#I printed a lot of fanzines I hope most of the people planning to buy it will actually buy it lol | Explore Tumblr Posts and Blogs

thebibliosphere · 1 year

Note

I saw your post about ingram, and out of curiosity, is there some advantage to going through the whole self-publishing thing with retailers when you're just starting out? like I mean the way that fandom zines work is that they don't even bother going through ingram or amazon or whatever. they just set up a social media site (usually twitter) to gain followers, open preorders (usually 1-2 months in length) to generate the costs of printing upfront, and then sell anywhere from a few dozen to several hundred copies of their books (usually artbooks, but anthologies exist too). I've seen some zines generate over a thousand orders. they're kind of like pop-up shops, except for books. maybe the sales numbers aren't so impressive to a real author, but the profit generated is typically waaaay more than the $75+ apparently needed for Ingram Spark, so I still feel like new authors could benefit from this method too, especially if they just need some start-up cash to eventually move to ingram if they want to for subsequent runs of their book. I think authors would also have to set aside some of the pre-order money to buy an ISBN number to have printed on their book, and I'm not really sure what other differences there are, but I just wanted to ask about it in case there's some huge disadvantage I'm missing!

So, popup zines work well for some people, and I know some authors who kickstart their work successfully. But for a lot, it's just not feasible as a long-term stratedy. Or even as a means to get off the ground.

Fanzines succeed primarily because an existing fanbase is willing and ready to throw money at something they love. They’ve got a favorite writer or artist they want to support. Supporting all the others is just a happy by-product. They also take a HUGE amount of short-term but intense planning that just doesn’t always jive with how some of us work.

I, for one, would never offer to organize a fanzine. I’ll take part in them as a creator, but I’d rather throw myself off a cliff than subject myself to wrangling that many people and dealing with the legal logistics.

When it comes to authors doing anthologies, it'svery much the same. The success of the funding often hinges on having other big-name authors involved whose existing fans will prop up the project. Or having a huge marketing budget.

Most self-pub authors have zero marketing budget. I’m one of them, and I’m under no illusions that my work would not be as popular and self-sustaining as it is if I didn’t have a large Tumblr blog.

When I thank Tumblr in my forewards, I am utterly sincere. Tumblr brought fandom levels of enthusiasm to an unknown work and broke the Amazon algorithm so hard, that Amazon thought I was bot sniping my way to multiple #1 spots and froze my sales rankings.

That’s not the norm. And while I could probably kickstart my own work as an indie creator, that’s because I’ve put literal decades into building up a readership. I’ve been doing this since I was 16 and realized people thought I was funny. I didn’t know what to do with it or if I’d ever actually write anything, but it meant the groundwork was already there (thank you, past-me). I basically fell upward into my success by virtue of never being able to shut the fuck up and wanting to make people laugh. Clown instincts too strong.

New or first-time authors trying to sell their work without that will find it infinitely harder.

All of that aside, even if an unknown author somehow gets lucky and manages to fund their work, there’s still the question of shipping and distribution logistics. Are you shipping everything yourself? Better hope you’re able-bodied and have the time for it. (for reference, it took me months to ship out 300 patreon hardbacks because of my disabilites. It damaged my back and hands. I couldn’t type for several weeks after I was done.)

Are you going to sell primarily at conventions? Better hope you’re able-bodied, have the time and don’t have cripling anxiety about being in large groups...

Also, will selling a dozen to a few thousand copies in one burst be sustainable in the long run as a career? Not for me. Doing things via Ingram and Amazon means I earn a steady trickle of sales for the rest of my life provided the platforms remain and so long as I keep working and can generate interest in the series, not just when I have funds to pay for physical copies to sell. The one-time (in theory) cost of $75 to distribute through Ingram gets paid off pretty quick that way. And it doesn't require the same logistics as doing the popup/crowdfund.

Ultimately, it comes down to what you are capable of but also the type of work you’re doing. If you’ve got an extended network of fellow creatives who will back you or you’ve got a large following elsewhere, doing it like a popup might work for you.

If you’re an exhausted burnout who can’t fathom the short but intense amount of organization that sort of thing requires, not to mention doing it over and over and over... Ehhhhh. No thank you.

583 notes · View notes

inky-thoughts · 7 years

Text

How to Organize a Zine 101

Hey guys!

Since I'm almost through with my very first zine that I organised myself, I just realised how many mistakes you can make without even knowing, and I learned so much within the last few months where a lot was kind of trial and error. So I thought, you guys might like to learn more about this, and I could share my experiences and newly gained knowledge! Maybe this helps if you are looking into organising your own first zine.

If you have any tips and tricks yourself you'd like to share, let me know, I’m excited to hear about them!

I am going to go through the different steps and phases that you should take into consideration, so this might get a small series of some sort? I hope you're up for this.

Also a small disclaimer:

I'm mostly talking about fanzines that have multiple contributors, and it will focus more on artists/illustrators and writers as that is where my experience lies. I have contributed on several free e-zines as well as a printed charity zine, and now have organised my first printed for-profit zine as well.

Phase 1: The Planning

This might sound really obvious and maybe silly, but there are quite a few things that you should take into consideration before just starting a project that might overwhelm you easily. Don't already head off and create a twitter account before you haven't sat down and thought about these questions first!

First of all, you should think about the zine itself:

What topic/theme should it have?

If it is a fanzine: What ships/characters/... should be the focus?

What format does your zine have (printed/e-zine/both)?

What should be included in the zine? (Illustrations, comics, writing, photographs, ... all of them?)

How many contributors/pieces do you want in your finished zine? (especially important for printed zines)

Do you want to have additional merch, e.g. bookmarks, stickers, charms, postcards, ... , that people can purchase with your zine in a bundle?

How are the specs (how many pieces per creator/how long is one piece especially for writers)?

Is it a for-profit, charity, or free zine?

After you now have a vague idea of what you want, you need to think about competition as well if you're not having a free online zine.

How big is the fandom/target group of the specific zine you want to make?

How old are they and how likely are they to spend money on your zine?

Are there only a few, but very dedicated fans?

How many contributors can you gather from the fandom? How is the general quality of fanworks?

Are there other zines that are similar or maybe with the same topic/theme/focus and what sets your zine apart from them?

Are there other zines going around at roughly the same time with the same target group, and should you perhaps wait a little so people can afford your zine again?

Is it a thriving fandom on the rise or has activity already peaked? If no fanzine: Is your theme at the pulse of time, or has some accute relevance to a lot of people?

Especially on tumblr, there are a few blogs entirely dedicated to zines and specifically fanzines. If tagged accordingly, they'll reblog all kinds of posts about a zine, but mostly Call for Submission, Zine Schedules, and Preorder Announcements (we will talk about these later on.) It is really helpful to check those out, sometimes there are even blogs solely about one fandom's projects, so it gets watered down even more. You can also test waters through polls etc. if you have a loyal followership that might just buy your stuff because it has you in or on it. However, I don't really find those very reliable.

The next questions are mainly about the doablity of the zine for you:

If there is any kind of production costs, do you have funds to cover them if the zine doesn't sell well enough?

Do you have anyone you can trust/are friends with who is also enthusiastic about your topic that they can help you?

How do you want to split work? How much do you want to contribute to the zine yourself?

Are you ready to make the commitment to dedicate basically every free minute of your life for the next 6+ month on this project? Are you in a relatively steady environment where you don't need to handle moving, changing jobs, schools, whatever at any point during your zine work?

I highly recommend you to at least have one other person to do the organisation with you, preferrably are two or even more.

Please do not underestimate the workload you'll get, even if it doesn't seem much at first, you will write so many e-mails because you need to get back to your contributors for one thing or another, you need to make sure the files are all correct, if you have writers you need beta-reading while also putting the zine together and finding a good printing service and making sure everyone is on time. For the last 6 months, this zine was basically my job, because it is just that, just without a clear salary, or none at all.

The next thing is kind of working out a schedule, with the rough stages/phases zine creations usually have.

Application/Gathering Contributors You have the option between public applications where people just send in portfolios and you pick from those, or you invite contributors you think are interested in the zine and you would like to have in it. Sometimes, there are zines that do both, but it's rather rare. There are some zines (usually free e-zines) that accept literally everyone who applies, and while it creates an opportunity for lesser known creators and beginners to gain a little exposure and experience, it doesn't necessarily mean that the overall quality of content is consistent and what you want to hold in your hands. I had applications open for a bit more than a month since I was very eager and didn't establish any kind of excitement or build-up thereof until finally applications open, but generally it's very common to have a full month to gather applications. The minimum should be 2 weeks, though. Also, don't let yourself be blinded by the sheer amount of applicants, especially in smaller fandoms, top tier creators are rather rare and everyone tries to get into a zine about something they love.

Curating Contributors If you don't have an Invite Only zine, you'll have a very busy time ahead now: You need to look through hundred or more applications and filter who is a fit for your zine, and who is not. Bear in mind that you aren't only looking for quality of work, but also which creator's style fits your zine best. Especially if you have several disciplines in your zine (e.g. illustrations and writing), I only can recommend to split the work load according to your speciality. That way you work faster and more efficient. Give yourself at least 2 weeks, the bigger/more popular the fandom, the longer it probably will take.

Sending Acceptance/Refusal E-Mails After you chose your pick, you'll need to let people know who's in, and who is not. I would advise to send out acceptance letters first, since there will be first dropouts immediately after you finally agreed on them. As soon as you got everyone to confirm their participation, take those who barely didn't make it and put them in for pinch-hitters. You will be surprised how many you'll probably need along the way. After they confirmed that yes, they'll be pinch-hitters, send out the rejection e-mails. I consider it curtesy to send them because as applicant, you really want to know where you're standing. Calculate roughly 1-2 weeks for the e-mails because things just tend to drag along and people need a long time to respond.

Confirmations This usually only applies if you offer people to make collaborations. They need to be able to check out who else is in the zine, who is up for collaboration, whose style suits them best to collab with, test the waters with each other, and usually should come up with an idea, so again 1-2 weeks would be needed for that. However, if you have got your contributors confirmed and just need the backup and refusal mails, just set those deadlines parallel.

1st Draft Depending on how much you're already asking for, you might want them 1-2 weeks after the rejection mails went out (if you really just want to know what kind of ideas people got), or up to a month if you want first sketches/summaries. The first draft is also helpful to see if two people got the same idea, and you can steer people a little bit into the "right direction."

2nd Draft Usually this is where at least 50-75% of the work should be done if you don't take a 3rd draft. Most common are 2 Drafts and the endproduct. Give people at least a month between 1st and 2nd Draft.

Final Draft This is when the finished pieces should be due. Depending on the time of the year, the contributors might be under a lot of stress, so set this deadline roughly 1 month after the 2nd Draft. You will be stressed, everyone else will be stressed, so give yourself the time you need. Also listen to your contributors and observe if there are a lot not cutting a deadline, then maybe push them back for another 1-2 weeks. It will make everyone more relaxed.

Touch-up Phase Especially with writers, you'll need at least 2 weeks to touch up the final draft they submitted.

Buffer Time (don't write that into the official schedule but definitely calculate with it) There will always be unexpected events that will require buffer times. You also will need time to put the zine together if you didn't work on designing the file beforehand while everyone else was creating. Still, you'll need to fix some things and polish the whole thing. Minimum buffer should be 1-2 weeks.

Contributor Preorders With printed zines, it is curtesy to give every contributor a printed copy of the zine for free with them only paying for shipping & handling. This kind of established itself as compensation for their work that usually ends up to be for free as most zines are either for charity or barely cover their production costs. To know who of your contributors even wants a copy, you should give them roughly 2-3 weeks to preorder. Having those exclusive orders helps you to divide between contributors and the regular costumer if you hold both at the same storefront.

Previews (+ Proofs) Before you're launching public preorders, dedicate at least 1 week to previews to get everyone hyped up. Contributors and the "official" zine site post excerps of zine pieces so people get an idea of what the feel of the zine is. If you already got proofs/samples printed until then, post pictures of those, too! If you don't post the link to the shop yet, there definitely wouldn't be a problem to have the previews start at the same time as the contributor preorders. That way, contributors also have the chance to get a glimpse at their peer's works.

Public Preorders Depending on how eager people are for your zine, you can leave preorders relatively short, but no less than 2 weeks if you don't get an insane amount of orders within the first couple of days. People must be able to check out prices and get their paycheck before preorders close again. Some zines have a stacked preorder system where the first X orders are cheaper, and then there will be leftovers or a second phase of preorders after the first bulk has been shipped. However, this doesn't happen very often. If you don't have a hugely popular zine or are cutting way too close to any important deadlines, consider having 3-4 weeks of preorders.

Production As soon as you got your numbers from the preorders, RUN AND PURCHASE EVERYTHING. Depending on where you get your zines printed (also don't forget the optional merch on this!), you can be ready to go within a week or even more than a month. Calculating with roughly 3 weeks if you're getting your stuff from mostly national level is a good rule of thumb, however shit happens all the time anyway, so to be safe use 4-8 weeks. Let your customers know immediately if there are any delays that weren't planned.

Shipping Depending on how many orders you've got, shipping can be a hassle and most likely will take up one week or longer. Since domestic shipping is fastest, ship international orders first, that way customers don't have the feeling that they're forgotten.

E-Zine Currently, a common trend is to first get the physical copies sold, and then sell e-zines to gather more money and cover leftover production costs of the printed zine. Especially international customers and college students prefer e-zines because of the incredibly high shipping rates around the globe. E-zines aren't linked to any production at all after you got the file put together, so if you set up your storefront with the download, everyone simply downloads it. You can have those open as you like, common is anything between 1-3 month and even a whole year. If no money is involved at all, a lot of zines just exist as a permanent free download in a dropbox or other cloud, so this is the least complicated process.

Conventions Really, it's not necessary to put this up in the schedule, but thinking about it might be helpful. If you have a physical zine, you and some contributors might want to sell it on conventions, so offering them to buy a bulk to a smaller rate can be helpful to spread the zine's exposure. We handled this with "buying on commission" - mainly the contributor only pays for the printing costs + shipping, and later will pay part of the profit back to you. Especially with international contributors, be aware of the longer shipping time. Also reprints might take their time. I personally made it a rule to order the reprints 3 months before the con, and reprints can be made up until one year, but really, you don't need to do this.

After you've got your rough schedule, I would advise you to already gather information on how to produce and spread the finished zine. This also helps to know how much you should have in your backup fund for the zine.

For physical zines/merch

Check out printing services! compare prices and quality as well as product range, and find out how long production takes

Find an online storefront where you want to sell it if you don't have one yet

Research on conventions and fairs where you might sell the zine

Learn about shipping rates and which company is suited best for your purpose

For e-zines

Research on your options:

If it's free, what cloud-service are you most comfortable with?

Find a dowload hosting platform you're comfortable with that also lets you charge per download

Is a round-mailing an option? if yes, do your research on online storefronts as well.

Advertising + Web Presence

This is basically finding your social media where you want to spread the word and store all the information of your zine. It is common for a zine with multiple contributors and mods to have its own web presence.

Tumblr and twitter are very popular for this as tumblr basically is a quick-for-setup homepage where you can spread information incredibly fast if you get to the right people, you have the option to answer questions people have regarding your zine, and twitter is nice and handy to keep applicants and potential customers updated. Also think about where you've got a large following and can advertise the zine yourself. Twitter/tumblr is not required, but most definitely helpful.

If you yourself aren't very known or popular, try to get more influencial people interested in participating, or simply promoting your zine. It definitely helps to have a larger audience. Also find out about the tags used by largely popular zines, and what you can learn from them. Learn how the fanproject blogs filter content they might reblog.

Things you also shouldn't underestimate is affiliations! If there is a zine/project with a largely similar forcus and theme, try to get on their better side, and help each other out. They might be your competition, but if you schedule your zine in a clever way, you won't need to worry about this at all since preorder phase won't overlap at all. They might help you advertise your zine while you do the same for them.

There are also forums on zines and fanzines, but I think nowadays it's rare that you'll go viral through those. I personally don't have any experience with those, so if anyone has, I'm happy to hear about it!

next >>

Masterpost

#inky rambles #zines #fanzines #fandom zines #fan zines #how to organize a zine 101 #long post #advice #art advice

1K notes · View notes

topbeautifulwomens · 5 years

Text

#The #Offspring #Biography #Photos #Wallpapers #friday #babe #bellydance #clothes #dj #fashiondiaries #makeover #punjabi #starlook #supermodel

By 1984, when what would have become the Offspring formed, the original Orange County punk scene had fractured. We used to go this dance club called Circle City, and there’d be 10 different cliques, ” says Kriesel.”In our high school there was a rockabilly scene, as well as a mod scene and a New Wave scene, as well as a punk scene,” Holland adds. But at Pacifica High, a large public school in Garden Grove, Calif. Holland wasn’t a member of any of those groups. The third of four children born to a hospital administator father and a schoolteacher mother, he kept busy being a “good kid” and hoped to be a doctor. sports were a really big thing,” Holland says, “I was on the cross-country team.” He also happened to be class valedictorian (thus his nickname, Dexter). His senior year, Holland’s older brother gave him a Rodney on the ROQ compilation album.

Before then, Holland was a casual listener. But soon after, he was devouring Flipside and Maximumrocknroll, fanzines out of Pasadena, Calif., and Berkeley, Calif., respecively, that are virtual how-to guides to punkdome. His favorite bands were T.S.O.L. (particulary 1981’s Dance With Me), the Adolescents and Agent Orange County bands that weren’t as hung up on politic as their Bay Area counterparts. Holland’s cross-country teammate Greg Kriesel located punk even later. His investment-banker father saw law school in his son’s future. And for most of high school, Kriesel was a sports fan and self-proclaimed jock (he also played baseball). The first punk checklists he ever heard were the ones the ones Holland played for him. “Music wasn’t something that meant a great deal to me,” he says. “But I started listening to it because it was around, and I got used to it.”

Holland and Krisel formed their first band, Manic Subsidal, with two other cross-country teammates one night in 1984 after failing to get in a Social Distortion show. At the time, the two didn’t even own instruments, much less know how to play them. “Bryan and I both learned together,” says Kriesel, “and he wasn’t even playing chords at the time, so he’d play on one string, and I tried to do the same thing. By the summer we were actually playing songs, but it took a while.” Kriesel’s house was the site of the band’s first gigs. “It truly is just always a hangout,” Kriesel says, “on any given weekend night up to 20 people could drop by. I had a big upstairs that was pretty much mine, and my mom was downstairs. But she’s always been really cool about it.

That fall, Holland began premed studies at USC (he’s currently a Ph.D. candidate in molecular biology). Kriesel was attending Golden West Junior College and later recieved a B.A. in finance from Long Beach State while working part time in a print shop (he’s planning to attend law school). Weekends were the only time the band could rehearse. Once Holland had written a handful of songs with self-explanitory titles like “Very Sarcastic” and “Sorority Bitch,” the fledgling band headed for a cheap studio. Momentarily waylaid when its guitarist jumped ship, the band recruited Kevin Wasserman, an older Pacifica grad who then worked as the school janitor. Pretty soon, Wasserman was “not doing a hell of a lot except practicing at Greg’s house on weekends and drinking excessively.” Being the only member of the band over 21, Wasserman was particularly useful when it came to buying beer.

“I remember being amazed by Bryan,” Wasserman says, “He was valedictorian, he was such a math geek. So when I first saw him with black hair and plaid bondage pants, I was like ‘What are you doing?’ But I thought it was cool, going beyond what I thought was society’s role for him.” Ron Welty moved to Garden Grove for part of high school, and it was there that his older stepsister introduced him to Holland. “My mom’s been through a few divorces,” Welty says. “She’d get remarried and we’d move, and then she’d get divorced, we’d move.” Welt was only 16 when he begged Holland to let him substitute for Manic Subsidal’s drummer who had started medical school and wads missing lots of gigs.

In 1987, the Offsping paid to release their own 7-inch single. Unable to afford the additional quarter per copy it cost to paste the front sleves to the backs, the band bought a case of beer and glue sticks and held a party for its friends. “To this day the covers don’t hold together too well,” says Holland. It took the band two and a half years to get rid of the 1,000 copies it printed. Two years and a pile of rejections later, the Offspring scored a contract with Nemesis, a small punk label distributed by Cargo.

After tracking down producer Thom Wilson, who had crafted their favorite albums by T.S.O.L., the Vandals and the Dead Kennedys, the Offspring recorded another 7-inch single, called Baghdad, and an album debut titled The Offspring. “All punk bands back in ’84 wrote about was police, death, religion and war,” says Holland. “So that’s what we did.” While recording a track for a Flipside compilation with Brett Gurewitz – owner of Epitaph records and then Southern California’s biggest punk success story, Bad Religion – the Offspring glimpsed a rosier future. “A little after that, I got a tape,” says Gurewitz. “But I have to admit I passed on it.”

A year later, when the Offspring began circulating demos for what would become their next album to every punk label they could think of, Gurewitz reconcidered. “It definitely had what people call the Epitaph sound,” he says. “High calories, rebelleous punk with amazing melodies and cool economical song structures. “In 1992 Epitaph released Ignition, 12 brief but energetic Offspring songs that summed up the previous decade of Orange County Punk. Other Epitaph bands include Rancid and NOFX.In 1994 their breakthough single Come out and Play and top hit Self Esteem helped push thier third album, Smash to the best selling independent record of all time (9 million plus), and heavy MTV rotation.

After the success of Smash, new fans discovered Ignition as it reappeared in stores. Due to the amount of overpriced, poor quality bootlegs, they rereleased their self titled The Offspring in 1995 with thier own label, Nitro. Nitro has released albums for several other bands, including The Vandals and Guttermouth. In 1996, the Offspring signed with Columbia records after disputes with Epitaph.Their next album, Ixnay on the Hombre, was released in February 1997. Dexter and Jello Biafra stared their own benefit foundation, FSU this year. They are currently on tour

THE OFFSPRING TIMELINE DISCOGRAPHY

The Offspring (Nemesis/Cargo 1989 reissued on Nitro 1995) Ignition (Epitaph 1992) Smash (Epitaph 1994) Ixnay on the Hombre (Columbia, 1997) Americana (Columbia, 1998) Conspiracy of One (Columbia, 2000) Splinter (Columbia, 2003)

HISTORY

1984: Orange County high school classmates Dexter Holland and Greg Kriesel are inspired to form a band after an Irvine concert by local punk-rock heroes Social Distortion. With Holland the vocalist, Kriesel takes to the bass.

1985: School custodian Noodles joins up, allegedly for his ability to legally procure alcohol for the underage trio. The threesome practice in Kriesel’s parents’ house and play their first shows in Santa Cruz and San Francisco.

1986: The band, originally called Manic Subsidal, changes its name to The Offpsring. They press up 1,000 copies of the debut vinyl single, “I’ll Be Waiting” b/w “Blackball,” on their own Black Label. The band pioneers its DIY method by glueing the sleeves together at Kriesel’s house.

Sixteen-year-old Ron Welty gets to be the fourth member of The Offspring after the original drummer leaves to devote more time to school.

1989: Band signs to independent label Nemesis/Cargo. With punk producer Thom Wilson (T.S.O.L., The Vandals and Dead Kennedys), they release The Offspring, their debut album, which sells 3,000 vinyl copies.

1991: The band put out a 7″ EP, Baghdad (Nemesis/Cargo) and records “Take It Like a Man” for a Flipside magazine compilation, The Big One, designed by Epitaph Records owner (and Bad Religion guitarist) Brett Gurewitz.

1992: The band signs to Epitaph and record their second album, Ignition. After a record release party in Fullerton, CA draws 25 diehard fans, the album goes on to sell more than 1 million albums worldwide.

1993-’94: The band tours the U.S. once with Lunachicks and next with Pennywise. They also do a European jaunt supporting NOFX.

1994: Smash, their second album for Epitaph, is released. Featuring the mega-hits “Come Out and Play (Keep ‘Em Separated),” “Self Esteem’ and “Gotta Get Away,” the album is a phenomenon. The disc sells more than 11 million copies worldwide, the most ever for a band on an indie label, after “Come Out and Play” becomes a gigantic MTV hit. The album peaks at #4 on the Billboard Top 200 albums chart.

1995: Dexter and Greg start Nitro Records. The Huntington Beach-based label forms a roster that includes such California stalwarts as the Vandals, AFI, Guttermouth and others. Nitro also reissues the band’s self-titled debut on CD for the first time. The Offspring’s cover of the Damned’s “Smash It Up” is featured on the best-selling Batman Forever soundtrack.

1997: The Offspring sign with Columbia Records, and release the Dave Jerden-produced Ixnay on the Hombre in February. The album sells more than 3 million worldwide and peaks at #9 on the Billboard 200, with singles “All I Want,” “Gone Away,” and “I Choose” all hitting the Modern Rock charts. Spin raved: “Punk-rock zealots can take their rage to the grave, but what this band cares about beyond everything else is what zealots can abide least: songs.” The L.A. Times praised the album as “richly varied and thoroughly smart.. a mature, sometimes daring and always enticing effort by a band that constantly offers far more than meets the ear.” Jello Biafra makes a cameo appearance on Ixnay and joins the band on-stage to perform version of Dead Kennedy classics “Chemical Warfare” and “Holiday in Cambodia.”

1998: An MP3 file of “Pretty Fly (for a White Guy),” from the band’s yet-to-be-released Americana album is downloaded a record 22 million times over a 10-week period, landing it the #1 spot on Rolling Stone’s Top Pirated Internet Songs chart. When Americana is released in November, worldwide sales climb past the 10 million mark, thanks to the catchy single and MTV video. Other singles include “Why Don’t You Get a Job?,” “The Kids Aren’t Alright” and “She’s Got Issues.” The band’s touring schedule takes them to Woodstock ’99 for an acclaimed performance captured on film and the 1999 Reading/Leads Festivals in the U.K. “We love what we do,” says Holland. “We require to make the best music we can and try to top what we did before.”

1999: The group follows its tour of the U.S. with shows in Australia and Japan. The Offspring makes a cameo appearance in the cult horror/comedy Idle Hands, playing a cover of the Ramones’ “I Wanna Be Sedated” and “Beheaded” from their self-titled debut before Dexter is killed after speaking his one line.

2000: The group is hit with a cease-and-desist order from file-sharing service Napster after offering T-shirts sporting the company’s famed logo for sale on the band’s website. The band defends its actions, claiming they were simply “sharing” the logo with fans.

The band spawns more controversy when they decide to offer their new album Conspiracy Of One free of charge via the Internet prior to its initial November release date. Fans downloading the record were automatically registered in a contest to be awarded $1,000,000 directly from the band (live on MTV) on the day of the album’s release. Fans who go on to buy the record are awarded membership in the Offspring Nation digital fan club, receiving exclusive downloads of unreleased material, advance ticket sales, guarded chats with the band and more. Sony Music doesn’t agree and threatens a lawsuit. The band avoids the lawsuit by making individual singles available on their official website and MTV Online. “The reality is this album will end up on the Internet whether we want it to or not,” Holland tells the L.A. Times. “So we thought, ‘Why don’t we just do it ourselves?’ We’re not afraid of the Internet. We think it’s a very cool way to reach our fans.”

2001: The Offspring headline KROQ’s Inland Invasion at Blockbuster Pavilion in Devore with Incubus, Long Beach Dub Allstars, Pennywise, Social Distortion, Weezer, Mike D and Mixmaster Mike on July 18. In December, the band record “Defy You” with Brendan O’Brien for the soundtrack to Orange County, starring Colin Hanks and Jack Black. Dave Meyers directs the video.

2002: In March, The Offspring play the Las Vegas premiere of Tony Hawk’s Boom Boom Huck Jam, with an array of action sports champions like Hawk, Bob Burnquist, Dave Mirra, Mat Hoffman and Carey Hart, then go on for four more dates that fall. In July, they play a benefit concert with T.S.O.L. at the Anaheim House of Blues for They Will Surf Again and Life Rolls On, not-for-profit organizations formed by professional surfers dedicated to finding a cure for spinal cord injuries. In September, they open the Kerrang! Awards in London before being presented with the Classic Songwriter award by Garbage’s Shirley Manson. Said the venerable metal mag: “They have influenced and continue to influence new generations of K!-heads. Tonight’s award nails not only The Offspring’s glorious past, but their ongoing relevance.”

2003: The Offspring cover the Ramones’ “I Wanna Be Sedated,” which they first did for the film Idle Hands, on the tribute album We’re a Happy Family (Columbia), joining Metallica, Eddie Vedder, Marilyn Manson and KISS and among others.

The band lay down demos for the new album at Holland’s D-13 studios in his native Huntington Beach, then continue recording with producer Brendan O’Brien in Atlanta at Southern Tracks Recording and Henson Recording Studios in L.A. Drummer Ron Welty leaves the band. Former Vandals and A Perfect Circle drummer Josh Freese takes over duties for the recording process. The group is also joined in the studio by two old-school SoCal punk pals, Pennywise’s Jack Lindberg and T.S.O.L.’s Jack Grisham, who takes time off from his campaign for Governor of California to lay down some background vocals.

Holland announces the record will be called Chinese Democracy as an obvious tweak to Axl Rose, who had previously announced that was the title to the new Guns N Roses album he’s been working on for much of the past decade. “It was so damn funny,” says Dexter. “We felt like we had to do it. The idea of stealing the title of an album someone else has been working on for so long was very funny to us. You snooze, you lose. Axl ripped off my braids, so I ripped off his album title.” But ultimately, the band announced on their website that the decision to title the album Chinese Democracy had somehow caused production to come to a halt. “That album title jinxed us,” said Dexter.

The band visit Hawaii, where they film a surfing video with Da Hui, a notorious gang of native Islanders who welcome them to their North Shore turf. The footage will appear as extra footage on their upcoming CD.

The group decide to name the album, Splinter, which is now scheduled to come out Dec. 9 and select the first single, “Hit That.” In October, they bring in drummer Atom Willard, who was in Rocket From the Crypt for 10 years as well as playing with Moth and the Alkaline Trio.

Name The Offspring Height Naionality Amercian Date of Birth 15-Jun-1989 Place of Birth America Famous for

The post The Offspring Biography Photos Wallpapers appeared first on Beautiful Women.

source http://topbeautifulwomen.com/the-offspring-biography-photos-wallpapers/

0 notes

topbeautifulwomens · 6 years

Text

#The #Offspring #Biography #Photos #Wallpapers #amor #body #clouds #hiphopartist #instadaily #jewelry #lip #muas #sweet #trend

THE OFFSPRING TIMELINE DISCOGRAPHY

HISTORY

Sixteen-year-old Ron Welty gets to be the fourth member of The Offspring after the original drummer leaves to devote more time to school.

1993-’94: The band tours the U.S. once with Lunachicks and next with Pennywise. They also do a European jaunt supporting NOFX.

1998: An MP3 file of “Pretty Fly (for a White Guy),” from the band’s yet-to-be-released Americana album is downloaded a record 22 million times over a 10-week period, landing it the #1 spot on Rolling Stone’s Top Pirated Internet Songs chart. When Americana is released in November, worldwide sales climb past the 10 million mark, thanks to the catchy single and MTV video. Other singles include “Why Don’t You Get a Job?,” “The Kids Aren’t Alright” and “She’s Got Issues.�� The band’s touring schedule takes them to Woodstock ’99 for an acclaimed performance captured on film and the 1999 Reading/Leads Festivals in the U.K. “We love what we do,” says Holland. “We require to make the best music we can and try to top what we did before.”

Name The Offspring Height Naionality Amercian Date of Birth 15-Jun-1989 Place of Birth America Famous for

The post The Offspring Biography Photos Wallpapers appeared first on Beautiful Women.

source http://topbeautifulwomen.com/the-offspring-biography-photos-wallpapers/

0 notes