Friday, April 29, 2011

Bedouin SoundClash-12:59 Lullaby

I remember when my good buddy Amitch first played this song for me on a post spring-semester roadtrip from LA to Portland. It was one of those songs that from then on I managed to sneak onto every playlist I made for the rest of the ride, but one that retained the magical ability that only a few songs possess-the ability to not get old.

"12:59 Lullaby" is a simple song, but I'm beginning to realize more and more that simplicity is truly at the heart of the best songs. Hauntingly beautiful, this jamandahalf seems to move along at its own pace. The essence of the song is really about this pace, about the passage of time, and appreciating things before they themselves pass. Each time the song ends it sounds like it just began, and it's easy to get caught in waves of repeats with this jam, each time causing you to momentarily lose all sense of time. It's hard to say much about a song like this, one that is both so simple yet could mean so many different things to people. So just take a second and play this gem of a jam.

Click here to download

Wednesday, April 27, 2011


While I’m not much of a believer myself, I will never criticize the religious beliefs of others. That being said, it is sometimes pertinent to point out the discrepancies of religion. Religion to me has always been a deeply personal thing, and my beliefs (or lack thereof) are something which I hold dearly. And they, like most things, have changed as I’ve grown. One thing about religion that does bother me is the flash. Although it’s true that some of the most impressive monuments and buildings I’ve been to in the world have been as a result of, or a dedication to, religion, flash seems at odds with the preaching of most religions, which almost universally preach humility in some form. 

Criticism of this flash is at the heart of this jamandahalf from Saigon, simply titled “Preacher.” Saigon took an eternity to release his first album, The Greatest Story Never Told, but the time was spent crafting meticulously plotted-out songs like this one. The song is a critique of Preachers who use their job, as trusted mouthpieces of God, to build fortunes off of those most in need. I remember back in my hometown of Gainesville, Florida, one of the local Preachers had huge billboards posted up all around town and drove around town in the latest model Escalade riding on chrome. While I have no doubt that he did great work and attracted a large audience to his sermons, and while I can’t hate on anyone, anywhere, making an honest living for themselves and their families, humility is something which I do believe is an essential part of the line of work. Whether you agree with me or not, check out this jamandahalf by Saigon who shows off great introspection, dope lyrics, and a necessary message, all wrapped up in a banger of a track. 


Tuesday, April 26, 2011

Griffdawg's Choice Nugs: Intoxicados-Una Vela

Griffdawg comes by with another in what will become a recurring series-Griffdawg's Choice Nugs. In unedited Spanish (again), he comes by with some homegrown Argentine rap. Keep em coming Griff.

No soy médico. Y muy de vez en cuando, digo que soy médico. Sin embargo, puedo decir, con confianza, que el cantante de la banda Intoxicados, Pity Alvarez, es retardado. Es porque hizo (o todavía hace) demasiadas drogas. Cuando le ves su cara te das cuenta. Mira aquella foto de él y Carlitos y otro tipo que está entre los dos. ¡Viste!  Las drogas han cambiado su cara. Aun, Pity, como varios otros, ha hecho muchas buenas canciones, a pesar de, (o por), las drogas.

Ahora no puedo dejar de escuchar su canción, que se llama “Un Vela.” La canción es sobre la búsqueda de ‘faso’ o hierba. Trata sobre son una puta que la conoce desde era muy ‘pendeja’ o joven, su ‘puntero’ o dealer, y una huida de policía y pistoleros en bici. Pero, por suerte, nuestro héroe escapa con no menos que 16 velas. Y para clarificación, una vela es un cigarrillo de marihuana. Y se la llama una vela porque cuando se fuma, la punta quema como una vela.  

Monday, April 25, 2011

Paul Simon-Dazzling Blue

Sorry for the pause in the jams. Like most of Spain, I spent last week searching for sunshine amongst the worst weather here in 80 years, but still had a great time travelling with my girlfriend and Johnny KTM. Now, back to the jams:

You gotta respect artists of all mediums who, even after making it beyond the wildest dreams of all but a few, continue to grind, continue to try and push themselves and their art further. It's a fine line. On one side you have a group like the Rolling Stones, legends in music history, who come together every few years because it seems like the bills are piling up. Fair enough. But then you also have an artist like Paul Simon, musically relevant for decades now, whose recent album So Beautiful Or So What sounds, above all, like a individual challenge. Like he woke up one morning and said to himself (in the third person, how I imagine all rock-stars exclusively address themselves), "Paul, let's go."

Today's jamandahalf shows Simon revisiting some of the musical motifs from the classic album Graceland. One of the first to pull influences from Afro-pop, he plays on the familiarity of the sound while keeping it fresh enough to keep the listener interested. A tune about love and fate, Paul shows that his lyricism has taken no hit, and even if you peel away the backing of the drums and the choir, it's still stands incredibly strong in its own right. My favorite thing about this song is its playfulness-from the goody adlibs to the joy with which Simon seems to sing each verse, it seems like he is proving to us, and to himself, that he still has it.

Click here to download

Friday, April 15, 2011


Semana Santa has officially begun in Spain. A national Spring Break, Semana Santa is week of religious celebrations fueled by sun and lots of cañas (beers). People travel: from small towns to big, from big to small, from towns of all sizes to the beach, as evident by the packed bus that I am on right now. No Spring Break is complete without a soundtrack, and if the same isn't true for Semana Santa (this is my first here for this week), than I’m going to do my damn best to do a little cultural cross pollination of my own.

Justice needs no introduction. The French duo’s first album Cross brought their style of aggressive house to the world, but in the past few years, not many peeps were heard from the two. Perhaps they took a long nap after their US tour (not surprising if you’ve seen their documentary A Cross The Universe), perhaps they felt that the scene was getting too crowded. Maybe they were also tired of hearing D.A.N.C.E everywhere. Whatever their rationale for leaving, they’re back. First heard in the background of an ADIDAS commercial, the full song leaked a little while back, perfect timing to be one of the sounds for Spring Break, I mean, Semana Santa 2011. 


Thursday, April 14, 2011

Kora-On My Mind

Our good buddy and top-dog challenger for most jamandahalf knowledge out there (although he's in a fierce competition with his sister), Johnny Kathmandu strolls by and drops off a short-but-sweet post for a Kiwi jam. Thanks KTM!

Straight from down under, the Kiwi group, Kora, brings out the best of New Zealand with this sweet jam that surpasses its title. Not only does it stick to the mind but its upbeat rhythm also get your body flowing. A perfect crescendo leads us into the track and makes sure we never look back as it then takes off into a sweet beat that should not be listened to moderately! Don't be shy with the master volume control! Bust it up and enjoy!

Click here to download

Wednesday, April 13, 2011

Frank Ocean-We All Try

Frank Ocean, the most random member of the biggest thing right now in hip hop, the group OFWGKTA (Odd Future Wolf Gang Kill Them All), put out a mixtape a little while back, nostalgia/ultra, that was, well, surprisingly smooth. After I heard about OFWGKTA a few months back I tried to give them a fair shot. When the media/blogosphere anoint the next big thing, I'm usually a little skeptical, but I wanted to see for myself why the group of young skateboarders outta LA was getting so much hype. Two observations-one, like Lil'B, I would much rather watch an interview of OFWGKTA than listen to their music because, two, I think most things have a time and a place, but I don't think a lot of the stuff they rap about does. They seem likable enough, fun, young, looking like they're having a blast, but I don't see the need, and the exorbitant demand, for the music that they generally make, especially at they level they do.

Let's get back to the music. Frank Ocean is 23 years old, has worked with John Legend and Beyonce, among others, and has a sound that is miles away from the shock-rap sound and style of his group. His first album showcases his take on R&B. R&B, while dominating the 90s, has had little place at the music table for this century, other than taking a leap forward with Drake's classic So Far Gone. nostalgia/ultra seems like another step forward for the floundering genre. Today's jamandahalf is a silky stream of consciousness ramble about everything from time travel to gay marriage. And unlike a lot of the music of his crew, "We All Try" is immediately likable and relatable. With a goofy sophistication, "We All Try" is both unrelentingly modern and relevant, all wrapped up in a smoothness that's impossible to copy, you just gotta have it. Ocean's got it.

Click here to download

Tuesday, April 12, 2011

Big K.R.I.T.-The Vent

Big K.R.I.T., a favorite of the blog for a little while now, has recently released the follow up to KRIT Wuz Here titled Return of 4Eva. Since the last time he was on the blog K.R.I.T.'s been writing a play book on how to build consistent hype-release great music, go on tour, remain visible while not playing yourself out, strengthen yourself as an artist and a brand. Return of 4Eva sounds like a natural progression, rather than a huge leap, to his first tape, but as a rapper KRIT has clearly matured. Deeply rooted in Southern rap, KRIT sounds like 2.0 to the subset which has been both so oversaturated in recent years yet which still seems like it has something more to offer. KRIT continues to combine tracks that showoff deep introspection with tracks which showcase the more trunk-rattling traditional elements of Southern Rap, bridging the gap that most Southern rappers can't.

Today's jamandahalf features KRIT venting/rambling, in the best possible sense of the word, on a threadbare beat. When you hear this song you really have to listen. It's not a song that comes easy, but it does really show off KRIT, the rapper. On tracks like these KRIT shows off his humanity. Not Hollywood enough to stay aloof, "The Vent" sounds like a buddy coming to talk about what they got on their mind. KRIT is clearly not hiding, its impossible to over a few piano chords and a synth or two, rather, he's putting himself out there, ready to be judged. Judge for yourself and let me know what you think.

Click here to download

Thursday, April 7, 2011

Adele-Someone Like You

Count me firmly in the Adele bandwagon. Reminding us that "pop" music can truly be great music, Adele is both blowing up charts across the world and making fans from John Legend to the rapper Anthem. Today's jamandahalf and the great NPR Tiny Desk concert below give a little glimpse of Adele the artist and the young woman. Blessed with a towering voice, today's jam is a nuanced look at a past relationship. Alternating between confidently congratulating her ex on his new life with admitting that she still has feelings deep down, Adele's song is an untarnished look at the peculiar nature of relationships. There is no weak part to the song, and Adele's voice combined with the lyrics deftly handle the spotlight put on by the barren piano backing. The  concert shows a little bit more about Adele. In stark contrast to her booming voice, she still seems refreshingly comfortable in her slight awkwardness. Adele as an complete entertainer clearly hasn't caught up with Adele the amazing singer, but that's perfectly ok.

Click here to download

Wednesday, April 6, 2011

Interview with Blisses B

Sometimes when I get music from artists, it waits for a rainy day moment-good enough to post, but missing something which makes it a mustpostrightnow jamandahalf. Blisses B was different. On my first listen through I knew it was something special, and the album and the band really highlight the whole concept behind this blog-showcasing music that is unique enough to transcend our individual favorite genres and styles. I asked Noah Libby, the lead singer of Blisses B if I could interview him, and luckily he agreed. Put on some of their great tunes below while you read more about the group that has quickly become a new favorite of mine. Thanks Noah for your time.

 Thirty Days, Sixty Years (2010) by BlissesB

Can you take us through how a Blisses B song is made? How do you consolidate so many instruments and influences?
I will bring a song to the guys which I wrote acoustically (Guitar, Mandolin or Banjo).  We then flesh it out at our practice studio and we talk about it very openly.  This is a very democratic band and we all take criticism and praise from each other with a grain of salt.  Matt McBride (Drums) and Nick Testa (Bass), for the most part, have their instrument chosen outside of it being a strictly acoustic song.  Ben Keegan has a unique avenue in that he plays lots of different instruments (Answer: D, All Of The Above).

With all these instruments involved it makes it a grandiose time when we work the song out to fruition.  To touch on the consolidation of instruments and influences, I will say that there is no guideline or path.  I am definitely a musical sponge and the folk and jazz music that my parents listened to, have had a profound effect on me and that has traversed into my own writing.  Let it also be known that Nick and Ben are accomplished songwriters and singers, this will be shown in Blisses B music going forward - count on it.

As the vocalist, what is your process for creating the lyrics to the song? Do you wait for an instrumental, or do you come up with an idea then try and create an instrumental around that?
A central idea or theme is something I strive for in each song, and now more than ever I try and write from a different persons view.   I write the instrumental part of the song first nearly every time.  I have ideas for lyrical content but they usually are in the waiting room until the song structure has been written.

If you had to describe the new album in one word, what would it be? 

What song are you happiest with? Which song was the hardest to make from start to beginning?
The title track Thirty Days, Sixty Years.  Matt used a very unorthodox drum beat; also Nick, Ben and I all sang on the track.  Recording is very different from playing live, so nothing came easy.  I Was Around would probably be the right choice for hardest track.  Ben's piano part was very arduous and I had my own struggles with the acoustic and electric parts.

On the biography it says that everything dealing with the album was done by the group. How important is it to the band that everything was created organically in-group? 
Nick has his education in Sound Engineering and this played a key role in the production of this album.  To have a band member, with vested interest, recording the record was in and of itself a huge part of this albums success.  We knew how we wanted this album to sound and Nick was really able to take us through all the steps (Recording, Mixing and Mastering) in such a comfortable and unique way.  This isn't our first time recording in studios and recording to tape etc, but it is the preferred way in my opinion.  We also had Ben's brother Graham Keegan do the artwork for the record and he did an awesome job, I can't wait to see it in LP-Vinyl sizing.

What music has the group been listening to recently? 
I can't speak for the fellers, but here goes a few of mine:

Phil Lynott - Solo In Soho
Prince - Prince
Hiss Golden Messenger - Bad Debt
Kiyoshi Foster - Tranquilizer
Iron And Wine - Kiss Each Other Clean

Where does Blisses B go from here? 
2011 will have us playing in Seattle, Portland, Detroit, New York, Boston and more.  The Music Festival circuit is something we would love to be involved in any capacity this year.  Also, we are writing new material now and we hope to be recording that in the not so distant future.

Thirty Days, Sixty Years seems to have be receiving almost universal accolades from across the blogosphere. What about your music do you think is so universally appealing?
First and foremost, I appreciate people like yourself spreading the Blisses B name.  I don't know if I can answer this without bravado being involved so here goes:  I think we strive to have introspective lyrics with both unique and often danceable music.  I hope this finds itself in the wheelhouse of music lovers.  I am ever thankful for the support we get here in the San Francisco Bay Area and across the globe.

What is your personal motivation for making music? 
I really appreciate the craft of writing songs, and the relationships they have with myself as well as others.  I only started playing guitar when I was 18 years old...which I would say is not the vast majority of musicians.  So for better or worse, this has given me a unique learning curve.  Nick and Ben can tell you that on a regular basis,  I don't really know what key we are in for the songs I write.  I wouldn't have it any other way though.  Because what could be seen as a setback in years of practice and the honing of skills lost, is really just an eddy I swam up river with...only to find a private beach of instruments and an anything goes attitude in regard to learning them.

Tuesday, April 5, 2011

Mumford and Sons-Wagon Wheel and Golden Slumbers/Carry That Weight

It sounds like a musician's most sublime dream. Hopping on a train going somewhere, slowly, and being in the midst of two other unique, motley, bands. Having a week-long jam session across the expansive Southwest, and because you've become slightly too upscale for sleeping in the hay car, of doing the whole journey in vintage rail cars. Mumford and Sons are doing just that and are joined along the way by Edward Sharpe and the Magnetic Zeros and Old Crow Medicine Show. Three of my favorite bands are pulling a back to the basics minitour, travelling slow, and sharing the stage for six shoes. What happens between the shows is probably going to be even more sweet, with different styles and approaches amplifying off of the narrow train car walls until something beautiful is created. All three bands aren't afraid to cross-pollinate, especially Mumford and Sons. Their list of covers ranges from Vampire Weekend to Calvin Harris, but today's jamandahalfs shine the brightest. Only one album in, these covers showcase a young band still getting their musical feet wet, trying on genres and styles, seeing how they fit, and smiling each time something fits well, as it seems to every time for the British quartet.

Download Wagon Wheel

Download Golden Slumbers/Carry That Weight

Saturday, April 2, 2011

It's All About Momentum-An Interview with Anthem

“This game is all momentum, man. Everything’s momentum.” If what Anthem told me last week is true, then the rapper is on a roll. With a dope new mixtape cosigned and hosted by DJ Whoo Kid, and a unexpected new hit song (today’s jamandahalf), Anthem is continuing to build major momentum, and has been since the first time we talked to him, all the way back in March of last year. Since then, Anthem has been consistently spreading his reach through a combination of regularly making unique rap and also through aggressive social networking. It seems like Anthem is continuing to strive towards a goal that each day seems a little more inevitable-becoming a name on the lips of hiphop heads and music lovers across the world. For someone who is making such major strides, Anthem remains amazingly humble, and I had the opportunity to chat with him for a while the other day, touching on topics from Lupe Fiasco to Manhattan to colleges likes my alma mater (Claremont McKenna College) and his beloved Duke Blue Devils. First, check out his most recent song whose smart lyrics rival a beat that is injected with the feel of summer. It’s a jamandahalf that shows a different side of Anthem without sacrificing any quality. My girlfriend heard this song and immediately said, “Wow, this really makes me want to dance!” I think you’ll agree, but don’t stop there. Find out a little more about Anthem as a person below and as an artist here. I think you’ll be impressed with both.

Take us through a day in the life of Anthem.
It really depends. I always allot time to write-creative time, writing hooks, just putting on a beat. Sometimes I just freestyle on tracks, sometimes you’re working on a song that could actually be something. I try to record at least every other day. That’s the beauty of having a home studio setup. Before I had to internalize ideas. I used to have to audio record into a Blackberry. Now I can record a track, audio engineer it, send it to be mixed and mastered, straight from my bedroom. A couple of tracks from the mixtape are like that, some of them were recorded on the go in a hotel.

On a day-to-day basis, I can’t afford to just be an artist. A lot of my time goes to idea generation, tactical things like how to attack social media, meeting videographers, video treatments, and planning photo-shoots. When we started off it was just me and DG, but now we’ve built out more.
It’s really week to week, different agendas every week. One thing that’s always a constant is making music. It has to be a constant. At the end of the day, without music you have nothing. Everything I’ve learned is that success is not a function of talent; it’s a function of organization and execution. We hope to have a winning attitude.

Let’s talk a little about your newest song, “God of Joy” that is currently huge on the blogosphere. I listened to it, and I really liked it, but has a different sound than anything I’ve heard of yours before.  Was it a song that you wanted to be people’s first impression of you?

Everything that I do has to be an accurate reflection of some dimension of who I am. We had a conversation about Lupe. About his artistry being squeezed. For me, that song, “God of Joy” is a genuine reflection of music that I consume and that I like. I have absolutely no problem of that being the starting point of someone knowing who I am. If anything, I look at that as an opportunity to potentially introduce a listener to music that they typically don’t consume. We can make assumptions. A song like “God of Joy” can typically reach a broader audience than a song like “Inception.” I’m always going to be a lyricist at core, that’s what I build my artistry on. I feel like “God of Joy” was well done. It’s not consistent with the sound of some things on Manhattan Music, but it’s consistent with the quality. I would hate to venture off to diverse songs and do a poor job at it. I have a chance to be introduced to people who gravitate to God of Joy, and are curious to the artist behind it.  I love the fact that it is doing very well, it’s up-tempo, its joie de vivre. I hope to make my music as dynamic as we are as people. There’s introspection to things we think about, but I’m not just getting caught up in the nightlife.  

Let’s go on to Manhattan Music, your new mixtape. What was your overall goal with the album? It kept getting pushed back; what was behind the delays?
I was going to put out an EP, but I held off putting one out because I needed to build a bigger body of work. So I pretty much created an album, and felt like it was a quality album. But then I realized that I needed something before the album, and that’s the mixtape.

How did the involvement with DJ Whoo Kid come about?
He heard my tracks; he was really excited about the music, very vocal. So I thought, why not just do a mixtape? I took a couple of the records from the album I had made but the majority of the tracks were completed in a very short time. I had to lock myself in a hotel. Whoo Kid starting spinning “Looking Down” and it was great for building an online presence on Twitter and Facebook. I’ve made it available to my immediate world, but I haven’t aggressively promoted it yet because I know that I’m going to have video content, and your music doesn’t have legs until you have that.

Was it your plan to have the mixtape be your first contact with people? Or was it something that you made to keep your fans going?
Definitely be the first contact. I'm an ambitious person. That is my first real comprehensive, cohesive piece of work. That’s my hello.

How did you choose the name Manhattan Music? How has living in Manhattan changed you and your music?
Most of the people here aren’t from here, and I credit this place with being responsible for my coming of age. Probably the most formative experiences as who I am as an artist have been living in this city. The reason I called it Manhattan Music is, besides showcasing artistry, is that I’m trying to articulate a narrative. The underlying theme in it is Manhattan, sometimes overtly, like “Yellow Cab” or “Sex in the City” or other songs like “Damn” where there are illusions to it. I call it that because this is the birthplace of my artistry. There are clichés of what Manhattan is supposed to be, but there is a duality. There is a beautiful ruggedness to the City, but there is also a level of sophistication.

“Note to Self” is my favorite song on the mixtape. If you could have written a note to yourself before you decided to change from the track of Wall Street banker to rapper, what would you write?
Number one would be deadlines. You have to self-impose deadlines. People who succeed are those who have self-imposed deadlines. It’s the key to success. The most talented people aren’t the ones who are winning out there. It’s not to shit on anyone. I give people praise who say that “I’m not the best at what I do, but no one’s going to outwork me.” Without self-imposed deadlines, time will slip away.  

The second point would be, all you have, you gotta fight to make that enough. I wrote “Note to Self” in advance. I don’t turn 26 till August, I wrote it in anticipation of where I saw things might go. I’m not going to get lonely rock star (laughs), but the reason people describe success as a lonely process, it’s because how much you have to rely on yourself. No one will ever believe in what you believe in.

You’re going back to CMC for your third concert. What has been CMC’s role in your narrative?
I got a lot of love for CMC. I went to Duke, but definitely have to credit CMC as the most supportive school, the one that has shown the most love to me. I associate key moments of my short career to CMC. One of more important first shows was at CMC, and a moment that I’ll always remember was sharing the stage with Lupe and BoB. That was March 5th, and a month later, BoB had the number one single in the country, and now is in the stratosphere. And Lupe, I don’t have to touch on his accomplishments. I really like the study body, you guys are music lovers, and very open and receptive to varied artistry. I will always want to have a good relationship with CMC. To me, it’s not another venue or show to me, there is a familiarity.

The student body has definitely gotten to know you. If they were sophomores when you first came, this will be their third time seeing you perform.  That’s something special
I’ve done more shows at CMC than I have at my alma mater. Definitely have a lot of love for CMC.

We talked a little while back about the Lupe Fiasco situation with Atlantic Radio. How do you think it has changed the rap scene?
I don’t think it’s changed the industry at all. There’s the label, the artist, and the fan base. I walked away with a few things. Lupe Fiasco has the best fan base in hiphop, and no one can tell me otherwise. They came out in droves and bought them album. It was his first number one album. That tells me that the label was able to stifle his artistry and still win. I think most people would agree that this is a bit out of stride with his first two records. It just tells me that no one is immune to the business model. It only reaffirms to me why I am an independent artist and why I will never forfeit creative control for anything. The person that took the greatest L is the fan base. Lupe still has a number one album. You know what you said to me last time that kind of shut me up? You said that if he really felt like he was marginalized he could have dropped a free mixtape the same day. When you’re doing the thing that you love, there’s also a business side to it, but when the business takes the front seat, then it’s really not that different to a corporate job. What’s the difference between him being told how to rap, what to rap, and being a banker, or reporting to a hierarchy. I don’t see that big of a difference.

You have lots of TV references in your lyrics from Mad Men, Entourage, The Wire. Can you talk about, well, your love for these shows?
(Laughs) Those are my favorite shows. I love Mad Men because it’s a timepiece, but it does a great job of characterizing Manhattan. Don Draper is the American dream. Raised in rural America, came and became a great ad executive-cutthroat, successful. Things that I love will always appear in my music. When I think of good times, good vibes, I love the imagery of the group, of Vinnie and the crew. I have a visual imagination, when I think of specific things, I think of scenes. I’m big on references.

I know you’re a big Duke fan. What did you think of their tourney run?
I’m only disappointed to the point that I would have loved to win another title, but who wouldn’t? I’m very proud of the team, and they had great leaders. The only thing I wish were different was to see Kyrie Irving play the whole year.

Who do you now have winning the whole thing?
Butler beats UConn to win it all.

You have momentum. Manhattan Music is a helluva mixtape and God of Joy is blowing up. What are you going to do with this momentum?
The next is releasing the website, videos. Launch parties throughout the city. Videos, so people know who I am. Videos are the way I’m going to do that. Pushing “God of Joy” as far as I can. I got stuff ready to go; now it’s all about execution.

Any ideas about the debut album?
It’s so early in the game right now. Hopefully it’s a high-class problem, hopefully its sooner than later. Now my mind is on promoting music, getting videos out, series of listening parties, the documentary and shows that’s where my focus is on. Building a close relationship with the fan base. Engaging with people.