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What the hell ever happened to going out to see a couple
bands on a Saturday night? Anyone in L.A. ever do that? I
used to do that back in Milwaukee. And Seattle. Hell, even
in Reno, Nevada. But L.A.? People just don't do that. They
go to see the band their friend is in, and/or the band they
like, and then they leave. So don't count on the crowd still
being there if you're supposed to go on after that band with
the big buzz. And don't expect those fans to show up early
while you're on stage if you're the opener. It's just not
gonna happen here. However, if you move to Bumblefuck, Egypt,
it happens there. PLUS as bandmembers, we all knew the names
of the other bands we played with in Bumblefuck, and even
in that bigger town Lotsafuckinpeoplelivehere. Not in L.A.
OK, I'm not gonna start my very first article here on a negative
note.... this fact and additional ones listed about the L.A.
music scene are indeed pretty lame factors we have to deal
with, but the challenge then becomes "How can we make
the best of this situation?" And, as we'll see later,
our scene also has its perks.
Other unique L.A. music scene pissers: 1. Only place where
you can bring in 100 people to see you and STILL not get paid.
(Or, the band actually PAYS TO PLAY. [The dreadful scenario.])
2. Bands have to pay to park, and sometimes on the street,
and sometimes their car gets a ticket or even towed while
they're up there on stage trying to be nice and play for free.
3. Rare that you get any drink tokes. (I've been fed AND paid
AND got free drinks all night... and WHAT THE HELL is with
the $6-8. Coronas?) 4. You can find some of the BEST talent
here, but have the SAME calibre of bands as any other town:
Most of the bands are average to below average, some are good,
a few a great, and even fewer are in the "excellent"
category. 5. Huge lack of networking here, from band to band.
At least these days. That's why bands hardly ever know the
names of the other acts on their own bill. There ARE exceptions
to this rule, however, like when Bat Country asked for our
e-mail and phone number when we played the Dragonfly together
a few months back. I can admit I am guilty of this lack of
networking crime. And it IS a crime, people! There's power
in numbers and I'm here to tell ya that numbers can make things
happen. Just ask these two guys I know Kyle and Craig from
this publication called "Pubilcitywhore". More proof:
Did you know that United Artists started back in the 1920s
or something, as like 5 actors, (including the Marx Brothers,
I believe, but you can find out for sure in that film history
museum on the 2nd floor of the Roosevelt Hotel in Hollywood)
who wanted to start something big and so they united for their
cause and they did all this DIY stuff like get some people
to back them and make these cool films and the rest is history.
Did you know that? That's what I'm talking about. Anyway,
I digress.......
Good stuff about the L.A. music scene: 1. You never know
which INDUSTRY person will show up to see you - especially
at those "Showcase" nights that seem to be pretty
popular around town. 2. There's enough music critics around
here that you should be able to get one of those hussies out
to see your band (OK, they're not ALL hussies) and actually
write a review about you that will get published somewhere.
Hell, even the Music Connection is accessible if you just
bother to follow up with a few phone calls. And I've seen
that magazine in Capitol Records offices. 3. The record industry
IS accessible down here. You can go to the offices of some
radio promoters (Give Bryan Farrish a call - he's a cool dude)
and check out how it's done, and feel confident with your
decision about that college radio campaign you just bought
for your band's self-release. 4. You can get hired as an intern
at a big record company or some other R&R company and
get your foot in the door and learn about the business and
then DIY. 5. If you need it, you can EASILY hire QUALITY musicians
for your ANY gig - if you have the dough. In other words,
in L.A., you should be able to find a GREAT player for a REASONABLE
price. 6. You can put "Recorded at Capitol Records"
on your disc if you use their recording studios. (Kind of
irrelevant in terms of moving your DIY career forward but
a fun perk on our list.) (And sorry about all the Capitol
Records mentions... they're right down the street from me!)
7. You can make a LOT of money doing other people's projects
in this town if you get out there and make some contacts.
Many, many people come out here as solo artists and need musicians
to perform on their projects. Major label artists need back-up
musicians, too. Hell, we are in a situation right now where
we need to hire our bassist for every show and he loves the
cash and we love being able to get out there and gig. If you're
a good enough musician, it's an option that you have here
like NO OTHER town.
Okay, so we got bad stuff and we got good stuff and I believe
it boils down to this: In order to take advantage of the good
stuff, realize that this actually IS an industry town, treat
it as such, and learn how to deal with the pissers that are
part of how this scene works, or you'll be that band that
plays to that cleared out Whisky A-Go-Go, and it will make
you want to move back home. (And maybe you should.) Now, at
this point, two questions arise: 1. How can we best take advantage
of this industry scene? (Or, in other words, for most of us,
"How can I make this move to L.A. really work for my
career?" Because we ALL know that great bands can get
signed out of Anytown, USA. But you moved here for a reason.)
2nd question: How do we deal with the pissers that are, right
now, inevitably part of this scene? Okay, so we got bad stuff
and we got good stuff and I believe it boils down to this:
In order to take advantage of the good stuff, realize that
this actually IS an industry town, treat it as such, and learn
how to deal with the pissers that are part of how this scene
works, or you'll be that band that plays to that cleared out
Whisky A-Go-Go, and it will make you want to move back home.
(And maybe you should.) Now, at this point, two questions
arise: 1. How can we best take advantage of this industry
scene? (Or, in other words, for most of us, "How can
I make this move to L.A. really work for my career?"
Because we ALL know that great bands can get signed out of
Anytown, USA. But you moved here for a reason.) 2nd question:
How do we deal with the pissers that are, right now, inevitably
part of this scene?
First, I will address the pissers and how to deal with them.
And the answers are simple. Promote. Yep. Good, old-fashioned,
"Come to my show cuz we rock" attitude and charisma.
Don't think that it doesn't work. People who don't do it think
it doesn't work. People who do it know it works. And some
people try it and then stop doing it, and I promise it doesn't
work for them, neither. Fact, or at least very educated guesstimate:
You can start seeing results from your mailers and promotion
efforts after you have about 2,000 people on your mailing
list. Do you have that many yet? That seems to be the magic
number according to some expert opinions I’ve asked over
the years. Don't have that many people on your mailing list
yet? Go out and play some shows and get your "mailing
list girl" (Tell me you don't have a mailing list girl
and I'll beat you) out there getting the names of the people
who showed... even if it's only 10 people! (I could write
a whole article on how to get people to your shows if you're
a brand new band with a 0-person fanbase, but I'll just save
it and you'll just have to keep reading my articles every
week.) And dealing with those other pissers? Ask and you shall
sometimes receive. Ask for the promoter to pay for your valet
parking. He might not pay for it, but start asking. Maybe
arrangements will be made next time. You'd be surprised with
the results. Ask for drink tokes. And stick around for the
next band!!! Come early to see the band before you!!! You
never know which music critic they invited who'd also love
to write about your band. And you never know when your bassist
could disappear cuz he was really involved in the mob the
whole time he was in your band... and guess what... that band
who played before you and ROCKED at that Cat Club gig broke
up and their bassist loved you guys and if he knew you were
looking for as bassist, he'd LOVE an audition, but NO, did
you get anyone's e-mail address???? (And didn't you used to
network back in Bumblefuck? Why aren't you doing it here?
NEVER follow the crowd!)
My next article will be dedicated solely to taking advantage
of this scene's perks. Synopses on how to get those precious
industry people at your shows. How to get write-ups in our
unique L.A. music publications. How to get these close-yet-so-far-away
record labels interested in your act. And what to do when
one of these dudes actually show up.
In the meantime, keep loading your gun.
DIY Magazine
Annette runs her own in-home record company (remedial children
records) and is a strong proponent of the Do It Yourself philosophy
toward success. The label is funded completely by herself.
Send your comments, questions, feedback, and YOUR ideas about
what you’d like to see in future articles to her at:
diy@publicitywhore.com
She'll get back to you the best she can. Promise.
Comments on this article?
Send them to rants@publicitywhore.com!
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