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.
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