Results tagged “Steven Swartz” from Life's a Pitch

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.