The following is an example of a fan engagement activity within the context of an email-for-media campaign. This idea is consistent with the marketing concepts covered in Mike King’s Online Music Marketing course with Berkleemusic.

Debbie and Friends has a new song/cartoon entitled “When You Were One.” The song celebrates a child’s life and special moments from ages 1-5. Here’s a link to our YouTube channel where the song is featured.

After receiving several requests from our fan families, we made the mp3 available to our to use as a soundtrack for their own family movies and slideshows. See the download link below.

We also encouraged folks to post their movies to YouTube with a hash tag #WYW1 so we can see their creations! The results are TBD. For now, the responses have been very positive.

Here’s a link to the campaign.

How have you used media for fan engagement? Please share your thoughts.

On Saturday morning, March 24, Debbie and Friends performed a show at the Regent Theatre in Arlington, MA (just outside of Boston). Our five-piece band performed songs and had a great time interacting with the kids and families in the audience; including many Berkleemusic families.

Many of you know Berkleemusic as the award-winning online school where you study with musicians from all around the world, learn from Berklee faculty, and connect with our advisors and customer service folks for support. You may not be aware that Berkleemusic is comprised of a staff of nearly 50 people, all of whom are passionate about music and the work we do to provide music education opportunities to musicians all over the world. And, most of the staff are musicians, too.

The show on Saturday included guest performances by two of my Berkleemusic colleagues: Milan Kovacev and Luke Stevens.

The following is a picture of Milan Kovacev—Berkleemusic’s Director of Interactive Marketing—joining us on bass. Milan is also the creative force behind Hipson Music and Clash of Civilizations.

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Milan Kovacev with Debbie & Friends

Also joining Debbie and Friends that morning was Luke Stevens, our Web Software Developer. Luke plays a mean Ukelele (among other things) and has been known to lead office jam sessions from time to time when he’s not working on improving the online learning environment for our students.

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Luke Stevens with Debbie and Friends

Berklee really is a great place to learn, teach and work. I’m happy to introduce you to some of the many folks who help to make it so.

Happy Holidays!

I’m pleased to share a piano method booklet for children that I developed with my Grandfather, Marty Gold. Marty is a wonderful musician who has enjoyed an amazing career in music. In fact, he’s the reason I became a musician. Recently, he told me about a piano “tent” he created to help kids learn the names of notes on a music staff. The story goes that Nabisco was going to put one in every cereal box back in the 1950s, and then pulled the project for fear there were not enough pianos in US homes. We decided to do the project together and make it available to friends of “Debbie and Friends.”

The following widget has a download link for a free copy of the Learning to Play Piano book and piano tent PDF files. A printed version of the book will be available soon. In the meantime, please let me know how the tent and method book are for your children!

Special thanks to Robert Heath of Barkley Studios for designing the keyboard tent, Greg David of Planet Sunday for the cover art image, and Shawn Girsberger for the book layout and design. What a dream team!!!

And, for the adults out there interested in learning to play the piano, I highly recommend the Berklee Keyboard Method online. Classes start Jan. 8.

All the best,

-Debbie

The following is part two of the Kindie Music article that Kyle Bylin wrote for Hypebot. The article is pasted below. The original piece can be found here.

Thank you again, Kyle Bylin and Hypebot!

__________________________________

December 8, 2010

This is part two of my interview segment with Debbie Cavalier, who’s a children’s entertainer and vocalist for Debbie and Friends, a kindie music group. She’s also Dean of Continuing Education and Chief Academic Officer at Berklee College of Music. Joining Cavalier in this interview is Beth Blenz-Clucas. She’s the founder of Sugarmountain PR, a firm that specializes in raising awareness children’s and family-friendly music. In this interview, Cavalier and Beth Blenz-Clucas talk about the challenges of marketing kindie music and reaching a younger audience.

Hypebot: The traditional way of marketing music has been to slam as many artists against a wall, see what sticks, and then try everything to get that those particular artists to reach critical mass. Through MTV, in store promotion, and massive radio campaigns, major labels attempted to break through the clutter.

How does marketing children’s music differ from other genres? How are artists today connecting with parents and giving them reasons to buy?

Debbie Cavalier: I think there are a lot of similarities in marketing kids/family music to the commercial fare.

In addition to being the Dean of Continuing Education at Berklee, I also consider myself a student because I am constantly learning from our innovative online curricula at Berkleemusic.com with such online courses as Music Marketing: Press, Promotion, Distribution, and Retail, Online Music Marketing: Campaign Strategies, Social Media, and Digital Distribution, The Future of Music and the Music Business, Music Industry Entrepreneurship, Online Music Marketing with Topspin, and more. I’m fortunate to work with the likes of David Kusek, Michael King, George Howard, and so many others who are at the top of their game in the area of music marketing today.

As a result, I use Topspin for direct-to-fan marketing campaigns and direct sales (you can see examples of this on our home page and music page). Facebook and Twitter are effective communication and community-fostering tools, as is our monthly email newsletter. We have a presence on myspace, but I don’t think that expands our reach too much these days. Our live performances are our best means for fostering strong connections with our fan families and I use the tools previously mention to stay in touch.

Online social media and marketing tools certainly do help to expand our reach. Indeed, there are schools in Brazil and the UK that listen to our music and watch our cartoon music videos but would never have heard of Debbie and Friends if it weren’t for my YouTube Channel or my Topspin campaigns. That being said, the fan families that are most excited about Debbie and Friends are the ones who have seen us in concert and attend show after show, bring their friends, retweet our messages, share concert photos, videos, etc.

Beth Blenz-Clucas: You have it, Debbie. With children’s music, it’s all about direct connections with the fans. Parents need to know that your music will appeal to their kids and that they’ll learn something from it. Kids love it when they get a hug or a shout out from their favorite performers.

Hypebot: Direct-to-fan platforms empower artists by putting the tools to distribute, market, and monetize their music in their hands.

What are the challenges that kindie artists face in attempting to cut out the middlemen and go direct-to-parents?

Debbie Cavalier: I think I answered this in the other questions, however, I will say that the parents of the families that come to our shows are young (certainly younger than I am!). They are technically savvy and are most comfortable staying connected to Debbie and Friends via Facebook, etc. Email is also a great way to communicate with our fan families. I build email lists at my concerts and fine-tune my newsletter outreach so that it’s effective, but hopefully not annoying.

Do the music consumption habits in the kindie music audience differ from those that are affecting the record industry? How are artists designing experiences that appeal to both the younger audience and their parents?

Debbie Cavalier: I believe kids/family artists have always strived to create musical experiences that appeal to the whole family: kids and their parents/caregivers. Indeed, I only want to write, record, and perform music that appeals to me in addition to the kids and families in our audience.

Regarding consumption habits, as I mentioned in an earlier question, digital downloads make up just 10% of Debbie and Friends’ music sales. A physical CD is a tangible “gift” that parents, grandparents and caregivers give to my audience. Kids/family music purchases are not direct to fan, but rather direct to caregivers of our fans. I believe over time we’ll see a decline in physical sales, but for now, it’s strong. Post concert sales are always strong and online sales of physical CDs are consistently strong for Debbie and Friends. I believe the same is true for my colleagues in the field.

Hypebot: I’ve been a songwriter for a number of years and if you told me to write a song for kids my first take would be to try to talk about eating your veggies, brushing your teeth, or just, you know, things kids can relate to.

Do we wrongly assume that kids music should be about these subjects?

Debbie Cavalier: That’s exactly why our genre gets a bad rap in some circles, Kyle! Kids/family music doesn’t need to be simple. Again, the songs “Rainbow Connection” and “Being Green” have resonated with kids (and adults) for 40 years. Those songs have very interesting melodies, complex chord progressions, and strong lyrical phrases.

They are about complex and important topics such as diversity, self-esteem, and acceptance even though the target audience for those songs is preschool. Quality music and high production values are what matter most. The messages/lyrics need to be age appropriate, of course, but never dummed down. You’ll know the minute you start to share a song with kids if you’ve hit the mark!

Beth Blenz-Clucas: I agree. If you think of the children’s songs that have the most staying power – Peter Yarrow’s “Puff the Magic Dragon,” or Raffi’s “Baby Beluga,” they tell a funny or compelling story. Look at the old nursery rhymes and songs. They all have something deeper going on. Kids are people too – just littler! They think and dream all the time.

I’m happy to share a recent two-part article on the Kindie Music Scene that Kyle Bylin wrote for Hypebot. I was incredibly proud to participate in this article along with the top publicist for this genre, Beth Blenz-Clucas of Sugarmountain PR.

The article is pasted below. The original piece can be found here.

Thank you, Kyle Bylin and Hypebot!

__________________________________

December 7, 2010

Recently, I spoke with Debbie Cavalier, who is a children’s entertainer and vocalist for Debbie and Friends, a kindie music group. She’s also Dean of Continuing Education and Chief Academic Officer at Berklee College of Music. Joining Cavalier in this interview is Beth Blenz-Clucas. She’s the founder of Sugarmountain PR, a firm that specializes in raising awareness children’s and family-friendly music.

Several months back, I wrote about kindie music and Cavalier was kind enough to get in touch with me. To me, kindie music is an opportunity that emerging artists might be interested in. In this interview, Cavalier and Beth Blenz-Clucas share their perspectives on the kindie music scene and provide insight into how the genre, due its young fans, operates a bit differently from the commercial field.

During this period of economic regression, kids music has been rejuvenated with new life and has almost arisen as a counterforce to the state of popular music.

Why do you think kindie music has seen such expansion? What’s the challenge in informing parents that they have these new options?

Debbie Cavalier: I think high-quality kids/family music recordings have always been in existence. Those of us making music today are standing on the strong shoulders of pioneers like Ella Jenkins, Pete Seeger, Shari Lewis, Bob McGrath, Raffi, and many others. There are current pillars in the industry that have been holding the bar up high for quality kids/family music for 25+ years including Bill Harley, Cathy Fink and Marcy Marxer.

And artists who have been providing quality programming for the past 10 years such as SteveSongs, Dan Zanes, Ralph’s World, Laurie Berkner, Elizabeth Mitchell, Ben Rudnick, and so on. The list truly goes on and on.

Kids/family music is thriving with quality music and production values that are off the charts. And, there are producers like Tor Hyams who are identifying and producing incredible new talent in this genre like 23 Skidoo, Okee Dokee Brothers, Lunch Money, Mr. Stinky Feet and more. (There really are so many more and I apologize to the many kids/family artists not listed here.)

It’s also nice to see so many mainstream artists such as Bare Naked Ladies, They Might Be Giants, and many others who have crossed over to serve this important audience.

Beth Blenz-Clucas: It’s true that there are hundreds of new bands creating great music for kids. Because indie kids’ music is exploding, the challenge now is just cutting through all of the noise that’s out there and finding the best ways to set yourself apart, and connect with new fans. Really, every two years, you have to reach out to a new fan base as kids grow out of the genre.

Parents are actually luckier than ever because of the digital ecology of music culture online. The flowering of the family music genre is a direct result of this brave new world of web-based marketing and social networking. Artists who previously could not find an audience outside of their hometowns are now reaching out and connecting with people all over the world. Debbie’s connection with her animator in Wales is another example of how technology has actually helped her move her career forward.

Hypebot: At best, the state of popular music is quite perplexing—catchy maybe—but it is so limited in its reach, subject matter, and demographic appeal.

Whether you’re tuning into Ke$ha or Taio Cruz, the lyrical emphasis pertains to such small part of the human experience. Songs subjects range from partying, sex, drugs, break-ups, and love, among other difficulties. Unless fans listen to indie music, they’d be hard-pressed to find songs that are about much else.

What makes the artistic constraints of family music so different from the mainstream? How have the subjects that performers tackle even strayed away from those that “kid’s music” normally deals with?

Debbie Cavalier: I don’t think there are constraints aside from age-appropriate vocabulary, melodic ranges and intervals that are comfortable for young growing voices, and subject matter that is relevant to a child’s world.

The sky is the limit related to style, instrumentation, tempo, form, etc. I think the folks at the Children’s Television Workshop have shown us for 40+ years that it’s important to address challenging issues, to validate a child’s experience and to help them to cope. Joe Raposa’s classic song “Being Green” addressed cultural diversity issues for kids dating back to the early 70s. Justin Roberts has a song that deals with the reality of divorce for kids and families. I recently wrote a goodbye song called “Until Next Time” and recorded it as a duet with Bob McGrath from Sesame Street. The song is being used by families to say goodbye to loved ones, pets who have passed, or friends who are moving away.

I’ve also written songs like “Willy Won’t Smile for the Camera” that deal with truly vexing issues in a fun and effective way. It’s enjoyable for the kids and even helps to relieve a little parental stress along the way.

Hypebot: As physical albums have withered and become displaced by digital singles, many artists have been catapulted into the road indefinitely, in hopes of capturing better, more sustainable incomes though touring.

Yet, with this abundance of artists on the road and the difficulties that others are having in gaining traction in overly saturated genres, the path to success in the record and music industries is being redefined.

Emerging artists are now in search of new opportunities and any means through which they can make money and remain creators of art.

Do you foresee kindie music as an enormous opportunity for artists in this climate? What do you think are some of the greatest barriers that prevent new artists from wanting to perform music for children?

Debbie Cavalier: There are no barriers that prevent kids/family artists from “wanting” to perform music for children. Personally, it’s one of my most favorite things to do and I know many of my colleagues in this space feel the same way. Performing for/with a kids/family audience is incredibly fun and rewarding. The kids are active participants in our Debbie and Friends concerts from start to finish! And, CD sales are very strong at shows as well. I think physical CDs will be relevant in kids/family music for many years to come.

It’s a tangible “present” that a parent, grandparent or caregiver can give to a child. I don’t think that will change any time soon. My experience has been that the “iPod” rip happens after the CD purchase. Currently, downloads make up about 10% of our overall music sales for Debbie and Friends. I believe that is true for many kids/family artists. The only barrier to performing live is related to economic challenges for families. Ticketed theater shows can be financially prohibitive for families.

Beth Blenz-Clucas: I agree that the children’s genre is going to continue to be a good one for physical CD sales, at least for the next few years. Kids like to have something to look at and feel – and they make a fun, lasting gift. There are some artists who do see themselves as primarily studio artists.

They don’t perform for kids much (and with a few of them, you wonder if they like children at all!), but the best ones get out there and learn first-hand what works and doesn’t work with their target audience. Interactivity such as what you do in your shows is KEY for this audience. Children learn best experientially, and we know they just have to MOVE.

It’s true that venues are having a hard time right now finding sponsors that will help defray the costs of tickets. Libraries and schools remain the most reliable way for many artists to earn an income.

Hypebot: A major point of discussion in music and record industry circles has been the DIY artist and debate that they can’t do everything themselves.

It’s said that management and music labels will still play a major role in the future of recorded music and live performers. Bundled in with these conversations is the notion that we are moving away from a top-down, winner-takes-all market to one with an increasing number of musicians that exist somewhere in the middle class, making a steady, humble income, but not getting a jet anytime soon.

Based on your involvement with kindie music, do you think many of the artists are DIY? Have any middle class musicians emerged yet?

Debbie Cavalier: I’m not sure of the moniker “Middle Class,” but I do know many kids/family artists that are earning a full-time living in music and always have. I don’t think the demise of the record labels has had a negative impact on kids/family CD sales. Aside from a few household name artists, I don’t think the majors ever truly embraced the kids/family genre whole-heartedly.

I think kids/family artists have been in DIY mode for many, many years; long before the elegant tools of technology became available. Technology has certainly armed musicians with the ability to expand their reach and be more targeted with marketing messages and direct-to-fan campaigns, but in the end I believe it’s still about relationships and connecting with the fan families at shows.

Beth Blenz-Clucas: The artists who get out on the road and perform do indeed manage to earn a livable income. There’s no doubt this genre demands hard work and dedication. You can’t just release a CD and expect sales to come sailing in. You need to pull all the pieces together – a great concept and “brand,” fantastic music that speaks to kids and parents, then it’s all about how you market what you’ve got, via distribution, publicity, promotions, social networking, and live performances.

World Class!

Aug 23 2010
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What do Houston TX, South Africa, Mexico City, San Juan PR, Ontario Canada, Brooklyn NY, Nonthaburi Thailand, Portland OR, Stockholm Sweden, Hampshire UK, Salt Late City UT, and Nashville TN all have in common?

They are home to just a handful of the more than 150 Berkleemusic students who successfully completed their online certificate programs last term. Today, I had the great pleasure of signing their letters of completion. It is always exciting for me to see how Berkleemusic brings people, with a passion for music and a desire to learn more, together from all corners of the world.

Congratulations to our Certificate Program graduates!

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Debbie and Friends Remix Contest Site

Berkleemusic is THE place to learn about what’s happening in the music industry and how to effectively leverage the tools available to today’s musician to market music both online and via traditional outlets. We have courses on the Future of Music and the Music Business with Dave Kusek, Online Music Marketing with Mike King, Concert Touring with Jeff Dorenfeld and John Czajkowski, Music Industry Entrepreneurship with George Howard, and the list goes on and on.

I often say that in addition to being the dean of continuing education at Berkleemusic, I am also a student. I’ve learned so much from the curricula and instructors listed above, and I’ve have the good fortune to be able to apply this knowledge to my own kids/family music project, Debbie and Friends.

The most recent outgrowth of my music business education with Berkleemusic is a fan-engaging remix contest for kids and families. As our courses teach, visionary artist managers such as Terry McBride of Nettwerk have been doing this kind of things for years with mainstream artists. I’m hoping it will be successful for kids/family music and with our fan families who want to engage in musical activities beyond listening. My producer, Michael Carrera, prepared a GarageBand version of one of our new songs that was originally produced in Logic. There are a lot less tracks than the original version, but we wanted to make the GarageBand file manageable for our young producers. The contest is now live and can be found here.

The contest just launched and already we’ve been able to monitor interest and excitement from our fan families and people in the Remix world. Remix Comps not only embraced the idea that’s outside of their genre, they also made a special effort to convey this is a contest geared towards kids/family music.

It will be interesting to see how the contest unfolds. I’ll report back on April 5, to announce the winner and share the experience.

What kind of fan-engaging ideas have you been able to try with your music as a result of your studies with Berkleemusic?

Digging into Topspin

Feb 21 2010

It’s true that in addition to being the dean of continuing education at Berklee, I am also a student. I learn so much from our Berkleemusic students, instructors, and staff on a daily basis.

Just last month, we launched a brand new online course by Michael King entitled Online Music Marketing with Topspin. It’s a brilliant combination of cutting edge, best practices in online marketing wrapped around the new direct-to-fan sales and marketing platform, Topspin.

The course is extremely popular and by the tweets and blog posts of our current students, it’s a hit! For me, the course and the Topspin platform provide practical tools that I’ve been able to use immediately with my own kids/family music project, Debbie and Friends. With very little effort, I’ve created streaming audio and video widgets, as well as “email for media” widgets, like the one shown below.

When logged in, my Topspin account shows me all of the additional “shares” this widget has and the number of hits it’s getting in each location. The email for media widgets are so effective, in fact, that my email list is growing in a way that only used to happen at shows. It’s very exciting to see how well it all works, and I’ve barely scratched the surface of what this platform can do!

The Topspin account interface is easy to get around and the tools provided are extremely practical and useful for today’s aspiring musician (author, etc.). Next month, when it’s time to release our new CD, I’ll begin digging into the sales functionality of the Topspin application and will have more to report. In the meantime, what has your experience been with Topspin so far?

Berkleemusic has so many incredibly talented, dedicated instructors including LA producer, Erik Hawkins. Recently, Erik was interviewed by Mix Magazine on his work with Berkleemusic. The following excerpt didn’t make it into the piece but is filled with some great information, so I thought I’d share it with the Berkleemusic community.

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Erik Hawkins

What courses do you teach for Berkleemusic?
EH: Music production courses. For example, Pro Tools 110, Producing Music with Reason, and Remixing with Pro Tools and Reason. I’m the course author and instructor of Producing Music with Reason and Remixing with Pro Tools and Reason. 



What are some of the ways you approach designing an online curriculum?
EH: As an online course author, I strive to keep the class content both accessible and interesting to all levels of students. It’s exciting that in one class there can be students at a variety of skill levels all working on the same lesson. So, in order to accommodate these different skill levels and keep things challenging for everybody, I offer a variety of ways to learn the material. Students who are new to music production can jump in at the basic level with videos and interactive Flash workshops, while more advanced students can dive into discussion questions at more length and tackle the extra challenge portion of a weekly assignment. There’s something for every level and you can pick and choose the materials within a lesson that best suit your personal goals for the topics presented.


Can you give me an example of how the scope of an assignment might address different levels?

EH: In the courses that I’ve developed for Berkleemusic, I spend the first few weeks making sure that everybody understands the basics of the music software programs that we’ll be working with. This frees up the remaining weeks for getting creative, using the new production techniques introduced in each weekly lesson for actually producing music. For example, beginning in week eight of the Producing Music with Reason course, students start writing and producing their own song that I expect them to have completed, mixed and mastered, by the end of week twelve of the course. And, in my Remixing with Pro Tools and Reason course, students complete three remix sketches as a warm up for producing a full length remix beginning in week seven.

It’s an intense ride but there’s no better way to hone your music production chops than to apply the production techniques that I’m teaching in the lessons to actual projects. And, throughout this process students receive feedback from myself and their fellow classmates. It’s really an amazing learning environment.



How have you seen the Berkleemusic program evolve during your tenure there?

EH: From my perspective, the Berkleemusic team is continually pushing forward and never content to simply rest on their laurels. They’re constantly improving the online tools for teaching and reaching students, and they seem to be steadily rolling out exciting new courses. I myself have participated in much beta testing for new course material, Web site and chat tools. And, I am personally responsible for keeping my own course material fresh and up to date. So, yes, I think it’s safe to say that we are continually evolving to both improve upon the online college, to meet our student’s needs, and, in my case, to keep up with cutting edge music production techniques.


I know you’ve been teaching online for a few years. How has the way you teach online evolved since you started out?
EH: Much like the Berkleemusic development team, I’m continually refining how I teach online in an effort to improve upon my lessons and to offer students more quality material. For example, I realized very early on that everybody learns differently, so I’m always working on ways to deliver a lesson topic in a variety of forms. I’ll explain the same production technique in a detailed description, with screen shots, a video, a step-by-step exercise, and an interactive Flash quiz. I’m counting on one of these ways clicking with the student. And, if the student still has questions, I’m available for further explanation through private messaging, text chatting, and, more recently, video chats with screen sharing.

When you think about it, there’s really no end to what we can accomplish online as Internet technologies and access improves around the world. It’s pretty astounding. 



Is there anything else you’d like to add?
EH: I can’t even begin to tell you what a blast it is to work with aspiring music producers all over the world. In one class I might have a high school senior in Michigan, an attorney in Alaska, a recording studio manager in Japan, and a US serviceperson stationed in the Middle East. Everybody has come together online, at Berkleemusic, to learn and to collaborate on music. Consequently, the energy in our online courses is great, very positive and nurturing. It’s really wonderful to be a part of this and to help foster this sort of energy in my classes.

Finally, I’d be leaving an important piece of the puzzle out if I didn’t mention that I get to do all this from the comfort of my own home studio here in Los Angeles. I think that because I’m also a working composer and music producer here in LA that I’m able to offer a unique perspective on the business to my students who may be, geographically, very distant. I’m a happy camper composing and producing tracks here in LA and sharing my experiences and knowledge with my students online and I think that this positive energy comes through in my classes and online interactions. I don’t think there’s any substitute for this sort of genuine enthusiasm and real-world experience. A couple of other working pros here in LA that also teach for Berkleemusic include, composer Ben Newhouse, author of Orchestration 1 and 2, and producer/engineer David Franz, author of Producing with Pro Tools and Recording and Producing in the Home Studio.

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Debbie & Friends on Fox TV’s “24″!

It’s hard to believe after posting about this licensing opportunity more than seven months ago, the Season Premiere of 24 will air this Sunday night, January 17 at 9:00pm EST. I’ve been told that two Debbie and Friends cartoon music videos will be playing on a TV that Sutherland and a young girl will be watching together.

This is just one example of what an exciting time it is for musicians to find licensing opportunities for their music. I am proud to say that I was able to put this opportunity together because of all that I have learned from our Berkleemusic instructors and their courses in music production and music business.

I hope this story will inspire more of our Berkleemusic students to monetize their song catalogs through licensing opportunities.

Please tune in this Sunday to see Debbie and Friends’ children’s music videos on 24!