All posts tagged cdbaby

• August 2, 2009

  A Conversation With Mike Masnick, Techdirt.com Founder

  Techdirt.com has grown from a one-man operation founded by Mike Masnick in 1997 to become one of the web’s leading collaborative voices in analysis of issues relating to technology, economics, law and entertainment. The site has amassed 850,000+ RSS subscribers, 35,000+ posts, 250,000+ comments and a consistent rating within Technorati’s top 100.

  I interviewed Mike on behalf of the One Movement Word blog, where I focussed on questions relating to the music industry. Our unedited conversation is below.

  

  Andrew: What inspires you to write about the latest in digital content?

  Mike: I actually think it’s a really important issue, that is, in many ways, an “early warning sign” of some economic changes that are going to impact many other industries, from healthcare to energy to consumer packaged goods to financial services. It’s just that digital content lays out the specifics much more clearly (and yet it’s still confusing to some people!). I’m hopeful that as people start to understand these issues, when the “bigger” similar issues come to the forefront, it will be easier to point back to what happened with digital content to make it clear how things should play out elsewhere.

  How do you keep Techdirt fresh with new topics each day? I imagine that you draw from a massive pile of sources.

  Yes, I definitely read a lot via RSS and (more and more) via Twitter. When I see something that strikes me as interesting, I write it up. We also get a fair number of submissions through the site’s submission page, which often alerts me to interesting stories I would not have seen elsewhere. These days, there’s always more content than I have time to write up.

  Which are the sites you check first when you wake up in the morning?

  I have to admit that I like to switch it up pretty regularly, so that I don’t get into a rut and find myself too focused on any particular source. That said, to get a sense of what’s going on, in general, in the tech world, I probably check News.com, Wired.com, Slashdot, Broadband Reports and Techmeme most frequently.

  You tend to decide your stance on an issue and argue passionately , as evidenced by the ‘from the (x) dept‘ lines under each article. How long did it take for you to hone this instinct to see issues in such an assured manner?

  Well, I’ve always looked at the blog as a part of a conversation, where I expect some discussion to take place — so I don’t necessarily think that I take a totally “assured” position on many things. Often I’m actually looking to see what discussion occurs in the comments, and from there my position becomes more clear as I discuss it.

  But, because of that, I do think the posts themselves have become more and more assured over the years, in part because of the earlier discussions I’ve had in the comments, where people maybe challenged this or that aspect of something, and it forced me to dig deeper and to better understand an issue to the point that I was pretty sure that where I was going with it was accurate.

  I learned, a long time ago when I taught university statistics that I ended up learning statistics much, much better once I started teaching it than when I was taking all those course and passing tests. That’s because when I was teaching it, students would ask “why” or wouldn’t understand the basic explanation I would give them. So I would need to really, really understand it myself, so I could better explain it to the students.

  I think the same thing is true with the blog. I definitely understood the economic framework when I started writing the blog, but when the discussions started and people started asking questions that I really was forced to understand the economics at play at a much, much deeper level, so that I could explain my positions back to people in a way (hopefully!) that they would understand.

  But, of course it’s always a learning process, and I’m always learning more. And it’s in those discussions that I learn, and I hope that the next post I’m slightly smarter for it. I think that will always occur. And it’s great. I love continually learning new stuff.

  From what I gather, Techdirt began as a source of customised news for tech companies. How has this role evolved since 2000?

  It’s certainly evolved quite a bit. We did customized news and analysis for many companies for a while (and we still have a few “legacy” customers in that space), but we’ve definitely moved on to focusing on the Insight Community as our business model, which was a quite reasonable evolution. Basically, as we were doing analysis for various companies, we often would realize that our internal team might not have as much insight or expertise on a particular story as the large readership on Techdirt. So we started to reach out to the folks in our community… and then evolved that into a formalized process called The Insight Community, to let companies tap into our wider community, rather than just our internal team.

  A second, more recent evolution, is the realization that the Insight Community isn’t just a great tool for internal research and analysis, but for marketing purposes as well. So these days, a growing percentage of the use of the Insight Community is to host public conversations that help market a company, allowing them to talk about issues with our community in a public way. It allows those companies to help build their brand and at the same time get insight back. On top of that, we allow companies to then repurpose that content, so many of them use the content developed by the Insight Community to help create their own blogs/whitepapers written by third party content. It’s really a win-win-win situation for everyone involved.

  Seth Godin [pictured right] has been a vocal critic of tertiary education for business students. What are your thoughts on the value of business school in the modern economy?

  I think it really depends on what you want to do. You get out of it what you need to. For certain jobs, it’s still quite necessary. I didn’t go the standard MBA route, but I did get a ton out of my experience, with two key points:

  1. I learned a lot more from my professors directly than I expected to. The “book learning” wasn’t a very big deal. But we had a very close relationship with our professors, and much of what I talk about today was heavily influenced by conversations I had with three or four key professors who helped me learn this stuff.
  2. The personal connections I made in business school have been too valuable to count. It’s difficult to overemphasize what an incredible help the connections have been — whether it’s in getting new business or just getting helpful introductions to people who can help or point in the direction of help.

  Which school did you attend, when, and what did you study?

  Cornell’s Johnson Graduate School of Management. I graduated in ’98. It’s a general management school, so you learn all aspects, but I focused on entrepreneurship. As an undergraduate, I also went to Cornell, and got a degree in “Industrial and Labor Relations” which is sort of an antiquated name for a combination between law, human resources, economics, business and organizational behavior.

  Do you ever struggle to remain productive? I imagine you’re constantly being pinged by emails and other distractions.

  Yes, there definitely are a lot of distractions and interruptions. Beyond all the writing, there’s actually running the business side of things as well (and having a life). So it’s pretty constantly busy around here. I generally learn to focus in on certain things and break up the day to take care of different tasks at different times.

  While the content on Techdirt appears to be heavily driven by your opinion pieces, at times, you seem to take on the role of the traditional journalist/reporter. Are you happy with the balance between opinion and fact on Techdirt at the moment, and do you have plans to direct it further down one of those avenues in the future?

  Really? I don’t think of myself as a traditional journalist/reporter at all. If I do any journalism it’s by accident, not on purpose. I think, these days, that everyone is always a bit of a journalist, so sometimes that comes through. But, on the whole, I’ve never thought of myself as a journalist at all. I don’t think that’s likely to change.

  What are the most important discussions taking place about the changing newspaper/news-media industry?

  I think there are a lot of important questions about how the news media business can survive or thrive in the coming days, and there are some great discussions going on there. A big part of it is whether or not newspapers should block off their content with a paywall (in my opinion: a dreadful idea that will fail miserably) and/or whether they should look to try to force others, such as Google to pay them (or get the government to change laws to benefit them). I think most of these discussions are misguided, and the real discussion should be on ways that news media publications can look to provide more value.

  Which writers inspired you when Techdirt began, and whose writing inspires you in 2009?

  On copyright-related issues, William Patry is fantastic, though, unfortunately he mostly stopped writing his blog altogether (he just did a post recently however, out of the blue!). He’s got a book coming out in the fall, which is wonderful.

  James Boyle is another one, whose book on The Public Domain [pictured left] came out a few months ago and should be required reading for those looking to understand the music business.

  Eric Goldman, who writes the Tech & Marketing Law blog, is a great read as well on legal issues.

  On business thinking, Andy Kessler, who’s written some great books and writes columns that every time I read one it makes me view the world slightly differently.

  As for when Techdirt began… it was a mixed bag. One of the biggest influences was actually Danny O’Brien, who along with a couple other guys in the UK ran a hilarious tech newsletter called NTK, which stopped updating at the beginning of 2007. It was a great loss. Danny works for the Electronic Frontier Foundation now, but doesn’t get to make use of his brilliant humor so much in his writings. I’ve definitely been a big fan of Clayton Christensen for a long time, too.

  As a heavy reader, what makes for engaging writing in the tech arena? Do you think that you’re a strong writer?

  I don’t think I’m a particularly strong writer. It’s something I actually work on, but I’m just so-so. I’m always amazed when I see really beautiful writing and wish I could be half as good. But, I think what makes more engaging writing is the ability to tell a story simply, the ability to have an opinion that you can stand behind with facts (rather than just for the hell of it) and the ability to interject some well placed humor. I wish I could do all of those things better.

  In your mind, what are the most important discussions currently taking place about the changing music industry?

  I think there are two key issues:

  • New business models
  • New legal frameworks.

  These overlap at times, but the business models are important, because we’re seeing more and more evidence that stuff works now. That it doesn’t require some big or massive change. Artists who figure things out can make money now and do so in a much better way than they could have in the past. That said, I am worried about some of the efforts that I think are attempting to crowd out other solutions before they’ve had time to grow.

  On the legal side, I’m definitely concerned. The industry has long focused on a legal path to protecting and extending their business model in the face of any sort of innovation that challenges that old business model. And I think that harms new business models and musicians who embrace them. The innovation that’s occurring has been enormously empowering to musicians, and much of what is happening on the legal front could serve to hold that back. And the end result, I’m afraid, would actually be less creativity, less music and fewer useful business models for musicians. And that’s quite troubling.

  You wrote in a Techdirt article that you’re in the camp of “folks who never buy single tracks, but always look to buy the full albums of bands I like”. How have your music tastes changed in the internet age?

  I prefer to listen to music I’ve purchased. In fact, I still mostly buy CDs, though do occasionally purchase music for download from CDBaby or Amazon. In terms of what music I like, I listen to a lot of early ska/rocksteady/reggae honestly. So these days, it’s bands like The Aggrolites and The Slackers.

  

  One Movement For Music‘s tagline is “Artist, industry, fan united”. What’s standing between this vision of unity between artists, fans and the music industry? What do you think it’ll take to achieve this unity in the coming years?

  Yeah, actually, this is a really good question, and it’s a point I’ve been trying to make for a long time. There are solutions in this industry that truly are (as cliche as it sounds) win-win-win, where all parties are better off. Yet, so many of the old guard view the industry as a zero sum game — which is that if someone else is making a dollar, it’s a dollar I’ve lost. So the idea that someone could get something for free is viewed as a “loss” even if, in the long run, it brings back $10 dollars (or more). So, because of that view, some have always treated the market as a competition to get the very last dollar, and that doesn’t make for a very “united” front between artists, the industry and fans. Instead, you get all grabbing for scraps, even if it means everyone’s worse off.

  I’m very hopeful that a growing generation of folks are beginning to recognize that by working together, these new models actually do benefit everyone — including the fans and the industry — in such a way that everyone is happy with the results, rather than anyone having to pull one extra dollar. It may be idealistic or utopian, but I think it’s possible. It will require a lot more success stories, a lot more examples, a lot more money to be made — and perhaps a few of the “old guard” to retire.

  But it will happen, at least to a certain extent. There will never be perfect bliss, of course. But the resulting industry can be a lot more aligned where everyone benefits when certain things happen.

  Aside from Techdirt, where are the most important discussions about the changing music industry taking place?

  Hmm. That’s a good question. I think they’re happening all over the place. Hypebot is a great blog. Music Ally. I actually think that Wired and News.com have some of the better discussions on these issues as well.

  Mike’s opinions on technology, law, economics and entertainment are published daily on Techdirt.com. Contact Mike via Techdirt.com or Twitter.

  2 Comments / Conversations / Andrew McMillen

  Like / Tweet

• July 6, 2009

  A Conversation With Stu Watters, Australian Independent Record Labels Association General Manager

  This is my first interview on behalf of One Movement Word, which is the official blog of the One Movement For Music  (OMFM) Perth festival and conference. In the lead-up to the October 2009 event, I’ll be speaking with a range of OMFM artists, speakers and music industry figures, and publishing the full transcripts on here.

  Stu Watters is General Manager of the Australian Independent Record Labels Association (AIR). After representing AIR for five years, he recently announced his depature from the organisation. I caught up with Stu before he heads to Brisbane to launch a new video production and licensing venture in July 2009. I came across former FasterLouder editor Cec Busby’s 2007 interview while researching, and used one of Stu’s responses during that conversation for my first question.

  Music fan to music fan: how have your listening habits changed since you first saw Dire Straits as a young tacker?

  It’d have been hard for me to avoid Dire Straits at that age, given that there were only a few outlets and media opportunities available to artists. And those guys just had access to all of it, and there was no escaping it.

  These days, it’s a very different ballgame: obviously at that age, I was very open to listening, and becoming a fan of whatever was put in front of me, whereas these days I’ve certainly developed a different palate. But I also explore and discover music in all the ways that are available to me. I have to say that there’s a lot of music that I fall in and out of love with very quickly, because something else comes along, which didn’t happen as much when I was younger.

  I would say that it’s harder to hold on to some of the music in the same way that I’d used to, in that I’d just flog stuff to death. My wife would argue that I still do, but I don’t reckon I do it anywhere near the same extent that I used to, because I’ve just got so many options that I’m exposed to on a regular basis. (The Twitter tool) Blip.FM has ruined my life this week, because all of a sudden I’ve got a whole bunch of new music that I have to listen to!

  It’s so much easier these days to get exposed to a lot more music. It’s very important to define filters that you can trust – people who you can look to, and like what they’re listening to – and that’s why I like software that can ‘plug and stream’. It’s a shame that (online radio streaming app) Pandora isn’t accessible here (in Australia) any more, because that was a really fantastic service. I could punch in something that I really liked, and it would give me stuff that I’d never heard of, but I knew that I’d like it.

  You know better than anyone in the industry that acts can come and go. I find that due to the sheer volume of music available online, it’s difficult for artists to get noticed – to be heard above the crowd, so to speak. If you were starting a band today, how would you go about getting heard?

  As a band who wants to get exposure, you’re going to have to focus on the core outlets, which I think are still very much around community and commercial radio. I don’t think that that’s going to change for a long time. There’s certainly a greater opportunity for artists to create videos without focusing on the goal of television exposure, although that may happen naturally. Having a strategy built around covering online bases such as MySpace and YouTube is important, but I think it’s still absolutely critical that you have a very, very strong live performance that creates an amazing audience.

  Bands like Eddy Current Suppression Ring are testament to that idea: it’s a show that you go to, and you take it away with you when you leave. They sell phenomenal amounts of records (at each show), and they’ve done fuck-all in terms of production. I was lucky enough to go to the Melbourne Zoo show that they did recently, where 3,500 people turned up, purely because they wanted to see this band put on a great live show. And I still think that’s absolutely critical, irrespective of any of the changes that’ve occurred to the environment in which we distribute music.

  That live experience, that tangible, tactile thing, is still critical to the whole experience.

  AIR works with a variety of digital music services and distributors. There’s quite a few on the market – iTunes, Tunecore, and CDBaby, for example. Which of these offer among the best return on investment?

  You’ve got to identify what each one is trying to achieve. iTunes and Bigpond are retailers: Tunecore, IODA, The Orchard and so forth are all aggregators and distributors, and then you’ve got the relationship directly with the physical distributors. I think the dynamics have changed dramatically, and it would certainly appear that for a number of services – digital aggregator models which have been running off of percentages – the dynamic has changed in a huge way, in that they played a ‘gatekeeper’ role for a number of years, and I think that’s been broken down a lot.

  The Tunecore model, where they’re working off of the upfront, ‘flat fee’, is changing the dynamic considerably. And when you’ve got owners of content in the market who’ve licensed the content through a third party to a licensee, they’ve gone into those agreements at a time when there wasn’t a solution. It’s now very simple for the owners of the content – the licensors – to go directly to the licensees and offer the product. In the past, a digital delivery platform didn’t exist to enable that relationship; now, it’s very easy.

  In terms of value for money, there’s been a number of middle-men that’ve been cut out of the picture. At the bigger end of town – and by that, I mean even the big indie labels who’re still small players on a larger scale – they’re now able to be in a position where they can supply the content to the consumer directly.

  I don’t believe there’s a particular service that’s the ‘best’ value for money; the best value is the direct relationship between those two business entities. In terms of small, independent artists, services like Tunecore which offer ‘flat fee’-based pricing are probably turning out to be a better deal for a lot of companies that don’t have the leverage that others do.

  You mentioned that middle-men have been cut out of the industry. Do you think that’s for the better?

  Certainly. If you’re an artist and you’re dealing with a record label, there’s a percentage of your overall revenue that you’re losing there. If that record label is dealing with a distributor, then there’s another percentage. If that distributor doesn’t have a relationship with an online retailer, such as iTunes, Bigpond or Amazon MP3, they’ll have to use an aggregator, so there’s another percentage that the artist isn’t seeing. It’s just like continually slicing an ever-diminishing pie. The less steps there are in that equation to reach the consumer, the better off the artist will be financially. The end goal of most artists is to reach as many people as you can with your music; it’s not necessarily about making money, but reaching an audience has always been important.

  

  Do you believe radio airplay is still important for emerging acts in Australia?

  Absolutely. Let me give you an example – The Middle East. A colleague of mine heard them on Triple R, a community radio station, before they were played anywhere else.

  Through that, we found the band, and Triple J discovered them soon after. Their music’s awesome, and the radio airplay has created a following for them.

  I’m a massive supporter of community radio in this country, and it’s not until you visit other countries that you realise that they don’t have public radio in the same way that we have with Triple J – although, the UK has six BBC stations. We have a really strong radio culture in Australia, and I think it plays an extremely important role. And you can’t deny the impact that commercial radio airplay has on breaking artists. I don’t think it’s the ‘be all and end all’, but certainly, if an artist gets to the level where they can create enough momentum on commercial radio, there are usually excellent dividends to be paid as a result.

  It’s interesting that you mentioned The Middle East, because their release (‘The Recordings Of The Middle East’ EP) is my favourite of 2009. It’s amazing.

  Yeah, it’s killing me. I have a lot of faith in their artistic ability, to become an international act. It’s one of those records that my wife has hidden from me. I’m not allowed to play it any more! That’s a classic example of listeners having the opportunity to discover a band from Townsville, because of the shortened distance between audiences. A band like that 20 years ago, out of Townsville; it’d have taken a hell of a long time before they got to that level of exposure.

  And there’s a danger in that, too: artists who are making really good music, but who are perhaps not quite ready for the impact of their work. And I know that those guys (The Middle East) are getting smashed on every front. Who’s managing them? Who’s doing all the booking? They released the EP through Spunk, but who knows what’ll happen next?

  They’re getting belted as an act, and you wonder whether they’re professionally equipped to deal with it. There’s a real upside to the diminishing barriers to access with this stuff, but there can also be an impact that’s not always positive. I don’t think it’ll be negative in this case, but it’s not always positive in terms of – is the band ready for that level of attention? And if they aren’t what are the consequences of them not capitalising?

  For bands looking for radio airplay, do you think it’s best to start at a community radio level and move up to Triple J, or just shoot for the top?

  It depends on the content. There’s no ‘one shoe fits all’. Community radio is the most diverse, and offers the most opportunities in terms of exposure. Triple J is more responsive to community radio than ever before – and this is just my view, which Triple J might counter – but I think that the rise of FBI, and online blogging and podcasting communities, have really impacted on what Triple J discovers and starts playing. FBI has made a huge impact in Sydney, given that most of the Triple J team is based in the same city. I’ve seen more of the ‘better’ music generate a profile out of community radio before it’s generating a profile anywhere else.

  So I support the notion that you should service community radio at all costs, and that you should also service, where appropriate, the public radio stations as well, whether it’s Triple J, ABC National, ABC Regional or commercial stations. It just depends on the content, but I think that community radio has the broadest appeal for the majority of Australian content.

  I’ve spoken to artists who feel that being signed to a label is less necessary than ever before, as determined artists can handle their own management, promotion and distribution through the web. What are your thoughts on artists who don’t particularly want to sign to labels?

  That’s fine, if they’re prepared to do all of that. I think that there’s still a place for business relationships to occur between artists and other entities, whether they’re labels, or distributors, or publicists. There certainly needs to be a central point where the act’s affairs are managed, whether that’s done by a manager or in-house. It’s entirely possibly; it’s more possible than it has been before, but I don’t think that’s necessarily an argument for redundancy, to be honest. There are more options available, but there are cases where it just makes sense for people to enter into those relationships.

  I think if it’s all handled in-house, it’s a matter of balancing self-management and writing music. I mean, if The Middle East are getting tied up in all their own affairs and they’re not writing any new music, then it’s to the detriment to the quality of their act.

  Exactly. But having seen them just the other week, and after hearing a whole bunch of new material, it warmed my cockles to know that they were doing something other than just the five tracks on the EP.

  How does AIR help indie artists who aren’t signed to indie labels, and who don’t intend to?

  About 25-30% of our indies are unsigned artists. We have a whole range of opportunities for those guys, particularly if they want to remain unsigned artists. Through the D-Star MPE program, generally you can’t open an account with those guys unless you’re turning over [a significant] amount of money. So there’s opportunities for acts to deliver their product to a whole range of media, including commercial radio, blogs, public and community radio. We also help out by giving AIR members access to our professional network. They can call us up and ask questions directly. I’ve fielded three calls today from artists who have business questions that they need answered.

  We have a bunch of members-only stuff in the back end of the website, which is probably more relevant to self-releasing independent artists, or small-to-medium independent labels. It’s a very open environment in the independent sector, and for an independent artist to be able to get onto the phone to an owner of a record label and get advice from them, that’s certainly an open part of AIR’s network.

  A change of topic. This is something I’ve been thinking about a lot, as I’m in the middle of writing a series of columns for The Music Network on this topic. Why do you think that the industry continues to push artists toward releasing albums?

  I’m not sure if it’s the industry that’s pushing artists to releasing albums, or whether it’s more the artists holding on to the idea. Certainly, if you take Radiohead as a case in point, the album was very much a part of their philosophy. The ‘In Rainbows‘ release had very little to do with the consumer. I don’t think it’s the labels continuing the album trend, per se; holistically, it’s the industry that’s focussed on albums, including the artists. They generally want to do a body of work. It’s kind of like a visual artist: they don’t just exhibit one piece at a time, they’ll showcase a collection of pieces that they’ve been working on over a period of time. The idea of the album appeals to the artist, and it appeals to the consumer.

  I think for our sector, at an industry level, there’s now very much a single-track culture. It’s been reinvigorated with digital distribution. I don’t necessarily buy the argument that it’s the labels who’re keeping the album alive, I’d say that the artists are equally, if not more, influential in the idea of the album. But I like the idea that artists like Nine Inch Nails [pictured right] and Iron & Wine are repositioning their thinking around their music releases. This idea of “release an album every three years” has largely gone, and I think that acts are paying more attention directly to their fanbase. There’s a real necessity these days to ‘plug in’ to your audience on a regular basis, to keep the fans happy. Offer them something free, and unique.

  I read about AIR’s partnership with JB Seed for the ‘Independent Times‘ panel discussion at the One Movement For Music conference. The plan to sponsor ten previous JB Seed management workshop attendees is interesting. How do you think the role of the artist manager has changed during your time in the industry?

  I think there’s a distinct lack of manager development in Australia. That requires addressing, and I think that The JB Seed program has gone a long way to doing so, particularly for self-managed artists, as John Butler was in the past. He managed himself for a number of years, and worked it out himself; he now has a management partner relationship with (Jarrah Records owner) Phil Stevens, who is his manager, for all intents and purposes. I think there’s now a much greater incidence of artists working with their managers, than artists being led by the managers. I think that’s an important distinction to make, and that’s changed relatively recently.

  Managers also need to be across a lot more aspects of the industry. There are many managers these days who’re also – by virtue of their role – required to manage the recording, and virtually embody the manager of the artists’ record label, in many ways.

  

  I just want to clarify that AIR’s partnership with One Movement and The JB Seed. We’re supporting what The JB Seed are doing, but they’re the guys who’re sponsoring those ten managers to come in for the discussion. AIR are actually developing the ‘Independent Times’ program, which is where the managers will plug into. I just wanted to be clear that One Movement and JB Seed are the entities who’re sponsoring that initiative, not AIR! We work very closely with The JB Seed. We’ve worked with every management workshop that they’ve done, in terms of content and delivery. AIR’s relationship with One Movement is purely with delivering the ‘Independent Times’ program for that conference.

  You’ve been involved with a lot of music conferences over your time, with both (Brisbane-based music industry development association) QMusic and AIR. How do you feel that One Movement is shaping up?

  It’s really interesting. They’ve stated a strong focus for the conference and festival; their approach is probably the only music industry conference in Australia that revolves around a festival, in that the One Movement Festival is a two-day event. And I think that carries with it an immense degree of weight, particularly when you look at the partners of (Sunset Events founder, David) Chitty and (concert promoter, Michael) Chugg. Their influence adds a whole different dimension to the conference dynamic. People like the idea of going to Perth for a big conference – because it’s a fucking long way to go, you better have a really good reason to go there!

  For sure. I’m excited about the conference, but I’m more excited about making One Movement Word into a damn good festival blog. Interviews like this will greatly assist toward that end. Thanks for your time, Stu!

  Stu Watters is leaving AIR in July 2009 to pursue a new video production and licensing venture in Brisbane called Morph TV Productions. Catch him on Twitter or via email.

  2 Comments / Conversations / Andrew McMillen

  Like / Tweet