RumbleBlog

According to the all-knowing Wikipedia, minigolf originated in Scotland in 1867 after women had become interested in the game of golf but, “the conservative social norms of the era deemed it unacceptable for women to publicly perform such violent movements that a golf swing requires,” and as you all know minigolf has been a “woman’s game” ever since. We here at Rumblefish like to switch things up and question stereotypes. The game isn’t just for women anymore and the men of Rumblefish were going to prove it in a cutthroat game of 3-D blacklight minigolf. Both men and supportive women gathered last Friday to break down the gender walls of minigolf and challenge ourselves in new ways.

Of course, before we could break through the minigolf glass ceiling, we had to enjoy some season-appropriate drinks at our nearby country club, DragonFish. The standard Rumblefish attire is jeans and a t-shirt, which wasn’t going to cut it at the upscale club. Luckily, Brian Rupp our creative director, had 16 extra mock turtlenecks on hand for us to borrow. Once properly dressed, we had our fill of pineapple mai-tais, strawberry daiquiris and four helpings of coconut shrimp and were then ready to confront the oppressive minigolfers at Glowing Greens.

Six stories beneath Portland, therein lies one of the city’s best kept secrets, marked only by a pirate statue. We were drawn in by the sounds of early ‘90s Reggae-Punk-Ska wafting out of the glass doors. We traversed what seemed like an endless number of stairs and entered a strange underground club filled with the most elite minigolfers in the city. Glowing “shrieking shacks” and mermaids awaited us as we picked our teams, our fluorescent golf balls and our putters. Team Awesome had a solid start, with three well-trained women on their team; however, an altercation with a moose head statue got them disqualified.

Team X made the only Hole-In-One of the night and the inexperienced men seemed to be naturals at the game. Team Legend ultimately won with team leader Zach earning a score of 70 over an entire 18 holes. The win was bittersweet for Zach who broke his ankle in a minigolf-related injury in 2002 and had also dreamt of playing minigolf as a child when it was, of course, illegal for him to do so. When asked how he felt about his win, Zach said “After my injury I thought I may never play again. This is a great day for all little boys out there, dreaming of playing minigolf, and also for Team Legend. Without their support, I would not be where I am today.”

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Rumblefish’s stellar Licensing Team (Paul, Richard and Dan) had a fruitful visit to New Orleans to attend the NCTA Cable Show last week. We mingled with some of our clients and met with some potential new clients. Our “Kick The Canned Music”-flavored booth was a hit - we got lots of great feedback. We also found a stuffed lamb in a park.

Next stop for the licensing team is Promax (NYC, June 17, 18, 19), the marketing and promotions conference for TV and Cable companies. We have a booth there as well so come and visit!

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Here is a look at some of the projects our clients have been working on, as well as the music that was licensed for them.

Podango - podcast
Tight with Lasso by Absolute, Mr. Tru and Ill Harmonics
All Sons of Bitches by George Clinton and the P-Funk Allstars

Matthew McRostie - wedding DVD
Jamaica Man by Action Figures

Borrowed Blue - wedding DVD
I Wanna See You by Spitfire

Doug Plummer - videoblog
Flight of the Bumble Bee 2 by Rimsky-Korsakov

Silicon View - AdTech Event background music
Feels Alright by Black Tangerine
Home by Charlie Campbell
Apartments and Alcohol by Dignen
The Gift by Diving Reflex
Take You There by Black Tangerine
Through the Asteroid Belt by Knee Jerk Reaction
Innkeeper by Luigi
13 States by Michael Meanwhile
California by Micheal Meanwhile
Knock Me Over by Michael Meanwhile
Sun and Stars by Michael Meanwhile
This Glorious Forward by Perplexa
Dublow Bone by Perplexa
Hit by Perplexa
Wonderland by Rye Hollow
Be by Samantha Murphy
I Wanna Go Home by Samantha Murphy
Miss Takes by Samantha Murphy
Silent and Still by Samantha Murphy
Original by Stereo 360
Plastecine by Stereo 360
Radio Parade by Stereo 360
Sick of You by Stereo 360
Number 11 by Stereo 360
Five Year Rut by superGARAGE

The Wiebners - videoblog
Lullaby #1 by Ships To Roam
Crying by Muckafurgason

AJ Alexander - tv show
Runnin Away by Black Tangerine
When I Was Young by superGARAGE

48 Hour Film Project
What Lies Ahead by Bryan Ingram
The Food Song by Gary Reynolds
12 by Lee Baby Sims
Altitudes by Mike Coykendall

Godfrey Entertainment - 199 Lives
Tight With Lasso by Mr. Tru and Ill Harmonics
Soliliquy by Anything But Joey
AMC by Barry Brusseau
To The Edge by Bryan Ingram
Battle Front by Bryan Ingram
Grace by Bryan Ingram
Until It Dies by Burning The Day
Frail by Burning The Day
Ady’s Song by Colin Lake
Last Swim of the Year by Daniel G. Harmann
Rebirth by Darko Saric
Drifting Along by Darko Saric
From The Outside by Dignen
Next To Go by Down By Law
Better Days by Dylan In The Movies
Never Gone by Even The Odd
Solitaire by Face To Face
Say We Can by Five Horse Johnson
Soul Digger by Five Horse Johnson
Water by Haitz
Snakeskin Boots by Janey Todd
Dr. Sudholt and His Double Glasses by Latterman
The Day I Gave In by Mission To Mars
Speechless by Neil Rambaldi
Bury Me Alive by Novadriver
Too Early, Too Late by Perfume Tree
Velvet Tone by Ponticello
Charlie Tanner by Rob Simonsen
Flowersandfireflies by Samantha Murphy
Dropping Names by Scorched Earth Policy
I’m Lost by Seahorse
Changes by The Dashboard Saints
From Afar by Wake Ooloo
Afraid by Wow and Flutter

ABC - Men In Trees
Gotta Be a Better Way by The Burning Effigies
Things Don’t Just Happen by The Burning Effigies

FX - The Riches
Shine Eyed by Five Horse Johnson

Colorado State Lottery
Friday Night Song by Masonic

Smart Set - Eye Candy ‘08 event music
HHRB 022 by Ming + FS

Sockeye Creative - Concordia internet animation
Endless Summer Day by Socialight

AMC Promos
Can’t Hold Me Down by Karate High School
Black Eyed Stranger by Antler
Noche De Fiesta by DJ Morphiziz
The Demon by Drunken Prayer
Days End by Brandtson
Burn It Down by Even The Odd
The Ballad of the Smoking Gun by Tigers and Monkeys
Sith Vs. Jedi by DJ Armbuster Lewis
Trouble Crunk by Raging Family

Sparq Training video
Bring On The Competition by R and R

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Here’s something I am proud to claim addiction to. This product has gone and perfected upon the fundamental life force – H2O – taking the most essential of the earth’s liquids to a whole new level. As Glaceau claims on Bev.Net, it has crafted “an approach to water that is inspired by nature and enhanced by science.” Vitamin Water seems to do everything short of imparting superpowers.
The bright, eye-candy colors satisfy our childlike yearning for Kool Aid yet are packed full of walloping nutritional goodies like: acai (that uber-antioxident) niacin, magnesium, potassium, pomegranate, zinc, folic acid. The good news is they don’t look too good for you like some of those other “healthy” drinks — swamp water in a can. But boy do they ever look powerful…. those phosphorescent bottles nearly leap off the shelves. These babies go down smooth, light and fruity; and with their emphasis on nutritional benefits, they do their work. According to the manufacturer, each Vitamin Water beverage is targeted toward a specific health and wellness benefit (boosting energy, alleviating stress, bolstering the immune system). The drinks are high-nutrient, low-carb, electrolyte screamers and some of the series are scientifically engineered to make your body run so efficiently you actually lose weight. You read that right. Thirsty yet?

I love the no-nonsense packaging delivering fresh, clean, bold graphics along with the medicinal tone and cheeky, prescription-like advice dispensed on the labels. The fun colors combined with those workhorse ingredients, the nature/science balance, and the fun for me/good for me duality; all those contrasts work brilliantly together. I love it that the fit, happy field reps show up and pass out free bottles of this stuff at public events. You care! You really do. And I love that about you guys.

That said, I’d like to spike my serenade with one nagging question: What does the Vitamin Water brand sound like?
Who’s minding the store when it comes to making your overarching sonic decisions? What’s the sonic strategy?
With such meticulous insight into your other messaging tools, why the apparent hiccup here? For example, why is the Vitamin Water van in my neighborhood rocking the same Michael Jackson jam that’s in the competition’s commercial? This uncharacteristic inconsistency just doesn’t feel like the keen, clean focus I’ve come to expect from Vitamin Water. How do you want your customers to feel, what do you want them to experience on the most visceral level when your van passes by? Circling back to your mission statement, what does science-meet-nature sound like? Does it even sound like music at all?

We all know this sonic stuff works in an off-the-charts way. Just think back to the simple droning ice cream truck tune that turned kids into Pavlovian zombies, tearing through suburban streets. I still have the urge to bolt from the house and empty my mom’s wallet when I hear that sound.

So Vitamin Water, you’re exhibiting big-digit growth. You’re well on your way to achieving cult brand status (if you haven’t already). You’ve obviously been drinking your own medicine. Here’s a friendly nudge toward being more authentic, consistent and purposeful about your sonic expressions as well. And you won’t just have us drinking —we’ll be walking on —Vitamin Water. ☺

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Paul Anthony, Rumblefish CEO & Founder (we call him Big Fish) & Samantha Murphy interview each other on SMtv Episode #89 released Friday May 16, 2008. SMtv also plays 4 tracks out of the Rumblefish boutique catalog which, seriously, are friggin’ fantastic tracks. I’m still learning the catalog, and SMtv #89 introduced me to 3 tracks (and bands) I am proud to represent: Say Hi, Oh Darling, Mike Schmid & of course Samantha Murphy is also a proud Rumblefish member. Paul and Samantha discuss the “meaty center” of the Long Tail and how the Rumblefish business model fosters a New Music Economy. Congrats on another great episode of SMtv, Samantha! Listen and subscribe to SMtv on iTunes right here. photo courtesy of SMtv on flickr.

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It’s true. I’ll admit it on the rumbleblog. I was in a bit of a conference slump. I regularly attend meetups, conferences, I moderate or sit on panels…and thus far I have been continuing to listen, collect and dole out business cards, take notes, formulate ideas, draw pretty venn diagrams, build strategies, write theory…but so far in 2008 something was missing from the conference circuit. Academically, a few more well-known conferences (not naming names…) left me a bit empty this year - a lot of regurgitation of principles, theories and technological nuance already discussed in depth during 2006 was glossed over - again - in 2008; it almost felt….well, as though the academic side of the New Music Economy was dumbed down. I hate to use such terms, i realize the difficult task of guiding a creative industry into a new economy supplemented by technology and the collective Cognitive Surplus of music consumers. So I’ll leave it at this: my conference “slump” was not disinterest, but rather….boredom. Much of this boredom was remedied by a very successful conference recently in Montreal: Les Rencontres, where cultures merged to define both the state of a global music industry as well as the music industry in France, Quebec and Canada. And finally the slump was eliminated, in its entirety, at SF Music Tech, last thursday, May 8, 2008, where there was a true union between Music + Tech…one that had not been tapped by most of the conferences I’ve attended since January. Finally, Finally, Finally (!!!!) there were panels so compelling that overtime was demanded. Proudly, I sat in on discussions specifically for engineers at music-tech companies (I learned about Laszlo) running parallel and perpendicular to new discussions about the very meaty middle of the long tail, the new music economy, artists & activism, streaming technology, copyright problems and how to [try to] fix them, and an interview with Tim Ferriss (author of NYT Bestseller The 4 hour work week) by CD Baby Founder & friend Derek Sivers (known to work a 110 hour work week). Kudos to Brian Zisk of Future of Music Coalition for putting together a conference which reminded me there’s no room for boredom in a forward thinking industry. Every room during the 3-track summit was packed with standing room only. Coffee, water, snacks and wine were flowing. Rumblefish was proud to provide all the music throughout the day and join our cohorts in the industry for a stimulating and thought provoking conference. Next up in my world of conferences: Popkomm 2008 in Germany? Gnomedex ‘08 in Seattle? Future of Music Summit in DC? we’ll see…..I’ll be the first to let you know!

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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.

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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.

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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.

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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.

DJ Mark Rae (Yes King) w/ Cez

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

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“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.

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Erin Ivey recorded her album right here in the Rumblefish Studio.

….And Perez Hilton really likes it. Read about it right here.

Go Erin!

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