1) What is Biz 3?
Biz 3 is a publicity, management and licensing company. We try to help artists avoid day jobs by getting them in magazines, newspapers, online and on tv.
2) How did you get started in the music Business?
When I was 20 I began booking bands and helping to A&R for some major label folks. I eventually had to get a proper day job wearing a suit (ugh) and while in my cubicle I booked an independent label fest (1993). I begged Joe Shanahan who owned the Metro for a job and he gave me one and a lot of freedom to create there. A few years later I wanted to do my own thing and I left the Metro to carve that out. I faked knowledge in wine and began a stint doing fine dining where I made a lot of money and that is how I paid my one employee (that rotated between artist Damon Locks, musician Sally Timms, etc. Saturday Night Live comedian Fred Armisen even took a turn working from my bedroom on Biz 3 for a while!). The years went by and the roster grew and I was able to quit the night job and continue on the quest.
3) What is the difference between Public Relations and Publicity?
I have no idea. Public Relations sounds more corporate and tight to me. Publicity is getting someone known. Put simply, it’s varying degrees of someone getting famous, known, seen, etc. It can be done in an artful and thoughtful way or it can be accomplished via controversy and going the lowest common denominator route. Press happens with varying levels of integrity. No matter how you slice it the goal is making people aware.
4) How much has the internet affected your business? Are there more positives or negatives?
The internet changed the world- the ENTIRE world. My world has been effected enough by the web that we have a digital press and marketing division now. Positives are that there is an entire world out there that did not exist before as a way to make people aware of what we love and are working on. Negatives are that no one can sell records anymore because kids take them off the net and the trickle down effect to this has been massive (no sales, no money, magazines closing down, etc). It’s a transition period in the big picture and this time is interesting to watch. We prefer to embrace it and move with it versus lament about how much the old days were better (even if they were!)
5) How do you choose artists to represent?
We listen, look, read. We check out what they do and if we feel strongly then we take them on.
6) What are the benefits of an indie firm vs a major?
You get individual nuanced attention. You often have more credibility behind you.
7) When does an artist need a publicist?
Early on- things move fast these days and attention spans are smaller than ever in this age of the blogs. When you have your music/art/book/etc ready then get a publicist and get moving. Get one even before that.
8) Is it difficult to get an artist that no one has heard of into different media outlets?
No- not for us at this point. The media are open to this and if they trust you and you have a good track record then it’s not hard. If you don’t have a history or relationship with the press it can be a bit harder but in general I think people have their eyes open and because of things like myspace and the web in general you can be noticed so much more easily now.
9) What advice do you have for people who want to get into this field of work?
Know what’s going on around your in music and like any job or career or passion- you work an outrageous amount and then work some more.
10) What advice do you have for artists who want to get the attention of a publicist they want to represent them?
Send them an email with links and your schpiel. Keep it short. Be persistent because any publicist worth having is likely busy and overwhelmed with work and will need some prodding.
11) How do you build a consistent relationship with the press?
We keep giving them good art so they trust us. You take the time to hang out, become friends. You try to be attentive and quick with what they need so their job is not made harder.
