Our elixir
Yes, Rumblefish is located in the Pacific Northwest. Far be it for us to be anything cliché—but ask the question of whether or not we fit the Pacific Northwest mold and we can’t deny it; we are clearly members of this coffee-loving sector of the nation.
“Office coffee” is notoriously wretched, at least from my own experience. It’s not something I’ve ever ventured to rely on, no matter how much French Vanilla-flavored creamer I might stir in. So upon joining the Rumblefish crew, I didn’t look twice at the coffee in the kitchen. It was a no-brainer that I’d simply go on a daily sojourn in search of that “good” elixir.
Well, the powers that be deemed it necessary to make our in-house coffee something delightful, something delectable—something we as employees could look forward to. And what better way than to have a democratic selection. Last week, we invited the kind folks at Percasso to conduct a blind tasting of 6 different blends for us to mull over. We sipped, we sniffed, we oohed and ahhd and placed our votes. We hoped to god that we weren’t unknowingly favoring Folgers crystals (hidden cameras, anyone?). C was the early frontrunner, quickly to be edged out by D.
A clear winner, it was later revealed that D was none other than the house blend of Portland sensation, Stumptown. We were already Stumptown fans, so naturally our taste buds flocked to the local faves. C, the close second which we are also keeping in stock, happened to be Portland Roasting Company’s Guatemalan blend.
Might I say, the kitchen is now quite a flurry of happy, caffeinated Rumblefishers. Don’t be surprised to find us bouncing off the walls at around 3pm.
Speaking Engagements, Trade Shows, Conventions (oh my!)
Let’s meet up. A few of us are on the road again, for just a few days. If you are at any of these events, drop us a line or come say hi…
NARM/ Digital NARM :: San Francisco, CA :: May 7, 2008
Corey Denis, Director of Marketing (that’s me) is attending Digital NARM in San Francisco May 6- 7, 2008
San Fran Music Tech Summit II - May 8, 2008
Paul Anthony, Big Fish (Rumblefish CEO & Founder) is scheduled to give a presentation about Sonic Branding & Music Licensing
Corey Denis, Director of Marketing is moderating a panel at the San Fran Music Tech Summit
In addition, Rumblefish is excited to provide music for the San Fran Music Tech Summit. Join us for a day of phenomenal speakers hailing from imeem, Warner Brothers Records, Pandora, A2IM, INgrooves, IODA, Rhapsody, Sony BMG, CD Baby, Electronic Frontier Foundation, YouTube, Future of Music Coalition, Rumblefish (yay!) and many more…
The Cable Show :: New Orleans :: May 18 - 20, 2008
Paul Anthony, CEO, Richard Jankovich, Director of Licensing & Dan Holmes, Licensing Rep will be at Booth #545 at The Cable Show May 18 - 20 in New Orleans.
Saints Sing Themselves Silly
St. Helena Island is really, truly, an actual island. Only a year ago did I learn of its existence when first hearing the planned route for this sailing trip. Well, here I am breathing this perfect air, feeling the lush tropical grass between my toes, and swimming in the crystal clear waters.
This is one of the most relaxing and serene places I’ve ever been. There is no rush to anyone or anything here and I feel silly walking a step faster than the other locals casually going about their business downtown. There isn’t a rush because being on an island without an airport means there isn’t anywhere to go until the next royal mail ship arrives…six weeks from now. There isn’t a need to get to the next meeting because the population of 4,000 can be met within minutes or dialed on the telephone using four digits. Life here is at a refreshingly calm pace and it’s evident everywhere, including the local music scene.
After a visit to the local bank to withdraw money (there are no ATMs here) I see posted in the window an advertisement for a new book by young author Emma-Jane Yon titled “For The Love of The Music: Capturing the Enthusiasm and Passion of the Saints.” Bingo! I’ve found the perfect resource in which to begin my search.
After reading the book cover to cover in just a few hours I learn the local music scene owes its roots to the first sailors who visited the island in the 16th, 17th, 18th, and 19th centuries. Sailors, like me, who never thought this island existed until they saw it with their own eyes rising out of the sea. Granted, these sailors had to endure bouts of scurvy, mutiny, treachery, famine, and rotten water between their brief stints of leisure time to perform music. While I on the other hand am trying to find a more comfortable position to brace myself against a rolling boat as I take a nap in the sun listening to my iPod. Regardless this sailor and the thousands before me rely on our music to get us through our weeks long passages at sea.
While music helps sailors pass time at sea, music is crucial to the citizens of St. Helena to help them pass the time waiting for the next mail ship. Luke, one young musician I spoke with, informed me that without music life on the island would be “unbearable and not worth living.” He added that there are no beaches to swim in, there is no breaking surf to surf in, and “we are tired of fishing so all we have left to do is make music.”
And make music they do. By the thousands of songs and hundreds of bands from the heydays of the 1960’s and ’80’s to a resurgence in bands during the last few years, the Saints are self-defined music fanatics. From synth and keyboard based dance bands to brass & marching bands using what could be instruments brought originally by the tall ships, the Saints create boat loads of music. Kids are found walking the streets with guitars slung over their shoulders. Mothers and children sing in the local restaurant when the CD player is on the fritz. Bands practice anywhere that might provide decent acoustics. Homemade instruments are created from old oilcans, scrap wood, fishing line, buckets, and anything else that could make a sound. The Saints are using all possible resources to create what they love.
Although rock, pop, and dance are growing in popularity on the island any visitor can easily, but surprisingly, determine that Saints love American country western music. Emma-Jane works for the only local FM radio station, Saint FM, and estimates 60-70% of what’s played is C&W. She says, “Since we’re a relatively young radio station our rotation is primarily influenced by listener requests.”
Photo of myself and author Emma-Jane Yon at the Saint FM studios.
So here I am on a tiny tropical British island in the South Atlantic that can only be reached by boat with a music-loving population of 4,000 people all listening to one radio station and primarily one genre, country. Whod’ve thunkit? I guarantee there is no other place like this. Or is there?
There’s only one way to find out, move on to the next port! We’re sailing for Rio de Janeiro, Brazil in the next few days to see what we’ll find there. It’s a three-week passage in the south Atlantic trade winds and I’ve got my iPod charged and a new playlist of country tunes. It’ll be a great journey.
Rumblefish Soiree :: April 14, 2008 :: Las Vegas
Rumblefish NAB Soiree :: April 14, 2008 :: Las Vegas
It’s time again for the broadcast industry to descend upon Las Vegas for the NAB Show Conference. This year we’ve decided to take it off The Strip for one night and toss a Soiree.
This most excellent party is in downtown Las Vegas at the Beauty Bar on Monday, April 14th from 7PM - 10PM, and includes complimentary Limousine Service, open bar, and delicious hor d’ouvres.
Limousine service between the Las Vegas Strip and the Beauty Bar (you will receive details with your RSVP Confirmations)
Super Stretch Limos provided between 6:30pm - 10:30pm.
RSVP: rsvp[at]rumblefish.com
Namibians Need New Tunes
“I wouldn’t say we have a genre that defines Namibia,” the young, plump, pimple-faced local girl huffs out the words along with a flimsy stream of second-hand cigarette smoke. “We really want to be just like Americans so we listen to American music.”
“But the music you’re listening to is a tiny fraction of what American music really is,” I begin my response with obvious frustration but take a deep breath and a pull of my Windhoek Lager and begin again.
“American music isn’t only about getting rich and famous, having lots of fantastic sex with gorgeous women, blinking jewelry, fast cars, and vacation homes. There are millions of musicians who will never have those things and whose music will never make it to the speakers in this bar. Musicians who play for the love of it, not the glory in it,” I started off calm, but finished with more obvious irritation. Finishing my beer, I politely excuse myself to get fresh air and contemplate what has just been said.
This one disappointing conversation happened last Saturday in Walvis Bay, Namibia. I haven’t limited my opinions to this one chat with one carbuncular face; there have been dozens more equally unsatisfactory in my informal polling of the local populace from Luderitz to Swakopmond. All in all I estimate I’ve popped the “What are you listening to?” question to about 40 young Namibians and each reply with generally the same answer…hip-hop.
At first I thought to myself, “excellent, I’m a fan of hip hop and make the genre a regular rotation on my iPod; I’d love to score some great local talent.” My next question naturally always is, “Who are you listening to?”
The answers are typically the same ten or fifteen artists: Ludacris, Nelly, Snoop Dogg, Chamillionaire, 2Pac, Ja Rule, Fat Joe, Dr. Dre, Jay-Z, P. Diddy, DMX, and other equally famous and equally overplayed stars. This is where it gets frustrating for two reasons.
First reason is I already have these artists on my iPod.
Second reason is Namibians define American music with these ten to fifteen superstars. Every person alive has their own idea of what defines American music, so who am I to judge if this is the way Namibians define our music? Because, damn it, I have worked with and for and become friends with many of those unknown, un-famous, un-star artists who make up the vast majority of creative musical talent in America. Music that is silently sitting on that seldom visited MySpace page begging to be heard. Music on that hand scribbled CDR submitted to the record labels and music licensing companies. Music that is so flippin’ good that the little corner bar or coffee shop has to feature them two nights per week to handle the crowds. Music that will never make it to Namibian speakers.
People can’t make decisions or definitions without knowing the facts and the fact is a definition can’t be made based on the insignificant piece of the American musical pie Namibians listen to. How can a person living in Namibia define what American music is when they will never be exposed to independent American music? They can form their own definitions, with a little effort from both corners of the Atlantic.
I challenge any independent American musician reading this to make an effort to distribute and market your music to Namibians. It’ll probably help that you’re a hip-hopper, but I know there are 1.9 million people living in this country that are starving for new sounds.
I challenge any Namibian reading this to visit the nearest Internet cafe and go to MySpace.com, SonicBids.com, CDBaby.com, Imeem.com, MusicLicensingStore.com, or any other website where independent musicians promote themselves. Spend an hour and you’ll find more music that you’re fifteen superstars have ever created.
So to all you musicians of America, help the people of Namibia define American music by providing your piece of it. And to all the American music fans of Namibia, seek out independent American music to help you form your own definition of what American music is.
Perez Hilton, Erin Ivey & Rumblefish
Erin Ivey recorded her album right here in the Rumblefish Studio.
….And Perez Hilton really likes it. Read about it right here.
Go Erin!
Rumblefish Video :: Animoto
What Does Your Brand Sound Like? ®
Rumblefish is a Sonic Branding agency. The United States Patent & Trademark Office makes it official. What Does Your Brand Sound Like? ®
CNBC “On The Money”
Rumblefish, CNBC, Artists, Money, Music and our Fish Car
SxSW Music 2008 :: Killer App
Editorial Blogpost from Rumblefish’s new Director of Marketing, Corey Denis
While attending SXSW, Paul Anthony, CEO, and I, Corey Denis, Director of Marketing, had the opportunity to see up close how the little-industry-that-could (that is, the music licensing industry) was on everyone’s mind. Room 15 at the Austin Convention Center on March 14 unleashed the SxSW 2008 “killer app” for the music portion of Austin’s yearly conference. The room was packed to standing room only - and the reason was clear: with an industry losing money faster than Apple can ingest new content from lesser known bands, the financial prospects of music licensing are finally appealing in such a way that this opportunity to build the New Music Economy has emerged to the forefront of a financially viable music business strategy.
Journalists from the Wall Street Journal, New York Times, Wired Magazine, most recently the Chicago Tribune, bloggers, new and old media (…and don’t forget Moby) found reason to comment or write their post-SXSW articles about the state of the New Music Economy and what it means as the new Tipping Point for music as a business and creative entity. The big takeaway from SxSW this year was more than a margarita and a really really heavy SWAG bag; finally an industry collectively reached a better understanding of how to monetize music and increase artist visibility all at once.
This very model is the core business of Rumblefish, and our business just grew. We’re turning heads, and building our stamina for another 20+ years of business. Starting in 1996 from the depths of CEO & Founder Paul Anthony’s college dorm (and car) came the Rumblefish ethos. Anthony, a Music Composition major at the University of Oregon, licensed his homework successfully to filmmakers to make ends meet. The music school got angry, but the business school took notice, and Anthony went from majoring in Music Composition to Business - and has lead a growing music licensing company ever since.
For 12 full years, Rumblefish has been quietly licensing music to HBO, IFC, Adidas, Red Bull, Video Games, Extreme Sports and brands from around the world and now we’re ready to make some noise. Our business model is “the twitter of ‘08” for the SxSW Music Conference. Yep, that’s what i said: licensing music for commercials and brands is the killer app of sxsw music. For smaller projects who need music quickly and legally, we have a Music Licensing Store , singing the praises of pre-cleared tracks which are made available in our store to thousands of music supervisors searching the Music Licensing Store for emotive search terms like “humble” - or (this is true) “love at first sight.”
Rumblefish works with such great success because our company is two-fold. We are not a music library. We urge Music Supervisors to kick the canned music. We are a high level high quality music boutique, and we own our own Sonic Branding agency. We are a company of artists, regularly curating the best music from around the planet while our world-leaders in sonic branding accrue branding clients for specialized holistic sonic branding campaigns. Meanwhile, our Licensing team is regularly talking with the best film, video game, advertising and television music supervisors to assist them with their music choices, all the while pointing our partners and clients toward the Rumblefish Music Licensing Store, where any music supervisor can search our curated catalog for the perfectly emotive music, and pay for the license. Right then. Right there. It’s done. It’s legal. Even Vloggers have an outlet for music now – totally hassle free, a vlogger can use our store to legally obtain the license to sync music with their video.
One single music license takes an (underestimated) average of 30 person-hours to acquire. Licensing a track from the Rumblefish catalog takes a music supervisor approximately 3 minutes. Naturally, when the killer music app (licensing) became apparent, and apparently profitable, at SXSW 2008’s more academic moments, Rumblefish took pride in a business model that works. We are a company of musicians growing a business that works for music. We ask our branding clients What does your brand sound like? (sm) and we seek out the highest quality music with enough confidence to offer a non exclusive agreement to artists & labels. Which means, if they think they can find a better agency to Sync their Music – we think they should try! (but we know they won’t!) We cut checks for artists, and we forge interesting licenses (posted on our blog). It makes us proud. Businesses who use our music make more money. It makes us proud. We aren’t a library. Which also makes us proud.
Most common question from audiences when we do presentations: “What about artists selling out?”
Personally, that’s my favorite question. Selling Out was a viable concept for artists and labels to cling to when music sales were the basis of a viable music business. But with sales dwindling and consumption sky rocketing, it seems that the concept of “Sell Out” was possibly concocted by sales & marketing departments in the old music economy, because the very concept increased the value of their product. Unless an artist “sold out” you couldn’t consume their music in any way other than to purchase it. You had to buy it. You simply had to. But not anymore. Now, music is consumed globally in multiple formats, whether the industry as a whole is happy about it or not. Why not get paid for that consumption? Does that make you a “sell out” – or is it just irony that the only band to name their album “sell out” has licensed music to competing automobile makers? I draw my own personal conclusion: the terminology “sell out” worked in the old music economy but doesn’t make sense in the new music economy. Things change. Even Zeppelin has a song in a Cadillac ad. Artists deserve to work at their craft and get paid to do it. Rumblefish artists will never have their music associated with Porn, politics or illegal activities. But they will get checks and exposure to new fans. Rumblefish branding clients and music supervisory clients rely on us for quality music, and regularly come back to us for more. The “killer app” in the new music economy is enabling artists to be artists. even for their day job.
Some more recent licenses
Here is the latest report of some of our most recent licenses through March 7.
Groupe Dynamite - webisode
Down Slide by MING + FS
Groupe Dynamite - Garage Spring 2008 webisode
Dead on the Dancefloor by Ultraviolet
Hot Hot Riot by Ultraviolet
ABC - Men In Trees
Smile Sun by MING + FS
Keep by superGARAGE
Let’s Go by The Feelies
Mark Mosher - background music
Dewstep by Lord Runningclam
Fat Stacks by John Kelley
Sleepwalker by Anna Coogan and North19
World Soul by Eastern Sun
Riverbed by Ivan Rosenberg
Stratos by Rob Simonsen
Godfrey Entertianment - Thrill Billies
Mans’ Ruin by Great Day For Up
Bone China by 50 Foot Wave
C’mon by Acts 29
Jelly by Assisted Living
Drive Real Fast by Assisted Living
Awakened by Assisted Living
The Damage That Can Be Done at the Ocean by Axehandle
Closer by Bleed The Dream
It Takes a Fall (10 to 1) by Bleed the Dream
Glutton for Tragedy by Brandtson
S.O.L. by Dixie Witch
Business As Usual by Haitz
Cadrille by Leonid Nosov
Edge by Neil Rambaldi
Kamikaze by Real Life
Shabach by The Procussions
Listen To Me by The Unknown
In The Flood by Throttlerod
Heavy Titanium by Underbiz
Feel Like Dying by Up The Empire
Waijal Breakdown by Yonder Mountain String Band
FX - The Riches
Downstone Blues by Five Horse Johnson
Shoot The Moon by Dixie Witch
Brenna Ehrlich - videoblog
Night Moves by DJ Logic
AMC - Breaking Bad radio spot
Battle Break by E. Spleece
AMC - Mad Men DVD
Keep On by Friends For Heroes
Ywam Lausanne - video download
B&Gs by 3 Leg Torso
The Wiebners - wedding/event video
All My Friends Are Crazy - 500 Miles to Memphis
Mambo #69 by Dave Pell
Yeah People by Oohlala
Atari by Muckafurgason
Message To The Warden by Ryan Kickland
Red Robin - TV commercial
The Quits Inst by Casey Maxwell
Alaskan Collie Productions - video
This Is What I Want by Cottonhead
Dare To Dream by Jamie K
Long Ago by Matt Harris
To Show You My Love by Mike Schmid
Nicole Perry - MW Talk videoblog
Straightaway by Dave Storrs and the Tone Sharks
Full House Inst by Mike Schmid
MediaTech Designs - Demo Reel videoblog
9 Months by Diving Reflex
CLE Imaging - internet audio streaming
Jazziacs At The Kool Jazz Cafe by Kool & the Gang
World Pulse - MK Podcast
Five Four Three by Rob DeNunzio
Pinpoint Logic - Online Reed Admissions Video
Mouse by Shaunna Hall
Sockeye Creative - adidas National Spot
Wrecks by Street Drum Corps
Cafe Mediaworks - Girl From Santiago
Hold On Tight by Trevor Jones
Paranoid In the City by Trevor Jones
Greg Tippet - Up Late In Melbourne videoblog
Can’t Sit Still by Unrest
Brand New by Mathclub
My Curse by The Glasspack
Apartment Break 3000 by Shane Newville
Lion’s Gate Entertainment - Wildfire
Legends by Wes Houle
Trifecta Of Awesomeness!
We’ve got some exciting news to share with everyone today. The latest issue of Alternative Press (which streets today) is featuring “The 100 Bands You Need To Know In 2008”, and among those one hundred bands are not one, not two, but three Rumblfish catalog artists!
This trifecta of awesomeness consists of Cleveland based indie poppers Bears, U.K. punkers Dartz!, and up and comers Small Leaks Sink Ships. Congrats kids, we couldn’t be happier for you!
Recent Licenses
Happy Valentine’s Day!! Here are all the licenses between January 22 and February 8.
ABC - Men In Trees
Smile Sun by Ming + FS
Today by Luigi
Petrol Ad - PSP Promo
Funkasaurus by John Kelley
Sony TV - Damages
10,000 Years of Revolution by Greenleaf
Bob Mitchell - radio show
To The Edge by Bryan Ingram
Skyer by Bryan Ingram
Battle Front by Bryan Ingram
Ironworks Productions - Timex web video
Kill Me Quickly (Or Not At All) by His Boy Elroy
ESPN - X Games Dubai
Brand New by Mathclub
Endless Noise
Nutcraker March by Peter Ilyich Tchaikovsky
Icon Motorsports - Icon 1 webisode
Succulento by Porn
Zaaz - Converse 100 Years internet advertisement
Femme Fatale by The Unknown
AMC Promos
Hopelessly Devoted by True Love Always (The Wedding Planner)
Enjoy The Ride by Night Kills The Day (Top Gun)
Closer by Bleed The Dream (US Marshals)
The Ascension by Bryan Ingram (Close Encounters)
Game Over by Gatsby’s American Dream (Sniper)
Turn It Out by Kool and the Gang (Thanks For The Movies)
More Of A Woman by Dixie Witch (Terminator)
Intense by His Boy Elroy (Murder By Numbers)
Your Own Personal Wedding by Pop Unknown (Father of the Bride combo)
Instrumentals by superGARAGE (Planet of the Apes)
MIDEM - We’re back!
Rumblefish had a great time at MIDEM in lovely Cannes, France, and just got back this weekend. There is a lot of info (and CDs) to sort through and a ton of follow-up calls and e-mails to potential new catalog members.
Here is a picture of our spectacular booth:
We signed about 10 new catalogs while we were there - including:
NORDIC TRACKS - a great Canadian based house and techno label.
And the legendary Joey Weltz, a member of Bill Haley’s Comets and co-writer of “Rock Around The Clock.”
Stay tuned for more MIDEM updates in the weeks to come!
Rumblefish artist The Dimes reviewed in SPIN magazine
We just wanted to take a moment to congratulate catalog artists The Dimes on their stellar review in the latest January issue of Spin Magazine. The boys received 3 1/2 out of 4 star review (NICE ONE!) for their new album,