Working the Press – Intellectuall Intercourse and Interviews at SxSw

I’m about to keep Austin a little bit weirder as most of the music community lends a helping hand to do every March…

I will be giving a seminar this year on how to speak to the press. A few different publications have been kind enough to choose me as one of their picks of the festival. Here’s and interview with Traffik that is a good overview of what I’ll be discussing. If you’ll be in Austin, come on down! Wednesday, March 17th at the Austin Convention Center, Room 11B.

AMMUNITION: ARM YOURSELF:

SXSW 2010 Panel Picks – Working The Press: Intellectual Intercourse and Interviews

With so many panels to choose from during the SXSW Music and Media Conference, it can be hard to decide which to attend.  We’ve gone through the list and will be bringing to your attention the ones that we thought would best help the independent musicians.  Starting off with our first pick, Working The Press: Intellectual Intercourse and Interviews.

Ali MacLean knows her stuff. It’s as simple as that. With the entertainment industry constantly plagued with a flood of “self-described experts” that amount to nothing more than smoke and mirrors, individuals that have the actual experience to back up the talk are few and far between. Maclean possesses an enviable resume that would make those of her colleagues appear anorexic and lacking in comparison.

Vast experience as an on-air talent, writer, producer (MTV, VH-1, ABC, Fox, Indie 103.1 FM, Little Radio, Vlaze TV, Sirius Radio, Kathy Griffin’s So Called Reality, Celebrity Death Match) as well as a background in stand-up and sketch comedy (HBO’s Mr. Show, VH-1’s Ill-Ustrated) have allowed MacLean to learn the ins and outs of the entertainment industry from being both in front of the camera and behind it. All of this combined with her journalistic talents (Urb TV, Antiquiet TV, Huffington Post) and her passion for good music (expressed via her occasional dj sets and radio shows) lead her to be a logical choice to bring a Music Panel focusing on teaching the “best interview techniques and ways to use press attention to your advantage,” titled Working The Press: Intellectual Intercourse and Interviews to the 2010 SXSW Music and Media Conference.

Fresh from directing a film short called ‘DJ Intervention,‘ starring Arabian Prince from NWA, Adam 12 from She Wants Revenge, Ken Jordan from Crystal Method, and Rhettmatic from the Beat Junkies (Part One can be found on Funny or Die.com where you can vote funny for it, and Part Two will soon follow), Ali MacLean took some time to answer some of our questions regarding her upcoming panel (set to take place Wednesday, March 17th at 2:00 pm in Austin Convention Center Room 11B) as well as why she decided to bring this topic to this years SXSW attendees.

TRAffIK: What prompted you to want to bring such a topic to SXSW?
AM: A lot of people ask me questions about how they can get press or get their demos to the right people. That paired with some disastrous interviews and really bad behavior during interviews I conducted or interviews I’ve seen, I figured it would be very useful to the musicians and the publicists attending the festival.

TRAffIK: What should those in attendance of your Panel/Discussion expect to come away with?
AM: Hopefully they will have a better sense of how to get press for themselves or how to approach a press campaign, get a publicist or journalist to notice them… and definitely how to behave when they are on a TV show or radio show.

TRAffIK: Who were some of the subjects used in your examples that you’ll be sharing to illustrate your points (if you are at liberty to share)?
AM: I have a few aces up my sleeves. I may actually have someone there, an example too if he is available.

TRAffIK: In a world where so much value seems to be placed on artists/bands interacting with their fans and the media, why do you feel (if you feel this way) there are still a large number of artists that treat the media as enemies rather than as positive or even potential career boosters?
AM: I think it’s fiction at this point, or at least I hope it is. Anyone who still harbors the idea that the press is the enemy is pretty idiotic. For a band to want to be on television or on the Pitchfork homepage or the cover of Rolling Stone, but at the same time hate them…well it’s a bit contradictory. I can understand being wary of how you are portrayed by the media. That’s legitimate. But to hate the medium you are trying to use doesn’t make sense. Use it to your advantage.

TRAffIK: As someone who has interviewed more than her fair share of artists (both established and up and coming), what are some of the mistakes you see done repeatedly by artists when it comes to the media?
AM: Well, being rude is the first thing that comes to mind. That’s never going to endear you to the public. Throwing your weight around once you get a little bit of notoriety doesn’t make your music any easier to listen to. I always say, there are a lot of talented people out there: I might as well work with the nice ones.

Sometimes publicists can be over protective of their new artists and they wont let them interview with smaller outlets or bloggers. In this day and age that’s a big mistake. Today’s blogger could be tomorrow’s mogul. Lady Gaga was launched on a blog. So being snotty about smaller journos is stupid. Pitchfork was just a website once too…I’m not saying they should do any and every interview, but with new media, it’s possible for a smaller outlet to get an artist’s music to a lot of people, grassroots style.

TRAffIK: Do you feel that it is the more established artists that aren’t always as cooperative, or is it the newer up and coming artists that more commonly behave in this manner?
AM: Actually, the bigger artists are usually more accommodating. It’s usually the less established artists who are pains in the necks. Or their handlers are. Some artists who have just started to get some traction can sometimes be difficult. They are late or they don’t show up and if they do, they can be sullen or rude. The major artists are usually very graceful and good interviews. That is why they will stick around. The artists that give me a hard time? I rarely see them come through my studio twice. They burn out fast.

TRAffIK: Do you think there is a template that artists should follow when dealing with the media or do you think it should be something that varies among artists?
AM: It’s probably different for each artist depending on their personality and type of music. Some people are comfortable speaking to a journalist and some aren’t. Some have music that lends itself to storytelling and discussion, others don’t. So I think it’s hard to tell people to follow rules. I can give them a general idea of what to do, but they should tailor it to what is comfortable for them and what works for their music/business.

TRAffIK: Most artists/bands get excited to receive any press especially in the beginning. How selective do you think artists should be when deciding who to be interviewed by given the overwhelming amount of music and lifestyle blogs/magazines/websites out there these days)?
AM: Well, in the beginning, it’s not necessarily going to be Rolling Stone knocking on your door. You need to decide if you want to be interviewed by the local paper. Are you someone who is part of the local music scene? Are you only to be known nationally? Are you going for a social media audience? Do you want to brand yourself through a company?? Are you ok shilling for a company and therefore being written up on a corporate company website i.e. for an energy drink? It really depends on what is ok for you and your sound and what you’re going for. Some bands only want to be written up by certain publications and they will have to wait for that press. Others believe that any press is good press.

There is a glut right now of blogs, so it is easier to be written about. It’s up to you to discern if it’s something you think will help get your name out there. Be savvy and look at what the journalist has written about before. Do some research and see if it’s in line with what your music is all about and what you want to be involved with. If that doesn’t matter to you, and you’re just looking to blanket then just go for it.

TRAffIK: What are some of the basic guidelines or rules that you wish artists would abide by when it comes to dealing with the media?
AM: Be polite. It’s like a first date or a job interview. We are actually working when we are sitting there with you… and if we have done our job we have spent hours prepping and researching all about you before you even got there. So be on time and polite and relaxed and ready to talk. I’ve had musicians be out and out hostile right at the start. I’m there to make you look good and help your career. Why are you aggro at me? So just try to relax and have fun and share a little bit about yourself and your music and give your fans a little hint into your world. That makes our job easier and makes you look good.

TRAffIK: Who are some artists/bands that you have seen effectively use the media in a positive way?
AM: There are a lot of examples of artists using the media or press to their advantage musically or otherwise. If you can have the press eating out of your hand and covering your every move, then you are, in essence, using them effectively. As for using them positively? That’s an objective question. Bono uses the press’ attention and he gets to try to pay down world debt. He uses the press as a tool for his own advantage and in turn uses that advantage to help others rather than advance his music because his career is already secure.

As for new bands using the media, I always look at artists who take a different path. Amanda Palmer has done a great job leveraging Twitter. And OK GO has really used YouTube video to their advantage.

TRAffIK: Is there a certain way that you like to be approached by an artist/band who is seeking coverage from you?
AM: If you see me out you can hand me something. You can always send me something through the mail.

An email is probably the other way to go. I prefer a brief introduction of who they are and how they found me or met me…i.e. they read my site/blog or we met in person. Then they can attach an mp3. If they tell me to go to a website and they don’t include a link I probably won’t ever make it there.

Don’t Facebook me or Myspace me… and tell me to be a fan of yours. I get thousands of those and have a hard time getting through them.

TRAffIK: We would consider you to be a SXSW pro by now, having even put on events during this week of music mayhem. Would you have any advice for bands on making the most of their trips to SXSW especially for the first timers? How about just for the general public?
AM: Honestly? Don’t drink too much. I know that sounds like ‘don’t breathe air’, but if you’re planning on getting things done, try to cut back on the binge drinking or you wont remember who you met. Get as many business cards as you can and see as many great acts as you can. Go to the daytime parties…and don’t throw big parties in your room at the Intercontinental. They don’t like it.

TRAffIK: Are there any Panels or Discussions aside from your own that you are looking forward to attending and why?
AM: I’m looking forward to the panels on CBGBs and Bill Hicks…the 1977 CBGBs era of music is one of my favorites and Bill Hicks was a comedic genius…we could really use him today with the current political climate.

TRAffIK: Where can everyone see more of or read more by Ali MacLean?
AM: You can read my blog at http://aliontheair.wordpress.com/ and I also blog for the Huffington Post. I’ve taped three comedies this pilot season and I’m developing a new music web series called “Eat To The Beat” with My Damn Channel. More info on that will be updated on my blog.

TRAffIK: Where can people contact you?
AM: You can contact me through my blog or at aliontheairblog@gmail.com

Peanut Butter Wolf’s 888 kicks it at Root Down

It’s not like Peanut Butter Wolf has a lot of time on his hands. The man runs Stones Throw records, in addition to recording, producing, and spinning all over the world. So for Wolf to follow up last year’s 7 days of Heaven with 888: 8 days of music videos at 8 clubs in 8 styles – and no repeats nonetheless – well, god bless him. He’s the Little Prince of scratches.

Thursday night’s set at Root Down at Little Temple Bar in Los Angeles, was to be an hour of hip hop videos. I’ve been Wolf’s little blond shadow this week, following him from club to club. So, I was curious to see what he would break out to wow this crowd of uber hip hop fans. I feared it would be a bit like throwing Wolf to the lions.

With a fervent line snaking around Virgil Avenue, the mood was palpable. These lions wanted beats and wanted them bad. A capacity crowd, which included veteran and legend 9th Wonder, crammed themselves into the tiny room to see what Peanut Butter brought.

As PB stepped up to the mic, the crowd surged forward.

“So far, seven days and I’m here, rocking the same white tee shirt and the same Dodger hat…and I didn’t even know that we got Manny.” A few cheers were heard from fresh Manny Ramirez fans, but the rest of the crowd wanted music.

With a shout out to Dilla to kick things off, Wolf masterfully blended videos new and old, mixing flicks by Snoop Dogg, Wu Tang, and Method Man, with oldies by KRS One and De La Soul. Lest there be neophytes in the audience, he dropped hits by House of Pain, Onyx, and the Beastie Boys, but also broke out MOP, Leaders of the New School, and for the lovers of a high fade, Whistle’s ‘Just Buggin’.

The crowd was brimming with the kind of excitement only seen in kids on Christmas morning…that or the dudes in line at Best Buy the night before the premiere of the new Halo. However, the greatest testament to Wolf’s set was the complete joy on the faces of his peers. 9th Wonder, Jedi and Rhettmatic cheered him on, rapped along and peppered his scratches with shout outs.

Wolf finaled his hour long set with a video by Breakestra, featuring Root Down promoter, and Breakestra founder Music Man Miles. He stopped to mention that though he promised to play all hip hop, Breakestra and DJ Dusk were masterful enough to blend funk, soul, latin and jazz and expand the ears of hip hop fans everywhere. So with that testament and a shout out to Dusk, Dilla and Charizma, Wolf ended with some Ruben Blades.

“Damn, it’s hot in here.” PBW exclaimed as he left the stage. “I think I lost five pounds.” Likewise, the capacity crowd who stayed and sweated to the end, probably lost a combined ton in water weight. But that was just an added bonus to a night of electric sweat on the decks.

Oh and a side note – Wolf wasn’t wearing the actual same white t-shirt for the past 7 days. Just like his week of 888 spinning, Peanut Butter Wolf smells like roses.
Peanut Butter Wolf performs his final night of 888 on Friday. For more details, visit stonesthrow.com

A Tale of Two Warm Up Shows: She Wants Revenge & Hot Hot Heat

One of the perks of living in a high priced, high stress, high-octane city like LA or New York is The Warm Up Show. Often limited to friends and uber fans, or kept a secret until the last minute, the warm up show allows a bigger act to play in a small intimate setting and perform new material or just get the lead out of their rusty performance. As the summer ramps up for the onslaught of music festival mania, warm up shows start popping up in unexected places.

Last Saturday I joined Mia and her posse to head over to the Swinghouse party. Swinghouse Recording Studios throws these events once in a while which allows people to come down, have a few drinks and a few laughs and watch the bands that record and practice there either showcase or warm up for a tour.

The nice thing about Phil’s Swinghouse bashes is that they’re like a house party. The downer is that they are like a house party…whose address was posted on Facebook. Call me jadey, but there were way too many brown lipsticked lookieloos who were pushing their way in to see the bands, and triple fisting the free cocktails…if we were going to rate them on a groupie scale, well they would be the ones who eat all the steak. Getting trampled while trying to get an interview is so not filed under fun. And for what, valley girls? If you’re five inches closer is he really gonna sleep with you? Sigh, one of the hazards of an embedded music journalist.

I plowed my way to the middle of a small recording room for Electric Touch, a band I interviewed at Coachella. Far from a warm up show, ET weren’t exactly ‘cooling down’, though this was the finale of their week of LA dates. Their energetic poppy set which included covers of American Girl and Come Together. Now, it’s a rite of passage for a band to cover the Beatles, but I’m surprised by all the bands I’ve met lately that site Tom Petty as a big influence. It’s like the kids are finally listening to rock again. It’s encouraging to me, especially now that LA is drowning in robot music…and impressive, considering Petty’s rather disappointing Superbowl half time show.

Electric Touch

As I sat on an amp and listened to Voxhaul Broadcast and Astra Heights, I spied Adam 12 making his way through the clammy crowd. She Wants Revenge practices at Swinghouse. And not only do they have a new EP about to drop on some very happy Suicide Girl heads, but they’re moments away from going out on the Nylon Tour. The secret guest revealed.

For a band that has over-inked girls with Sailor Moon haircuts losing their freaking minds, Adam is sweet and decidedly low key. His fedora belies his down to earth and thoughtful cadence. (No offense to a man who accessorizes – normally I applaud – but so many LA douche bags wear fedoras) It’s good to see Adam taking back the hat.

Anyhow, no matter how much Adam tried to find a quiet place to prep, the crowd seemed to swell his way.In fact, on a rather chilly night, the room was moist with the scent of humid human in the air. Sure, an intimate secret show is something many girls dream about, but if I get jostled and trampled by the Shes who want She Wants Revenge, then the music portion of the night becomes a casualty.

Adam 12 and She Wants Revenge

Mia and her lingerie modeling friend and I decided to slip out of the Soylent Green smelling studios and take off early. Not something I would have been caught dead doing in the past, but as a retired hipster, I often get home before last call. As we tried to exit, Mia’s friend took an exaggerated pause by the door and scanned the smokers in a last ditch effort. I noted to her that many of them couldn’t afford to take her for dinner, let alone pay for Plan B. She wrinkled her nose. For her, this warm up show was more like luke warm.

Speaking of Luke…I had been remiss in making it out to see Luke, play. He’d invited me several times but I work most nights (and days too). Now, I’m not an industry prick tease. So I don’t say I’ll show up and then flake. If I’m due to cover another show or I’m overwhelmed and exhausted, I say ‘I probably wont make it’ or ‘I’ll try but I don’t know if it’s gonna happen’.

Note: This is how all industry types should conduct themselves, no matter what industry they work in. I don’t want to get all miss rock n roll manners on your asses, but for fuck’s sake! If you say you’ll do something, do it. Don’t lie. Don’t flake. If you can’t or don’t want to, just excuse yourself from the event.

Why lie about it? It’s like the agent that used to promise to read my scripts just so he could try to cop a feel. We both knew that no matter how much of my c cups I let him juggle, he was never going to read past the title page. Damn, I probably would’ve let him juggle if he had just been honest.

Anyways, back to your regularly scheduled blog…

When Luke invited me to see his band Hot Hot Heat play at The Grove, I was willing to make the 45 minute drive to Anaheim. It’s a known truth that I don’t dance very often at clubs. Justice just doesn’t move me. But if you drop something from Make Up The Breakdown, I’ll be on the dance floor like a shot. But then Luke explained that it wasn’t the venue, The Grove in Anaheim. No. It was the Grove at Third and Fairfax. Hot Hot Heat was playing at a MALL. Yes, they’re poppy. Yes, Steve Bays is cute in a kitten way…but a MALL? That seems a purgatory reserved for the Ace Young idol rejects of the world, not a well to do indie rock band.

If you haven’t been to The Grove mall in Los Angeles, it can best be described as why Al Quaeda hates us. Not only does the mall feature a train trolley that gives rides to weary shoppers walking the 500 yard length of the mall, but in the middle of this Disney-Dali shopping experience, there is a six million dollar water fountain. Why did it cost six million dollars? I’m glad you asked. The fountain spurts water in time to the musak, which is a list of barely bearable songs like ‘That’s Amore’. Money well spent.

The Grove

When I arrived, I noticed that they had constructed a bit stage…right over the water fountain. Because when you’re sending enough volts of energy to power a rock band with lots of amps, the best place to ground the entire stage is in a pool of water. Is the Grove trying to kill off Canadians one by one?

Stage over troubled water

Surprisingly, the place wasn’t as much of a indie zoo as I thought. Though there were a lot of Gen-Wii, Forever 21 tweens buzzing with excitement. But a far cry form the tat queens at Swinghouse…though I couldn’t help thinking…were these little Hello Kitty Heat lovers the sweaty Swinghouse girls of tomorrow?

Finally, Luke sauntered out on stage with Dustin and Paul and Le Petit Prince himself, Steve Bays. Despite the crazy kiddie pool, the warm up show was relaxed and the guys looked like they were having a lot of fun. The aftermath of a mall show? Lots and lots of homemade cupcakes and hot pink and purple bags filled with fuzzy things piled in the green room. A nice juxtaposition to the rows of bottles of whisky and beer. Which made for much more colorful fun.

And at the end of the day, fun is what it’s supposed to be about. Los Angeles often treats music like a competitive sport, so it’s nice when a show is just a show. Ironing out the kinks, playing some songs and having fun…even if it is at a mall. With cupcakes.

Tis the season of the warm up show. Let the fun begin.

The Little Prince of Victoria

Luke on his way to rock out

Made In Canada: Hot Hot Heat at the Grove Mall

All Along The Watchtower

Luke and Wooly, a gift from a fan.

Paige has great jugs. Mine are a little lopsided.

DJs and Turntablism – are hipsters and laptops killing the art form?

Hey Mr. DJ, put a record on…no really. I mean a fucking record. you know, those vinyl thingies that old timey people used to play?

While having dinner with Ian last night, the topic of dj culture came up. The electro, hose, nu-rave scene has burst like a serato pinata here in LA, and in NYC as well. Now, I’m always a champion for new music and creative outlets…but it seems to me there is a glut in the market. It’s like that Jack Black joke in the Tenacious D pilot, about aspiring musicians… (paraphrasing) “if you suck, and we ask you to stop, you must stop!” Lately I can’t walk into a bar without screaming FOR THE LOVE OF KRISHNA, PUT THE I POD DOWN!

It seems that with the nightly dance parties in heavy supply, anyone, and I do mean anyone, with a laptop and i tunes is now a DJ. So where does that leave the DJs who have been doing it for years? What does it mean to be a DJ? Is it style? Are you a DJ if you can scratch? Is it substance? Does being a DJ constitute having a good selection and crate digging your heart out? Or can you get by if you get the crowd to dance by playing Thriller and Justice off your Nano? And is it any great feat to get a bunch of kids cracked out on Sparks to sway and slam to a beat? Ugh.

Does a good music producer make for the best DJ? Or is it shiny stickers spelling out your name on the back of your laptop? I’m an on air radio DJ and I spin at some of the local clubs, in between bands. I spin mostly rock and punk, so I don’t get asked to be on the hipster club bills. Does this make me less of a DJ? OK, don’t answer that last question.

Ian mentioned that some of these club promoters/indie label owners/hipsters in American Apparel DJs, have their own booking agent. And big time bookers too. What makes someone pay thousands of dollars to have a specific DJ flown in for a party? Is it name recognition? Does a lot of website party photo ops constitute recognition? Or do you need to be seen walking the red carpet with the Good Charlotte boys? And why do some of these hipster dj duos think that they’re famous?

One unnamed duo, who have recently gotten a bit of local hype, claim that their fame is wearing on them. Heavy is the head that wears the black leather fedora. Woe is the electro boy in a Members Only jacket. Too much fame! How do they get up everyday and lace their free Puma kicks? Now I’m sure you couldn’t pick them out of a line up. Nor are they gracing the covers of any magazines. In fact, if you took them out of the insular LA/NYC scene, no one would know who they are. But they behave that their lazy re-mixes are an art form so great that they should be given the VIP treatment wherever they go. I smile as I wonder how long these ‘famous’ guys would last in a spin off versus someone like Pete Rock.

Which begs the question: Is DJing an art form? What does it take to make something art? By playing someone else’s music, are you then too a musician? How much do you have to change a piece of music to make it your own? How many seconds of a sample can you use in order to patchwork together a song? Is cutting together a track of samples any less artful than editing sound of instruments being played in a studio?

In my moonlighting as a clothing designer for Rock-N-Role, I take vintage cast offs, de-construct them and make them into something new. I consider that designing, but I’m sure the people at Parsons would consider it cheating or whatnot. One of my favorite artists, Banksy, often takes pre-existing works and adds his own cheeky flair. Is that not real art?

If you’re a DJ with your own album out, ala Junkie XL, or Cut Chemist, does that set you apart from the popular kids who speed up a Justice track and call it a new mix? Where does the line get drawn? I believe that the great Steinski is an artist the way he blends together bits and pieces of old movie quotes, Zapruder film audio and beats…but he can’t legally sell The Lessons. So sales and charting can’t be the only measure of a man (or woman).

Someone like Shadow, who can keep a crowd going and has a flair for ‘spinning plates’, certainly earns the respect and worship of many…but is his art form cheapened by an up and comer serato spinner in a hyphy crunk hoodie and neon wayfarers? Or is there room for both?

A lot of the old school dj/turntablists that I’ve interviewed are very careful not to slam serato. “It means I don’t have to carry 80 pounds worth of records on the airplane with me.” said one. But they do say that you can’t polish a turd; meaning if you kill on the decks with 45s, then you’ll be great with serato. If you don’t know what you’re doing, you will still suck. Technology can sink or swim you.

I personally give more respect to the record collectors, or ‘vinyl trekkies’ as Kid Koala calls them. Spending hours and hours at odd hours, digging through dusty crates connotes a certain commitment to the craft, as well as an obvious love for music and sense of musical history. But is any of that important when faced with 200 electro/emo hispters who ‘just wanna dance’? What do you play to those kids…what you like or what they want to hear? And whatever happened to street cred?

I’m just playing hipster’s advocate here, trying to get a discussion going…

…but it seems to me that a lot of these new DJs are in it for fashion…or perhaps because it pays better than working at Urban Outfitters and the hours and drugs are the perks they’re looking for. How many of the new DJS consider what they’re doing an actual craft or career, and how many are just in it to be pimped by Scion or Nylon. If we could send a camera crew to each of their homes, would we find them listening to music in their off hours? I mean really listening to music. Pushing their boundaries and searching for the next sample that will blow our minds.

Speaking of blowing minds, I couldn’t discuss the tables without including this from Kid Koala…he plays a record like it were a violin. And he spins without headphones! If this is an art form, Koala is masterful: