Most PR folks still maintain a buckshot mentality with whom to pitch for editorial content, whom to pitch for exclusives, whom to pitch for premieres, etc.  With most PR companies, (including ourselves earlier on in our development) it appears as if everyone is haphazardly casting the widest net possible just to see what they can get.  That’s ineffective for the artists, and it exasperates the writer who watches their inbox become a monster.  When a writer does decide to feature an artist pitched by a publicist, you then bear witness to posts splattered across the Internet over a number of weeks, while the band’s social networks are not efficiently pointing current fans to an influential writer responsible for good editorial coverage. The band’s social network is not creating the best fan experience, nor are they using their fanbase to help generate new readers to worthy sites with writers who have taken the time to dig into their creation.

No matter how small or large an artist’s fan base is, a structured media roll out has a much greater effect when it’s efficiently managed from all sides – social media, online magazines, blogs, traditional print – across all the visible networks of the artist’s current fan base, as well as our own networks. Correctly implementing this sort of viral sharing, the artist gains a larger potential reach to other fans.

Producer/Entrepreneur/Artist 
*Beats/Merchandise*
 www.bfsa.khuphaonline.co.za

About me , I started my early dabbling into the music scene at 14 years of age by 18 I had been through every HollyWood club backstage door known by Musicians and Its Roadies. In 1994 I’d moved closer to the DTLA underground scene to be more involved , I worked lazers at MagicWednesdays and major Art Contributor for 2 years at Glendale Publishing on AR magazine. In 1996 I opened up my first and only Art Gallery named SPECTRUM located close to silver lake art district in EchoPark. Also that year won the exposure to KROQ contest with 2 friends using Video Projections and was awarded by Sherman Helmsley a 20,000 dollar check that was put towards a few events that are still around today, one being StarGate 2 where I was Art Director and Props coordinator.  I also created an indoor Waterfall Projection Screen for that particular event. In 2000 I moved back to Venice and transferred my LACC credits back to SMC to continue my Art Mentorships with Ron Davis, Linda Lopez and Jon Greco creating collaborative works with dozens of Artists in the Venice and Santa Monica Art Communities. My musical in devours weren’t by far at it’s peek in 2001 I’d finished Producing The F-MONEY FEED THE HUNGRY Demo with DJs JayDick & YOHAN and participating in underground WLA culver studio Pirate Broadcasting of never listen to Musical Artists. During these 2000 to 2004 years I worked with “The Elephant Breakdown” traveling group Art Show featuring new Artists of all Varieties in Clubs and Galleries all around the Los Angeles area from the westsides to the eastsides

Always Vibrate on Your Highest Frequency
#dropthemicllc #tiptoethings

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