Please tell us a little bit about yourself and what you do at Gothic Beauty.
Hello Stephanie! Well, I have two beautiful daughters (now nearly all grown up). I currently share a home near Portland, Oregon with Jett Black, a music publicist and marketing consultant; and our beyond-adorable Chihuahua, Osiris. I work for a Portland-local daily business newspaper; and I am the Music Editor for Gothic Beauty Magazine.
GB is a quarterly publication. How do you go about selecting the albums to be reviewed for any issue, considering the volume of press kits received?
As Music Editor, I’m responsible for receiving and tracking all music submissions, delegating CDs to staff, and arranging music interviews.
I look for music that is unique, of high quality, and within GB genre limits. This does not mean I look only at the big label productions! On the contrary, many of our best reviews are for independent bands. I remember one band in particular, a band called Dope Stars Inc. I received a very raw demo, gave it a spin, fell in love, and proceeded to tell everyone I knew about them. Similarly, The Astrovamps also sent in a demo. Since we can’t review demos, I called them (by means of provided telephone contact info!) to ask if they had any full-length music media available. They were so happy to speak with me that I felt like a real celebrity! They have since been interviewed in GB, and have even done multi-page advertisements and fashion layouts!
Timeliness is also very important. Quarterly publishing often results in a six-to-nine-month delay between the initial receipt of a submission and the actual street date of the issue in which a review for that submission may have been published. Therefore, the most-current music releases received will be given more serious consideration than less current releases, and no consideration will be given to any releases that are already out of date at the time of receipt. For instance, a CD released in 2005, if submitted today, would be approximately three years out of date by the street date of the next-earliest issue into which a review for that album might be published.
When a band or record label sends us music for review; First, I log each submission using spreadsheet files. Any provided contact information may be input with those entries at that time. Then, I begin a detailed sorting process. I sort all music into two categories: (A) music that will move on to the next phase; and (B) music that falls short of our standard music review policy. Print and distribution costs mean that GB will not make space available to review EPs, demos, singles, etc. Instead, we focus only upon full-length, retail-ready music media.
Often, I quickly spin thru CDs to confirm genre applicability and overall production quality. As I begin to get a feel for which submissions my writers will like, I immediately attempt to match CDs received with writer preferences. Once matched and sorted, selected CD submissions are officially delegated to specific writers.
GB generally receives 150+ CDs per issue. We have print space for about 59 reviews. With such limited print space, we avoid expending effort, attention span and page space toward the composition of negative CD reviews. Based upon the preliminary criteria mentioned above, it’s up to me to filter and reduce the quantity of submissions received down to a manageable amount of top-quality music media CDs. I guess this would be the hardest part of the job!
Furthermore, I am also responsible for: reading all music-related emails, getting all finalized text and image materials electronically delivered to our production department (which may involve re-scanning CD cover art, editing & formatting reviews, etc.); and then, contacting the music artists and/or labels once a review is published. I also coordinate all arrangements involving each music interview.
You’ve been with GB for quite some time. How did you end up in the position you’re in and how long have you been writing before coming on board with them?
My first interview for GB was with Moonspell (Issue 4, ca. 2001). When Steven Holiday contacted me to write for GB, I was thrilled! A few years later, Steven promoted me to Music Editor.
Initially, my music writing interests began in 1997 when Alex Steininger (In Music We Trust President) invited me to write freelance for his all-genres music e-zine, which continues to thrive at InMusicWeTrust.com.
Since then, I have written for many e-zines and print publications. I’m particularly proud of Starvox.net (I feel fortunate to have worked with Blu and some of the awesome writers there). Sick Among The Pure was also a quality, hi-profile ‘zine. My only regret is that when SATP folded, the articles were not archived. A lot of very hard work went into SATP.
I have also written for the print publications Musicwerks (Seattle, WA); All-Access Magazine (Hollywood, CA), and a bi-weekly cultural newspaper known as The Vanguard (Vancouver, WA).
What differences do you see writing for GB compared to some of your current and past works?
Learning to streamline! Going from a 1000-word review online, to a 120-word limit for print required both time and self-discipline to accommodate. Also, we lean more upon “AP” style guidelines with GB. GB enjoys distribution by international retailers. So, we can’t go around spouting the f-word ;)
A lot of European bands look to GB as a premier resource to gain exposure. What guidelines would you recommend to better their chances of receiving a published review in a future issue?
We love European bands, and they always receive as much attention as any other band. I always recommend that a band send a high quality, full-length disc and a press sheet. A one-sheet is just fine! Please include complete contact information. Also, be aware that cover art is important. Due to the conservative sensitivity of retailers servicing all age brackets, we may be required by some retailers to exclude any pornographic imagery.
From one editor to another, what challenges do you find popping up most for any issue you’re working on, and what do you find to be the best resolution in order to satisfy everyone?
For me, it’s always the limited amount of available space. I try to balance out the issue with a wide range of genres. I also take the advice of my writers when they particularly love a piece of work. I try to make sure those writer-preferred reviews are not cut from final production.
How has working for GB influenced or improved your life, if any?
Learning to take criticism can be very humbling. There will always be plenty of arm-chair critics when you have a high profile product such as GB, and I have finally learned to take criticism with a grain of salt. Initially, that was something with which I had a difficult time; I took non-constructive criticism far too personally. On the flip side of that, I find it uplifting to receive fan mail! And, the opportunity for this interview presents a welcome challenge; both fun and left-of-center. ;)
The music industry seems to be a “boys club” of sorts. What are your views on this? And what advice, if any, would you give to a female looking to get involved with the industry whether they want to be a manager, promoter, writer, reviewer, editor, etc.?
That’s a very good question, and a very difficult one to answer! Women now often have the same opportunities as men to prove themselves as professionals in this line of work. #1: Keep it professional! If you are trying to get close to some hot drummer, you probably won’t receive the reputation you might otherwise earn and receive. ;) #2: It’s never cool to stab your sisters in the back. Also, I know it sounds cliché, but… #3: If you have the opportunity to stay in school, use it. Take advantage of any available opportunities of interest that you will find within college radio and campus newsletter departments. #4: Keep your expectations realistic. You probably won’t start out making much money (if any), but if you love to write – then do so! Many available print and webzines seek fresh perspectives volunteered by skilled writers not jaded by too much experience.
It seems that many people are starting to get tired of mainstream music, and starting to look more towards the underground/club scene. What are your views on this and how to you feel this will help the lesser or underexposed bands and their music?
I have a problem with the “I was listening to this music first, therefore I’m better than you” mentality. Music is meant to be heard. Don’t underestimate the younger “Hot Topic” crowd, it’s all a matter of exposure. It’s very exciting to discover a new favorite in any underground music artist! Why would anyone deny that experience to newcomers? Discovery opens up a whole new world of fresh ideas and perspectives upon any timeless music discography.
Online communities such as Myspace and Vampirefreaks are being used a lot lately in the promotion and exposure of unknown, unsigned, indie and small label bands, therefore reducing the need for structured promotion companies. Do you think this helps or hinders the industry, and why?
I’m a big fan of the DIY musician. Most of my favorite bands are either currently “unsigned” or associated with barely publicized independent music labels. The more opportunities that any music artist has to independently self-promote, the better! I won’t believe that online exposure is a “bad” thing for any band.
What are some of your favorite bands that you’ve had a chance to work with and why?
Collide. kaRIN and Statik are professionals in every sense of the word. kaRIN is sweet and down to earth, and I adore both her music and her lovely “Saints and Sinners” creations as well (In fact, I’m wearing one of her necklaces now!) Another favorite band is Written In Ashes. Following them throughout the years has led me to develop wonderful friendships with many past and present band-mates.
So many examples spring into my mind, now, that I can only begin scratch upon the surface!
I have watched bands at near-conception grow up to experience amazing success, such as Dope Stars Inc.
Concrete Blonde is at the top of my list. Having the chance to chat with Johnette Napolitano back-stage in the “Green-Room” of Dante’s Live will always be a highlight in my career. And, The Living Jarboe! Hearing the strength of her soul pour out in waves across the basement of The Blackbird as she patiently began to unfold personal stories of horrific survival left me completely in awe.
Hanging out with Sascha Konietzko and KMFDM was also an experience I won’t soon forget! I was treated like a real VIP, and enjoyed all-access at The Roseland for an amazing live show. We even had the chance to do a little pre-show shopping in downtown Portland at Spartacus Leathers. Yes, we did get those long, hard looks whilst strolling about downtown PDX with KMFDM! We received a great many waves, shout-outs from friends and strangers, many of whom were on route to The Roseland to see KMFDM that evening. The Starlight Parade was scheduled for that exact area of downtown Portland on that particular evening, with but a half-hour prior to the sunset start-up time. On the return walk, descending from Spartacus, as we made our way back to the Roseland music venue, we very nearly paraded our troupe directly into the Budweiser Clydesdale horses in the parade pre-staging area. I don’t know which sight was more entertaining… those giant horses, or the amused expressions cascading across Sascha’s face.
What are some of your most memorable events or concerts that you’ve attended and were there any crazy moments when you attended?
I’m a rather loyal follower of Written In Ashes. During many of their live performances, they may choose to cover the Ministry song “(Everyday Is) Halloween”. Kevyn (lead vocals) usually takes such opportunities to pull some of their rabid fans on-stage to dance. Since I’m usually stage-front, it’s hard to escape his hypnotic gaze! I have found myself dancing up there on several occasions. I don’t fancy myself to be a good dancer, and I feel like the oldest one up there, but it’s just so much fun! Fortunately, by that latter point in their set, I have usually drowned several frosty microbrews!
What genre of music do you most relate to and why?
I really love a wide variety of genres. I like a little old school punk (because I’m old); and I love to dance to goth-rock when nobody is looking! I like some metal (my little brother is a big metal fan), but I generally leave the expertise to my metal-writer, Athena Shaffer. Athena knows anything and everything about metal music!
Ambient/ethereal is so perfect for some quiet down-time. Many of those selections go to Carolee, my esoteric writer; her words match equally the beauty of the music that she describes.
I know this is going to be a hard question to answer, but if you could interview or review any band that you haven’t had a chance to yet, who would it be and why?
EASY! That would be Alice Cooper. Alice was my first concert experience at the age of 15. When I was 12, I had a poster of Alice (hanging himself) on my bedroom wall. I have done several stories about Alice, but have never had the opportunity to sit down with him face to face.
I would also love to interview Depeche Mode. Another dream interview would be Gary Numan. When the opportunity presented itself for an interview with Mr. Numan, I was beyond thrilled to give that interview to my writer, Poseidon. Good thing, too, as Poseidon is an accomplished musician and he did a far better job with his line of questioning than I ever could have! It turned out to be a wonderful interview.
Are there any last words or final thoughts you would like to add before we conclude this interview?
Thank you so much for the interview, your questions *really* got me thinking! Also, thanks to Anne Baghdanov for the photos. This was fun!
Interview written by: Mynx
Photographer: Anne Baghdanov
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