Nadine Sez...
The SF Scene Is NOT Dead, Or How Come No One Is Talking About What Is RIGHT
With the Scene
September, 2000
There has been so much animosity around the closing of Downtown Rehearsal
Studios that I think everyone has forgotten that there WAS a scene before the
Downtown Rehearsal, South of Market, The Bottom of the Hill and The Paradise
Lounge. Take HEART in this historical fact.
For one brief moment, could we step back and look at a BIGGER picture and
consider everything that is RIGHT with the scene today. I personally feel
there is MORE opportunity now for musicians here and I«m quite impressed by
what I«ve been observing.
First, there are more groups of like minded musicians putting on successful,
niche marketed shows who are creating very nice, very happening little scenes
which are growing organically, all by themselves, into bigger scenes.
Shows like Foster Johnson«s Rocktronica (a great scene-really fun, hot, hip
shows), Eric Shea, Bart Davenport and Molly Tuttle«s Monday Night Hoots (a
true artist to artist showcase), and the Ian Brennan shows (the soul of the
city promotes consistently eclectic bills) have been drawing solid,
supportive crowds in the face of this gloom and doom mentality.
AND there are so many more shows out there doing the same: the ‹DIVA’ shows
(every month, at the `Dise or Red Devil Lounge), the Ubiquity Records ‹No
Categories’ (last Fridays of the month at 111 Minna); those OM Records
showcases (Fillmore and Bimbo«s) and The Band Summit in People«s Park on
October 14th (twelve bands including Buddhakowski). What about the cool
Oranger stuff (we all know they are off to Europe), Future Farmer Records
and all that Dogday/STRAY Records music? How about Orixa and their Latin
rock shows (packing Slim«s on a Sunday Night)...What about Deborah Pardes and
her fantastic Song Cycles and those Devil in the Woods shows...and of course,
the Rock Never Sleeps parties.
I know I am missing out mentioning even more good events, and I apologize in
advance, but suffice... There is a lot of energy and power out there and
frankly I CHOOSE to see it as a stimulating time for artist development (i.e.
possibly slow/painful or possibly fun/frivolous artistic growth) in all
arenas and genres of music.
Second, let's not forget we are enjoying MORE label success
with Bay Area based bands NOW than ever before (Santana, Smashmouth, 3EB,
Stroke 9, Train). And, Dan Hicks is BACK !
(There must be a GOD somewhere- give thanks.)
This current period of time is reminiscent of Â94-«96 before many of those
bands got signed or ‹rediscovered’. People thought that was a bleak time
too. Those bands all had to dig pretty deep inside themselves to find their
commitments as success certainly didn«t seem to be looming on the horizon for
any of them.
Third, what about the local media support, which has never been stronger or
more focused on local talent and events. The impressive and expanded
Chronicle Daily Datebook coverage, James Sullivan«s perceptive weekend
previews on Thursdays, Neva Chonin«s astute observations, Jane Ganahl«s
ballsy coverage and the Weeklies continual coverage are pretty strong
evidence of commitment. And they all made this commitment to cover local
music WAY before the brouhaha with Downtown started.
Fourth, there is more interaction than ever between local bands and the new
media, dot com world. Geezelouise, the dot coms are all staffed by
musicians. Those Digital Music Coalition (DMC) parties seem pretty cool to
me, as they try to bridge the gap into the brave new world, so good for them.
(Please, could we just stop this dot.com witch hunt...it«s so two faced.)
And, because of the disheveled state of the music industry, there is more
opportunity now for Internet sales and exposure, for those savvy band
entrepenuers and that«s why the dot coms are valuable to you. USE them.
Fifth, there are more shindigs, conferences, festivals, label showcases,
events and conventions than ever, with nighttime showcases for bands. Every
weekend there is SOMETHING...baypop, noisepop, broadband, etc.etc.etc., so
exposure is not a problem.
If musicians can't see the opportunity in front of them, it's because they
don't know how to look and empower themselves. But if you actually look
around, you will see many fantastic examples out there of bands doing just
that-creating their own successes, independent of others expectations or self
defeating criticisms.
It«s important for all musicians to realize THEY control their destiny, not
the clubs or labels, not the reviewers, not the big bad music industry, not
even bad rents. Sometimes, as in any artistic endeavor, you just have to
keep "doing." You don«t have a choice, you just have to do it. Great music
isn't made in flashes of brilliance, it's made by staying with it and just
playing and playing and playing. That's called hard work and artist de
velopment. It's also called change and challenge. And change and
challenge are good.
Take it from one who knows. When I started in the late 70s, everyone was
dying to play the Palms on Polk Street. We had about three clubs to work
with at the time and the bookers would never be in or call us back...it was
constantly a time of pins and needles and wanting it SO bad. The more things
change, the more things stay the same.
Having survived this long in the rock and roll business, I GUARANTEE you have
some more fun times ahead. They don«t call it Rock and ROLL for nothing...
It«s the business of music. So if you«re called to it, rock on!
Mark me down firmly on the side of what is happening NOW, chaos and all.
With such little respect or support for artist development in the
entertainment mind set today, I had to let you all know NOT ALL OF US WIZENED
OLD PROS hear that siren song of San Francisco as a death knell.
Get/stay/act inspired.
If you are intersted in learning more industry tips like this, go to consulting.
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Why Bands Need to Play Live
October, 2000
I«d have to respectfully disagree with a recent newspaper assessment of
whether it«s necessary to play live in the clubs to succeed. I had the good
fortune to produce industry showcases for many of the bands mentioned:
Counting Crows, 3EB, Train and Stroke 9. Having supported and worked with
all of them in their early days, I«d like to clear up some misconceptions.
Counting Crows« initial demos were all completely different (they just kept
churning them out with new songs each time) and jarringly unique. This unique
sound was to lay the groundwork for a new format for radio, called Triple A
(KFOG), which was then just in it«s infancy. It was their different sound and
Adam Durwitz«s confident originality backed by Dave Bryson«s strong vision
that got them signed. But they had been playing the club scene for years in
various combinations of bands. It was not until AFTER the industry saw them
PLAY the I-Beam that they received those 12 + offers!
In the case of Third Eye Blind, I saw them play to a packed houses at the
Paradise and also play to 50 people. They were most successful when they
played their warehouse parties. But you better believe Stephan Jenkins paid
his dues as a card carrying, club playing local musician in San Francisco
(much to his frustration sometimes) until he found a different route to
success.
The musicians in Train had been playing in bands since the late 80«s. Once
they signed with Bill Graham Management, they played the BGP house club, the
Fillmore, every month, besides other regular venues in and out of the area,
refining their sound and show. Those guys worked hard for their success and
deserve credit for such.
And finally, the newspaper was completely off the mark with the hardest
working band around, Stoke 9. They played up and down the coast at clubs,
colleges and frat parties for eight years before getting signed. They were
mainstays at Mick«s Lounge and the Sweetwater in Mill Valley.
Their Viper Room show in LA started to turn enough industry heads to begin
the process of going to the majors. The reason: people reacted to them live.
They've earned every bit of their gold and almost platinum success by playing
live.
The reason that it«s important to clear up this irresponsible assessment of
the value of playing local clubs in relation to industry success is twofold.
First, clubs are the beckoning canvas in which bands test out new material,
garner new fans and find their true voices of expression. Second, no matter
how good those demo tapes, labels still want to see bands live and in person,
so you better be able to play and get an enthusiastic response.
On a final note, the club scene is not dead, just in transition...for every
Cocodrie that closes a Johnny Foley«s opens. There are plenty of happening
scenes out there including: the Monday Night Hoots at Cafe du Nord,
Rocktronicas, the Diva shows, Ubiquity Records shows, Om Records shows, Song
Cycles, Devil in the Woods shows, Stray and Dogday Records showcases, the
Fillmore Sessions, APG Records shows, Future Farmer Records showcases,
Amazing Grease shows, the Wammies, Lookout Records, and so many more.
So yes, a clever demo tape may get their attention, but you better have the
substance, drive and direction, generally only discerned though playing live,
to go the distance.
If you are intersted in learning more industry tips like this, go to consulting.
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Why I like BMI
November, 2000
I am proud to be a consultant with BMI, the worlds largest performing rights
organization. BMI has always been FIRST at protecting and advocating
musicians. Historically speaking, BMI was created to represent
disenfranchised Country and Black musicians. They have continued to be on the
forefront of every new development. FIRST in tracking college radio and FIRST
in licensing internet music. In San Francisco, they have supported the SF
scene since 1989 with showcases, Big Hangs and other like-minded events. Why
be second when you can be FIRST! To join, get more info or find out what BMI
is all about go to www.BMI.com.
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A&R Tip #1130 - Websites
December, 2000
Today's #1 A&R resource is a bands's
website. It is everyone's first look, first impression, first vibe of a band.
Too often I see sites that are dated, don't tell the focused story about the
band that will get someone's attention, or have the real information that the
industry pays attention to buried at the end of a long and basically boring
bio.. ÜRemember, YOU tell us your story and why we should pay attention. ÜWe cannot
guess what makes you special.
Web sites should be maintained as currently as possible, with up to date
information on pertinent facts, like cd sales, gig info, # of downloads to date,
# of hits to date, online promotions and other interactive hooks (placement on
other sites, sign-ups, guestbooks, fan reviews). ÜMake your best songs
downloadable. ÜNews should be kept current and interesting... if you had a great
opening slot for Matchbox 20, or some special producer worked on a few tracks,
or you have radio airplay, tell us! If you're running special promotions or
setting up your own shows, that's of interest because it makes you proactive.
The bio can remain static as long as personnel doesnÌt change. (But please, it
is not necessary to start at age five with your interest in music). ÜPictures
should have the current members, and make sure you have at least one black and
white picture of the band shot horizontally for press downloads.
Be careful of having dated
material and old album info highly visible on the site. People are interested in
what you are doing NOW. Consider Archiving these items if someone wants Ümore
information. (Rule of thumb is anything over two-three years old. ÜThat means we
don't care what happened in 1998, no matter how good it was - if it was THAT
good, you'd be signed. Best to simply use it as a point of reference for how hard working and dedicated
you are on the "History" page). ÜThe only exception to this rule is having a gig list
over the last six - twelve months... (IF you were active enough). Everyone likes to see a working band...
If you are intersted in learning more industry tips like this, go to consulting.
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Why the DIY Convention is Right for YOU!
January/February 2001
Everyone knows I don't like conventions and God knows I hate panels. ÜBut
there are five reasons why you, as an aspiring artist, will
benefit from the DIY Convention, to be held February 10, 2001 at the
Hotel Roosevelt in Hollywood.
- This is not a "wanker" convention (don't laugh - there is a "where did this come
from" conference every weekend now.)
- Good track record of the producers putting it on (these are solid people I personally respect.)
- Concurrent multi-genre format for music, film and books. (Totally cool to be with lots of
different artists instead of just other hungry musicians.)
- Actual, usable information will be given by people who know what they are
talking about. (I.E. people who have walked the walk.)
- Incredible dollar value and reasonable rates for what you get in return. (relatively cheap, one
day only, and geographically desirable.)
Unlike the biggie conferences like SXSW and CMJ,
the DIY Convention
(Do It Yourself) is oriented toward people who are interested in producing
and taking control of their art in the 21st century. ÜEducating yourself to have
a proactive career is paramount in todayÌs business climate. ÜThis means taking
advantage of the internet and all the other thinking outside the box Üways to
promote, distribute and sell your product, whether it is a music cd, a film or a
book youÌve written. ÜThe DIY
Convention is geared toward these specifics.
The people putting it on, Bruce Haring and Anita Rivas are my kind
of people... that means no B.S. ÜBruce is a longtime writer for USA Today,
Billboard, and Daily Variety and has written two books, Off the Charts
and Beyond the Charts. ÜHis site is OfftheCharts.com and worth
checking out. ÜAnita Rivas was a long time booker with the I-Beam, back in the
early 90s when it was THE place to be in San Francisco, before she left to
pursue her dream of a law degree. ÜIf there was ever anyone on the side of
artists, it has always been Anita and you can now reach her at the law firm of
Escalante, Walner & Rivas!
The DIY Convention
will address the legal and business aspects of the
entertainment world, with special focus on questions most dear to the indie
artist, like how to raise money, how to secure online merchandise deals, how to
license works. ÜThere will also be a music/film market where you can shop your
music to music supervisors.
Just the first panel alone... creating a business plan, protecting assets, rights
acquisition, selection of entities (sole proprietorship, partnership, LLC,
Corporation (C or S)), business licenses, bar codes, I.R.S. and tax issues, the
hows and whys behind federal copyright, trademark and servicemark registrations
and other general issues in business... should be mandatory.
There is too much more that they are offering for me to tell you about
here...the executive line up alone is worth the price of admission. ÜMorning
sessions are oriented toward getting started and the afternoon sessions are
geared to whatever track you are on: music, film or books. Go to the
DIY
site and see for yourself. ÜAnd it's only $65 and one day of your time.
These people think like I think-practical business strategies for creative
people. ÜThe only activity I like more than this are my own seminars, but until
those start again in the spring, please avail yourself to this very well thought
out and nicely structured event.
If you are intersted in learning more industry tips like this, go to consulting.
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Nowhere X Nowhere
March, 2001
Nadine Sez: The coolest event this spring, April
5-8... 150 of our favorite bands, $20 pass, art, cinema, dancing, live music,
cheap beer, and ME. My kind of festival, with hints of anarchy, silliness
and sublime fun... Seriously, I like sooooo many of these bands... Join the
revolution, as DNA says... Absolutely guaranteed to have a great time, a totally
happening scene. Check their site for more information: http://www.nowherexnowhere.com
Recommended Events...
"Breaking the Law: a Wild Hour with Nadine"
I'll talk shop and shoot the breeze about cheap demos, bad managers and other things I've learned after 20
years, 14 gold records and thousands of bands.
Date: April 6th, Friday, Chico-NXN
Time: 5:30-6:30
Place: The Senator Theater
Cost: Free with Pass or $5 at the door.
"Musically Incorrect"
Hosted by Head NXN HooDoo DNA... A stellar array of industry guests dishing the biz. ÜLive Music by the Asskickers.
Date: April 7th, Saturday, Chico-NXN
Time: 5:30-6:30
Place: The Senator Theater
Cost: Free with Pass or $5 at the door
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ARTIVISM!
For up to date info on artist/civic concerns please see:
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