Bitcoin Price will Double as Halving Date Looms Closer – Our Countdown Clock is on

Our Bitcoin halving countdown clock is on and counting backwards to May 7, 2020, the date I predict the blockchain will reach the next halving and $BTC will be more than double its year previous price per coin. [Share our clock or copy our code and embed it yourself]

Athens, Georgia. Nelson Wells is an investor, Co-founder, CEO, and Blockchain “Futurist”

Atlanta Digital Currency Fund’s chief investment officer, Alistair Milne, has said that the block reward halving of Bitcoin could push the price of the dominant cryptocurrency to massive gains in the next 12 months, or any 12 month period leading up to the halving.

Do YOU believe Milne’s claim and basis? If so tell me why, and if not, let’s hear it.

According to an article in CCN Friday March 8, 2019 titled, “Bitcoin’s Impending ‘Halving’ Could Spark Meteoric Price Boom,” the impending ‘halving’ could lead to these massive gains.

bitcoin price halving

Bitcoin’s May 2020 halving could lead to a meteoric price boom for the flagship cryptocurrency. | Source: REUTERS / Dado Ruvic / Illustration / File Photo

Bitcoin’s Impending ‘Halving’ Could Spark Meteoric Price Boom

A block reward “halving” in Bitcoin is referred to as the mechanism that decreases the amount of Bitcoin generated by miners after mining a block.

On the Bitcoin network, the blockchain, miners solve complex cryptographic problems using computing power to process transactions, which are then placed in blocks to form a blockchain.

To compensate miners, every block generates a fixed number of Bitcoin to “pay” the miners for serving the community and running the nodes which create the blocks, and this “mine” the cryptocurrency “coin.”

The block reward, or fee to miners, of the Bitcoin network decreases by half for every 210,000 Bitcoin mined. Traditionally, a block reward halving like this has led the price of Bitcoin to rally because it reduces the rate in which new BTC is produced.

As Bitcoin nears its fixed 21 million supply, the scarcity of the digital asset increases, which boosts the price and the demand from the market.

Historically, the Bitcoin price has tended to move a year before the block reward halving. While a few analysts claim that the halving is already priced in, the numbers show that it gradually gets priced over time, and even accelerates, as the cryptocurrency approaches its halving date.

See the related article by cryptocurrency author Joseph Young of Bitcoin Analysis, Bitcoin Price News at CCN.com

Meanwhile, leave me your comments and thoughts on where (and why) you think Bitcoin, Litecoin, Ethereum and other cryptocurrencies are headed into 2020 and beyond.

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Here’s A Video of the Midengine C-8 Chevy Corvette Driving in California

Yes, here below is some new video of the Midengine (mid-engine?) Corvette Running Around California, captured and edited by none other than the venerable Raphael Orlove. Chevrolet has officially tagged it the C8 vette, and they’ve even so much as labeled the #C7 #Corvette Stingray as “the Final Edition” as witnessed at Horsepower Obsessed.

Screenshot: Driven

The Midengine Corvette is already burdened with the curse of being an expensive American car. That means it will go on auction early in its production run, and Boomer money will pile onto it and relegate the thing to “collector” status before a tire ever hits the road.

Are you one of these guys who’d like to snatch one up and let it sit (mostly) and gain value? If so, we don’t judge, just tell us below! Inquiring minds wanna know.

Regardless, from a driver’s standpoint, the car shouldn’t be trapped in a garage. It shouldn’t be forced to live out its life in a climate-controlled prison, waiting for the day that it can come back up at Barrett-Jackson with LOW MILES EARLY SERIAL NUMBER NUMBERS MATCHING COLLECTOR’S EDITION.

I say this because here’s a collection of a pre-production prototypes out in the snow and slush and sleet on a twisting California mountain road, the kind of place a traditional Corvette driver would look at and resolve to stay inside and grouse about while soaking in the hotel hot tub… – see more by Raphael Orlove 

For the full article go to Jalopnik and share and give Orlove and Jalopnik some car enthusiast love.

I don’t claim the rights to this article or any post from other sites; I’m simply a fan and enthusiast myself who likes to share and get word out on rare, collectible, unique, or otherwise hard to find or appreciating well-loved cars that are classics or soon-to-be-classics. Occasionally I post them here at nelson-wells.com .

For other Classic car info or posts on Pontiac GTO’s, E39 BMW’s, Bimmer wagons, or too many timeless classic Toyota Land Cruisers, see my other posts below or on my blog. – Nelson Wells, Athens, GA

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The Best Unsigned Artist Playlist You Haven’t Heard

At Team Clermont we host a ton of playlists. We do that because we work with dozens of artists; unsigned bands, signed groups, indie-rockers, singer-songwriters – you name it, we have it on our roster.

So it’s so refreshing when we take a step back at times like this, right now, in this moment, and listen to our entire “#unsigned” artist roster. I could go on and on about each of these amazingly talented artists (and maybe I will below), but right now I just have to share with you -and anyone you think SHOULD be listening- the most amazing Team Clermont playlist. It’s just called our 2018 Press Playlist, but for your info, these are ALL unsigned bands & singers.
So, here you go; your workday playlist to keep your toes tapping. -Please support indie music – Nelson Wells

Artist spotlights to follow.
Did you enjoy this playlist? Please let us know a favorite track or artist!

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Interview: Nelson Wells Talks Indie & College Radio Promotions

Nelson Wells Radio and PR

One thing we’ve tried to *gently* hit our TuneCore Artists over the heads with is the importance of marketing their music before and after they release it. It starts with telling your friends and family, continues with staying on top of your social media channels, and after you begin playing shows and building a network in your local scene, you can start focusing on getting your music into the hands of radio music directors and media professionals. It requires a lot of work, but hard work can pay off!

At this point you’ve likely learned that getting your music heard on commercial radio stations isn’t an easy process. Why not change your route a bit and zero in on the often undervalued college and independent radio stations?! Here to explain the values of these types of stations and other ways DIY promotion can pay off is Nelson Wells – founder and CEO of indie PR and radio promotion powerhouse Team Clermont!

When an independent artist is releasing their first album or single, what do you consider to be some of the first and foremost basic avenues of self-promotion?

Nelson Wells: Number one, get your list of contacts together, both industry and fan and begin to reach out to see who else they could add to the inner circle. Number two, use the age old industry formula that says for every dollar you spend recording and pressing an album, be prepared to spend $4 to promote it. Many a great album have been written, recorded and produced only to sit and fill a warehouse or someone’s closet simply because no one explained the need (and cost) of getting it out. Even with personal social media and digital file sharing there is so much more that can be done on a much larger and broader scale.

Number three, get your social media (and file sharing) in line and begin the build up and smart tactful accumulation of fans and industry types. Number four, prepare and launch a well thought out funding campaign, whether it’s having family and friends fund your release, attracting a label, or executing a crowd funding campaign with any of the well known funding sites or the newer more hands-on type sites like MusicRaiser that focus just on musicians. Number five, research publicists and national radio promoters to partner with you on your release months before you actually release it. You can walk a copy down to your local college radio station or the weekly zine yourself, but it’s a really good idea to have a short list of 2-3 professionals who have reviewed your material and are ready to schedule you in their release calendar if you’ve raised your funds and can afford them.

What do you feel are few of the most common misconceptions from artists when it comes to getting heard on the radio?

“If we send it out they’ll play it.” The truth is radio stations still get so many releases that this myth just isn’t true; it’s physically impossible. Also, if you haven’t done your homework as to whether your style music fits the genre of each station you are sending to then you further decrease your chances of being heard and reviewed at those stations because your style simply doesn’t fit. Do your homework or hire people who do it for a living and who have relationships with the music director at each station whether that’s college MD’s or programmers from A3, or Americana, or modern rock radio.

What do you consider to be some wise DIY tactics for brand new indie artists pushing their first releases to different radio formats?

Other than what I stated above, if an indie artist does not raise funding or cannot afford an indie radio promoter then a handful of the indie promoters actually sell DIY packets that allow you to set up and manage a radio campaign on your own for a fraction of the cost of hiring the firm. You just have to remember that while you may have all the correct addresses and contacts and some solid pointers for doing your own radio promotion, the real value to a radio promotion company is their relationships. They can utilize these relationships weekly, yet you’re just getting started building these relationships most likely just by sending out your first release.

How important is college radio when it comes to influence and trendsetting?

There is a key element to this question as well as to the value of college radio in general, and that is the value of tastemakers. College radio stations are made up almost exclusively of tastemakers, or people who influence and set trends. In other words those music directors, program directors and DJ’s are the first ones whose friends listen to them when it comes to what the newest releases are that are landing a radio stations. These radio people leave campus after class and their DJ hours and go work in the local venues, the local music magazine or the record store on the corner.

So in the big picture even if your record is getting a few spins on the local college station that may or may not mean that potential fans are hearing it, but if the workers surrounding the station like it, you can be sure that others are hearing it.

Given that college stations are typically staffed with students/directors used to dealing with labels, firms & DIY pitches alike, do you have any advice for follow-up?

Some of the best follow up is simply researching email addresses of the music directors at each station ahead of time. Many are posted publicly online or on the station’s own website. Of course you may include your email, facebook and twitter accounts, but don’t assume that radio station people have the time to reach out and contact you; that’s your job. Another old school form of getting stations to contact you with information about your record at their station is by sending a self-addressed stamped envelope that is easy for them to send back after they check off √yes, we are spinning your record, or Sorry, we passed on your release…

Other ideas for that card: “Is there a venue you think we should play?___” “Would you like extra CD’s for your DJ’s or to give away on air?”

As the radio industry has gone through conglomeration over the past couple of decades, how has the way independent firms pitch to commercial stations?

I don’t know. We mostly service non-commercial radio, but I’d guess it involves a LOT more money, and more “consultants.”

What roles do public and community radio play when it comes to promoting independent music?

To me these play the largest role for up and coming artists, new artists, and those without a mainstream sound or a major label deal. Public, community (and college) stations are Team Clermont’s bread and butter. These are the stations and the people who “get” the indie artist and the Team Clermont client.

How can indie artists be better utilizing radio promotion when it comes to embarking on their initial regional and national tours?

The most important thing in music PR is simply getting word out and making it a continual practice each day of your career, and yes, you can make a career out of your music. This means doing it yourself whether you are hiring an indie radio promotion company like ours or not. In fact I’ll tell most touring artists to save their money by not hiring us for a tour but to rather wait until a full length release is a few months away. Then use that money to just survive on the road. It’s tough out there,

And you’ll be glad you have enough money for PB&J’s and for buying fans some beers for allowing you to crash on their couches.


Learn more about Team Clermont and their services for indie artists here!

 

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