Indent recently did their final Save The Scene workshop in Newcastle as part of the TINA/Sound Summit conference. The workshop was held at The Loft Music Venue and hosted a day of music industry business and a MC/Production session.

Panelist on the day included: Chris Moller (APRA), Kirsty Brown (The Brag), Newcastle’s hip hop group, The Last Kinection and Aria nominated hip hop MC, A-Love.

The day finished with special guest A-Love headlining an all ages hip hop gig, which also showcased some very promising local up and comers: Soul Purpose, Urban Freeflow, NC Boyz and Dhopec.

The Indent Save The Scene workshop series will happen once again across NSW in 2009.

The latest of our ‘Save the Scene’ regional forums was held in Orange on the 10th September. This workshop was co-run with John Godfrey and the Australia Business Arts Foundation. The workshop was a bit different to our normal event management/music business format because it focussed heavily on how to obtain sponsorship for your event. While the workshop was open to everyone, it was tailored strongly towards the Rock Up team, who have grown their Rock Up band competition from a local event into one which spans the Central West and brings bands from all the towns together to perform. Rock Up has grown tremendously, but could also benefit from a funding injection - and this is where John came in.

John took the first part of the workshop, and used this time to go through the kinds of things that must be considered when approaching sponsors - and how to pick which sponsors you apply to. We also went through how to make an application that fills all of the sponsor’s needs (and hence makes them much more interested!)

The day concluded with a combined brainstorm with Indent and the Dubbo and Orange Rock Up teams to identify potential sponsors and form a a plan of attack.

The workshop was fantastic - and very thought provoking for all involved. If sponsorship is something you are interested in learning more about then drop max@musicnsw.com an email and we’ll get you some basic resources cranking!

Indent hits the road again for their second Save The Scene leg, stopping by the central west to co-run a workshop with ABAF (Australian Business Arts Foundation) about discovering how to build a mutually beneficial partnership with businesses to build up your all ages gigs and local music scene.

Workshop: Business Case Approach: Level 1
Presenter: John Godfrey
Date: Wednesday 10th September, 2008
Time: 9:30am – 1.00pm ( 2 hour debrief following seminar)
Venue: Orange Regional Art Gallery, West Room, Civic Square, Byng Street, Orange

For more info please contact greg@musicnsw.com | (02) 9699 9706.

Indent held its second online forum on the afternoon of August 20. The online forums are there for people who might not be able to make it to our face to face workshops. We were lucky enough to be joined in this workshop by Luke from The John Steel Singers and Maggie Collins who manages the band and is also the Music Director at Brisbane’s 4ZzZ.

While our workshops generally focus on event management, this forum was much more artist focussed. Having representatives from one of Australia’s freshest bands was great as they’ve recently experienced the stuff we preach at Indent workshops - the touring, creating a buzz, the gaining of a manager, the releasing of demos and EPs. So it was a great insight that they were able to bring to the forum.

We will hold another online forum with just the Indent team to discuss Partnership applications and answer any questions you may have.

DOWNLOAD THE TRANSCRIPT HERE.

1,000 True Fans
The long tail is famously good news for two classes of people; a few lucky aggregators, such as Amazon and Netflix, and 6 billion consumers. Of those two, I think consumers earn the greater reward from the wealth hidden in infinite niches.

But the long tail is a decidedly mixed blessing for creators. Individual artists, producers, inventors and makers are overlooked in the equation. The long tail does not raise the sales of creators much, but it does add massive competition and endless downward pressure on prices. Unless artists become a large aggregator of other artist’s works, the long tail offers no path out of the quiet doldrums of minuscule sales.

Other than aim for a blockbuster hit, what can an artist do to escape the long tail?

One solution is to find 1,000 True Fans. While some artists have discovered this path without calling it that, I think it is worth trying to formalize. The gist of 1,000 True Fans can be stated simply:

A creator, such as an artist, musician, photographer, craftsperson, performer, animator, designer, videomaker, or author - in other words, anyone producing works of art - needs to acquire only 1,000 True Fans to make a living.

A True Fan is defined as someone who will purchase anything and everything you produce. They will drive 200 miles to see you sing. They will buy the super deluxe re-issued hi-res box set of your stuff even though they have the low-res version. They have a Google Alert set for your name. They bookmark the eBay page where your out-of-print editions show up. They come to your openings. They have you sign their copies. They buy the t-shirt, and the mug, and the hat. They can’t wait till you issue your next work. They are true fans.

To raise your sales out of the flatline of the long tail you need to connect with your True Fans directly. Another way to state this is, you need to convert a thousand Lesser Fans into a thousand True Fans.

Assume conservatively that your True Fans will each spend one day’s wages per year in support of what you do. That “one-day-wage” is an average, because of course your truest fans will spend a lot more than that. Let’s peg that per diem each True Fan spends at $100 per year. If you have 1,000 fans that sums up to $100,000 per year, which minus some modest expenses, is a living for most folks.

One thousand is a feasible number. You could count to 1,000. If you added one fan a day, it would take only three years. True Fanship is doable. Pleasing a True Fan is pleasurable, and invigorating. It rewards the artist to remain true, to focus on the unique aspects of their work, the qualities that True Fans appreciate.

The key challenge is that you have to maintain direct contact with your 1,000 True Fans. They are giving you their support directly. Maybe they come to your house concerts, or they are buying your DVDs from your website, or they order your prints from Pictopia. As much as possible you retain the full amount of their support. You also benefit from the direct feedback and love.

The technologies of connection and small-time manufacturing make this circle possible. Blogs and RSS feeds trickle out news, and upcoming appearances or new works. Web sites host galleries of your past work, archives of biographical information, and catalogs of paraphernalia. Diskmakers, Blurb, rapid prototyping shops, Myspace, Facebook, and the entire digital domain all conspire to make duplication and dissemination in small quantities fast, cheap and easy. You don’t need a million fans to justify producing something new. A mere one thousand is sufficient.

This small circle of diehard fans, which can provide you with a living, is surrounded by concentric circles of Lesser Fans. These folks will not purchase everything you do, and may not seek out direct contact, but they will buy much of what you produce. The processes you develop to feed your True Fans will also nurture Lesser Fans. As you acquire new True Fans, you can also add many more Lesser Fans. If you keep going, you may indeed end up with millions of fans and reach a hit. I don’t know of any creator who is not interested in having a million fans.

But the point of this strategy is to say that you don’t need a hit to survive. You don’t need to aim for the short head of best-sellerdom to escape the long tail. There is a place in the middle, that is not very far away from the tail, where you can at least make a living. That mid-way haven is called 1,000 True Fans. It is an alternate destination for an artist to aim for.

Young artists starting out in this digitally mediated world have another path other than stardom, a path made possible by the very technology that creates the long tail. Instead of trying to reach the narrow and unlikely peaks of platinum hits, bestseller blockbusters, and celebrity status, they can aim for direct connection with 1,000 True Fans. It’s a much saner destination to hope for. You make a living instead of a fortune. You are surrounded not by fad and fashionable infatuation, but by True Fans. And you are much more likely to actually arrive there.

A few caveats. This formula - one thousand direct True Fans — is crafted for one person, the solo artist. What happens in a duet, or quartet, or movie crew? Obviously, you’ll need more fans. But the additional fans you’ll need are in direct geometric proportion to the increase of your creative group. In other words, if you increase your group size by 33%, you need add only 33% more fans. This linear growth is in contrast to the exponential growth by which many things in the digital domain inflate. I would not be surprise to find that the value of your True Fans network follows the standard network effects rule, and increases as the square of the number of Fans. As your True Fans connect with each other, they will more readily increase their average spending on your works. So while increasing the numbers of artists involved in creation increases the number of True Fans needed, the increase does not explode, but rises gently and in proportion.

A more important caution: Not every artist is cut out, or willing, to be a nurturer of fans. Many musicians just want to play music, or photographers just want to shoot, or painters paint, and they temperamentally don’t want to deal with fans, especially True Fans. For these creatives, they need a mediator, a manager, a handler, an agent, a galleryist — someone to manage their fans. Nonetheless, they can still aim for the same middle destination of 1,000 True Fans. They are just working in a duet.

Third distinction. Direct fans are best. The number of True Fans needed to make a living indirectly inflates fast, but not infinitely. Take blogging as an example. Because fan support for a blogger routes through advertising clicks (except in the occasional tip-jar), more fans are needed for a blogger to make a living. But while this moves the destination towards the left on the long tail curve, it is still far short of blockbuster territory. Same is true in book publishing. When you have corporations involved in taking the majority of the revenue for your work, then it takes many times more True Fans to support you. To the degree an author cultivates direct contact with his/her fans, the smaller the number needed.

Lastly, the actual number may vary depending on the media. Maybe it is 500 True Fans for a painter and 5,000 True Fans for a videomaker. The numbers must surely vary around the world. But in fact the actual number is not critical, because it cannot be determined except by attempting it. Once you are in that mode, the actual number will become evident. That will be the True Fan number that works for you. My formula may be off by an order of magnitude, but even so, its far less than a million.

I’ve been scouring the literature for any references to the True Fan number. Suck.com co-founder Carl Steadman had theory about microcelebrities. By his count, a microcelebrity was someone famous to 1,500 people. So those fifteen hundred would rave about you. As quoted by Danny O’Brien, “One person in every town in Britain likes your dumb online comic. That’s enough to keep you in beers (or T-shirt sales) all year.”

Others call this microcelebrity support micro-patronage, or distributed patronage.

In 1999 John Kelsey and Bruce Schneier published a model for this in First Monday, an online journal. They called it the Street Performer Protocol.

Using the logic of a street performer, the author goes directly to the readers before the book is published; perhaps even before the book is written. The author bypasses the publisher and makes a public statement on the order of: “When I get $100,000 in donations, I will release the next novel in this series.”

Readers can go to the author’s Web site, see how much money has already been donated, and donate money to the cause of getting his novel out. Note that the author doesn’t care who pays to get the next chapter out; nor does he care how many people read the book that didn’t pay for it. He just cares that his $100,000 pot gets filled. When it does, he publishes the next book. In this case “publish” simply means “make available,” not “bind and distribute through bookstores.” The book is made available, free of charge, to everyone: those who paid for it and those who did not.
In 2004 author Lawrence Watt-Evans used this model to publish his newest novel. He asked his True Fans to collectively pay $100 per month. When he got $100 he posted the next chapter of the novel. The entire book was published online for his True Fans, and then later in paper for all his fans. He is now writing a second novel this way. He gets by on an estimated 200 True Fans because he also publishes in the traditional manner — with advances from a publisher supported by thousands of Lesser Fans. Other authors who use fans to directly support their work are Diane Duane, Sharon Lee and Steve Miller, and Don Sakers. Game designer Greg Stolze employed a similar True Fan model to launch two pre-financed games. Fifty of his True Fans contributed seed money for his development costs.

The genius of the True Fan model is that the fans are able to move an artist away from the edges of the long tail to a degree larger than their numbers indicate. They can do this in three ways: by purchasing more per person, by spending directly so the creator keeps more per sale, and by enabling new models of support.

New models of support include micro-patronage. Another model is pre-financing the startup costs. Digital technology enables this fan support to take many shapes. Fundable is a web-based enterprise which allows anyone to raise a fixed amount of money for a project, while reassuring the backers the project will happen. Fundable withholds the money until the full amount is collected. They return the money if the mininum is not reached.

Here’s an example from Fundable’s site;

Amelia, a twenty-year-old classical soprano singer, pre-sold her first CD before entering a recording studio. “If I get $400 in pre-orders, I will be able to afford the rest [of the studio costs],” she told potential contributors. Fundable’s all-or-nothing model ensured that none of her customers would lose money if she fell short of her goal. Amelia sold over $940 in albums.
A thousand dollars won’t keep even a starving artist alive long, but with serious attention, a dedicated artist can do better with their True Fans. Jill Sobule, a musician who has nurtured a sizeable following over many years of touring and recording, is doing well relying on her True Fans. Recently she decided to go to her fans to finance the $75,000 professional recording fees she needed for her next album. She has raised close to $50,000 so far. By directly supporting her via their patronage, the fans gain intimacy with their artist. According to the Associated Press:

Contributors can choose a level of pledges ranging from the $10 “unpolished rock,” which earns them a free digital download of her disc when it’s made, to the $10,000 “weapons-grade plutonium level,” where she promises “you get to come and sing on my CD. Don’t worry if you can’t sing - we can fix that on our end.” For a $5,000 contribution, Sobule said she’ll perform a concert in the donor’s house. The lower levels are more popular, where donors can earn things like an advanced copy of the CD, a mention in the liner notes and a T-shirt identifying them as a “junior executive producer” of the CD.
The usual alternative to making a living based on True Fans is poverty. A study as recently as 1995 showed that the accepted price of being an artist was large. Sociologist Ruth Towse surveyed artists in Britian and determined that on average they earned below poverty subsistence levels.

I am suggesting there is a home for creatives in between poverty and stardom. Somewhere lower than stratospheric bestsellerdom, but higher than the obscurity of the long tail. I don’t know the actual true number, but I think a dedicated artist could cultivate 1,000 True Fans, and by their direct support using new technology, make an honest living. I’d love to hear from anyone who might have settled on such a path.

The above article was written by Kevin Kelly and was taken from The Technium website

The Open Day was a great one for all involved. We opened with a keynote address from Big Day Out National Event Co-ordinator Sahara Herald Shepherd about the realities of working in the music industry - that it’s fun, but also seriously hard work!!

Following Sahara’s address came the presentation of the ISAAC Awards. It was great to see the ISAACs finally presented and some of the hard workers rewarded for their efforts throughout the year. The awards were presented by Youth Minister Linda Burney and MusicNSW board member Andy Kent. Each recipient was awarded with a multi-purpose Indent megaphone, equipped with Police-style siren. It should be noted that we only condone the use of these for non-hellraising purposes only. For crowd control at the events and whatnot. But again, congratulations to all successful recipients - you were more than deserving and we are pleased to offer you that small token of recognition.

Check the full list of winners here

The second half of the day saw everyone break into groups across a series of workshops covering sponsorship, risk management, writing a press release, how to conduct meeting and how to write a budget. The feedback from these workshops was great and we hope that the smaller group sizes and single-topic format were beneficial to everyone there, even though it was a very intensive afternoon.

Finally, we must say a huge thanks to all the presenters and panellists who took part in the day. Michaella Solar-March, Sahara Herald Shepherd, Neal Hunt, Nik Tropiano, Joel Connolly, Brett Winterford, Hannah Le Coic, Katina Dimoulias, Jane Powles and especially the staff at Redfern Community Centre, we thank you very much - the day would never have been successful without your combined efforts.

Indent, in connection with NSW Youth Week, presented the first ever Rock the Royal Easter Show Challenge, an incredible opportunity for one young band to rock out at this year’s Royal Easter Show on the Youth Stage alongside some of Australia’s finest acts including The Vasco Era, Krill, Angela’s Dish and The Hampdens . Indent received outstanding applications from all over NSW for the competition, but only one band could win. Bands had to complete a series of challenges to determine the winner. This year’s entries included Brian Aret and Natasha Duarte from Cherrybrook, Caleb Skips Chemistry from Dungog, The Acey Greens from Taree, and the winner Pokerface from Gladstone (NSW North Coast).

The first task for the competition was the SHOUT task. Indent asked the bands, “If you ever won an ARIA Award who would you give a SHOUT out to and why?” The second task was the SHARE task. Indent asked the bands to send them a link to their band’s MySpace so Indent can hear them rock. The third task was the LIVE task. Indent told the bands to download the image of the Indent Super All Ages Crusader (ISAAC) and get a photo with ISAAC and something iconic the band’s local community - be it place, person or thing. The fourth and final task was the UNITE task. Indent told the bands to muster the biggest entourage they could possibly muster and get everybody in a photo with the band. Below are the bands’ submissions for the competition.

Brian Aret and Natasha Duarte

Brian Aret, 16 (Guitar, Vocals); Natasha Duarte, 13 (Guitar, Vocals)

SHOUT: Brian Aret wrote, “I would love to acknowledge Bruce Reid, lead guitarist of Dragon for being my mentor and helping me start my dream of becoming a professional musician. Bruce helped me realise what it means to be a working musician and to fully understand musical concepts and where they came from, and that it takes hard work and self discipline. Also to my family, friends and support base in NY for encouraging me through the ups and downs of my experiences, appreciating my music and i know that they will all be there as i continue my journey.”

SHARE:
www.myspace.com/brianaret
www.myspace.com/natashaduarte17

LIVE: Here is ISAAC with Natasha and Brian infront of a not so well known iconic building in Harris Park. The heritage listed building used to be a convent but is now home to AIPAH (Australian International Performing Arts High School) which Natasha and Brian both attend.

UNITE: Here is a picture of a recent performance of Natasha and Brian at The Penrith City Festival.

And this is what they saw.

Caleb Skips Chemistry

Sam Parmeter, 17 (Vocals); Manneh McClintock, 17 (Lead Guitar); Luke Stuart, 17 (Bass); Tom Campbell, 17 (Drums)

SHOUT: “Thanks very much for this award. We would love to give a big shout out to our parents firstly for all the hours of patient waiting and the hours of driving, early and late during the day, to all parts of the countryside. To anyone whoever helped us along our Journey in anyway, If you bought a CD or told your friends to look us up. To anyone whoever came to a show, especially anyone whoever danced with Sam to make him feel special. And last but not least to Luke for his awsome Commodore driving skills…Nice.”

SHARE: www.myspace.com/calebskipschemistry

LIVE:

UNITE:

The Acey Greens

Nick Whitty, 17 (Vocals); Ross Ruprecht, 18 (Guitar); Sam Milham, 17 (Bass); Michael Crellin, 21 (Drums)

SHOUT: “If the Acey Greens were to win an Aria Award, our first shout out would go to the supportive parents of the band, who have helped fund us for our instruments, put up with our late night rehearsals when trying to sleep, replenished our thirst and hunger during practice, and for attempting to pose as under 18 teenagers to cheer us on at youth gigs - without your ongoing love and support for the band members, we would probably be doing something less entertaining as your siblings, like entering local chess tournaments or striving to become Australia’s greatest stamp collectors. Parents of bands, The Acey Greens salute you…”

SHARE: www.myspace.com/theaceygreens

LIVE: As 2 members of the Acey Greens were absent for 2 weeks, the guitarist Ross and vocalist Nick teamed up to take ISAAC out to the beautiful MANNING RIVER where they attached the beloved head to a glove and managed to take a reasonably dry ISAAC for a quick spin behind our Fathers ski boat.

UNITE: This is a photo of all of the band’s friends that they dragged along to the New Moon, Indent ‘COMMOTION BY THE OCEAN’ event while they were onstage performing. The Acey Greens are proud of the amount of fans they got along to check them out and other great acts and to support the alcohol and drug awareness/free event.

Pokerface

Robert Lonie, 21 (Guitar, Vocals); Luke Pawlowsky, 18 (Drums, Vocals); Jake Sanders, 18 (Bass, Vocals)

SHOUT: Rob wrote, “If I was ever lucky enough to win an Aria, I would give a shout out to my father and step mother. All the support, guidance and encouragement they have provided me with my pursuits with the band. I would like to thank them for their tolerance, patience and selflessness. For the lessons, expenses, equipment, and car trips. It is because of them, I have been able to pursue my love of music. However I’d like to apologise for every episode of Home & Away and Neighbours that was disrupted by the thunderous drums, bellowing bass and howling guitar poundings its way from my room every Monday and Thursday night to their kitchen. Strangely enough they both learnt to lip read so they could follow the plot of every thrilling dilemma in Summer Bay and Ramsay Street. Without there support and assistance we wouldn’t have accomplished what we have. I am forever grateful for the opportunities they have given me and all they have gone without to do so.”

SHARE: www.myspace.com/pokerface2440

LIVE: Pokerface with ISAAC pictured at the South West Rocks Trial Bay Gaol. ISAAC is also sporting a lovely Kempsey Made All Aussie AKUBRA hat.

UNITE: Pokerface managed to get a picture with the entire Kempsey Melville High School student body consisting of over 900 fans!

When you’re trying to approach media to get some publicity for your event, there are a few key tools you can have ready to ensure you’ve got the biggest chance of success. One of these is a healthy knowledge of the way news media works and what is most likely to be printed.

All news media abides by a few basic principles of what makes interesting news. These are known as news values. No matter if you are going to a television news station, or the art pages of your local paper, editors worldwide abide more or less to this framework.

• Impact: The number of people whose lives will be influenced in some way by the subject of the story.

For instance, a town of 30,000 people holding a festival that’s expected to draw another 10,000 will obviously affect a majority of the people in the town, one way or another.

• Timeliness: Recent events have higher news value than earlier happenings. Of particular value are stories brought to the public ahead of the competition. These are known as scoops.

For example, media is much more likely to run a story on the problems in the current Iraq war rather than from the first one in 1991. Scoops can be used to your advantage also. Although they are most effective when the story is one of national or international significance, if you have a particular band or drawcard up your sleeve, you can offer it to one media source as a scoop before you release it to the wider media.

• Prominence: For the same occurrence, people in the public eye have higher news value than obscure people.

So if you have a government minister coming to your event, or Jimmy Barnes is doing a duet with your headline act, the news media will be there quick smart. It’s good to make a big fuss about these things because they often open up punters and media sources that might not otherwise be interested.

• Proximity: Stories about events and situations in one’s home community are more newsworthy than events that take place far away.

This is especially true in regional areas: if you have a youth festival happening in your town on the same weekend as Big Day Out, you’re almost a sure bet to take out prime position on the music page. This is because people care more about the things that will affect them directly

• Bizarreness: If your story has a particularly bizarre twist, it will gain more attention.

For example if your headline act decides to play their whole set dressed in bear costumes, that makes great news (especially if you have a photo as well). Of course if the act normally performs as bears the effect is slightly lost. These sorts of articles are often placed in the entertainment/easy reading sections of the paper, and can be especially useful when you’re looking for a lighter angle on your event.

• Conflict: Strife is newsworthy.

This one can be difficult: you are obviously striving for a conflict-free event. Trying to use conflict to gain publicity can be very problematic. For example, say your event is taking place on the local basketball courts and the basketball club is angry that they can’t have their weekly tournament; you could inform the press of this conflict. It could be framed as “Basketball club tries to stifle youth festival”, but the writer could just as easily take the basketballers’ side, and print “Youth festival tries to take over basketball courts”. To prevent things becoming too complicated, it’s generally best to resolve conflicts without the media’s help.

• Currency: More value is attributed to stories pertaining to issues or topics that are in the spotlight of public concern rather than to issues or topics about which people care less.

For example, if the media has been running stories on event safety and your event is particularly safe (eg the police have given it the thumbs up, you are employing various tactics in harm minimisation etc) then you can frame your event as a great example in event safety. The media will love the different angle it gives them to an issue that has been much reported.

So from now on when you hear people saying it’s important to target your press releases, you can use this as a guide. The news values above are an industry-accepted standard to what is classified as news. This is what journalists are taught at university, and how editors pick which stories get printed. So try the formula and see how you go!!

The Indent team jumped back in the trusty silver bullet and headed up the coast towards Lismore. We were lucky enough to score a lovely beach pad in Lennox Head, and the weather turned it on for the weekend. On the morning of the workshop, as the team got up to get ready, Greg wasn’t looking too crash hot.. Racked with migraine, the executive decision was taken that he had to stay in bed and sleep all day. Leaving the poor Project Manager in bed with the blankets pulled over his head, Max and Richard put on their game faces and began the journey.

Arriving at Lismore City Hall we realised we were competing with Australia’s most wealthy entertainers, The Wiggles. They had conveniently scheduled a concert in the main hall at the same time as the Indent workshop. However, the site of countless Dorothy-the-Dinosaurs

and Captain Featherswords was one to behold.

The workshop drew an intimate crowd who were listening very intently as the first guest for the day, Suzie Mylecharane from Ku Promotions came up to discuss her work in the region. Suzie has been a promoter in the Northern Rivers for many years, and has put on a huge variety of shows from Missy Higgins to Ben Lee and Kev Carmody to world music acts such as Vusi Mahlasela, Afro Moses and Moses O’Jah. Suzie gave some very good tips to those in attendance and kept them all interested with anecdotes from her many shows.

Following another lunch from the hunger-beaters at Domino’s Pizza, Max and Richard were joined by Luke, Pete, Tim and Scott from the John Steel Singers and their manager Maggie who is also Music Director at Brisbane’s 4ZZZ). this was for an informal songwriting session which involved getting the lads to play a track (though they kindly indulged us with two) , and then having a discussion about the elements of those songs. if you would like to hear some of the John Steel Singers’ stuff, head to their myspace. It was a great addition to the workshop to be able to have some touring artists come and chat about the realities of being a band, touring, and how to write songs. We are going to try and get some of the guys in for our next online workshop, so we’ll keep you posted.

And that was our first Save the Scene workshop for the year, done. And what a great way to start, lapping up the winter sun way up north. We are definitely planning some other adventures for the year, so stay tuned.