brothermatt wrote:i'd like to buy you a beer and listen to epic stories of jeff tweedy and jay farrar breaking beer bottles over each other's heads while grappling for creative control, ending in the great schism. even though i know that's not how it really went down, i want to believe uncle tupelo was destroyed sophocles style. so that takes precedence over anything else i might want to hear from you.
on the management front, for no particular reason, but to provide contrast with my wife's experience in law school and since:
1. long-term contracts with renewals for artists or more (in the albini-chicago style) handshake contracts?
2. do you actively seek out artists now, or do they find you?
3. has there been any blowback from the no-Spotify position (from labels or others)?
4. did you ever see a show at tewligan's in louisville? that and the machine were the places i visited and sneaked into most growing up.
FatalWound wrote:1. Given the somewhat bleak financial realities of the modern music industry, how do you think the relationship between art and commerce has changed? Have you and artists you work with had to make compromises you would rather not have made?
2. With some of the younger/newer artists you work with, what have been the most effective avenues of gaining exposure and cultivating a fan base?
andrewswafford wrote:I saw Father John Misty play a fantastic show last night and I've been thinking about the relative success of the various Washington indie rock acts which seem to have crossed paths at one point or another in the 2000's. I'm thinking about Pedro, Death Cab, Fleet Foxes, J. Tillman, The Long Winters, etc.
Some of those bands are extremely huge by indie standards (Death Cab and Fleet Foxes) while others seem to be/have been marginally successful (Tillman, Long Winters, Pedro) but it seems that David's solo work has never gotten any sort of major exposure. The most spotlight he seems to get is in the form of a Pitchfork review or two, which are almost always negative because of the guy's past associations with "Christian rock" or whatever else. Most of the interviews he does are with fringe outlets--hell, he did an interview with the school blog that I worked for a few years back, which I was glad for but certainly didn't win him hundreds of fans.
Sooo I suppose my question is similar to SkeletonRock's. Tillman played on Letterman a few months back. Why is it that David doesn't seem to get any spotlight via mainstream media channels? Is it a personal choice on Dave's part or does it have to do with the type of music he makes? (the rock sound of Strange Negotiations didn't feel very inaccessible to me, it seems pretty marketable)
SkeletonRock wrote:I'll preface my questions with a statement, one that might not be entirely appropriate since you aren't an professional artist, but rather a manager, but here goes anyway.
Less than a year ago I went to the Van Gogh museum in Amsterdam. When I think of Van Gogh, I think of a serious, perhaps tortured, artist who was making very serious work. I doesn't get much more legitimate than Van Gogh. However, I was shocked to learn that the motivation behind many of his paintings was simply that he was trying to make stuff he thought someone might buy. In his notes about certain paintings he is quoted as saying, "People like these kinds of paintings so I am going to paint some and see if we can't sell them".
If Van Gogh can embrace the fact that there is a commercial aspect to his art, that he is putting his unique and creative take on something but is in fact making a product, why not your artists? Why not encourage your artists to embrace more of the commercial side of this business and get on some TV shows or something? How could it do anything other than benefit their career?
numan_the_son wrote:I'm very interested in the answer to andrewswafford's question.
I always wondered why everything around PTL and DB seem to be intentionally low key PR wise. Perhaps it's a personal choice by Dave, maybe I'm wrong, but that's what I always thought. It seems like there are is a lot of potential buzz left, uh, unbuzzed (music videos, social media, singles, (frequent) reddit Q&A's, "accidental" twitter dick pics, etc).
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