SCREEN BEAT
I’m writing this in mid-December, traditionally the bottom-of-the-barrel time for new recordings and, ergo, new videos. Why most record companies decide to draw the blinds and by and large close up shop for the holidays is beyond me. I mean, do they really think (as they always claim when pressed on the subject) that most “good” new music will get lost in the shuffle if it’s released around Christmas?
SCREEN BEAT
DEPARTMENTS
ONLY HER HAIRDRESSER KNOWS FOR SURE by Billy Altman
I’m writing this in mid-December, traditionally the bottom-of-the-barrel time for new recordings and, ergo, new videos. Why most record companies decide to draw the blinds and by and large close up shop for the holidays is beyond me. I mean, do they really think (as they always claim when pressed on the subject) that most “good” new music will get lost in the shuffle if it’s released around Christmas? Like it isn’t lost in the shuffle most of the time anyway, regardless of season? Actually, my favorite trend recently is the one that has many companies releasing the bulk of their product in early fall and late spring—the “school in, school out” theory of music marketing. I keep waiting for the light bulb to go off somewhere in some vice president’s head that a late December “winter recess” release might prove highly successful. You know, “Unhappy with what you got for Christmas? Try the new Blah Blah album and have yourself a happy new year anyway!” Something like that.