#the delancey nyc

[jilllovesmike]

Mike Faist is alive in NYC.

[forthepleasureofmylife]

New York City Subway

Photo: Dieter Krehbiel

[crying-on-the-six]

[sreegs]

fuggeddaboudit

[thejoyofviolentmovement]

Photography: Sex Street 3/29/24

Photography: Sex Street 3/29/24

The past week or so have been extremely busy in the JOVM world: As I’ve mentioned on a handful of previous posts, I was in Philadelphia last week for Asian Art Initiative’s Sound Type Music Festival and Music Writer’s Workshop. I shot two shows this week and my birthday was on Thursday. Busy week, indeed. Last night, I stopped at Super Bock‘s and New Colossus Festival‘s Happy Hour at Baker Falls…

[power-chords]

What are your fave nyc places to eat? I'm visiting there soon and I want some new places to try

Oh this is my favorite subject. OK. Pause on everything else. As a disclaimer my favorite thing to do is dine out solo and eat at the bar with whatever paperbacks have been floating around in my bag. So my recommendations are geared toward that purpose. Off the top of my head:

Good Fucking Luck getting in but Dhamaka if you can manage. It's just that good. I am a ramen junkie and believe that Ippudo NY still has the best bowl of tonkotsu in the city, but I am also fond of Ichiran, Ivan Ramen, Momosan, and of course the OG Momofuku Noodle Bar. Other kinds of noodles: Xi'an Famous Foods remains legit, and get the sesame noodles + everything else at Hwa Yuan. A bowl of pasta and a negroni at I Sodi is one of my favorite luxuries. No No No has solid yakitori and ramen/sushi to boot. Cocoron on Delancey for curry dipping soba. Dirty French for slutty bistro fare and people-watching.

Darbar Grill is my favorite Indian buffet in Midtown; not that you should spend a lot of time in Midtown. Taste From Everest has really delicious, affordable Nepali food in Curry Hill. Ma La Project is old reliable for me and my mom on theater nights. You do in fact have to eat at Katz's Deli if you haven't yet, just go at like midnight after you've seen a show at Bowery Ballroom and you're hammered. Get khachapuri and a tarragon soda at Oda House. Somtum Der has Isan Thai cuisine that will knock your socks off and you absolutely MUST order the grilled coconut rice which comes on skewers and you can dip it into a pot of spicy broth from one of your other entrees. Heaven.

Also, go to Tomi Jazz and tell me how it is.

[chaotic-starlight24]

Here's some little Dahlia facts and info :)

She collects post cards

She is short (a little taller than spot) but is extremely strong

She gets flustered pretty easily but is very good at hiding it

She fakes a New York accent that drops whenever she's comfortable around someone

Her mother was mentally unstable but was close to her, but she resented her father for the treatment he gave to her brothers

She believes her brothers are dead because after they left she never saw them again

She is an avid reader but only owns 2 books, so this book shop keeper lets her read books in his shop

From the academy, she can't sleep or sit comfortable unless she is perfectly uniformed with perfect posture

Her lip scar came from an incident at one of the jobs she worked at the docks, let's just say she is very wary of fishing hooks now

Her mother passed away and her father passed not long after, so her uncle and aunt were forced happy to have her! Though her uncle had important business ventures so they dropped her off at the academy, promising to return to her

She got her hat from Spot but wanted to make it her own, so she took the buttons from her mother's dress and sewed them onto it

She owns a toothbrush is (probably) the only newsie who regularly brushes her teeth (more routines from the academy)

Her and Spot have more of a cousin type of relationship, not quite siblings because they aren't that annoyed by each other.

Hotshot is her best friend for no real reason, they don't even know why they are so close

Her mother had a garden of dahlias so she was named after them, she can't remember her last name though

I'm still trying to figure out her mother's ethnicity, I think she would be from the Shawnee people but I don't want to get anything factually incorrect and be attacked or something, but I think that she has some native american in her and her mother taught her some of her culture

The Delancey brothers escaped from the family farm and made it to NYC, where they found a street to name themselves after. So that is why Dahlia didn't recognize herself as a Delancey till they meet again, since that wasn't their original last name.

Their father was most likely an immigrant, most likely Polish or from one of the countries of Caucasia

In my version the Delanceys are indeed brothers, cause I have seen some info that they are more found family and stuff but I didn't know that till I started writing all of this

I'm not of native American descent or anything so I'm probably not going to touch a whole lot on that when talking about her cause I don't want to get anything wrong and get harassed off the website, if you are native American and want to give me any facts that would make Dally accurate please do! I'm just trying to be a bit historically accurate since Dally and her family is mostly from the Ohio area, if you are offended by this I will probably change it.

[carolmunson]

starting from zero, got nothing to lose (eddie munson x ofc)

part I Eddie Munson makes it out of the Upside Down, and a year and some change later makes it out of Hawkins. Knee deep in the '89 NYC metal scene and working at a boxing gym in Brooklyn, Eddie wonders if he'll ever find his footing running from Hawkins. With only some phones calls to sustain his friendships back home, will he be able to let go for the long haul? Or will his past in Hawkins eventually catch up with him? AN: Back in June I started writing vignettes of this story as it came to me and am still developing it. I have plot ideas that need refining, but like, at least 20 pages of content for this story already. I've had to do a lot of research to make it as time period accurate as possible. I've lived in NYC for 12 years but wasn't alive in the 80s so I'm doing my best.

This first chapter is mostly exposition and background but our guy is a lil' sassy towards the end. The OFC does have descriptors, but whatever imagine her however you'd like.

I think the only TW is drug use and drug mention in this chapter but I'll be vigilant for any more. Lastly, if you're under 18, please don't read this shit.

New York City December 29th, 1989

It was a cold night. The subways were empty with holiday shopping finally over and the short lull between Christmas and New Years tourists had arrived. Eddie sat with his legs spread out wide on the bench of the train. One hand drummed out the beat of Dr. Feelgood on his knee, the other on the switchblade in his vest pocket. He only had to use it once since he came to the city, but it never hurt to have it ready to go. 

He didn’t like the subway. Not because of the graffiti, that was metal. Not because of the homeless sleeping on the train cars or asking him for money. Not because he already had a beat up truck he could drive instead. It was because when it was late at night, and it was just him, the little flicker of the overhead lights made him nervous. Like once they shut off, they’d shut off forever and he’d wake up still stuck in the…

“Hey man, you got a dollar?” a raspy voice asked, holding a hand out. Eddie looked up and gave the guy a quick once over. He looked rough – hunched over and dried out. The dirt caked in his nails looked like it had been there for years. 

“Sure man, yeah,” he fumbled a bit for his wallet, pulling at the chain on his pants. He slipped out a couple bills and handed them over, “Be safe tonight, okay?” 

“God Bless,” the man murmured while shuffling away, “Happy New Year.” 

Eddie looked out the window of the car, they still hadn’t pulled out of York Street. The trip from Gleason’s to Delancey was only a stop across the boroughs, but it sometimes felt like hours to make it into the city from Brooklyn. He caught his reflection in the window, still him – but a couple years weathered. The shine had dulled out of his eyes, only lighting up when the phone in his apartment rang because he knew it would be Dustin and the gang. His hair was the same curly, wavy, frizzy mess it always was. Calluses and scabs on his knuckles contrasted against his gun metal rings. 

After leaving Hawkins in the Fall of ‘87, he spent a lot of time sleeping in his Uncle Wayne’s truck while working odd jobs in different Ohio and Pennsylvania towns so he could make enough money to head out to New York. He wanted to go to all the places he read about in Metallix, Rock Scene, and Punk Magazine. Maybe he’d meet the Ramones or something, or THE fucking Ozzy after a show. He wanted to get out of all the small towns so at least he could be a freak in a big city full of other freaks. But if you wanted to be a freak in Ohio and Pennsylvania, you needed to know how to fight.

It took him some time to recover after getting out of the Upside Down, he spent over a year in Hopper’s cabin in a makeshift hospital bed. The only good side about the end of the world in Hawkins is that everyone thought he was dead; so they weren’t looking for a satanic killer on the loose anymore. The downside was trying to figure out where they were going to find him a blood supply. It worked out but just barely. Then there was the whole, learning to be a person again. When he started getting stronger, he told Hopper his plan to leave, and Hopper taught him the basics. Jab, cross, hook, uppercut. His stance, how to move, how to breathe, how to block. He was kicking himself for not learning sooner. 

The kids were able to snag his school records, Wayne brought all of his cassettes, documents, and his guitar Lucy who survived the trip from another dimension. His uncle gave him $400 dollars, Wayne’s entire savings, and his beat up truck. 

“Call when you can,” he said in a firm hug before Eddie left – but Wayne passed away a few months later from a heart attack. It killed him not to go to the funeral. 

He ended up in the city around the same time last year, came across Gleason’s Gym during a fight and asked for a job as a janitor the same night. Something about watching boxing matches gave him the same excitement he got whenever he heard a solid guitar solo. He didn’t want to get in the ring or spar or anything, he just wanted to be around some of that chaos…and the girls helped, too. Girls always helped. Bruce, the owner, said he’d only let the manager give him a raise if he got his GED – and so maybe ‘86 wasn’t his year, but ‘88 had shaped up to be.  

The pay wasn’t amazing, but he wasn’t sleeping in his car long. Eddie was good at a lot of things, cleaning up blood and spit, fixing cars, he could play guitar, and most importantly, he was really, really good at selling cocaine. He was quick to be picked up for selling, his look helped, but he made sure to find a supplier with quality. It wasn’t Hawkins, so there weren’t many positives in selling shitty drugs in NYC — just a lot of split lips and black eyes. He did his best in metal bars, music venues, and out of Gleason’s. A lot of the guys used it to stay lean and keep their weight class. This came in handy any time he heard a complaint in the men’s locker room. That’s where Tony came in the picture. 

The train screeched into Delancey and Essex and he swung himself on the pole off the train, a patched up leather satchel slamming up against his hip as he did. The sound of pills shaking in the bag distracted a few passers by but he shook off the stares, it was nothing at this point. Eddie got out of the subway into the chilled December night, lit a cigarette, and made his way to his next job. 

Tony Cardalino, or more affectionately known as Tone, came to Gleason’s a few months ago to train. Tone was like him: shaggy brown hair, bandana in his back pocket, battle jacket – the works. He was about five inches taller than him, built like a tank, a good fighter, and overall a lot more intimidating than Eddie ever was. Chrissy’s ‘ You’re not what I thought you’d be ,’ rang through his head the first time he had a conversation with him. 

“Aw nice pin, dude,” Tony said one night in the locker room while Eddie took off his coverall at the end of his shift, “I feel like the new kids don’t give WASP their respect.” 

That night they went through a pack of Marlboros together outside, talking about bands and Eddie still finding his footing in the city. He told him about the first time he went to CBGB and L’Amour, Tony told him all the good places to have sex with chicks there. He took the biggest interest in Eddie’s dealing. Tone’s second cousin was connected to the mob, a solid hit man, until he was the hit – so his bar ‘Skid’ on Avenue B needed a new supplier. Eddie wasn’t about to pass up another opportunity to make money, so he took him up on the offer. He’d go to Skid after Gleason’s and bring his inventory with him. 

“Just don’t let Ron catch ya,” he confessed, “You’d think those bartenders and bitches are too busy, but they see everything .”

“Is Ron a pig, or a narc or something?” Eddie asked, a little flash of fear striking through his chest. 

Tony laughed, “Nah, Ronnie’s just off that shit. Not really into the whole drug thing anymore and when Paulie got put in the river it shook everybody up. But Ron’ll deck ya if you get caught and it's a hell of an uppercut.” 

Now, Eddie had heard of Skid, but it had been rumored among some metal heads that it was more of a hard rock bar than a metal bar so he hadn’t visited. There were places closer to his apartment he’d been hanging out at anyway. But ever since Tony’s uncle overdosed and it was left to Tony to run, things had taken a more metal turn… supposedly . 

He pulled open the door, covered in stickers aside from the little opening for the ‘Come in! We’re open!’ sign. His hopes dashed a little as Led Zeppelin's ‘Black Dog’ blared through the speakers. In the ‘Is Led a metal band?’ debate, Eddie was staunchly against the idea – but all around Skid seemed like one of the places to be, even if it was a little quiet for a Friday. He guessed people were out of town or maybe still spending time with their families – whatever that means. He scoped the place out and saw Tony’s described ‘bitches’ manning the bar much to his relief. After finding a dark corner to settle in, he took a seat, keeping his bag open discreetly next to him.

All the booths, tables, and the bartop were dark cherry wood that looked black in the low lighting save for a little platform stage in the back, littered with amps and a drum set. Red leather upholstery looked worn and weathered from years of bar fights and the weight girls sitting on laps. Beer stains and cigarette burns. There were signed posters and photos all over the walls, two autographed Gibson’s hung over the bar with fishing wire. Ripped stickers and dollar bills with lipstick marks stuck to the back splash, lacy bras hung from the ceiling over the stage. It felt like a warm hug, he felt more at home than he had in months.

“Okay, well now that that shit’s over we’re gonna play Angel of Death by Suh-layerrrr,” a patron said lazily over the mic on the platform while his band set up. The crowd in the bar rowdily cheered. He had a beautiful Fender, Eddie almost purred in his throat when it glinted in the hazy red stage lights. He couldn’t pay attention long though, because with the band as a distraction, his customers slid by him one right after the other. The swap of baggies and bills felt like a waltz to him now he was so used to it, tucking the money into his sleeve and dropping it in the open satchel. He knew Tony had let word spread on who to look out for, but he wasn’t expecting this much in sales in one night. 

To not bring too much attention to himself, he closed his bag up after a few songs from the band and maneuvered over to an empty stool at the end of the bar. He slung the bag on one of the purse hooks under the bar’s lip (which he was surprised they had installed) and turned his attention back towards the stage. Nodding his head in time with the beat, crossing his arms across his chest – he tried to catch a glimpse of Tony just about anywhere, but he hadn’t seen him since he arrived.

“You gonna order something handsome, or do ya just like the view?” he heard a woman’s voice ask over his shoulder. He turned on the stool, face to face with a barmaid who was leaning in close to hear his answer. He looked up at her, taking in her details. Little leather bustier, big denim vest riddled with patches and pins, jeans that were just tight enough. The standard type at bars like this, tits out and everything. She had brown eyes with too much mascara lashes and big brown Farah Fawcett hair. He could smell her cherry flavored Lip Smackers from the stool. Checked all the boxes, down to the Debbie Harry smoky eye. 

“Oh,” he started, flashing her a smile and resting his chin on his hand, “Definitely the view.” Eddie had flirted his way into plenty of free shots with girls like her before, it was his favorite sport. She let a little puff of air out of her nose and leaned down onto her forearms. 

“What can I get you?” she asked, matching his posture. 

“I don’t know, what do you like?” he asked back, making a little show of slipping his eyes to her cleavage and then back up at her. She caught his stare and gave him a wink before slamming two tumblers down in front of them. I’m sure you do that to all the guys, he thought to himself. She poured two generous shots of Jack Daniels, picking up her glass and waiting for him to pick up his. 

“I always like to toast before I do a shot with a stranger,” she flirted, “Especially ones like you.” He was so easily intoxicated by women these days and this was no exception, his mouth ran dry at her attention. 

“What are we toasting to?” he asked in a low voice one hand on his drink and dropping the other down on the bar. With her free hand she reached slowly toward him, delicately placing his chin in her hand. He could feel the tips of her almond acrylics graze his skin.

She got nose to nose with him, Eddie could smell her perfume mixed with sweat and cigarette smoke. Her lips parted, hovering over his – his heart was thumping in his ears so hard it was drowning out the drums. 

“To me never catching you slinging that shit in my bar again. I don’t know who the fuck you think you are, but you need to get the fuck out of here,” she hissed through gritted teeth. He blanched and sputtered. Was this a set up? Was he not at the right bar? Her nails dug into his chin as she threatened him, “Cause if not, I’ll call the fuckin’ owner out here and he knows the fuckin’ mob. Better yet, I’ll kick your fuckin’ ass myself.” 

Eddie panicked, dropping the shot on the bar with a clink! Fuck, shit, shit, shit – 

Oh. 

Oh!

The ‘fucking owner’ that kne the mob was Tony. Eddie let out a snicker of relief, but it came out snarky. He took her wrist and pulled his face out of her nails, feeling the indents on his skin as he ran his other hand over his chin.  He leaned onto his knuckles over the bar, looking down to face her directly,

“You must be Ron.” 

[emmedoesntdomath]

Okay

1) I’d love to hear more about the Brooklyn finch theory

2) Id also love to hear what you think about the “Finch stole the slingshot from Oscar and now parades around with it so Delancey knows he can and will kick his butt at any given time”

yessssss

ok, ok. formally introducing: emme’s headcanon of finch being from brooklyn (also known as her most delusional hc to date, but that’s fine). there are actually a number of things that could make this possible. starting from the beginning, we have:

-the newsie info card

now, these we obviously view as canon, because they were made and distributed by disney while newsies was on broadway. finch’s card doesn’t say much, but it DOES say that he ran away from home at an early age. it doesn’t say where home was, which is interesting, but it’s safe to assume that it’s somewhere in nyc. the distance from brooklyn to manhattan is walked every day by race; it wouldn’t have been that hard for finch to cross.

-jacobi scene

when they’re assigning different areas to cover, finch isn’t immediately given a territory. but when jack’s looking for someone to get brooklyn, he picks on finch, and asks him if he’s scared of the turf. finch says no, he’s not (and he says this pretty convincingly), which makes sense if he grew up there. why would he be scared of his hometown, y’know? this affect is immediately ruined, though, when he admits that he’s scared of spot (fair).

-aversion to violence

finch is pretty damn rational, and when the newsies are first talking about striking, he’s the one who points out what happened to the trolley workers. plus, this is the guy who we all assume to be dating ALBERT, and bro is not exactly the paragon of peace. someone has to be more likely to use his brain rather than his fists, right? if he’s the one to be thinking about danger, then can’t we assume he would avoid it? and, like I said earlier, most of us agree that spot had to fight his way to the top (and let’s be real, spot didn’t exactly usher in a reign of peace either). little finch had already run once; what was another time if it was for his safety?

-slingshot

I already explained this one, and I’ll admit that it’s probably the biggest stretch, as it’s connecting two different versions of newsies. the oscar theory isn’t an unrealistic one. also, it’s funny.

-what if he pulled a race?

we’ve all basically decided that while, yes, racetrack higgins is jack’s second, and therefore one of the most powerful rank-wise among the manhattan newsies, he also happens to be just as good as brooklyn’s, because he’s a simp for spot conlon he likes betting at sheepshead. what if finch just saw a certain redhead one day and went yes, okay, he’s mine now? it would hardly be the first time this happened (lookin’ at you, higgins). this isn’t really as much of a reason as a possibility, but I think that’s just as important.

there’s my little rant! now, obviously, this is all speculation and just a personal headcanon, but also (maybe?) gives us more of a backstory for finch.

[jack-kellys]

ONLY SO FAR: whos' who above ground.

the world

underground

who's who underground

and of course there are those that reside above the tunnels of below...

David Jacobs: 23. The son of an architect and a museum curator, he’s currently studying law at a top university in England. A bit too quick for his own good, David often knows his opponent’s next move before they do, making his cross-examinations seem more planned ahead than they already are. He’s usually ready for anything, and it’s reasonable for him to chalk it up to precise preparation. But when his father is one of the most precise architects in New York, and his mother answers tourists' questions before they’re even asked, it’s easy to call the Jacobs’ heritage into question. 

Sarah Jacobs: 24. Recently broken up with Sheila Conlon. Up and coming fashion designer in Manhattan, usually anticipating what her superiors will be looking for design-wise for whichever season she’s crafting for.

Les Jacobs: 13. A nuisance. 

Katherine Plumber: 22. A young reporter who has started to pick up on a pattern, at least in NYC. While she hasn’t started reporting it from an investigative angle, she’s been breaking most of the stories covering heists, break-ins, and stolen items. It’s rare when she’s able to know what exactly was stolen, and she wants to find out why. 

Joseph Pulitzer: 60. The publisher in New York right now. Multiple popular news outlets have to go through him and his company to get their paper distributed. Also has a major hand in broadcasting as a news producer. He can control much of the information that the public receives, and knows nearly everything about everyone he controls. One thing he hasn’t figured out yet is whoever has been trying—and failing—to steal from his collection. 

Jonah Wiesel: 50. Head of Pulitzer’s security, and has been dealing with the brunt of the attempted heists. 

Oscar and Morris Delancey: 25. The twins. A prime example of Inclined being used as hired weapons. Both normally work under Pulitzer and with their uncle, but take on outside hired gigs for a pretty penny. Good with enhancement spells. 

Eric Snyder: 56. Either Inclined, or quite talented at squeezing the truth from all those who cross his path. Frequently hired by any elitist asshole desperate to hide or hoard something away from those it belongs to. Often a mercenary security head, always with brutal tactics.

but there's only one player in it all who you'll be following specifically: jack kelly, known as the outlaw to the elites and cowboy amongst his friends.....

our protagonist (1 hour.)

[mybenia1]

photographer Rebecca Lepkoff.

Delancey Street, NYC, 1940's

[sparkedblaze]

CAN WE DISCUSS MUSH PRETTY PLEASE

YES GODS ABSOLUTELY YES I LOVE MUSH

IDK IF YOU WANT 1899 MUSH OR MODERN MUSH SO HERES BOTH MWAH😘

T/W mentions of violence

Ily 🥰

1899:

Another real newsie!!!! “Young” Mush Meyers, my sweet summer child 😭😭

As far as I know there’s only one mention of Mush Meyers in actual strike things. The New York Sun reported on a boy named Young Mush who had bet his freedom on outrunning a cop so that other newsies could soak a scab

The boy was small, so the others knew they could take him. But there was a policeman protecting him. Mush said something along the lines of “That cop’s too fat to run fast. I’ll get him chasin me and you tend to the scab.” And he just went over to the boy, snatched some of his papes, and took off

Newsies Mush:

Nick “Mush” Meyers has been a newsies pretty much his whole life. He doesn’t really remember life before being on. He was old enough to have been in fights (though that wasn’t hard seeing as this was the streets of NYC)

His nickname comes from how bloody and gross his mouth looked when he showed up at the lodgehouse. He also had a lisp 🥺 So the others probably made fun of him for that. I hc that he’s only just starting to talk again so n the movie bc the boys made fun of him for so long 🥺

Likes to think he’s the muscle of Manhattan but is honestly baby

He’s def scared of bugs (esp moths) and is so embarrassed by it

MY SNOWGLOBE COLLECTOR. I WILL DIE ON THIS HILL THE SNOWGLOBES ARE THE ONLY THINGS THE OTHERS WONT TOUCH BC MUSH ALMOST KILLED SOMEONE WHEN THEY DID

So good with kids. Probably wants to be a social worker when he grows up.

Blush 😍😍😍 Blink and Mush make such a cute pair. I also like to think Mush is helping Blink calm down and become less violent (pushing him away from Crutchie during Carrying the Banner) which includes things like ‘if you feel the urge to hit someone hit me instead’ which is shown in the little pap he gives Mush when the Delanceys show up for the first time

I just love them

Modern/Influencer AU:

(I think I’ve already put his but I love it sm I’m gonna do it again)

Mush✔️

Gymnast. Does cool tricks and flips. Post to every platform out there (including tumblr. Goes undercover in his friends’ fandoms on all of them)

Mush Meyers: He used to have a super cool or funny channel name, but he recently rebranded and just realized he was enough as is. He didn’t have to be Tumblingthroughlife, he was Nick Meyers. And that was enough. Though, he does prefer to have an online name of Mush, so he can kind of separate his online presence from his real life. He always gets someone to film his routines, and that’s mainly what he posts to YouTube

He’s also done some streams that’ll have the names of all the tricks he can do on screen, and the first 15-20 people to donate x amount of money get to make a routine for him.

He also does charity live streams, people donate and they get a hint as to where he is, and he’ll hide in a place around town. The first person to find him gets to donate whatever he’s earned to the charity of their choice. He personally doubles whatever’s been earned. It usually takes at least an hour for someone to find him. If it takes them longer than that, he’ll triple the earnings instead.

[crying-on-the-six]

An afternoon below delancey street.

[newmsies]

You know who has a messed up leg?

Newt Scamander

You know who else has a messed up leg?

Crutchie Morris

You know who ELSE has a messed up leg?

M E . it's from falling off a balcony when i was 6, ain't need-a-crutch bad but it sucks

And what to the 3 of us all have in common?

We're british, have messed up legs, and are transgender because I'm right and you're wrong unless you agree with me then you're right too but if you don't agree with me you're not actually wrong it just doesn't match up with my opinion so I'll hear you out on your opinion but most likely won't agree by the end but I'll always respect it ofc

I will in fact be drawing this however at the moment I'm on a plane to visit family in NYC and forgot to charge my iPad, drawing on my phone is possible however difficult. If i can figure out my iPad situation on the plane i will but until then this, the first chapter to my delancey brothers fanfic, and the (joke ofc) fanart of t4t Pulitzer and Wiesel will but put on hold until i get to my family's place

[liquoricebxxxh]

"Azealia Banks aka Miss Bank$ (dollar sign optional) is an unsigned MC/producer from Harlem, although some say the Bronx – we tried calling her to check but she was out, or in but otherwise engaged, possibly doing some of the things she raps about, like terrorising men or having sex (same difference, as far as we can tell). She raps a lot about the sexual act and related matter – "tits" and "dicks" make regular cameo appearances in her songs, she rhymes "phone" with "bone", y'all, and you just know she doesn't mean dog food, and when she says she likes king-size chocolate, specifically bars with nuts, you get the impression she's not talking about Snickers, but you never know. Here's a typical Miss Bank$ lyric: "We hit the liquor, now he wanna lick her/YKK he's on my zipper/He wanna tickle my fancy/And just go downtown like Delancey." The allusions to cunnilingus, not to mention the references to NYC thoroughfares, may prove a barrier to daytime UK radio play, but there's no denying she puts the "very" into verisimilitude."

She's 17 and still studying – she attends LaGuardia high school, the performing arts institute, but she's not, she insists, "one of those ridiculous art-school divas". She writes and produces all her own material, except for a track called Supplier, whose beat was supplied by none other than rhythm-meister du jour Diplo. She hates men in tight pants and soft-drink stains on your tongue/teeth, so get brushing, fellas. She's great at Scrabble and she's "the best thing since crack rocks – and fuck you if you don't agree". Don't let her cute looks fool you: she can be sassy, even savage ("I ain't a fat bitch"), she even pulls a Lily Allen on Gimme a Chance, poking fun at the size of her boyfriend's package, and just wait till you hear Barbie Shit, which makes Amanda Blank sound like (insert name of favourite pious female performer). Her main influence, she says, is "the news", although we don't recall CNN's Soledad O'Brien having such a potty mouth. She doesn't just do dirty, though; her other specialist subject is economics: "If you try to fuck with Banks you'd better make a deposit," she warns on The Chill$ and her approach towards the issue of redundancy is brutal but simple: "Yeah, I got a boyfriend, but I'll lay him off if you wanna get employed." Obama should have such a ruthlessly efficient minister for jobs.

Meanwhile, her music is bright and bouncy electro. She samples, of all obscure British synth-poppers, Ladytron on Seventeen. The backing tracks for The Chill$ and Gimme a Chance sound like they're taken from a classic New York punk-funk outfit such as ESG or classic Manc-funk influenced by same (ACR, say). And the popping synths and three-note keyboard pattern on A Bitch is Ill are pure Yazoo. A US teen-girl spitting fierce, fresh rhymes over ice-cool early-80s-style Eurotronica – what's not to like?"

-The Guardian, June 2009

[greatopportunityforyourband-blog]

We will also require you to guarantee the first $150 worth of tickets by paying it upfront in cash on the night of your show, before your show begins

Hey there,

Thanks so much for taking an interest in booking with us and we would love to have you at The Delancey! :) With that said, just scroll down for a date list update, door deal info, back line info, and all other details, and to make a request for a show confirmation, can you send me the following information?  

NOTE: We must receive this form filled out in full from you in order to book a show – if we do not receive it, we cannot book the show until we do receive it. 

DISCLAIMER:  All of these questions were designed to make it so you could have the best possible show experience.  To put it simply, it is not fair to the act who follows through with their guarantee to have to play alongside an act who does not follow through with their guarantee.

Artist/Band Name:                  

Venue:

Date/Time you would like to book:

Backup date/time(s) that could also work (optional but recommended):

Please list all instruments you will be using for the show:

How many vocal mics:

How long is your show (not including set up time):

Phone number:

Email:

Website link:  

Facebook link:

Instagram link: 

Link to where we can hear your music:

Please list three hashtags that describe you (for example, #forthelove, #salvation, #rhythmandblues):

City and state where you are based:

Have you played a successful show in NYC before and if so, where did you play, and how many people did you draw to each show:

How old is each band member (just fyi, we use this information to confirm that you will be able to abide by the age rules at any given venue, as some of our venues require that all performers are 21+):

How many members are in the band:

First and last names of each band member (to help our door person record your audience with as much accuracy as possible, as a lot of guests don’t know the name of the band they are coming to see):

Roughly the number of fans you can draw to the show:

Do you guarantee to draw that number of fans to any and all shows that you would be booking with us:

Do you guarantee to not book any local shows within 2 weeks prior & 2 weeks after your date scheduled with us:

How do you plan to promote the show:

Do you understand that if you draw zero people to the show, there is no guarantee that any other band’s fans will stay and watch your show, and we will not have the confidence to be able to rebook you for another show:

Do you understand that unless you have a legitimate emergency, if you cancel last minute we won’t be able to book you again:

Have you read the show info provided for you, and have you read the door deal:

Do you agree to the door deal:

**********KEEP SCROLLING DOWN**************

************PLEASE READ THE FOLLOWING- VERY IMPORTANT************

20+ FAN DRAW REQUIREMENTS All artists are screened and booked based on quality and on how many people they can draw to the show, so it is extremely important that you can bring a following of at least 20+ people.  If you cannot meet the draw requirements, please do not book a show. 

We also ask that you do not book any local shows within 2 weeks prior & 2 weeks after your scheduled show with us.  We really prefer that you only did local shows once a month or once every 6 weeks, and we explain why below in the “Special Tips and Tricks: How To Successfully Promote and Draw Fans To Your Show” section, but if you can honestly handle more than that draw-wise, good for you and go for it.  Usually though, it is the best way to ensure that your following can make all shows and attach value and priority to your shows, because they are always a big deal and don’t happen too often but just often enough to be something you never want to miss.  When achieved, it is truly the biggest win-win situation for everyone, most especially for the act who is performing.

****************************************************************************

............................... 

VENUE LOCATION

............................... 

The Delancey

Capacity of Live Performance Room Downstairs: 200 standing and 50 seated

Capacity of Rooftop: 400

168 Delancey St

New York, NY 10002

Subway: Take the J or M to Essex St, or the F to Delancey St

www.thedelancey.com

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VENUE AVAILABILITY

............................... 

The Delancey Weather Proof Rooftop (For Singer/Songwriters, Pop/Rnb Acts, Comedy Acts, & Burlesque Acts)

June 13 at 11pm (Thursday)

……………….………… 

The Delancey - Live Performance Room Downstairs (A full back line is provided and any kind of show from all genres are welcome in the live performance room, from acoustic shows to large band shows, etc)

April 20 at 545pm (Saturday)

May 11 at 745pm (Saturday)

June 7 at 545pm (Friday)

July 18 at 8pm (Thursday)

July 19 at 545pm (Friday)

July 25 at 7pm, 11pm (Thursday)

July 26 at 545pm, 645pm (Friday)

August 1 at 1015pm, 1115pm (Thursday)

August 2 at 545pm, 645pm (Friday)

August 3 at 545pm (Saturday)

August 8 at 10pm, 11pm (Thursday)

August 9 at 545pm, 845pm, 945pm (Friday)

August 10 at 545pm (Saturday)

August 15 at 7pm, 8pm, 9pm, 10pm, 11pm (Thursday)

August 16 at 545pm (Friday)

August 17 at 545pm (Saturday)

August 22 at 7pm, 8pm, 9pm, 10pm, 11pm (Thursday)

August 23 at 545pm, 645pm, 945pm (Friday)

August 24 at 545pm (Saturday)

August 29 at 7pm, 8pm, 9pm, 10pm, 11pm (Thursday)

August 30 at 545pm, 645pm, 945pm (Friday)

August 31 at 545pm, 645pm, 745pm, 845pm, 945pm (Saturday)

September 5 at 7pm, 8pm, 9pm, 10pm, 11pm (Thursday)

September 6 at 545pm, 645pm, 745pm, 845pm, 945pm (Friday)

September 7 at 545pm, 645pm, 745pm, 845pm, 945pm (Saturday)

September 12 at 8pm, 9pm, 10pm, 11pm (Thursday)

September 13 at 545pm, 645pm, 745pm, 945pm (Friday)

September 14 at 545pm, 745pm, 945pm (Saturday)

September 19 at 7pm, 9pm, 10pm, 11pm (Thursday)

September 20 at 545pm, 645pm, 845pm, 945pm (Friday)

September 21 at 545pm, 645pm, 745pm (Saturday)

September 26 at 7pm, 8pm, 10pm, 11pm (Thursday)

September 27 at 545pm, 645pm, 745pm, 845pm, 945pm (Friday)

September 28 at 545pm, 645pm, 745pm (Saturday)

October 3 at 815pm, 915pm, 1015pm, 1115pm (Thursday)

October 4 at 545pm, 645pm, 745pm, 845pm, 945pm (Friday)

October 5 at 545pm, 645pm, 745pm, 845pm, 945pm (Saturday)

October 10 at 7pm, 8pm, 9pm, 10pm, 11pm (Thursday)

October 11 at 545pm, 645pm, 745pm, 845pm, 945pm (Friday)

October 12 at 545pm, 645pm, 745pm, 845pm, 945pm (Saturday)

October 17 at 7pm, 8pm, 9pm, 10pm, 11pm (Thursday)

October 18 at 545pm, 645pm, 845pm, 945pm (Friday)

October 19 at 545pm, 645pm, 745pm, 845pm, 945pm (Saturday)

October 24 at 7pm, 9pm, 10pm, 11pm (Thursday)

October 25 at 545pm, 645pm, 845pm, 945pm (Friday)

October 26 at 545pm, 645pm, 745pm, 845pm, 945pm (Saturday)

October 31 at 11pm (Thursday - Costumes Mandatory)

November 1 at 545pm, 645pm (Friday - Costumes Mandatory)

November 2 at 545pm, 645pm, 745pm (Saturday - Costumes Mandatory)

November 7 at 7pm, 9pm, 10pm, 11pm (Thursday)

November 8 at 545pm, 645pm, 745pm, 845pm, 945pm (Friday)

November 9 at 545pm, 645pm, 745pm, 845pm, 945pm (Saturday)

November 14 at 7pm, 8pm, 9pm, 10pm, 11pm (Thursday)

November 15 at 545pm, 645pm, 745pm, 845pm, 945pm (Friday)

November 16 at 545pm, 645pm, 745pm, 845pm, 945pm (Saturday)

November 21 at 7pm, 8pm, 9pm, 10pm, 11pm (Thursday)

November 22 at 545pm, 645pm, 745pm, 845pm, 945pm (Friday)

November 23 at 545pm, 645pm, 745pm, 845pm, 945pm (Saturday)

November 29 at 545pm, 645pm, 745pm, 845pm, 945pm (Friday)

November 30 at 545pm, 645pm, 745pm, 845pm, 945pm (Saturday)

December 5 at 9pm, 10pm, 11pm (Thursday)

December 6 at 545pm, 645pm, 745pm, 845pm, 945pm (Friday)

December 7 at 545pm, 645pm, 745pm, 845pm, 945pm (Saturday)

December 12 at 7pm, 9pm, 10pm, 11pm (Thursday)

December 13 at 545pm, 645pm, 745pm, 845pm, 945pm (Friday)

December 14 at 545pm, 645pm, 745pm, 845pm, 945pm (Saturday)

December 19 at 7pm, 8pm, 9pm, 10pm, 11pm (Thursday)

December 20 at 545pm, 645pm, 745pm, 845pm, 945pm (Friday)

December 21 at 545pm, 645pm, 745pm, 845pm, 945pm (Saturday)

December 27 at 545pm, 645pm, 745pm, 845pm, 945pm (Friday)

December 28 at 545pm, 645pm, 745pm, 845pm, 945pm (Saturday)

............................... 

VENUE LOCATIONS AND SPECS

............................... 

The Delancey

Capacity: 200   

168 Delancey St

New York, NY 10002

Subway: Take the J or M to Essex St, or the F to Delancey St

www.thedelancey.com

AGE RULES FOR THE DELANCEY: The Delancey is strictly 21+ for all guests.  When it comes to performers, The Delancey allows underage performers so as long as they abide by the following conditions:  1) We must receive the name(s) of all underage members at least 1 week in advance so that we can meet the venue’s requirement (and deadline) that we notify them about any underage performers at least 1 week in advance. 2) Underage performers are only allowed inside of the venue 15 minutes prior to the scheduled set time (to set up), and 15 minutes after the scheduled set time (to load out).  If an underage performer refuses to leave after the set is over, the next artist will not be allowed to go on until the underage performer has left the venue. 3) If you choose to schedule an early sound check, underage performers are allowed to sound check, but they must leave immediately after the sound check is over and come back later (right before the set begins). 4) Underage performers will be marked with an X on their hands upon arrival. If the underage performer is caught with anything other than a water bottle, they will be asked to leave immediately.  5) Please note that the venue is doing us a huge favor by even allowing underage performers, so if you are not honest about your age in the form (if you say that you are 21+ and it turns out you are underage), the venue will reserve the right to cancel your show on the spot. 

SET TIMES:  Set times are 45 minutes (or less) with a 15 minute changeover period between shows, but if you are interested in booking a 2-5 hour event instead, please let me know and I will send you separate details for how to book a multi-hour event.

LOAD IN TIME AT THE DELANCEY:  Load in time is 515pm or later at The Delancey, but you are not required to load in early if it is inconvenient for you.  Please just make sure to show up at least 30-45 minutes prior to your set time.  

SOUND CHECKS:  Early sound checks (at 430pm, etc) are available upon request so as long as you send in your request at least 1.5 weeks prior to the date of the event.  If you’re interested in scheduling an early sound check, just let me know. 

PERFORMANCE TIMES: Shows start on the dot, so please promote your show to be 30 minutes to an hour prior to your scheduled start time.  An hour is preferred as people are always late!  

............................... 

DOOR DEAL / MERCH / ONLINE TICKETING INFO

............................... 

DOOR DEAL GUARANTEE:  The cover is a default of $10, but you are welcome to change the cover price if you would like - just let me know.  The door keeps the first $150 worth of tickets.  The performer keeps 100% of all covers collected from their individual audience after the first $150 worth of tickets.  We will also require you to guarantee the first $150 worth of tickets by paying it upfront in cash on the night of your show, before your show begins.  The reason we require this is so that we can make sure that each act is fully confident about drawing at least 15+ fans.  The minimum and the maximum that we will be taking is $150.  Once you give $150 to the door person, they will keep that, and from there you will receive 100% of the covers collected from your individual audience.  You will be paid in cash immediately after your show is over via the door person.  You are also welcome and encouraged to create and manage your own online ticket sales - just make sure to provide the door person with an alphabetized list of your online ticketed guests on the night of the show, before your online ticketed guests arrive.

NOTE ABOUT OUR DOOR PERSON: Our door person will ask each individual guest who they are there to see, and they will record your audience accordingly on a publicly displayed tally sheet that everyone can monitor.  Our door person will also pay you any proceeds you make at the door, in cash, as soon as your show is over.

SELLING MERCHANDISE, PHOTO/VIDEO,:  You can feel free to sell merchandise at any of our venues.  There is a table that could be turned into a merchandise table at any of our venues.  You can also have a videographer / photographer.  

NOTE ABOUT ONLINE TICKETING:  As far as online tickets go, we think it is important that you organize and manage your own personal online ticketing for your show because if we sell tickets for the event as a whole, we won't know who bought tickets for which show (and then if your ticketed guests end up missing your show, we won't know who to send the money to, and that just doesn't make sense to us).  So you are more than welcome and also encouraged to organize and manage your own online ticketing as long as you work it out with and compensate the door person upon arrival before the guests arrive on the night of the show (and if you want to bring a list of guests who already paid for their ticket, we ask that you bring an alphabetized list).

............................... 

DISCLAIMERS

............................... 

CANCELLATION POLICY:  All nights are subject to cancellation - it is a rare occurrence and basically never happens, but it can happen if unforeseen circumstances come up.

CONFIRMATION POLICY:  You are not confirmed for a show unless you receive a clear and formal confirmation letter from your booker stating in bold that you are confirmed.  So if you submit for a show booking and do not hear back, you are not confirmed for the show yet.

THE DELANCEY DRESS CODE - After 1030pm on the weekends, no ripped jeans, sweats, or any gym attire (tank tops, etc).  "Proper attire" on weekends. 

............................... 

BACK LINE INFO

............................... 

THE DELANCEY BACK LINE (LIVE PERFORMANCE ROOM - STAGE 10 X 15):

FOH:

Midas M32 console [16 inputs, 8 outputs]

Tablet remote control

PA:

Top - 2 Yorkville U15 (1 per side)

Subs - 2 EV X-Sub 2x18” (under Tops)

MONITORS:

(4x) – Mackie Thump 12A  powered wedges

DJ SETUP:

1 fixed coffin (with sliding platform for computer) containing:

(1x) Pioneer DJM 900 dj mixer 

(2x) Technics SL1200 MK-2 (phono inputs THRU serato) MUST BE ADVANCED

(2x) 1/8” cable for computer (line input)

(2x) Pioneer CDJ2000nexus (CD inputs)

(1x) usb hub for serato HID control

No needles, no headphones

Backtracks:

For backtracks, please bring your tracks either on a laptop or a flash drive (but not on a phone).

LIGHTING:

6 LED par cans (downstage)

4 LED par cans (upstage)

ADJ DMX Operator 192  lightning console

Chauvet Hurricane Haze 2D water based haze machine

Projector with dvd player, and HDMI cable input [bring your computer+HDMI adaptor or advance your content]

BACKLINE:

Drums:

DW PDP 24” Kick, 12” Rack, and 16” Floor.

Hardware: 

(1x) Snare Stand, (1x) Rack Stand, (1x) Hi-Hat Stand, (2x) cymbal stands.

Drummer needs to bring snare, cymbals, kick pedal, and hi-hat clutch.

Bass:

Ampeg SVT Pro 3 with Ampeg HLF 4x10 Cabinet

Guitar:

(2x) Peavey Valveking 100 and (2x) 16ohm 2x12 speaker cabinets

PERIPHERAL:

Mics:

(6x)  Shure SM58, (2x) Shure SM57, (2x) Audix i5, (6x) mono DI

(2x) Sennheiser 604, (1x)  AKG D112, (1x)  Shure Beta 58

Stands:

4 tall boom, 4 small boom

*Drum rug, xlr, edison, powerstrips, stage boxes as needed*

Professional House Sound Man Included With Every Show (However the venue does not have a green room, just fyi!)

............................... 

THE DELANCEY BACK LINE (ROOF LEVEL - STAGE 6 X 6):

FOH:

Behringer XR12 console [4 inputs, 2 outputs]

Tablet remote control

PA:

(2x) QSC K10.2

MONITORS:

(2x) Mackie Thump 12A

BACKLINE:

(2x) Shure SLX-D Wireless Micophones with SM58 capsules

(2x) Shure SM57

(2x) Rolls DB24 Stereo DI

(1x) PC

DJ SETUP ROOFTOP:

(2x) Pioneer CDJ2000 Nexus

(1x) Pioneer DJM900n Nexus DJ Mixer

PERIPHERAL:

 *xlr, edison, powerstrips, stage boxes as needed*

Professional House Sound Man Included With Every Show (However the venue does not have a green room, just fyi!)

............................... 

Special Tips and Tricks: How To Successfully Promote and Draw Fans To Your Show 

Show promotion is a great way to remind your fans that you are out there rocking the world!  Some easy and effective ways to promote your show are the following: 

............................... 

* Don’t overbook shows!  The ideal way to have a fanbase consistently attend your shows in NYC is to perform no more than once per month and ideally once every 6 weeks.  Mostly the same fanbase will be attending these shows so you need to give them time to miss you and warm up to the next gig before they look forward to attending again.  It’s a psychological process that you can take the reigns on with them.  You can get your fans addicted to attending your show if it comes habitually every so often, but not too often.  Alternatively if you have 3 gigs booked in one month, you’re not going to get the same reaction out of your fans.  All of sudden they will no longer feel inspired or obligated to attend.  They’ll attend at random because hey, you have plenty of gigs.  This is bad for you and bad for the venues because there are so many nights where the act just didn’t get lucky and there really was no one there to see their show.  Nobody wants this to happen, most especially the act who performed to no one.  Lastly, there are many things an indie musician in NYC should do to further their career in music.  Playing shows all the time is not a good way to spend time at this level.  Musicians should be creating mp3s constantly and writing music constantly.  They should also do other types of networking.  Let’s not forget the photography, art design, social media efforts, etc.  There are many things that need to be focused on so performing once a month or once every 6 weeks is more than enough already.  You have to prepare and rehearse for the show too on top of it all, after all.  Last of all, there are always open mics, last minute filler gigs, rehearsal studios, and karaoke spots a musician can go to to practice performing whenever they feel like it, or just scratch that undying itch to perform again.  It’s really just as fun and it’s nice when there’s less pressure sometimes.

* Getting your closest friends to commit to coming to your show is what we call having a “Core 7”.  If you have at least 7 people at the show, you will always be considered for prime time slots and favorable gigs.  Ideally you could still draw more than that next time as you are hopefully growing your potential.  But anything less than 7 will make it hard for us to give you prime time gigs.  So having a core 7 who are committed to supporting you for every gig will really work to your advantage.

* Directly contacting your close friends via phone & text.  Inform them of the show as soon as you find out about it, and then start plugging the show again 2 weeks prior to the show.  You have to get people warmed up to coming and these timing tactics do work.  So ideally tell them when the gig is 6+ weeks out.  Then start grinding it in 2 weeks prior to the gig and for that entire 2 weeks, keep grinding away.

*  Make a flyer for the event and describe the event in as creative and delightful way as possible.  Really utilize the strategy that above anything, some good old creative ideas, charisma, and flair can really draw people into your world.  You can make fans out of people who check you out if you take the time to really nurture everything you’re trying to be about.  That includes the description of your music in the about section, the photos, the quality of the music, the level of interaction you have with your fans, and the amount of posting you commit to.  This is where you create and communicate with your fans and it really can make a difference if you devote yourself to it and understand it’s true value.

* Promote the show to be an hour before it’s actually supposed to start.  People are always late!  You will not be disappointed if you do this.  They will show up right on time this way!

*  Make a facebook event and most importantly, invite all of your friends.  If you are in a band, make sure each band member invites all of their friends to the event as well.  Invite everyone to the event 2+ weeks prior to the show and watch the list of attendees grow.  

*  Please also try if you can to make the facebook event public, because many successful facebook events have been completely private.  This is understandable, but at the same time facebook events are powerful.  They can get you higher end gigs.  If a high end venue looks at your facebook event and sees a ton of people going, they will consider booking you.  It’s that simple.

*  Mass emails are a great one. Email bomb your people and make it look nice.  Fanbridge is a great tool for mass emails for musicians.  Also: collect as many fan emails as possible and make an online widget for fan email collecting that can be easily accessed on all of your social media sites.

* Host and post as much interesting content as you can on as many forms of social media accounts as you can bare. Facebook, Instagram, Twitter, and Email seem to be the best right now.  Do all of them if you can.  Also if you don’t already have one, make a website.  Weebly.com makes it super simple to build a website for free unless you choose to upgrade to their premium services.  But for now you don’t need to pay for it and you’ll look more pro by having one, even if it’s simple and basic.

* Interact with your fans online.  Get back to people that write you.  These are the people out there that will support you for a lifetime if you shed them with even just a little attention.  Realize the hidden & high value of fan interaction and interact with your fans as much as you can.

* Be responsible, honest, and kind.  This one is self-explanatory and it is a way better approach to life than lying, manipulating, and gaslighting your way out of commitments.  

* This is a big one for the bands: if each person in the band commits to drawing at least 5 close friends, then you have met the draw requirements collectively without getting overwhelmed!  Don’t put the burden on just one band member – that’s not fair at all!  You’re all in this together, right?

*  If you’re a singer/songwriter who pays the rest of the band:  if you do all of this right, you should still be able to get 10 solid people to your gigs.  That is a good number and will get you booked in the long term because you are known to be reliable and to always try.  So just remember that there’s no need to feel overwhelmed when it’s all up to you to draw people to the show.

* Book on your Birthday: there is no better way to rally your friends out than a birthday, a bachelorette party, or a going away party of course!  This is a given but still it is something worth pointing out.  Could be fun! ;)

*  Don’t overbook your shows:  In case you missed it the first time, it is seriously not worth it.  This is the reason music venues in NYC shut down all the time, in case you haven’t heard yet.  Let’s keep the dream alive togethear by being responsible and following through, and most of all, being successful for ourselves.   Drawing a large crowd to a show is a successful thing to do.  It makes us feel good about ourselves to be able to do that – it is never something we are mad about.  No one ever says, “Ah man, 35 people came, what the heck”.  So do it for yourself.  It is what everyone wants to be able to achieve, regardless of the particulars.  Also, a 10 dollar cover is not the worst thing in the world if you do not over book.  It’s not that much to pay when you look at shows that are 40 bucks or more, and we all go to those shows too sometimes, don’t we?

 * Our promotion versus your promotion:  The show(s) will be listed on the venue’s main website calendar and also on our Facebook (www.facebook.com/fortheloveofmusicproductions).  Additionally, we promote all the shows on our Instagram (www.instagram.com/fortheloveofmusicproductions).  You are welcome to use our facebook events for inviting, and you are welcome to use your own.  Based off of the feedback we received on the matter, we decided to leave that part up to you.  However, in our opinion, the most effective strategy is to use both (make your own facebook event and use the group event).  You can invite your friends to both events at different times, or you can just have the group event listed on your page while you focus on your personal event. 

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FINAL NOTE

............................... 

We are aware that this particular gig is not appropriate for everyone as there are many levels when it comes to a career in music.  However, there is still a heart and soul beating and living within this operation.  We love music and we want you to enjoy your experience with us.  In no way do we ever want you to feel anything negative in regards to your booking with us.  That is why we feel that this is a gig that could be a good thing for musicians who find it fitting for their life.  Then, when a great night happens because all goes as planned, we have packed houses and everyone is having a great time playing for lots of people.  At the same time, crowds might stick around but maybe they will leave and not see you play – you cannot always predict what a crowd will do after they see their friend’s show.  This is why we need you to follow through and draw people to the show.  When everyone draws, everyone wins.

So we hope this all makes sense, we hope to hear from you, and thank you for considering!! <3 

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FOR THE LOVE OF MUSIC

www.facebook.com/fortheloveofmusicproductions