music industry, film, and now television. Counting the "Friday" and "Barbershop" movies, "Are We There Yet" is his third franchise film. This time, he's delivered one of his popular major motion picture properties to TV. The family-oriented sitcom stars Terry Crews (known best as Chris Rock's father on "Everybody Hates Chris" and the over the top spokesman/model in the hugely viral Old Spice commercials) and Essence Atkins. Atkins plays Suzanna Kingston, opposite Crews as Nick Persons (Cube's character on the big screen version). The program focuses on the challenges faced within the home of the Persons/Kingston blended family. Comedy ensues as Nick tries to win the affection of the two new children in his life, while maintaining a harmonious relationship with Suzanna.
Although Cube's major role in this production is actually behind the camera as executive producer,
Multi-Platinum artist refocuses on smaller market for long-term success
In 1992, Speech, along with his group Arrested Development, went on to receive countless accolades including two Grammy Awards and named Band of the Year by Rolling Stone Magazine for the ground breaking “3 Years, 5 Months, and 2 Days in the Life of…” The album launched the band into stardom with constant video and radio rotation for their hit “Tennessee,” and later for singles “People Everyday” and “Mr. Wendal.” The funky and soulful blend of Hip Hop and R&B delivered socially conscious music in a manner that was palatable to the masses. Despite being adorned with admiration by both the industry and audiences, at least in the United States, Arrested Development didn’t maintain the spotlight for long. When the band’s subsequent releases didn’t attain the level of success of the debut, they didn’t fade into oblivion, instead, Speech focused on a new market that embraced the band as their own music stars. Both as a solo artist and as the leader of Arrested Development, Speech has lived the reality of being big in Japan.
In this interview, Speech talks about Arrested Development’s interesting story into stardom in the U.S. and abroad. We also delve deep into the lack of progression within Hip Hop, and he also discusses the perils and rewards of the music industry. -Israel Vasquetelle
Rev. Bob Levy interview: Talks comedy, Howard Stern beef, and radio business
If you’ve listened to the Howard Stern Show since his move to Sirius satellite radio (currently Sirius/XM) or are a subscriber of Howard TV (Stern’s On Demand cable channel), you are probably well versed with the irreverent comedy of the Reverend Bob Levy. Despite his popularity on the show, he recently cut the cord with the King of all Media. In regards to Stern’s position on satellite radio, Levy explains, “if Howard leaves, there’s no station. If Howard stays, there’s no room for us...” Levy explains that the premise of his contention with the show stems from not being properly compensated for his many contributions to the program, and then, as he describes, being browbeaten by Stern for having plugs that ran at the end of the show. The world’s most successful radio broadcaster’s contract with Sirius was highly publicized as a $500 million deal for a five-year term. Apparently, this not only included the actual Howard Stern Show, but also the programming of two Stern branded channels on the satellite radio service. However, Levy contends that his own deal with the show did not involve monetary payment, instead he was to receive a brief commercial at the end of each show plugging his stand-up performances. Levy further explains that his compensation for creating and hosting the Miserable Men Show, which airs on the radio mogul’s Howard 101 channel, involved payments of only $100 per show. (Note: this has not been confirmed with the Stern Show or Sirius/XM for this interview.) Levy further states that he had to sever his relationship with the show after his plugs were threatened and subsequently pulled from Stern’s show.
Levy is a long-time stand-up comedian who’s appeared on and has written for other syndicated radio programs including The Kidd Chris Show and The Opie and Anthony Show. However, due to the show’s stature, Bob is best known from Stern’s programs. Besides being a regular guest and often talked about on the show, listeners have become acquainted with the comedian as the coordinator and host of several roasts aired both on Stern’s radio and television programming. As well, Levy has headlined the Killers of Comedy tour with other Stern affiliated comedians and regulars. Levy also created the Miserable Men program that airs on Stern’s Howard 101 channel on Sirius/XM.
In this interview the veteran comedian discusses his entry into the business
Lips interview part 2: Anvil's struggles in the music industry and finding success
In this segment, Lips chronicles his band's journey through difficult times in the music industry, including dealing with labels, management, and licensing. He also discusses the 30 plus year road to success. Stay tuned for more of one of the most compelling stories in Rock n Roll. -Interview by Israel Vasquetelle
Lips of Anvil discusses 30+ years in the music Industry and the band's new found success.
This is the second interview posted with heavy metal veteran group Anvil. In this interview, I speak with the star of the highly acclaimed film "The Story of Anvil" and the band's front man, Lips. He discusses his 30 years in the business and chronicles the band's new found success. Lips' passion is an inspiration for anyone who creates art for a living, or aspires to. Don't miss upcoming segments from this interview.
--Israel Vasquetelle
Interview with a radio promoter: How urban mixshow radio promotions works.
Gazelle MCI is a veteran urban music industry radio promoter who started out in the business as an indie label proprietor during the mid to later 1980s. Currently, he is the director of mixshow promotions at E1 Music (formally known as Koch Entertainment). Other duties provided by Gazelle include promoting videos to local video shows, as well as helping to coordinate promotional tours for the label's urban artists.
In this Q&A, he explains the value and process of urban mixshow radio promotions today, and shares his views into this distinct and sometimes misunderstood aspect of music marketing. He also provides insight about the effectiveness and use of eblasts to build awareness for a release, and how these efforts correlate to the sale of music.
How did you get into the music business?
I wanted to be in the entertainment business and started to figure out how I was going to get in. At first I wanted to be a rapper but found myself more and more on the business side. As I did my research I found that I was better suited for the business side. I started recording, manufacturing, and distributing records (12 inch vinyl) in 1988 under my record label, MCI Entertainment Records. I was in high school with my own successful record label. Just an FYI, I was in high school with the Audio Two and Jarobi from Tribe Called Quest.
Can you explain your role at E1 in regards to promoting a release?
The Ahoora story: Building awareness when your art is banned.
Milad is a guitarist and songwriter in an eclectic Tehran-based band called Ahoora. Ironically, the band's name isn't known in the music industry circles of record label marketers that attend festivals with strategies to position their newly signed rock brands bands as rebels, but it should. Playing metal in a country where the genre is essentially banned provides the truest perspective of rockers as outlaws.
Metal of course isn’t singled out in Iran, most Western music has been restricted commercially in the country for years. The classic Clash song Rock the Casbah was written as a response to these restrictions. For the most part, radio play, live performances, and the selling of music not approved by government officials are all activities that are very difficult to accomplish-- essentially making planning for these common artistic goals illegal.
Ahoora has continued their journey in metal for the better part of a decade. Their perseverance, despite significant adversity due to circumstances in their home country, is paying off- at least online. Ahoora has been able to gain new fans by utilizing social networking sites.
