(above : talented, experienced media manipulators, ready to take the Venus Illuminato to the next level)
It was with considerable patience I tried to listen to a program on KOOP yesterday in which a local music blogger (whose work I am mostly unfamiliar with) opined that the big thing holding Austin back as a genuine musical hotspot was the city’s lack of qualified publicists. There’s a plethora of boutique labels (though he was careful not to mention most of the good ones) and some recording studios (though none were cited) but what Austin really needs is the promo/PR machinery required to really elevate these fledgling talents to the superstar level of, fuck, I don’t know. Imagine Dragons?
Just to make sure we’re all perfectly clear on the message, here are things Austin apparently does not require : cheap housing and affordable rehearsal spaces for musicians. An arts weekly or dedicated music website that was remotely conversant with the town’s best music. A 24/7 listener supported radio station that emulated, say, WFMU instead of established NPR monoliths. Club patrons willing to shell out $5 for 4 fucking bands without objection or negotiation.
Nope. What Austin apparently cannot survive without is a firm gracious enough to charge local labels $2000 to mail records or download codes to the same people who’ve previously ignored direct inquires from the very same labels. Y’know, the sort of careful, relationship-cultivating stuff that makes journalists feel a tad less lonely (and reduces the chances of breaking even from slim to none). As noted above, the rest of the infrastructure is in totally awesome shape, so PLEASE, America’s legion of PR companies, consider moving to Austin ASAP. Unless, of course, you’re the rebranded Strange Fruit P.R., in which case you’re already here and I simply need to know where to mail the blank check.
She’s right. 100% right. Want to know why bands move to NYC where rent and the price for shows are 2-10x more money? Press. People read and write there. Want to know why Daniel Johnston is a big deal? Watch the documentary. He had a tireless publicist. Quit bitching and start championing your favorite Austin band or shut up!
thanks for the helpful advice.
The person on the KOOP interview was a guy, but hey, whatever. I also appreciate the history lesson, re : Daniel Johnston, as I would’ve otherwise had no idea about his wonderful, publicist-led life story.
I’m also grateful for the constructive criticism. Championing my favorite Austin bands! I’ve never considered it!
Yeah, GC, why don’t you start a label or two or three and actually do something to help out the music scene. That’s a good start. Jack is right.
it’s a lovely idea but I’m hesitant to make such a leap in a market that’s devoid of high powered publicists!
the dude on the radio took the long way around the barn to say that he wants someone to give him free blow and hookers for the other 50 weeks that aren’t SXSW
Hey Gerard,
First, thanks for patiently listening through that interview. Admittedly, it was less structured than I thought it was going to be, I was only expecting to talk about year end stuff and Free Week, so I think the point I was trying to make might have come across wrong.
To be clear, I don’t think what the Austin scene needs is publicists. I was trying to say that I think Austin has some great indie labels (I mentioned 12XU, Holodeck and Graveyard Orbit by name specifically) and some of the best bands in the world, but I think that it needs more industry infrastructure on the whole. I only narrowed in on the publicity because Riot Act Media alone represents more Austin acts than all of Austin’s existing PR firms combined, but I don’ feel and didn’t mean to indicate that PR is the only missing ingredient. Management, booking and legal representation are all lacking here in contrast to other cities I’ve lived in and been involved with musically. Like I stated later in the interview, I also think a huge issue is how underfunded the city’s music office is, and how so many jobs that should help fund musicians’ careers, like crew work and concert jobs, are voluntary rather than paid labor here. That C3 and SXSW both fill out their labor with thousands of volunteer positions that should be paid isn’t just unethical and illegal, it’s also the sort of thing that in my opinion harms a music scene by keeping away jobs that would be especially useful to musicians and artists with unorthodox schedules.
Again, thank you for listening, and my apologies if my on-air statements were unclear. I promise if you get more familiar with my site, my staff and I are a lot more lucid and coherent in written form.
Cheers,
Morgan Davis
Managing Editor
Ovrld
GC, I can’t even tell if you’re being sarcastic given that your blog is basically throwing darts at multiple dart boards . . . random NBA rants, random college football rants, occasional music posts, random random randomness, etc. Seems like your simply publicizing whatever other publicist have already put in your head.
Bands all don’t want or need to become Imagine Dragons but they deserve be heard by the ears they appeal to. It’s never been cheaper or easier to make that happen.
Anyone complaining about Austin bands not getting recognition isn’t working hard enough, doesn’t have the balls to take up the torch and figure it out, or the bands aren’t making compelling music.
Whatever, publicist can be an immense help. $2000 in the scheme of where a band wants to go is peanuts.
It’s almost as though Jack is unaware of who GC is. Does Jack work for the Loyalty Firm?
Hey, Gerard’s responsible for some great records from such diverse acts as Juliana Hatfield, Squirrel Nut Zippers, and Frente!, so he knows how the biz works.
Should I make a “You don’t know Jack” joke or not or…
I saw the Daniel Johnston documentary and he went to NYC and got signed to a big record contract in a week!!! With the right publicist, some hard work, and a trip to NYC you can really do it!! What bands need to do is stop complaining and start dreaming, and then start throwing around money. You’ll make it back, it’s peanuts!!! Think long term and think big!!!
“$2000 in the scheme of where a band wants to go is peanuts”
I want to go where two grand is “peanuts”. But you probably have to have rich parents and a trust fund to afford to travel there.
Hence, Austin.
Morgan,
I appreciate your taking time time to weigh in, especially in a setting where most folks would presume they’d be torn to shreds (though in Jack’s case, the lack of any context is certainly doing wonders for his lack of inhibitions)
Anyhow, though I only paraphrased a portion of your appearance on Tracey’s program, I don’t think I’ve described the relevant portion inaccurately. And while I’m grateful you’ve expanded on your argument here, I do feel comfortable in saying (with all due respect) that I still disagree. If I had to pick the most glaring issues that made things tough for Austin musicians and were holding “the scene” or whatever we wanna call it back, I would not rank the lack of available local p.r. companies anywhere near the top of the list. Nor would I count the paucity of managers, booking agents or entertainment lawyers as high on the list, either.
In total seriousness (just in case Jack thinks I’m kidding), I would trade a big pile of publicists, managers entertainment lawyers and booking agents for any one of the below : a city that had as many housing options for artists as it does for app developers, an arts weekly written/edited by persons vaguely familiar with crucial stuff that’s happened post 1990, a 24/7 listener supported station that had more in common with WFMU than WFUV…or a couple of dozen more people who routinely paid to get in.
I think you made a valid point about the use of unpaid labor — and full credit to those who employ no shortage of Austin musicians (Transmission, Beerland and Hotel Vegas all come to mind)
I thank you for the gracious mention of 12XU but I would argue that Monofonus Press, Super Secret or 540 have all done more to support the kind of stuff 101X isn’t gonna play in this century or the next. And I happen to think the persons responsible for those operations have all done a mountain of work to support area artists. I’d be very hesitant to tell any of them they’re a P.R. hire away from crossover success because it simply isn’t true.
“GC, I can’t even tell if you’re being sarcastic given that your blog is basically throwing darts at multiple dart boards . . . random NBA rants, random college football rants, occasional music posts, random random randomness, etc. Seems like your simply publicizing whatever other publicist have already put in your head.”
It’s sort of amazing that most of the people who’ve been reading this blog for the past 12+ years don’t require disclaimers ala “this is supposed to be funny”, or “that was the sarcastic part”, but since we’re all about crossing over, I will take it under consideration.
“Anyone complaining about Austin bands not getting recognition isn’t working hard enough, doesn’t have the balls to take up the torch and figure it out, or the bands aren’t making compelling music.”
Alright, you’ll have to find the part where I complained about Austin bands not getting recognition. Sure, I think most of our established media has great difficulty identifying the good stuff, but P.R. is more likely to be the cause rather than the cure, especially if there’s a price tag that only the wealthy and/or wasteful can afford. All of that said, I don’t think you know a ton about the work ethic of those who are on the outside looking in, and “having the balls” is neither here nor there. Plenty of people can make compelling music without balls. I hear you can even work in the P.R. world without balls.
Of course, the “compelling music” bit is certainly a matter of taste, but given that you thought Morgan Davis was a woman, I’m not about to put huge faith in your critical faculties.
“$2000 in the scheme of where a band wants to go is peanuts.”
Y’know, I was thinking of breaking down for everybody how much it costs on average to manufacture, say, 500 LP’s (not even counting what it might cost to record and mix). Then I could let all the people who don’t have the benefit of Jack’s vast expertise decide for themselves if $2000.00 was a realistic sum to splash out on an independent PR company (who might also be working 10 other titles coming out the same month, not to mention prior releases that are still active). But why bother? According to our trenchant visitor, this is merely a matter of having the gusto/balls to make it happen. Go for it — it’s your funeral (and I don’t mean the band fronted by Jerri Rossi!)
Boy, Jack really sums up that whole “courage of his ignorance” slogan. What a stupid motherfucker. Also, why does it always come down to diagnosing the problems of Austin’s music scene? Move to Iowa, you dipshits. I don’t think you know what real problems are. The notion of the highest bidder swaying the current of out culture is reprehensible by the war.
Morgan,
I just checked out your site and while I am more inclined to agree with Gerard about this subject, I have to give you credit for at least trying to do your part. So many people in the Austin area complain but do absolutely nothing to change. I take it you’re a rather young guy, so more power to ya, keep on doin’ what you’re doin’.
jk
I hear the housing thing come up pretty frequently, and as a struggling musician and writer I’d definitely appreciate cheaper rent, but I still have a hard time viewing that as a major problem given the music scenes in areas like Seattle, New York, San Francisco and LA, none of which are exactly low cost of living areas. I did live in an area that had artists-only residences that were available extremely cheaply and just involved applying and proving you would be using 50% of your space for art, but it was Vancouver, and the scene there was horrible. In the last couple years, some people I know have managed to turn that scene around and now we’re getting groups like White Lung, the Courtneys and lie, but this also seems to have been connected to the appearance of better labels with better infrastructure, like Hockey Dad. Can you explain more about what you mean with the housing options? Would it be Euro-style artists residencies and artists-only apartments? Or tax breaks for landlords leasing to artists? I’m genuinely curious.
And yeah, I totally agree about the weekly needing to be better (and radio, though I do appreciate the work of KVRX and KOOP). Realizing how bad it was was one of the biggest disappointments when I got here. But I think I’m just cynical about how much of an impact that stuff has by virtue of being at an outlet you’re not familiar with 😉
“I hear the housing thing come up pretty frequently, and as a struggling musician and writer I’d definitely appreciate cheaper rent, but I still have a hard time viewing that as a major problem given the music scenes in areas like Seattle, New York, San Francisco and LA”
Would musicians and labels be fleeing SF if it weren’t a major problem? How many great bands has NYC produced in the last decade compared to any of the four decades prior? It’s pretty hard to be in a band if you’re paying $1500 a month to live in a closet. Austin’s not nearly that bad, but check back in 4 years.
“Can you explain more about what you mean with the housing options? Would it be Euro-style artists residencies and artists-only apartments? Or tax breaks for landlords leasing to artists? I’m genuinely curious.”
I like the tax breaks for landlords idea, but I was really envisioning something more akin to the motion picture, “The Purge”, only it taking place 365 days a year. Maybe we could get Peter MIssing in as a consultant. Failing moves nearly as dramatic as those, I would settle for prioritizing putting some money back in the hands of the people who are not so interchangable. Though my idea for “Pay To Get In Week” has yet to catch fire, there’s considerable cost savings in not hiring P.R. firms.
We’re clearly coming from very different viewpoints regarding infrastructure. I think the cultural welfare of the town is best served by putting the art first and foremost. Historically, there have been publications, writers, programmers, DIY bookers, small labels, record stores, etc. who’ve done that without regard for personal stature or payoff. Though I’ll grant you there are a competent minority working in some of the rock biz vocations you’ve mentioned, by and large, I do not believe we’re likely to benefit from an influx of PR companies, aspiring band managers or entertainment lawyers.
To anyone who decided to become a publicist or manager after seeing The Devil and Daniel Johnston I’d like to offer my sincerest apologies.
^^^now that’s funny!
That part about THE PURGE made me laugh out loud.
Thanks!
Free blow and hookers?? This music journalist for nearly 40 years got a good laugh outta that one!
I may just be stupid but I don’t recall ever hearing about KOOP before. I was very intrigued by the call letters and then supremely bummed to find out that they are not dedicated to music that is OUT OF PRINT!