Steven Swartz, Dotdotdotmusic
It's Publicists Gone Wild this week on Life's a Pitch. Each day, we'll have answers to the same eleven questions from different New York City publicists. Today, we have Steven Swartz, who hails from the publishing (and apparently ukulele) world(s)! Steven and I met...actually, when did we meet?...but our paths cross early and often at cool-kid "new music" events throughout the city.
Steven Swartz never set out to be a publicist. He studied music and philosophy at Swarthmore College and earned a PhD in composition from University at Buffalo under principal teacher Morton Feldman. A teaching job proved elusive, so he moved to NYC, embarking on a career that would eventually span journalism, radio, the recording industry, and music publishing. From 1990 to 2006 he served as Publicity Manager for Boosey & Hawkes.
In 2007 Steven founded Dotdotdotmusic, providing PR, writing, and consulting services to the new music field, specializing in artists whose music transcends styles and genres. His clients include cellist Maya Beiser, composer Douglas J. Cuomo, New Amsterdam records, Signal, the MATA Festival, and others. Steven has also enjoyed a parallel career as a recording artist, singing and playing ukulele in the "avant-folk" combos Songs from a Random House and Bedroom Community. Website: www.dotdotdotmusic.net. Twitter: @dotdotdottweet.
What is the purpose of a press release? And what, in your opinion, is the most important aspect of a press release? How does that element accomplish the purpose?
I think any publicist would agree that it's not enough to convey the essential information -- you have to answer the reader's unspoken question, "Why should I care?" Ideally, all of the elements of the release work together to provide that answer, but the heavy lifting is accomplished by the narrative you create in the release, and the context you provide to support and enrich that narrative.
Hard to say what the single most important element is, though I think the first two paragraphs are crucial: while the first gives the vital info, the second tells "why this event is different from all other events."
Similarly, what is the most important aspect of an artist biography? How long should a bio be, ideally? Should it include press quotes? Why or why not?
There's a type of bio that you'll often find in concert programs -- a laundry list of accomplishments. I find that absolutely deadly. It's a biography, not a job application!
Most artists do see the bio as a kind of resume, not realizing that it can serve as a powerful marketing tool, especially on the web. Phrases from a well-written bio can turn up in coverage for years to come...it's a tremendous opportunity to shape perceptions.
If you only have a few hundred words to work with, you certainly do want to mention the major prizes and credits. But a good artist bio tells not only what the artist has achieved, but how she became the particular artist she is. There are always formative experiences and influences, and often some interesting twists and turns along the way. Without belaboring these things, an artist's bio can sketch a compelling narrative arc, while still making room for the credentials that establish the artist as bona fide.
I use press quotes sparingly, and not in every instance. If you're writing a long bio, say 1000-1200 words, there may be room for a few well-chosen gems. A short bio should run about 350 words, and you should always have a bio/blurb that tops out at 150 words.
How far in advance of a CD release or concert do you send/e mail press releases? How many times do you usually follow-up journalists after sending the release?
Anywhere from three months to six weeks out for the initial release. No hard formula for how many times to follow up. Some people are fine with repeated nudging, others need to be prodded gently and sparingly. Know your contacts and what they respond to best!
In 2009, what do you consider successful coverage for a client's concert? How has the definition of "coverage" changed since you started working in PR? For example, do artist's personal blogs/websites/Twitter feeds count as media coverage?
If your artist is a gifted blogger, like Darcy James Argue, whose Secret Society blog is eloquent and influential, he can serve as a very effective adjunct to your own efforts. But I'd hardly consider an artist's own blog as "coverage," though positive comments from his peers can be useful as blurbs.
Steven Swartz never set out to be a publicist. He studied music and philosophy at Swarthmore College and earned a PhD in composition from University at Buffalo under principal teacher Morton Feldman. A teaching job proved elusive, so he moved to NYC, embarking on a career that would eventually span journalism, radio, the recording industry, and music publishing. From 1990 to 2006 he served as Publicity Manager for Boosey & Hawkes.
In 2007 Steven founded Dotdotdotmusic, providing PR, writing, and consulting services to the new music field, specializing in artists whose music transcends styles and genres. His clients include cellist Maya Beiser, composer Douglas J. Cuomo, New Amsterdam records, Signal, the MATA Festival, and others. Steven has also enjoyed a parallel career as a recording artist, singing and playing ukulele in the "avant-folk" combos Songs from a Random House and Bedroom Community. Website: www.dotdotdotmusic.net. Twitter: @dotdotdottweet.
What is the purpose of a press release? And what, in your opinion, is the most important aspect of a press release? How does that element accomplish the purpose?
I think any publicist would agree that it's not enough to convey the essential information -- you have to answer the reader's unspoken question, "Why should I care?" Ideally, all of the elements of the release work together to provide that answer, but the heavy lifting is accomplished by the narrative you create in the release, and the context you provide to support and enrich that narrative.
Hard to say what the single most important element is, though I think the first two paragraphs are crucial: while the first gives the vital info, the second tells "why this event is different from all other events."
Similarly, what is the most important aspect of an artist biography? How long should a bio be, ideally? Should it include press quotes? Why or why not?
There's a type of bio that you'll often find in concert programs -- a laundry list of accomplishments. I find that absolutely deadly. It's a biography, not a job application!
Most artists do see the bio as a kind of resume, not realizing that it can serve as a powerful marketing tool, especially on the web. Phrases from a well-written bio can turn up in coverage for years to come...it's a tremendous opportunity to shape perceptions.
If you only have a few hundred words to work with, you certainly do want to mention the major prizes and credits. But a good artist bio tells not only what the artist has achieved, but how she became the particular artist she is. There are always formative experiences and influences, and often some interesting twists and turns along the way. Without belaboring these things, an artist's bio can sketch a compelling narrative arc, while still making room for the credentials that establish the artist as bona fide.
I use press quotes sparingly, and not in every instance. If you're writing a long bio, say 1000-1200 words, there may be room for a few well-chosen gems. A short bio should run about 350 words, and you should always have a bio/blurb that tops out at 150 words.
How far in advance of a CD release or concert do you send/e mail press releases? How many times do you usually follow-up journalists after sending the release?
Anywhere from three months to six weeks out for the initial release. No hard formula for how many times to follow up. Some people are fine with repeated nudging, others need to be prodded gently and sparingly. Know your contacts and what they respond to best!
In 2009, what do you consider successful coverage for a client's concert? How has the definition of "coverage" changed since you started working in PR? For example, do artist's personal blogs/websites/Twitter feeds count as media coverage?
If your artist is a gifted blogger, like Darcy James Argue, whose Secret Society blog is eloquent and influential, he can serve as a very effective adjunct to your own efforts. But I'd hardly consider an artist's own blog as "coverage," though positive comments from his peers can be useful as blurbs.
Who owns the problem of selling tickets and CDs? Is it a
publicist's job to secure press that will have a direct impact on
sales, or does some press accomplish something beyond or different from
sales? Should marketing - ticket sales, ad copy, poster design - be
kept separate from publicity, or do efforts often overlap?
Like any publicist, I aim for coverage that will help drive ticket and/or CD sales. It's essential to work with marketing folks to see that their efforts harmonize with the message you're delivering to the media.
But the long view is really what matters most. A blaze of hype may fill the venue, but how will it affect the artist going forward? The ultimate goal is to nurture a sustainable career.
Throughout my career I've been very involved with branding and visual presentation. Having a modest background in the visual arts, I feel comfortable discussing design issues at the macro and micro levels, and consider it one of the more enjoyable parts of my job (largely because I'm never the one with primary responsibility!).
When in their careers should artists hire a publicist?
At different times, and to different ends. When they're starting out, to establish a reputation, or branching out, to shape a new narrative. When they get a big break (major commission, high-profile recording), or when they have cluster of really interesting smaller events. To launch a big initiative, or to be prominent in the coverage when part of a larger event...
If an artist doesn't have a publicist, what is the best advice you can offer them for self-promotion?
Use social networking media. Learn how to write a press release. Build a mailing list, and learn how to use an HTML email program to distribute your announcements. And get at least two really compelling and distinctive publicity shots! A great image can make the difference between a text-only calendar listing and a highlighted preview.
How do you choose clients? Is there a set criteria in your company, or do you decide on a case-by-case basis?
First of all, quality! And an aesthetic outlook that resonates with my own. During my long tenure in publishing (16 years at Boosey & Hawkes), I learned something about creating a roster, which I view as a kind of ecosystem. Ideally, your clients should complement each other artistically while collectively projecting your brand. It's all about the mix.
I don't care if someone's famous or not. I've always relished the opportunity to break an emerging artist. If the music's wonderful and they have a good story, I'm interested.
For example: the Grand Valley State University New Music Ensemble -- a student group from an obscure school not known for its music program -- recorded an outstanding version of Steve Reich's intricate and demanding Music for 18 Musicians. I thought there was a great "underdog" story there, and there was: the disc received glowing coverage from Billboard to the Bangkok Post, and was the subject of a terrific NPR Weekend Edition piece.
Conversely, I've turned down offers to work with some very well-known musicians who, while highly respected artists, weren't doing anything particularly interesting -- just one tour after another with the same old rep.
There are plenty of other factors, both interpersonal and practical, but most of those are matters of common sense. Above all, trust your gut. Your credibility is everything -- always make sure it's an artist/project you can truly stand behind.
Do clients on your roster know who the other clients on the roster are? Do they care?
Yes, they know, since most of my new clients are referred to me by existing ones. Since I work with various types of clients -- composers, performers, labels, festivals, ensembles -- I always look for potential synergies.
Should publicists run Facebook pages, blogs, Twitter accounts, MySpace pages for their clients, or is that essentially the 2009-equivalent of answering interview questions for them?
Website/Facebook/Myspace news items & invites are OK, even if in the first person. But blogs, Twitter accounts, and more "personal" content should come from the artist.
If you weren't a classical music publicist, what would you be?
A ukulele-playing indie rock star. Hey wait, I tried that already...#Fail
Like any publicist, I aim for coverage that will help drive ticket and/or CD sales. It's essential to work with marketing folks to see that their efforts harmonize with the message you're delivering to the media.
But the long view is really what matters most. A blaze of hype may fill the venue, but how will it affect the artist going forward? The ultimate goal is to nurture a sustainable career.
Throughout my career I've been very involved with branding and visual presentation. Having a modest background in the visual arts, I feel comfortable discussing design issues at the macro and micro levels, and consider it one of the more enjoyable parts of my job (largely because I'm never the one with primary responsibility!).
When in their careers should artists hire a publicist?
At different times, and to different ends. When they're starting out, to establish a reputation, or branching out, to shape a new narrative. When they get a big break (major commission, high-profile recording), or when they have cluster of really interesting smaller events. To launch a big initiative, or to be prominent in the coverage when part of a larger event...
If an artist doesn't have a publicist, what is the best advice you can offer them for self-promotion?
Use social networking media. Learn how to write a press release. Build a mailing list, and learn how to use an HTML email program to distribute your announcements. And get at least two really compelling and distinctive publicity shots! A great image can make the difference between a text-only calendar listing and a highlighted preview.
How do you choose clients? Is there a set criteria in your company, or do you decide on a case-by-case basis?
First of all, quality! And an aesthetic outlook that resonates with my own. During my long tenure in publishing (16 years at Boosey & Hawkes), I learned something about creating a roster, which I view as a kind of ecosystem. Ideally, your clients should complement each other artistically while collectively projecting your brand. It's all about the mix.
I don't care if someone's famous or not. I've always relished the opportunity to break an emerging artist. If the music's wonderful and they have a good story, I'm interested.
For example: the Grand Valley State University New Music Ensemble -- a student group from an obscure school not known for its music program -- recorded an outstanding version of Steve Reich's intricate and demanding Music for 18 Musicians. I thought there was a great "underdog" story there, and there was: the disc received glowing coverage from Billboard to the Bangkok Post, and was the subject of a terrific NPR Weekend Edition piece.
Conversely, I've turned down offers to work with some very well-known musicians who, while highly respected artists, weren't doing anything particularly interesting -- just one tour after another with the same old rep.
There are plenty of other factors, both interpersonal and practical, but most of those are matters of common sense. Above all, trust your gut. Your credibility is everything -- always make sure it's an artist/project you can truly stand behind.
Do clients on your roster know who the other clients on the roster are? Do they care?
Yes, they know, since most of my new clients are referred to me by existing ones. Since I work with various types of clients -- composers, performers, labels, festivals, ensembles -- I always look for potential synergies.
Should publicists run Facebook pages, blogs, Twitter accounts, MySpace pages for their clients, or is that essentially the 2009-equivalent of answering interview questions for them?
Website/Facebook/Myspace news items & invites are OK, even if in the first person. But blogs, Twitter accounts, and more "personal" content should come from the artist.
If you weren't a classical music publicist, what would you be?
A ukulele-playing indie rock star. Hey wait, I tried that already...#Fail
Categories:
About
Life's a Pitch Why don't we apply the successful marketing and publicity campaigns we see in our everyday lives to the performing arts? Great ideas are right there, ripe for the emulating. And who's responsible for the wide-reaching problems in ticket sales and audience development? Boring artists? Greedy managers? Overstretched marketing departments? We're beyond debating who owns the problem. Let's fix this thing.
more
Amanda Ameer left her position as Publicity Manager at IMG Artists in June 2007 to start First Chair Promotion, and currently represents Hilary Hahn, Gabriel Kahane, The King's Singers, David Lang, Eric Owens and Hélène Grimaud.
more
Contact Click here to send an email. more
Subscribe to the Newsletter Fill in your email address here.
more
more
Amanda Ameer left her position as Publicity Manager at IMG Artists in June 2007 to start First Chair Promotion, and currently represents Hilary Hahn, Gabriel Kahane, The King's Singers, David Lang, Eric Owens and Hélène Grimaud.
more
Contact Click here to send an email. more
Subscribe to the Newsletter Fill in your email address here.
more
Sites
Now Play It
This site has musicians teaching viewers how to play their most popular songs on the guitar via downloadable video. more
This site has musicians teaching viewers how to play their most popular songs on the guitar via downloadable video.
MOMA - Eye on Europe
This microsite for one of MOMA's 2006 exhibitions is a(n extreme) lesson in what can be done digitally for special projects (world premieres?).
more
This microsite for one of MOMA's 2006 exhibitions is a(n extreme) lesson in what can be done digitally for special projects (world premieres?).
The Metropolitan Opera
Sometimes, when the (performing arts) world gets me down, I go to The Met's website and feel better about it all.
more
Sometimes, when the (performing arts) world gets me down, I go to The Met's website and feel better about it all.
AJ Ads
Introducing
AJ Arts Blog Ads
Now you can reach the most discerning arts blog readers on the internet. Target individual blogs or topics in the ArtsJournal ad network.
Advertise Here
AJ Arts Blog Ads
Now you can reach the most discerning arts blog readers on the internet. Target individual blogs or topics in the ArtsJournal ad network.
Advertise Here
AJ Blogs
AJBlogCentral | rssculture
About Last Night
Terry Teachout on the arts in New York City
Terry Teachout on the arts in New York City
Artful Manager
Andrew Taylor on the business of arts & culture
Andrew Taylor on the business of arts & culture
blog riley
rock culture approximately
rock culture approximately
critical difference
Laura Collins-Hughes on arts, culture and coverage
Laura Collins-Hughes on arts, culture and coverage
Dewey21C
Richard Kessler on arts education
Richard Kessler on arts education
diacritical
Douglas McLennan's blog
Douglas McLennan's blog
Dog Days
Dalouge Smith advocates for the Arts
Dalouge Smith advocates for the Arts
Flyover
Art from the American Outback
Art from the American Outback
Life's a Pitch
For immediate release: the arts are marketable
For immediate release: the arts are marketable
Mind the Gap
No genre is the new genre
No genre is the new genre
Performance Monkey
David Jays on theatre and dance
David Jays on theatre and dance
Plain English
Paul Levy measures the Angles
Paul Levy measures the Angles
Real Clear Arts
Judith H. Dobrzynski on Culture
Judith H. Dobrzynski on Culture
Rockwell Matters
John Rockwell on the arts
John Rockwell on the arts
Straight Up |
Jan Herman - arts, media & culture with 'tude
Jan Herman - arts, media & culture with 'tude
dance
Foot in Mouth
Apollinaire Scherr talks about dance
Apollinaire Scherr talks about dance
Seeing Things
Tobi Tobias on dance et al...
Tobi Tobias on dance et al...
jazz
Jazz Beyond Jazz
Howard Mandel's freelance Urban Improvisation
Howard Mandel's freelance Urban Improvisation
ListenGood
Focus on New Orleans. Jazz and Other Sounds
Focus on New Orleans. Jazz and Other Sounds
Rifftides
Doug Ramsey on Jazz and other matters...
Doug Ramsey on Jazz and other matters...
media
Out There
Jeff Weinstein's Cultural Mixology
Jeff Weinstein's Cultural Mixology
Serious Popcorn
Martha Bayles on Film...
Martha Bayles on Film...
classical music
Creative Destruction
Fresh ideas on building arts communities
Fresh ideas on building arts communities
The Future of Classical Music?
Greg Sandow performs a book-in-progress
Greg Sandow performs a book-in-progress
On the Record
Exploring Orchestras w/ Henry Fogel
Exploring Orchestras w/ Henry Fogel
Overflow
Harvey Sachs on music, and various digressions
Harvey Sachs on music, and various digressions
PianoMorphosis
Bruce Brubaker on all things Piano
Bruce Brubaker on all things Piano
PostClassic
Kyle Gann on music after the fact
Kyle Gann on music after the fact
Sandow
Greg Sandow on the future of Classical Music
Greg Sandow on the future of Classical Music
Slipped Disc
Norman Lebrecht on Shifting Sound Worlds
Norman Lebrecht on Shifting Sound Worlds
publishing
book/daddy
Jerome Weeks on Books
Jerome Weeks on Books
Quick Study
Scott McLemee on books, ideas & trash-culture ephemera
Scott McLemee on books, ideas & trash-culture ephemera
theatre
Drama Queen
Wendy Rosenfield: covering drama, onstage and off
Wendy Rosenfield: covering drama, onstage and off
lies like truth
Chloe Veltman on how culture will save the world
Chloe Veltman on how culture will save the world
visual
Aesthetic Grounds
Public Art, Public Space
Public Art, Public Space
Another Bouncing Ball
Regina Hackett takes her Art To Go
Regina Hackett takes her Art To Go
Artopia
John Perreault's art diary
John Perreault's art diary
CultureGrrl
Lee Rosenbaum's Cultural Commentary
Lee Rosenbaum's Cultural Commentary
Modern Art Notes
Tyler Green's modern & contemporary art blog
Tyler Green's modern & contemporary art blog
Leave a comment