SXSW Interactive Keynote Dan Rather:
Transcription
SXSW Interactive Keynote Dan Rather:
SXSWorld T h e O f f i c i a l M ag a z i n e o f t h e S o u t h b y S o u t h w e s t C o n f e r e n c e s & F e s t i va l s R e v i e w I s s u e / N ov e m b e r 2 0 0 6 SXSW Interactive Keynote Dan Rather: Afloat in the new media stream Page 8 Record Retail: Niche or Chasm? Indie stores swim against the tide Page 26 Beyond the Cineplex: Hip flix’ new bag of trix Page 19 SXSW: Where Are They Now? Checking up on the Class of ‘06 Pages 21 & 31 Power to Create. Freedom to Express. Music. Art. Images. Entertainment. Alive and digital and powered by Seagate. The soul inside the machine. ©2006 Seagate Technology LLC. All rights reserved. Seagate, Seagate technology and the Seagate logo are registered trademarks or trademarks of Seagate Technology LLC. As the SXSWorld turns... Contents W Taking care of business to business............................................ 3 elcome to the inaugural issue of SXSWorld, a quarterly magazine devoted to coverage of the people and companies who collectively make up SXSW. Over the years, we have often thought about starting a magazine that covered music, film and interactive media, but we always ended up saying that that wasn’t the business that we have chosen. Then after launching the annual SXSW Preview Guide magazine in February 2004, we quickly learned how providing more in-depth information about our events in advance strengthened the SXSW experience of both our clients and attendees. As a result, we began to think about creating a new model of publication. News & Notes....................................... 7 Dan Rather............................................ 8 A lot of us at SXSW come from a background rooted in the world of free alternative weekly newspapers, and we began to discuss whether or not a trade publication mailed out free to 10,000 people in the entertainment industries could support itself with advertising. We’re hoping that it will and are willing to run in the red until we find out if enough advertisers will support it. So far, we’re not doing too badly and offer our sincere thanks to the companies that are advertising with us in this first issue. Live Frogger on Sixth Street.............. 10 Kathy Sierra........................................ 11 danah boyd......................................... 13 Gina Trapani....................................... 15 If we do this right, SXSWorld will take on a life of its own and become a tool for our worldwide community to share news and ideas. Enjoy this first issue, and we’ll be back again in February. Sincerely, News & Notes..................................... 17 Roland Swenson SXSW Managing Director Co-Founder Alternative Indie film outlets............ 19 Film, Class of 2006 Before the Music Dies.................... 21 Al Franken: God Spoke.................. 21 SXSWorld Magazine The Refugee All Stars..................... 22 Volume 1 Issue 1 Publishers Roland Swenson, Nick Barbaro, Louis Black Editor Andy Smith Art Director Jamie Miller SXSW Contributors Matt Dentler, Andy Flynn, Hugh Forrest, Cathy Ricks, Cathy Ross, Craig Stewart, Ron Suman Contributors Roseana Auten, Jonathan Balthaser, Tim Basham, Shermakaye Bass, Michael Bergeron, Amanda Congdon, RW Deutsch, Tara Hunt, Anthony Kaufman, Jon Lebkowsky, Jeff McCord, John Ratliff, Scott Schinder, Larry Schooler, Leah Selvidge, Leah Shafer, Jenny Smith, Dana Somoza, Eric Vespe Advertising Wendy Cummings, Una Johnston, Katie King, Luann Williams SXSWorld is published by SXSW, Inc. four times per year at 1000 East 40th Street, Austin Texas, 78751. © 2006 SXSW, Inc. All Rights Reserved. Subscriptions are provided annually with paid registrations to the SXSW Conferences. “SXSW” and “South By Southwest” are registered trademarks owned by SXSW, Inc. For inquiries, email [email protected]. POSTMASTER: Send address changes to SXSWorld PO Box 4999, Austin TX 78765 Fired!............................................... 23 Behind the Mask............................ 23 News & Notes..................................... 25 Record retailers facing challenges.... 26 MySpace & the future of A&R........... 29 Music, Class of 2006 H-town Hip-Hop............................. 31 Dir en Grey...................................... 31 José González................................. 33 Art Brut........................................... 33 Corinne Bailey Rae......................... 33 Tapes ‘n Tapes................................. 33 Our Cover Photographed by Will van Overbeek, Interactive Keynote Speaker Dan Rather takes a dip in Barton Springs, Austin’s landmark swimming hole. Located in the city’s Zilker Park, this spring-fed pool has a year-round temperature of 68 degrees, although Rather, ever the intrepid investigative reporter, had to make sure that was accurate. 2007 Quick Guide Essential info for registrants......... 35 SXSWorld Review / November 2006 SXSWorld Review / November 2006 Taking care of business to business A look at companies who are part of the SXSWorld Firewheel Design LightScribe By Larry Schooler By Larry Schooler Picture this. You, the small business owner, perform work for an out-of-town client, who then needs an invoice from you. Ordinarily, you’d wait to get back to your office computer, pull the necessary files and process the charges. Whether you are sending music to record producers or interactive home tours to real estate clients, the CDs you use need to look good. And let’s face it, a permanent marker and ink-jet printer do not always produce the best results. Now, some business owners are bypassing financial management software they have to install and run from their computer in favor of online programs, often called “on-demand” software. Texas-based Firewheel Design has begun selling membership to Blinksale, a website where business owners log in with a password to generate invoices. Other on-demand software products like Yahoo Calendar have attracted millions of users. Is it safe to store all that personal data online? Firewheel’s Josh Williams believes so, as do the customers using on-demand software to the tune of more than four billion dollars in sales each year. Williams predicts: “If you’re looking for easy-to-use solutions to life problems, there’s gonna be a lot of room for those solutions to run on today’s web.” By RW Deutsch With the rise in awareness of the positive impact film production can have on both the prestige and economy of a state or geographic area, a number of regional film commissions have been actively seeking to attract independent filmmakers who want to shoot their movies outside of the typical Southern California locales. Film Florida and the Western North Carolina Film Commission are two such commissions that have been especially active at SXSW. “We like to bring a taste of Florida’s hospitality with us,” notes Film Florida PR “You can be riding in a cab and, if you’re on a client visit, you can print the details onto a CD and have it beautifully labeled and ready when you arrive,” suggests HP’s Kent Henscheid. Musicians have often used disc production services for their CDs in the past, but products like LightScribe are introducing a do-it-yourself solution that is both easier on the pocketbook and ready almost immediately. Representative Liz Morgan about her contingent’s networking approach. “Last year, we had three ‘homegrown’ films (Cocaine Angel, Things that Hang From Trees and The Hawk is Dying) on the SXSW program.” “We have seen a lot of growth in independent filmmaking in North Carolina,” says WNC Film Commissioner Mary Trimarco. In particular, Asheville, in Western North Carolina. two independent productions shot in the state garnered significant attention this year: Junebug (which earned an Oscar nomination for supporting actress Amy Adams) and Loggerheads (nominated for the Grand Jury Prize at the Sundance Film Festival). Trimarco and Morgan said they are both planning to return to SXSW in 2007 to meet with potential filmmakers and to spread word on such production incentives available to independent filmmakers as fifteen percent cash reimbursements. C o u r t e sy o f H o o t P r o d uct i o ns , LL C Report to the Commissioner For a more professional presentation, musicians, filmmakers and even wedding photographers and videographers are turning to laser-based programs like LightScribe. LightScribe (which is owned by HP) uses computer CD/DVD burners to print your words and images right onto the disc, so you do not need additional supplies. The family movie Hoot is shot on a South Florida beach. Summing up the SXSW experience, Trimarco says that the event provides the “ideal balance of quality, access and fun.” SXSWorld Review / November 2006 SXSWorld Review / November 2006 Taking care of business to business SAGIndie Seagate Jakprints By RW Deutsch By Larry Schooler By Larry Schooler Since forming in 1997, the Screen Actors Guild Indie division (SAGIndie) has worked to make it easier for independent and low-budget filmmakers to use SAG member actors. SAGIndie director Paul Bales credits his exchanges with filmmakers at SXSW for helping to result in “a more than Paul Bales 50 percent increase in the number of features signed that paid SAG actors a salary.” Once upon a time, before Ronald Reagan left office, computer users used floppy, and not-sofloppy, disks to store what little data we could fit on them. Later, the hard drive made it possible to store more. Now, everyone from filmmakers to garage band musicians wants to store much greater volumes of data, so they are turning to external hard drives to do just that. Bands always need merchandise to sell. Not long ago, you would go to an assortment of vendors for stickers, T-shirts and posters but would never know whether you would get exactly what you wanted or not. “I think it was two years ago that I saw one of my favorite indie films at SXSW, The Puffy Chair. The [filmmakers] Duplass Brothers promised me that their next film would be done under a SAG contract,” says Bales. “I didn’t actually think they were serious, but just last week they contacted me about starting the paperwork for their new film.” Besides enjoying drinking beer while watching films at the Alamo Drafthouse theaters, Bales finds the casual, laid back atmosphere at SXSW conducive to meeting and talking to filmmakers: “Everyone involved in the event is super cool.” “More and more people are realizing they’ve got a lot of personal content on a PC or notebook computer that is more valuable than the device actually storing it,” says Brian Ziel of Seagate Technology, which manufactures external hard drives. “And whether it’s home movies or photos or music, external storage solutions provide a safety net for them to back it up and sync it with other computers.” Tivo and DVRs (digital video recorders) as well as Xbox gaming boxes are also integrating external storage devices. As appetites for data and computing speed continue to rise, the external storage market is racing to keep pace. Former musician Dameon Guess was so annoyed by this that he set up Ohio-based Jakprints to handle bands’ merchandise needs online. Bands upload images onto Jakprints websites, and T-shirts can be ready later in the day. “The technology has pushed us to the point where you have these one-stop solutions no matter where they (the bands) are, from the Dakotas to LA and New York,” says Guess. Of course, music merchandising is still a competitive industry. Guess concedes he and other American merchandise manufacturers will continue to face competition from overseas companies who can spend less on labor. But for bands with tight deadlines and limited help from labels, American companies like Jakprints will continue to provide quick, real-time results. Topix.net By Larry Schooler When it comes to news these days, to quote 90s hip-hop artist Young MC, “You want it, baby, you got it.” And there’s the rub: so many sites, so little time. Enter news aggregators, sites like Google News, MSN and Topix, where one can get lots of news in one place. These sites are both international and very local, in Topix’s case, down to the zip code. “Lots of people live in suburbs where several news sources each give them a slice of what’s happening,” says Topix’s Chris Tolles. “We find everyone publishing and blogging about your town and tag it with local information so you can find it, and then give people a chance to talk back to it, which they really seem to want to do online.” Tolles sees more and more blogs and “wiki” content on the horizon, where individual users post their own news. But he says people would rather edit the news, helping decide the top stories instead of letting an editor do that for them. UKTI By Andy Smith Phil Patterson The international profile of SXSW’s Music Conference continues to rise. One of the keys to bringing so many artists from all over the world to Austin each March is the recognition by governmental trade organizations that the conference offers a tremendous opportunity for a nation’s artists and music industry professionals to broaden their global horizons. One of the most active of these groups is UK Trade & Investment (UKTI), which aids British companies looking to trade abroad. Since 2003, through its partnerships with labels and various other U.K. music industry organizations and businesses, UKTI has actively promoted British artists and companies at SXSW through such efforts as providing travel grants and setting up showcase and networking opportunities after its program participants arrive in Austin. According to Phil Patterson, UKTI’s Export Promoter: “UKTI helps put the wants and needs of the U.K. music industry into perspective and to work out the best way to export U.K. music. Everyone wants to access the U.S. market, and SXSW is the best showcasing opportunity to dip a toe into the U.S., and thus, the world market.” SXSWorld Review / November 2006 south by southwest ® ConferenCes + festivals “overall, the sxsW Festival/convention offers one of the best opportunities to learn about the future of the digital world, make contacts in the independent film world, meet with the alternative label world, and listen to the best music from around the world.” – Radio & Records.com, March 27, 2006 check sxsw.com for sxsW 2007 announcements and information. Register and book your hotel online at sxsw.com/register. Next discouNt RegistRatioN deadliNe: NoveRmbeR 17, 2006 Music showcase DeaDline: November 10, 2006 FilM subMission DeaDline: december 8, 2006 interactive web awarDs subMission DeaDline: december 15, 2006 sxsw.com SxSw USA HeAdqUArterS PO Box 4999 Austin TX 78765 USA Tel 512/467-7979 Fax 512/451-0754 [email protected] www.sxsw.com SxSw MUSic UK & irelAnd Una Johnston Cill Ruan 7 Ard na Croise Thurles Co. Tipperary IRelAnd Tel & Fax +353-504-26488 [email protected] SxSw MUSic + FilM eUropeAn continent Mirko Whitfield einsiedlerweg 6 Tuebingen-Pforndorf 72074 GeRMAny Tel & Fax +49-7071-885-604 [email protected] SXSWorld Review / November 2006 SxSw MUSic ASiA Hiroshi Asada c/o Rightsscale Inc 3F eBISU-WeST, 1-16-15 ebisu-nishi, Shibuya-ku Tokyo 150-0021 JAPAn Tel +81-3-5428-3923 Fax +81-3-5428-3962 [email protected] SxSw MUSic, FilM + interActive AUStrAliA, new ZeAlAnd & HAwAii Phil Tripp 20 Hordern St, newtown nSW 2042 AUSTRAlIA Tel +61-2-9557-7766 Fax +61-2-9557-7788 [email protected] News and Notes Will Wright and ScreenBurn highlight increased gaming emphasis Deadlines Who do you think was the best speaker at the 2006 SXSW Interactive Festival? What are you most excited about for the 2007 event? When is the best day to arrive in Austin for the event, Thursday, March 8 or Friday, March 9? Where is the best place to get breakfast tacos before heading to the 10:00 am panel sessions? Gaming visionary Will Wright to keynote on March 13 Ze Frank to emcee 2007 Web Awards Ceremony Legendary video game pioneer Will Wright will serve as the keynote speaker on Tuesday, March 13. Wright is probably best known for creating the critically acclaimed series, The Sims, which has sold more than 70 million games around the world and generated more than $1.6 billion in sales (by comparison, Hollywood’s all-time blockbuster Titanic grossed $1.8 billion worldwide). He is now working on his newest game, SPORE. As noted the New York Times Magazine, “No one doubts that this game will be the most ambitious work in the history of this new medium, whenever it is released. But for it to succeed as a game, it can’t just be complex. It also has to be fun. If anyone can pull it off, it’s Will Wright …There is probably no one alive who has a comparable track record of combining arcane scientific theories and compulsively addictive entertainment.” S e l e ct r o n i c a r ts Talk it all out at the SXSW Interactive Community Blog cheduled for the evening of Sunday, March 11, 2007, at the Downtown Hilton Hotel, the Web Awards Ceremony serves as the signature evening event of the SXSW Interactive Festival. The 2007 edition of this fast-moving, fun-filled gala promises to be the best yet. Once the pre-party buffet has concluded, emcee Ze Frank, of the popular video blog The Show, will deliver a dessert course of amusing commentary. Be a part of this incredible evening by entering your cuttingedge, trend-setting online creation in the SXSW Web Awards. For more information (including rules, entry form and the list of 2006 winners), see sxsw.com/web_awards. Hurry! Final entry deadline is Friday, December 15. How should you pace yourself so that you can experience all the evening events that make SXSW so extraordinary? These are but a few of the questions that you might find the answers to at the SXSW Interactive Community Blog, which is your discussion space for all things directly and indirectly related to the event. Get in on the action at: sxsw.com/ community_blog ScreenBurn brings video games to the SXSW fold Now in its second year, ScreenBurn brings the creativity and innovation of video games to the SXSW Interactive Festival audience. The agenda for this year’s event will include panel programming (Saturday, March 10 through Tuesday, March 13), as well as the first-ever ScreenBurn Arcade (Saturday, March 10 and Sunday, March 11). ScreenBurn 2007 is sponsored by Seagate Technology, a leading provider of technology and products that enable people to store, access and manage information. Admission to all this gamingrelated fun comes with your SXSW Interactive, Gold or Platinum Badge, so there is no need to buy anything extra. Find out even more at www.screenburnfest.com. SXSWorld Review / November 2006 Dan Rather: Learning to love new media By Amanda Congdon The SXSW Interactive Festival Keynote Interview for Monday, March 12 will feature esteemed television journalist Dan Rather, who will discuss how emerging technology is reshaping the broadcast news media. Who better then to profile Rather than Amanda Congdon, one of the best-known personalities in the fast-growing world of video blogs? From October 2004 through June 2006, Congdon anchored Rocketboom, a fast-paced online news and entertainment program that eventually reached 300,000 page views per day. Congdon currently presides over amandaacrossamerica.com, a site that posts daily videos from her ongoing cross-country quest to discover the real USA. T he first thing Dan Rather does when he wakes up in the morning is check Google News, Yahoo News and AOL. Then he reads the morning paper, “glances” at the television and goes back to his computer and surfs through blogs. He won’t tell me which blogs he reads. “Just one! Just one!” I plead. He won’t budge. movement and Dr. Martin Luther King, Watergate, the Kennedy assassination, Vietnam, the 9/11 attacks and his two interviews with Saddam Hussein. As he wraps up his list of achievements from his sixty years as a journalist, he pauses and says, “And I suppose those would be some of the highlights. I can give you a longer list of low lights.” We both chuckle. After spending an hour on the phone with Rather, I understand why his selection of words and phrases has earned its own legacy. “Ratherisms” come at you hard and fast. For instance, when I ask him to compare the broadcast technology used in the early part of his career to that used today, without skipping a beat, he retorts, “It would be like comparing the Napoleonic campaigns to the Gulf War.” He’s a soundbite machine with a warm, sophisticated Texan inflection that comes across more softly in conversation than it does on television. Rather believes Texans are explorers of what he calls “the new” and have a special quality that makes them pioneers: “At its core, Texas has a frontier attitude and mentality ... What SXSW represents is a continuation of that – moving toward new frontiers – which is very much in Dan Rather is no stranger to irony. When he speaks about the highlights of his career, he seems, more or less, to concur with those mentioned in his Wikipedia entry: his coverage of Hurricane Karla, the civil rights SXSWorld Review / November 2006 keeping with the soul of Texas.” It is clear from the timbre of his voice that he takes pride in his home state and its envelope-pushing culture. After all, let us not forget how Dan Rather became Dan Rather, when like the storm that made him famous, he tore onto the scene of television journalism. His fearless and innovative coverage of 1961’s Hurricane Karla in Galveston put him on the map. Karla was the largest hurricane ever to hit the Gulf of Mexico and was the first weather phenomenon ever to be televised using live radar technology, which was arranged by Rather himself. He (and CBS) were later credited in the Congressional “At its core, Texas has a frontier attitude and mentality ... What SXSW represents is a continuation of that – moving toward new frontiers – which is very much in keeping with the soul of Texas.” Record and elsewhere as among those responsible for the massive storm’s low death toll. Those were days when reporters like Rather were more or less one man bands and in charge of producing all of their own material (not unlike today’s independent video bloggers). Things got complicated when network news started following the Hollywood model of hiring multiple producers. The work became increasingly spread out, and it became customary, and even expected, for television journalists to rely heavily on others to do their jobs. When I question him about where news is going, he replies with another Ratherism: “When it comes to predicting the future, my crystal ball is permanently in the hockshop.” But after that charming disclaimer he allows, in regard to the networks: “No, they are not the national heart that they once were; [the] place where people sort of gathered around. And you won’t have 90 to 95% of the people who have television sets viewing such programs. Those days are gone forever.” Rather does, however, believe it is premature to cast aside network news. He stresses that news can be both profitable and perform the very valuable service of keeping the public informed of world affairs. He seems genuinely upset about the growing trend in news to “sleaze it up, tart it up, dumb it down” and hopes that people come to understand how dangerous it is for our democratic system of government to sensationalize news and to turn it into entertainment, something it has never dared to be in the history of our nation. Then we talk bias. “Can any journalist truly be unbiased about anything?” I challenge. He strenuously believes one can practice journalism in an unbiased way. Anyone, online or off, who “aspires to” conduct journalism based on the “bedrock” of fairness and accuracy, with an undercurrent of responsibility and accountability, is a journalist in Dan Rather’s eyes. But he keeps using phrases like “aspire to” or “attempt to be,” so I’m not exactly sold. He believes a public journal, electronic or in print, is a “public trust.” And he most “desperately wants us to have a public trust.” It’s a perfectly wonderful ideal, but the question is: Can our country trust a public figure in the way Rather describes? Are we capable of that kind of emotional investment? And if so, can we trust him? At the very least, we’ll have the opportunity to test the waters. Now, Rather is going back to the basics as he is gearing up for the launch of his new show on HDNet, the new high-definition television network owned by Mark Cuban. This time he has full editorial and creative control. That’s right, it’ll be 100% pure, unadulterated Dan Rather. His only instructions from Cuban are to “be fearless” or to be as fearless as he can “humanly, possibly be.” Considering the name of his new company is News and Guts Media, it sounds like he’s up to the task. P H O T O S B Y W ILL VA N OVERBEE K And the title of his show couldn’t be more fitting: Dan Rather Reports. When I asked him what his favorite part of the job was, he simply said, “reporting.” He’s a “hard news” kind of guy. As for Dan Rather’s definition of news: “What’s important for people to know, that they need to know, that somebody somewhere doesn’t want them to know, is news. Everything else is just advertising.” Last, I asked him whether or not he planned to start a videoblog. It would be one heck of a trust building tool. He was non-committal, but there seemed to be a boyish excitement in his voice when he spoke about the possibilities. I told him I hoped to be among the first to know if he ever made the leap. He said he’d keep that in mind. Grandfather Rather joins grandson Andy at Barton Springs Pool in Austin. Mr. Rather, I dare you. The new media community has started walking in your direction. Will you start walking in ours? n SXSWorld Review / November 2006 Heard the one about the robot on Sixth Street? By John Ratliff I ronically, the idea started in the Second Life Herald hospitality suite on the second floor of Austin’s venerable Driskill Hotel. The online newspaper’s publisher, University of Michigan professor Peter Ludlow, had come to the 2006 SXSW Interactive Festival to talk about the hugely popular online multiplayer game Second Life, in which thousands of people do almost everything online that they do offline. But that night, interactivity was flowing in the opposite direction, toward what Ludlow now refers to as a “game instantiation event.” Which is another way of saying that instead of taking “real life” online, guests took a computer game out into the world. In other words, they played Frogger. On a real street. Against real cars. Though not with a real frog. Make magazine editor Phil Torrone was conveniently packing a number of Roomba vacuum cleaners that he had tricked out with Bluetooth remote control technology for some illegal Roomba cockfights in San Diego. After using some of them to play a form of pool, Torrone landed on the idea of Frogger, prompting the by-now-legendary response from Eyebeam fellow Limor Fried: “This is a really bad idea. Let’s do that.” After being fitted with a frog costume cut out of a hastily procured green T-shirt, the Roomba was deployed across Austin’s Sixth Street, a four-lane one-way running in front of the hotel. Because Torrone’s laptop didn’t have the Bluetooth range, he went down to street level to operate the Roomba. A crowd of revelers stayed on the balcony upstairs from where Ludlow says that “it looked exactly like the angle you see it from in the game.” One of them was Kyle Machulis, a self-described teledildonics expert. “We were trying to stay quiet so as not to attract attention,” he recalls. “But the second the ‘bot hit the street, we were all screaming.” Despite, or perhaps because of, the deranged crowd demanding its destruction, the plucky frogbot managed to cross the street ten or so times, abetted by baffled drivers who slowed down to determine what was crossing their paths. Pedestrian passersby got it immediately, even after hitting the bars on Sixth Street. “[Frogger is] something that’s universally recognized no matter how cognition-impaired you are,” observes Ludlow. The Roombot finally met its match in a white Toyota 4Runner and was retired with dignity, but its brief appearance left a strong impression. “There’s a certain something about a car running over a Roomba,” says Machulis. “It seems very much a prank that could only have happened at this conference.” Torrone concurred via email, writing that “there are only a few examples and opportunities to do an art project like this.” Fortunately for everyone, according to Ludlow, another game instantiation event is likely at this year’s festival: “Something like this will definitely happen in 2007.” n WE’RE FLUFFY. NOT STUFFY. The Mansion at Judges’ Hill BOUTIQUE HOTEL & FINE DINING RESTAURANT BREAKFAST, DINNER & SUNDAY BRUNCH SPECIAL PARTIES, MEETINGS & TABLE SEATINGS BY RESERVATION Voted one of 2005’s top 10 hotels by American Historic inns & hotels Restaurant Acclaimed 11th in the State by Texas Monthly THE 1900 BAR OPENS AT 4PM DAILY, VERANDA SEATING IS AVAILABLE BREAKFAST 6:30-10:30 DINNER 5:30-10 SUNDAY BRUNCH 11-2 COMPLIMENTARY COVERED PARKING IN OUR GARAGE ON RIO GRANDE Downtown Austin Corner of MLK and Rio Grande 512.495.1800 Toll-free 1.800.311.1619 www.judgeshill.com 10 SXSWorld Review / November 2006 Kathy Sierra Boulder-based author and researcher teaches developers how to ignite the passion of their audience By Tara Hunt Opening Remarks for the 2007 SXSW Interactive Festival will be delivered by Kathy Sierra on Saturday afternoon, March 10. Her skills at public speaking and motivation have generated rave reviews from both technical and non-technical audiences. Sierra’s “How to Create Passionate Users” presentation at the 2006 SXSW Interactive Festival was one of the event’s most highly-rated sessions. E veryone attending SXSW Interactive this year is in for a treat. Kathy Sierra has made it her personal goal to get the world focused on creating passionate users, a skill she calls “helping them drink the Koolaid.” By the end of her presentation, you surely will be drinking it yourself. Sierra certainly knows what she is talking about, having been converting her own passionate fans for years. In her 15 years as a game developer, she worked for such companies as MGM, Virgin and Amblin, where she discovered the power of “FLOW,” the ecstatic state in which someone doing an activity gets so carried away with it that time and space lapses. We suspect that Sierra has much to do with the current level of addictiveness in video games. Her other accomplishments include co-creating the Head First series of Java developer books, being a finalist for a Jolt Software Development award in 2003, and being named to the Amazon.com Top Ten Editor’s Choice computer books for 2003 and 2004. She also started the passionate community at javaranch.com, known as the “friendly java site” in 1997, which now has three to four million unique visitors per month. She is also quite renowned for her the consistently excellent words of wisdom on her blog, Creating Passionate Users, which is in the list of Technorati’s top 100 blogs. It seems that everything Sierra works on ignites fervor in communities. One of the most unique things about Sierra’s work is the science behind it. Not merely conjecture, her work combines experience, learning and metacognition theory. Her deep understanding of the work that has been done to uncover the behavior of the legacy brain goes a long way towards explaining the keys to unlocking end-user flow, and her interest in the subject of the brain and learning has been strongly influenced by her diagnosis as an epilectic at age four. Sierra also keeps her presentations accessible and fun. Don’t be surprised to find phrases such as “Less suck, more kicking ass,” in her lessons. Her approachable presentations make her that much more of a pleasure to watch. Don’t think that her lessons will be easy, though. First she will J a m e s Duncan Dav i d s o n take you out of your comfort zone and challenge your ego. Once she breaks down your former beliefs, she will start rebuilding your notions of development. In addition to SXSW Interactive, Sierra has spoken at other such prestigious events as ETech, OSCON, GUADEC, Emerging Technologies, Webstock, RailsConf and Blogher. She currently lives in Boulder, Colorado and spends any free time she can find skiing, running, tending to her Icelandic horse, discovering gravity and playing her latest obsession, the Dance Dance Revolution video game. Whether you build software or run a charitable organization, Sierra’s lessons in helping people “kick ass” are invaluable for all. Learn how to bring more passion to your projects by attending her SXSW Opening Remarks. n SXSWorld Review / November 2006 11 dering_H_SXSW_ad1006.qxd 10/23/06 10:52 AM Page 1 Over 20 Years of compact disc manufacturing • CD & DVD Replication • Fulfillment Services • Packing - Assembling • Warehousing - Shipping • IRMA Certified The World Leader in Alternative Storage Solutions for CDs/DVDs The CShell can provide a powerful message everytime a CD/DVD is needed. CShells can be custom decorated by the Dering Corp. or supplied blank for you to customize. For Sales Information, call The Dering Corporation toll-free at 1.877.433.7464. 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Or, simply relax! “Austin Bound” painted in 2005 by Karen Maness AUSTIN – DOWNTOWN Radisson Hotel & Suites Austin 111 Cesar Chavez @ Congress • Austin, TX 78701 • (512) 478-9611 www.radisson.com/austintx • 1-800-333-3333 12 SXSWorld Review / November 2006 STAY YOUR OWN WAY SM danah boyd SXSW panelist emerges as one of the world’s top experts on MySpace and other social networking sites By Jon Lebkowsky H ow did danah boyd become the world’s foremost (and coolest) authority on MySpace? It helps that she really gets the web as a social as well as technical construct. “I was part of a generation that grew up online,” she explains. First, boyd studied computer science at Brown University and sociable media at the Massachusetts Institute of Technology’s Media Lab. Then she moved to the San Francisco Bay Area, where she discovered Friendster, an online service that gives visibility to social networks of friends and friends of friends. Fascinated with the site, she started blogging informally about it, although while on hiatus from academia, she was just acting as an interested user. However, her inner researcher was evident in her blog posts and live analysis of the site. She came to represent Web 2.0’s most valuable commodity, the active participant with an everyday user’s grasp of the experience of online interaction. After Friendster, she studied bloggers. “I was interested in the kind of public life people, especially young people, created for themselves online,” she says. It was ultimately this interest that led her to MySpace, the popular online community where people, many of them very young, can hang out and express themselves freely. She then joined an academic team that applied for a McArthur Grant to study the MySpace system. Originally she was not going to blog about the research because the public conversation might affect the site and interfere with the study. Still, there is often a tension between her academic pursuits and her public persona. “My research is making me an activist and an advocate for better products through social media design,” she says, referring specifically to products that can improve teens’ lives as they find new modes of socialization online. In this context, it’s hard to avoid visibility, boyd says, “While doing the kind of research, writing and framing that academics typically do, I’m also attempting to make my work radically accessible. My blog has a relaxed voice that communicates well with diverse audiences.” Since this isn’t the way most academics operate and her mission is broader than being purely academic, this can get her into trouble with her peers: “They sometimes feel that my work is too broad, and doesn’t go deep enough.” But boyd does not shy away from controversy. In February 2006, she gave a talk to the American Association for the Advancement of Science called “Identity Production in a Networked Culture: Why Youth Heart MySpace,” which she says was “partly a response to moral panic brought on by the media’s coverage of the potential predators and bullying at MySpace.” She says her concern was that the “sexual predator” panic could have a significant negative impact on kids’ access to online social spaces that support public interaction. It is in these spaces where she says that “My research is making me an activist and an advocate for better products through social media design.” “all sorts of chaos is bound to happen,” and she feels strongly that there is far more to be gained from letting youth engage in these public spaces than from restricting them: “I want to serve as a voice of reason contrary to the paranoia about predators, which is getting out of control.” n At the 2007 SXSW Interactive Festival, boyd will participate on the “Under 18: Blogs, Wikis, and Online Social Networks for Youth” panel. SXSWorld Review / November 2006 13 music & singing auditions 2007 Auditions are by invitation only, based on video demo submission. SEND YOUR DEMO MATERIAL NOW! www.casting.cirquedusoleil.com/sxsw06 HigH Beam events the Official Party Planner of sXsW 2007 Gain additional exposure during SXSW by hosting a networking event. High Beam works with nightclubs, galleries, warehouses, retail stores, and unique party spaces to provide the best venue for your event. Over 25,000 people attended the SXSW 2006 parties planned and promoted by High Beam Events. Filmmakers/Production comPanies – Celebrate at a nightclub after your premiere SXSW PreSentS ScreenBurn 2007 WIth eXPAnded PAneLS PLuS ArcAde! Now in its second year as part of SXSW INteractIve, ScreenBurn focuses on the most current developments in the video game industry. Four dayS oF ScreeNBurN PaNelS: Saturday, March 10 through tuesday, March 13 tWo dayS oF ScreeNBurN arcade: Saturday, March 10 & Sunday, March 11 labels/agents/managers – Have all your bands playing under one roof magazines – Showcase your favorite acts and get exposure for your sponsors music exPort oFFices – Introduce new fans to your country’s finest music exports manuFacturers/comPanies – Launch your latest product in style Admission to ScreenBurn Panels and the Arcade is included with your SXSW Interactive, Gold or Platinum registration. For more info, see www.screenburnfest.com or email [email protected]. Contact [email protected] for more information or call 512-419-9401 today. www.highbeamevents.com 14 SXSWorld Review / November 2006 ScreenBurn 2007 is sponsored by Seagate Technology, a leading provider of technology and products enabling people to store, access, and manage information. Photo: Marie-Josée Lareau Costumes: Michel Robidas © 2006 Cirque du Soleil Inc. For its thirteen current productions and upcoming creations, with original music performed by LIVE BANDS, Cirque du Soleil ® is seeking PROFESSIONAL SINGERS AND MUSICIANS with STRONG TECHNIQUE, STAGE EXPERIENCE, IMPROVISATIONAL SKILLS AND VERSATILITY. Gina Trapani Award-wining editor of popular Lifehacker blog enables geeks to gain more efficiency By Leah Shafer F or Gina Trapani, Boom 2.0 is a land of both hope and hype: “People are smarter this time around, but there’s a little foaming about the mouth and that makes me nervous. I think there are amazing things happening on the web. I also think that there is a lot of money and a lot of hype; it’s not as founded as I would like it to be.” The Lifehacker founding editor, frequent SXSW panelist and “freelance geek” should know. She’s a veteran of the pink-slip days during the first boom, working as a programmer and web developer at bolt.com until 2003. She quit the nine-to-five routine to write English instead of code, first as a freelancer, and then at Lifehacker, a blog that reviews, uses and recommends software downloads and web sites that make life easier for users. Three years after her decision to cease coding, Trapani’s considerable talents have earned her wide respect in the interactive industry. In June, Wired magazine gave her their “Rave Award” as top blogger. In the accompanying profile, Brian Lam points out that among other things: “Her blog posts – 18 a day, on average – offer advice on how to manage a bursting inbox, improve sleep with special algorithms and vanquish viruses in both your computer and your nasal passages.” “My crystal ball is not that great,” says Trapani, humbly. “But I think the technologies that bring value to the user in the end are the ones that will stick around. It’s great to do things just because you can, but I prefer super useful.” When she started Lifehacker in January 2005, the 12 updates a day made “super useful” a key phrase in her search for ways to keep up with power blogging: “I had to find different ways to get the site updated without going nuts. After nine months, I was pretty tired. I really love the material, but the expectation for the sites was so high.” compelling about the last few years. “All the Boom 2.0 technologies are really neat, like Google maps and Flickr letting people map out their photos,” she enthuses. “I love seeing Ajax, tagging and syndication that actually translates into something really neat for the user in the end.” “The biggest challenge is finding the most compelling stories,” she says. “One person’s really neat trick is another person’s ‘well duh.’“ She’s not alone at Lifehacker anymore: “We brought on a few more editors who work with me and we do an original article every day, but I think that there is still more demand for content and more original content.” She’s also looking to make the site richer in terms of video, audio content and photo galleries. “The biggest challenge is finding the most compelling stories,” she says. “One person’s really neat trick is another person’s ‘well duh.’ It’s hard with a jaded, geeky crowd like we have.” But that crowd has the experience to appreciate the Boom 2.0 developments, and Trapani likes to rattle off a list of the things she finds most Another change for her in Boom 2.0? Leaning the art of self-marketing. “Self-promotion is a really big part of it, and it does not come easily to geeks,” she believes. “We’re not so good at branding ourselves, but it’s something that absolutely has to be done. I’ve been trying to figure out ways to do that less painlessly recently.” In the end, she has a positive outlook. “I was one of the lucky ones the first time around, and I am cautiously optimistic about Boom 2.0,” she concludes. “More optimistic than cautious, really. It’s good.” n SXSWorld Review / November 2006 15 Don’t forget to include us in your award show speech. Ad: Zimmerman (Emerald Coast) From the white sands and emerald waters that gave us our name to quaint country roads and unique southern architecture, Florida’s Emerald Coast has the ideal location for your next project. 1-800-322-3319 www.destin-fwb.com DESTIN 16 FORT WALTON BEACH SXSWorld Review / November 2006 OKALOOSA ISLAND CINCO BAYOU MARY ESTHER News and Notes SXSW Film submission deadline approaching French fries, shorts, non-profits and porn: SXSW Film 2007 speakers cover the bases Morgan Spurlock The submission deadlines for the 2007 SXSW Film Festival are just around the corner. The early submission deadline is November 17, 2006, and the late submission deadline is December 8, 2006. For more information on how to submit, visit: sxsw.com/film/ submit SXSW Presents in its third season on PBS SXSW is proud to announce the return of its hit PBS program, SXSW Presents, for a third season. The show will air every Tuesday at 9 pm on KLRU-TV in Austin. For more information about Season 3, visit: klru.org/ sxswpresents HM organ Spurlock will be at SXSW 2007 for “A Conversation with Morgan Spurlock.” The director and subject of Oscar-nominated documentary Super Size Me (as well as the award-winning TV series, 30 Days) will sit down with Eugene Hernandez of indieWIRE to discuss his impressive growth in the industry since that popular debut feature. H Want to take a ride through a recent history in popular shorts filmmaking? At SXSW 2007, check out “Zellner Vs. Duplass: a Sibling Rivalry in Short Form” and see a retrospective of popular short films made by two filmmaking duos: the Zellner Brothers and the Duplass Brothers. The celebrated, award-winning films will screen in one program, for a combined celebration of the power of short filmmaking. H “Sex Scenes Stay Hard” is the title of a panel at SXSW 2007, and its focus will be the unpredictable nature of sex in (independent) cinema. Onscreen sex has been a combustible topic for decades, and in the changing landscape of independent film, is it any different? Can a filmmaker be frank about sex and still find an audience? For this panel, filmmakers and experts will gather to debate the pros and cons of taking it all off for the camera. Scheduled speakers include: Bryan Poyser (director, Dear Pillow), Joe Swanberg (director, LOL), Lisa Vandever (Cofounder, CineKink NYC) and more. H“ The State of Non-Profit Film” should be a very informative and timely panel during SXSW 2007. It’s a changing climate these days for non-profit film organizations, as some fold and some stand firm. Michelle Byrd Several of the leaders of this national arena will share their thoughts on the current attitudes and future prospects of non-profit initiatives for filmmakers. Scheduled speakers include: Michelle Byrd (Executive Director, Independent Feature Project), Rebecca Campbell (Executive Director, Austin Film Society), Brian Newman (Executive Director, National Video Resources) and more. H Other scheduled SXSW 2007 speakers thus far include: Jeffrey Abramson (Gen Art), Paul Bales (SAGIndie), Steven Beer (entertainment attorney), Eamonn Bowles (Magnolia Pictures), Michael Burns (The Documentary Channel), Anne del Castillo (POV), Sean Farnel (Hot Docs), Chris Gore (Film Threat), Eugene Hernandez Katie Speight (indieWIRE), Gill Holland (producer, Loggerheads), David Hudson (GreenCine), Roger Kass (entertainment attorney), Tom Koch (WGBH), Ron Mann (director, Tales of the Rat Fink), Sejin Park (New Line Cinema), Greg Rhem (HBO), David Poland (Movie City News), Tom Quinn (Magnolia Pictures), Kay Schaber (Writers Guild of America), Dustin Smith (Roadside Attractions), Katie Speight (More4), Genna Terranova (The Weinsten Company), Mary Ann Thyken (ITVS) and Diane Weyermann (Participant Productions). SXSWorld Review / November 2006 17 18 SXSWorld Review / November 2006 Indie films find 21st century outlets Festival films challenged by new horizons By Michael Bergeron “G etting a distribution deal that includes a theatrical release is kind of like winning the lottery,” acknowledges filmmaker Kat Candler. “Filmmakers are finding more creative and inspired methods of getting their films to audiences.” Candler has shown her feature Jumping Off Bridges, which premiered at SXSW 2006, at a series of film festivals along with several college bookings. Another SXSW alumnus, The Puffy Chair, got a brief theatrical distribution on the heels of a Netflix DVD deal. “As the DVD market has reached maturity, the days where everything sells have reached a plateau. Other ancillary markets are now being added to the bottom line with most distributors,” observes Joseph Amodei of Hart Sharp Video. “These markets combined with the DVD sales will be a film’s main revenue source once it leaves theaters. It is important to find distributors that offer these revenue streams and not just one or the other.” Hart Sharp Video markets special interest titles for the home market, and its catalog includes several films that first attracted attention on the film festival circuit. “Given the increasingly overcrowded theatrical marketplace and ever increasing expense of a theatrical release, ancillaries like home video, video-on-demand and cable TV are where most independent films find their audience and make their money,” notes Ian Bricke of The Sundance Channel. Specifically, Bricke utilizes events such as SXSW to find “the smaller gems that get overlooked at bigger, busier festivals. It’s a great place to track new talent.” Capturing that indie spirit certainly yields market value at a time when constant changes are defining contemporary filmmaking. Broadcasters such as Great Britain’s Channel 4 The Duplass brothers, Mark and Jay, of The Puffy Chair, who’s distribution deal included a theatrical release. for productive feedback from buyers dependent on independent films. Most of the festival congregates over a small area, allowing participants to “...ancillaries like home video, video-on-demand, and cable TV are where most independent films find their audience, and make their money.” recognize this progressive inclination. “We wanted to find a link between the limited distribution offered by television, and the anything-goes publishing capability of the web,” says Katie Speight of Channel 4. “This is where Fourdocs [Channel 4 website] stepped in for the short documentary film.” Fourdocs is a broadband documentary channel with a vibrant community covering the whole area of documentaries. “Users can upload and download their own films, get practical advice from experienced filmmakers and share views about films they or others have made,” explains Speight. “Crucially, it’s free and easy to use.” Ergonomic viral schmoozing is a fancy way of saying that SXSW offers an easy fit for filmmakers looking spend more time together, if only by constantly bumping into each other on Sixth Street. “Premiering our film at SXSW gave us legitimacy. It brought us press, reviews, sold out audiences, waived fees at other festivals and got the attention of distributors, festival programmers and production companies,” remarks Candler. New technologies for film production and reimagined distribution models will always baffle struggling filmmakers. SXSW covers the important points and provides plenty of inspiration for the novice and professional. n Websites www.hartsharpvideo.com/ www.channel4.com/fourdocs www.sundancechannel.com/home/ SXSWorld Review / November 2006 19 Custom photography by fotovitamina.com Easy to get to. Hard to find. Daily nonstop flights from LA and NYC. www.filmTucson.com 877.311.2489 Division of Metropolitan Tucson Convention & Visitors Bureau Motion Pictures Filmed in Western North Carolina All the Real Girls Being There The Boneyard Bull Durham The Clearing The Conquest of Canaan D.A.R.Y.L. Digging to China Dirty Dancing Firestarter Fluke Forces of Nature Forrest Gump The Fugitive The Green Mile Hannibal The Hunt for Red October In Dreams The Last of the Mohicans Loggerheads Loose Cannons Mr. Destiny My Fellow Americans Nell Paradise Falls Patch Adams Private Eyes Return to Secret Garden Richie Rich Songcatcher SouthernBelles The Swan Thunder Road Trapper County 28 Days The Winter People Western North Carolina Film Commission AdvantageWest Mary Trimarco, Film Commissioner 3 General Aviation Drive, Fletcher, NC 28732 [email protected] 828.687.7234 • www.awnc.org 20 SXSWorld Review / November 2006 After the lights come up ga r y m i l l e r Checking in on some of the killer films screened at SXSW 2006 Before the Music Dies Al Franken: God Spoke By Tim Basham By Jonathan Balthaser The standing ovation that the premiere screening of Before the Music Dies received from the sold-out Paramount Theater audience during SXSW this past March was a sure sign that people would be inspired by this documentary’s message. Interestingly, two of those people inspired were the filmmakers themselves, director Andrew Shapter and producer Joel Rasmussen. “The message we had been trying to deliver from musicians was being heard by us,” Shapter explains. After a successful world premiere at SXSW 2006, Al Franken: God Spoke has been touring the film festival circuit and is now being released in theaters across America by Balcony Releasing. Executive produced by legendary documentary director D.A. Pennebaker, the documentary profiles the former Saturday Night Live writer and best-selling author’s spirited and often hilarious battle against right wing conservatives. With exclusive interviews and concert performances, Before the Music Dies features an impressive assortment of musicians and industry insiders such as Eric Clapton, Elvis Costello and Bonnie Raitt, all giving their personal assessments of the current state of American music. Dave Matthews, for example, opines about record labels and his decision to start a label of his own, ATO Records. In that spirit, Shapter and Rasmussen spurned major film distributors and allied themselves and the documentary with Bside Entertainment, an independent distribution company that allows filmmakers to retain all rights to their projects. “Bside was in lockstep with the message of the film,” says Shapter. He also explains that instead of being released over one week and then having the film pulled from theaters if it doesn’t perform to expectations, Before the Music Dies will be released nationally in November with a continuing release over a longer period of time. The filmmakers have also aligned forces with numerous media, music organizations and influential fans throughout the country, including the National Association of Recording Arts and Sciences (NARAS), which oversees the Grammy Awards. A soundtrack from the film, featuring such artists as Matthews, Raitt, Erykah Badu, Calexico, The Roots and others, will also be released. Equipped with a fiercely intelligent wit, Al Franken spars with political heavyweights such as Ann Coulter, Rush Limbaugh and his arch-nemesis Bill O’Reilly. In the film, Franken emerges as a formidable player in the political arena as he helps launch liberal talk radio station Air America and campaigns across the country against Bush’s presidential reelection in 2004. Boosted by critical praise at its SXSW premiere, Al Franken: God Spoke moved on to several other major festivals including the Tribeca Film Festival, the San Francisco Film Festival, the Seattle Film Festival, the Nantucket Film Festival and the Edinburgh Film Festival. After its opening at the IFC Center in New York on September 13th, the film debuted in Franken’s hometown of Minneapolis and has since opened at over 40 theaters coast to coast. Filmmakers Nick Doob and Chris Hegedus planned for a fall release in time for the midterm elections in November and are ecstatic with the response thus far. “Chris and I have done a lot of traveling with the film, showing it to a wide range of audiences, and what we’re seeing is that though people enjoy Al’s comedy, he’s also hitting a nerve,” Doob says. “People identify with his passion for change and his anger at the present administration and invariably ask at the Q&As after our screenings, ‘What can we do to move this country in a better direction?’” Whatever happens with the film’s release, Shapter will always fondly remember his first SXSW premiere: “Pulling up to the theater and seeing that line around the block was something unforgettable.” SXSWorld Review / November 2006 21 After the lights come up The Refugee All Stars Japan and Canada, while the film has earned endorsements from the likes of Ice Cube, Paul McCartney and Angelina Jolie, received the moral support of MTV executive Troy Poon, and landed a deal to be shown on PBS. “The cool thing about SXSW is that a lot of industry people came,” says Niles. “And the difference between Sundance and Toronto is that you can actually get to meet and talk to those industry people.” By Anthony Kaufman Few films can claim to have drastically changed the lives of their subjects, but Zach Niles and Banker White’s debut feature documentary The Refugee All Stars accomplished just that. After screenings at film festivals in the U.S., particularly SXSW 2006, the attention given to the film transformed six Sierra Leonean musicians, who once suffered through the horrors of civil war and the frustrations of living as refugees, into international stars. “Because we are a band and a film, SXSW was a natural fit,” explains Niles. “And the success of the band helped the success of the film.” During the festival, The Refugee All Stars played sold-out shows and picked up both a publishing deal with Warner Chappell Music and a record deal with ANTI Records (home to such luminaries as Tom Waits and Nick Cave). The band has since toured North America and played music festivals in Ad: Alpha Female 22 SXSWorld Review / November 2006 But the most memorable experience for the filmmakers and the band was a random encounter on the streets of Austin with Liberian refugees. According to Niles, there was also a strong connection to audiences who had the Hurricane Katrina disaster still fresh in their minds: “That was really powerful. It’s one thing to have the people on the screen and feel something for these guys, but then to introduce these people who lived through the very same thing, and there were a lot of displaced people from Katrina, that really struck a chord. We had a lot of tears.” G A R Y MILLER “There wasn’t a better festival to premiere Behind the Mask. I was on the phone negotiating before our second screening. SXSW was the perfect launching pad for our film.” - Scott Glosserman Fired! JENN SOTO Actress Annabelle Gurwitch (former host of TBS’ “Dinner and A Movie” show and co-star of Melvin Goes To Dinner) took the humiliating experience of being fired from a Woody Allen play by the man himself and spun it off into three projects: a stage production, a book and a documentary. Gurwitch’s film, Fired!, premiered at SXSW 2006 to enthusiastic and receptive audiences who reveled in tales of bad jobs, bad bosses and the mercurial mood of corporate America. Fired! will have its theatrical release in January 2007 and will air on Showtime in March, with DVD sales following in the spring. Gurwitch says the experience at SXSW, which she says had a young, hip, “film fanatic” vibe about it, energized her and helped keep her project rolling forward: “I really feel like SXSW getting behind this gave me a lot of confidence. At SXSW, you meet filmmakers and ‘real’ people who want to go eat barbecue with you. Talk of film and fatty meat? I’m there!” Since the premiere of Fired!, Gurwitch has scrambled to keep some of the information in it up-to-date, such as the recent upswing in layoffs and buyouts of Ford Motor Company workers. Gurwitch’s social conscience emerges here, and her voice rises as she rattles off facts about the decline of support for skilled labor in America. Things are changing, Gurwitch says, “but unfortunately not for the better. Real wages are not rising at all, but corporate profits are at their highest level since the 1960s. We need to examine as a nation what we value, and ask how much workers should share in these profits.” Gurwitch plans to take the same comedic-but-with-social-questions tack she did in Fired! with her next project, tentatively titled Going, Going, Gone. Originally a native of Mobile, Alabama, Gurwitch discovered after Hurricane Katrina that she had inherited a portion of Dauphin Island off the Alabama Gulf coast, but that her piece of heaven is rapidly eroding because of global warming and rising sea levels. “Once more, my little story meets global implications,” Gurwitch says with a laugh. S A R A H K ERVER By Roseana Auten Behind the Mask: The Rise of Leslie Vernon By Eric Vespe Scott Glosserman’s Behind the Mask: The Rise of Leslie Vernon made its world premiere in the midnight line-up slot at SXSW 2006 and ended up being one of the biggest critical and popular successes of the conference. This unique film follows a serial killer in training, one who lives in the same universe where famous cinema slashers run amok. The young, charming man then invites a small group of college journalists to chronicle his preparations for his first appearance. The critical response, as well as the presence of film acquisitions representatives at SXSW, gave Glosserman the boost he needed. “We premiered at the cathedral of all theaters, the Alamo Drafthouse, and it was just an unbelievable way to have the first public screening of my first film ever,” Glosserman says. “There [was] a ton of press there. There were a lot of acquisitions executives, but that wasn’t the feeling of the screening. It felt like it was just genre film fans.” Since the film’s premiere, Glosserman has signed with an agent, met with studios about his next project, and traveled the world with Behind the Mask, taking it from festival to festival. Audiences have welcomed the film at such festivals as Gen-Art in New York and Fantasia in Montreal. “There wasn’t a better festival to premiere Behind the Mask,” Glosserman says. “I was on the phone negotiating before our second screening. SXSW was the perfect launching pad for our film.” Glosserman is currently in final negotiations for theatrical distribution of his film: “SXSW was essentially the lighted fuse to what has become this incredible journey towards our explosion, which is our theatrical release.” SXSWorld Review / November 2006 23 YOUR BEST QUALITY PRINTING, PRICE AND SERVICE FOR SXSW ‘07 www.jakprints.com Receive $25.00 OFF your next order! 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SXSWorld Review / November 2006 News and Notes Look Who’s Talking ... at the SXSW 2007 Music Conference New Releases H Polyvinyl has Of Montreal’s Hissing Fauna, Are You The Destroyer? coming out on January 23. Charlie Robison, The Greencards, Roger Creager and a tribute record to June Carter Cash. H Beggars Banquet has a new Calla LP for spring release, while the Playlouder/Beggars Group will soon drop two releases from Austin’s Voxtrot. H Yep Roc’s newest from Billy Bragg is out now, and on the schedule for January are releases from Southern Culture on the Skids, Apples in Stereo, Doyle Bramhall, Nick Lowe, Marah, Heavy Trash and more. H On the Matador front, new LPs from Chicago’s The Ponys and Australia’s Love of Diagrams are anticipated for spring releases. Rickie Lee Jones From her stunning debut in 1979 through her current recordings and concerts, Ms. Jones has created music with a wide range of influences and her singular voice. In advance of her first album for New West Records, she will sit down for a SXSW Interview to discuss her work. H This spring, Kill Rock Stars will be putting out new releases from Deerhoof (Friend Opportunity), Xiu Xiu, Elliott Smith, Mary Timony and a Decemberists DVD. H Semisonic front man Dan Wilson will release his American Records debut soon, and American is also preparing a DVD of highlights from the Unholy Alliance tour which featured Slayer, Lamb of God, Mastodon and more. H Three new Rhymesayers releases hit stores in early 2007: Brother Ali’s The Undisputed Truth, Mac Lethal’s 11:11 and Abstract Rude’s Dear Abby. H The legendary Charlie Louvin drops his Tompkins Square debut in February, surely the only album to feature guest spots from Tom T. Hall and Will Oldham together. Also on the Tompkins Square front is a February release from James Blackshaw. H Dim Mak has two new releases from Icarus Line lined up for November and February. H Touch and Go Records’s spring schedule includes new full lengths from Mekons, Shellac, Ted Leo and the Pharmacists, !!!, Cocorosie and Pinback. H Vagrant Records has releases coming up from Reggie and the Full Effect, From Autumn to Ashes and The Bled. Joe Boyd The founder of Hannibal Records, manager/producer of Nick Drake, producer of soundtracks of Deliverance and A Clockwork Orange, and author of White Bicycles – Making Music In The 1960s. Booker T Perhaps best-known for the million-selling instrumental, “Green Onions,” recorded by Booker T. and the MGs, he has recorded with a who’s who of artists, including Otis Redding, Ray Charles and Bob Dylan. He will be recording this fall and winter for the first time since 1994. Here are some notable new independent label releases scheduled for the next few months. H Montreal’s influential Ninja Tune label has a busy schedule, with releases from Kid Koala, Coldcut, Amon Tobin, TTC and more. H Nashville’s Dualtone also has a lot of records coming out this winter and spring, including H Memphis’ fabulous Goner Records is putting out brand new ones from Carbonas, Digital Leather and Final Solutions. H New West has a series of Live From Austin CDs and DVDs from Neko Case, Johnny Cash, Guy Clark and Asleep at the Wheel scheduled for early 2007 release. Pictured top to bottom: Of Montreal, Nick Lowe, Billy Bragg: Volume 2, Charlie Louvin, Neko Case. SXSW and Blaze TV announce SXTV venture to offer televised performances from SXSW 2007 In early October, SXSW announced the launch of South By TV (SXTV), a new joint venture with London and Los Angeles-based Blaze TV, a highly regarded international producer of music and entertainment television programming. SXTV is scheduled to deliver televised performances from the March 2007 SXSW music festival to viewers worldwide. Artists performing on SXTV will be filmed in a custom-built soundstage located in downtown Austin using HD cameras with 5.1 surround sound. American audiences will be able to see the best of these performances on CD USA, the weekly show that Blaze TV produces for DirecTV. London and Miami-based Zeal TV will handle international sales. Blaze TV has been especially well-regarded for its highly popular CD UK program, a weekly live music show which has aired close to 400 episodes. Blaze opened a Los Angeles office in 2005 and has produced CD USA, the American version of CD UK, for DirecTV since January 2006. In addition to television, SXTV also plans to distribute SXSW band content through online, mobile phone and digital cinema outlets. A “Best of SXSW 2007” DVD is also planned through Blaze TV’s parent company Shout! Factory. SXSWorld Review / November 2006 25 Record retailers chart courses through daunting waters By Shermakaye Bass T he news of the indie store’s demise has been greatly exaggerated. Well, perhaps a tad. In the past few months, mainstream media and trade publications alike have run sky-is-falling stories with depressing stats and even more depressing rumblings about the David-Goliath bout between bigbox’ers and indie record retailers, not to mention the world of hurt that digital sales are putting to real-time, real-world record stores. DO U G L A S BE N J A MI N music megastore, announced on September 30 that it is filing for Chapter 11 bankruptcy protection. Earlier this year, iTunes announced its one-billionth download. Ouch. There’s no question that some of indie store sky is falling. The good news is that the U.S. still claims close to 2600 independents, and those stores are developing new strategies to keep music aficionados happy, such as expanding in-store performances and local promotional events, countering with their own online stores and download programs, and organizing their own renegade “empires” to strike back. California’s Amoeba Music, with locations in Los Angeles and the San Francisco Bay Area, is even preparing to launch its own record label, hopefully in the coming spring. More than anything, though, stores like Amoeba, Waterloo Records in Austin, and The Electric Fetus in Minneapolis are finding new ways to “super-serve the customer,” as Waterloo’s John Kunz calls it. John Kunz, owner of Waterloo Records in Austin, Texas. The numbers are scary. More than 900 American independents have folded in the past three years, and one-time colossus Tower Records, not exactly an indie but a pioneering 26 SXSWorld Review / November 2006 “Our philosophy is probably best summed up by our slogan ‘Where Music Still Matters’,” observes Kunz, whose store will celebrate its 25th anniversary in 2007. “From the very beginning we tried creating a haven, a lounge if you will, for music lovers. And we did that by providing free live music in the store, an easy way to find stuff arranged alphabetically and not by category, and by letting customers listen to music before buying it and then having a no-strings return policy.” But Kunz admits that last year, for the first time in many moons, his store saw a drop in sales: mid-single digits, he says. At Electric Fetus, whose venerable Minneapolis flagship opened in 1968, overall sales are down around ten percent. And though Amoeba Music’s numbers have held steady over the past year, marketing manager Kara Lane acknowledges the shaky state of affairs in the independent realm. In these troubled times, all three of these stores have found increasing fondness for the buy/sell/trade aspect of their business, which lures the rare and obscure-music seeker and boosts overall sales. “With our three stores, we have been able to give people a kind of treasure hunt feel,” Lane says. “Where in addition to finding the new things they want, there’s a depth and richness, almost an archival element, with music freaks selling back their stuff.” The Electric Fetus’ retail music manager, Bob Fuchs, says part of his stores’ enduring success lies in the fact that “just about everyone who works here is either a collector, a musician, a DJ or a music journalist.” Still, he admits, “It’s harder now than it has ever been. We have to work harder to remind people what we have, whether that is through advertising to ‘up’ our presence or offering digital burning right in the store.” Kunz, who employs 70 people at his downtown Austin store, says he’s not running scared, but he is very aware of the dangers he and his peers face in the brave new digi/download/big- box world: “Usually, Waterloo has been able to eke out a small gain in sales over the years, but this year we’ve been caught in the tide that seems to be sweeping the record retail business. According to all the statistics out there, independent record stores are down by about 25 percent, but the industry itself is off by seven or eight percent. So I believe many of the (indie figures) reflect the closures of a lot of independent stores. Most of the people I’ve talked to this year are looking at even sales, or they’re down slightly by single digits. Nothing to the order of 25 percent.” More than ten years ago, while looking down the road and seeing ominous clouds on the horizon, Kunz and a handful of other national indie owners created the Coalition of Independent Music Stores (CIMS) to deal with everything from megamusic stores like the once mighty Tower to MP3 competition to Internet exclusives, and, now, the big-box retailers. Currently, the CIMS group is working feverishly to counter the onslaught from online and discount-store competitors. As for Kunz’ own store: “Waterloo has had a fully transactional website in effect for about four years. We’ve got a real informative email blast that goes out to about 6000 subscribers weekly, telling about that week’s releases, in-store performances and special offers … More recently, Waterloo has been working with CIMS and other coalitions, putting together a digital download store.” That store should launch next year. Kunz says that in the past couple of years, CIMS has fought a losing battle over exclusive content on CDs and DVDs, the biggest example being when the Rolling Stones released 2003’s Four Flicks DVD set and sold it exclusively at Best Buy: “That means that Target goes and tries to find something exclusive to them, and then Wal-Mart tries to find something exclusive to them. It created a trend. We’re a small record store. It’s not like Waterloo could negotiate that sort of agreement with someone like the Rolling Stones.” MI K E ELI A S “... the ones that survive are the ones that are able to adapt to the changes.” Above: Minneapolis’s Electric Fetus. Below: Amoeba Music in Hollywood. Kunz and Lane both note the strangeness of some of the industry’s newer bedfellows. “I don’t think we (indies) need any additional bells and whistles,” Lane observes. “But keeping the playing field level is key. Things have shifted a lot in terms of the label’s knowledge and interactions with retail, and I think retail ends up being sort of an afterthought in the grand marketing scheme, especially the smaller and independent retailers. It becomes more about the industry than the music itself … But the weirdest thing is the online exclusives,” she adds. “Recently we were planning an in-store with an artist, and I thought her performance was on the release date. It turned out the album had been available for two weeks prior to that on iTunes!” According to Kunz, perhaps the best insurance in this rapidly changing world is for indie stores to compete when and where they can in ways such as launching their own digital music stores and/or working out exclusive-release agreements, such as Waterloo has done with Texasbased artists like Marcia Ball and Alejandro Escovedo. Maintaining a strong bond with musicians is essential, most independents will tell you, and that bond is tied tightly to promotions, awareness and general camaraderie within a musical community. K EVI N H A N LE Y But maybe more than anything, the mom-and-pop record shops have to put their customers and immediate community first. Because, as Kunz, Fuchs and Lane see it, a record store is no longer simply a place that sells music or music-related merchandise. “I think ten years from now there will still be a few independent music stores, but unfortunately there won’t be nearly as many,” predicts Kunz. “And the ones that survive are the ones that are able to adapt to the changes. It also seems critical for independent music stores, and bookstores and other purveyors of culture, for that matter, to band together in their communities so that we don’t end up with a sort of chain-store/fast-food mindset, where no city is different from any other city … I guess it’s what we’ve always done; we just didn’t realize that role was part of some cultural mandate, which is what it’s becoming.” n SXSWorld Review / November 2006 27 28 SXSWorld Review / November 2006 MySpace and the changing business of A&R By Leah Selvidge Times have changed, and leading the pack in revolutionizing that whole process is MySpace, the most popular social networking site of all time (or at least since 2003). With literally millions of artists promoting themselves, the trick is knowing how to use the site effectively to find what you think you are looking for. Michelle Oakes, Director of A&R at TVT Records, knows the MySpace and search for people who look interesting. From there, I look at their friends,” she explains. “If I see something I like, I make a note and come back a few times. In the case of Le Meu Le Pur, I happened to get a call from their manager, who’s a friend, shortly after I discovered them on MySpace. That really reinforced my interest.” Oakes also appreciates MySpace as a way to judge a band’s work ethic and savvy: “A band’s MySpace page really gives me a sense of how they act and treat their fans, just a sense of their overall dedication.” Activities such as regularly adding songs, fan interaction and touring and fanbase development provide insights that give A&R scouts a sense of what their labels would be getting into if they were to sign the band. As brand development becomes part and parcel of band development, and promotion budgets dwindle, MySpace becomes even more valuable to a resourceful A&R person. Vaeda, currently signed to Playtyme “A band’s MySpace page really gives me a sense of how they act and treat their fans, just a sense of their overall dedication.” drill. She spends about three hours daily surfing the site looking for new talent and checking on how her bands (such as The Blue Van and Le Meu Le Purr) are faring. In fact, Oakes discovered Le Meu Le Purr on MySpace. Records, was the most popular band (based on song plays on the band’s MySpace page) in September and October 2005, and Playtyme’s Chris Hower sees that value as stretching far beyond listeners’ hard drives. “I generally avoid the top ten bands and head straight to random pages “Their [MySpace] statistics were great. Before I signed them, they had over T o d d W e stpha l N ot long ago, you, too, could be a King or Queen of A&R (that nebulous term meaning the scouting, signing and, most importantly, developing bands for a record label) if you were willing to suffer torturously long-winded phone calls from overly enthusiastic managers shilling pap and excruciating bi-coastal flights for a one night hit-or-miss showcase in a dingy club in Los Angeles or New York to see “the next Nirvana.” You just had to constantly keep your ear to the ground and move just a little more swiftly than your counterparts at other labels. Vaeda, discovered on MySpace and signed to Playtyme Records. 100,000 friends and that grew to over 105,000 in a month; it was pretty staggering,” explains Hower. “But really, what it means to the band is that even if those people don’t buy an album, they’ve all seen the name ‘Vaeda,’ and that translates into recognition across the board.” While MySpace will never take the place of good old-fashioned gut instinct, golden ears and hard work, it’s changing the face of A&R more than anything we have seen since music really started being a business. The future of rock & roll will always be out there just as it was in 1974, but now “out there” is nowhere if not in cyberspace. n SXSWorld Review / November 2006 29 evocative, honest music. www.bluhammock.com DISTRIBUTION INDEPENDENT PROTECTION FROM CORPORATE INFECTION GET NAILED! www.naildistribution.com www.myspace.com/naildistribution 30 SXSWorld Review / November 2006 Class of SXSW ‘06 steps up Showcasing bands find post-festival success Space City hip-hop lights up SXSW 2006 With fewer than 200 miles separating Houston from Austin, it is fitting that SXSW showcases rising stars from the currently white-hot center of the hip-hop world. During SXSW 2006, four Houston artists used their festival appearances to broaden their audiences and make further inroads in the music industry. The biggest breakout hip-hop artist from SXSW 2006 is Chamillionaire. After headlining the Wednesday night showcase at the Back Room, this Houston native saw his song “Ridin’” (featuring Krayzie Bone) top the Billboard Hot 100 charts for two weeks in early June, while his major label debut on Universal, The Sound of Revenge, has achieved Platinum status. In addition, Chamillionaire won the “Best Rap Video” category at the 2006 MTV Video Music Awards, has been nominated as “Favorite Breakthrough Artist” at the American Music Awards, and reportedly has the highest selling ringtone in history. Fellow Houston rhymer Kiotti appeared earlier on the General Chamillionaire has had no trouble recruiting for the Chamillitary. same Wednesday night showcase and has gone on to have an impressive year in his own right. Kiotti inked a deal with members of the Screwed Up Clique, rappers who appeared on the late DJ Asylum to release his major label debut, which is due out in 2007. Screw’s mixtapes during the 1990s. Screw (who died in 2000) practically invented the slowed-down style of music that helped put Houston on the “Tamale Kingpin” Chingo Bling lit up the Back Room stage the night after map, and many fans and colleagues showed up to pay tribute, including Chamillionaire and Kiotti’s showcases and built upon his already impressive Lil’ Keke (whose Swishahouse debut drops soon) and H.A.W.K. (in his last reputation as both a rapper and head of Big Chile Entertainment. Leveraging Austin show before his untimely death in early May). the considerable buzz about his show, this star in the burgeoning Latino rap scene signed a deal with Asylum Records that enables him to use that label’s For much of its 21-year history, SXSW has been viewed as primarily a rockresources while still maintaining his independent status. oriented music event, but with hip-hop continuing to be a powerful force in the entertainment world, the continuing presence of Houston’s legions Trae, whose Rap-A-Lot debut, Losing Composure, has been a regional hit, of great DJs and MCs in Austin each March is all but assured. - Andy Smith performed the final night of SXSW 2006 at a show featuring all original Dir En Grey H e d e m i Ogata After their first EP release in 1998, Japanese shock-rockers Dir en Grey became their country’s first home-grown indie band to hit the Top 10 on the coveted Oricon charts. Since then, they’ve grown their audience continent-by-continent using no more promotion than a grassroots fan buzz which eventually led to soldout shows in Asia and Europe. But after playing arenas abroad, it was like starting all over again when the band came to Austin to try to break into the American market. “JRock is more or less a completely untapped market here and we were starting from scratch,” says Warcon Records A&R chief, Mike Kaminsky. But once again, word-of-mouth hype brought lines around the block for Dir en Grey’s SXSW showcase. The band’s intense performance, in which lead singer Tooru ‘Kyo’ Nishimura wound up hospitalized after bashing his face open with his microphone, led to them performing sold-out shows in New York and Los Angeles soon after. Kaminsky credits their SXSW appearance with earning them a coveted spot on Korn’s Family Values tour: “The atmosphere of SXSW helped generate a lot of excitement and early initial buzz.” - RW Deutsch SXSWorld Review / November 2006 31 “ ” Your name here ITALY GermAnY GreeCe BeLGIum unITed KInGdom SouTh KoreA JApAn QATAr BAhrAIn IrAQ unITed ArAB emIrATeS SAudI ArABIA hondurAS puerTo rICo All the world’s a stage. Tour it with us. For over 50 years, Armed Forces Entertainment has brought the country’s best entertainers to the world’s largest theater. Gain unrivaled exposure to over 500,000 military men and women and the satisfaction of performing for the world’s greatest audience. For information go to www.armedforcesentertainment.com. L = : G : H I6 G H : 6 G C I = : > G H I G > E : H 32 SXSWorld Review / November 2006 AFE-SxSw06.indd 1 10/6/06 5:26:52 PM d av i d h i l l José Gonzalez Tim Soter Art Brut While some speak of globalization in abstract terms, José González is its musical poster boy. Born in Sweden but of Argentinean descent, he grew up listening to the music of both South and North Americas. After adding classical guitar to his repétoire, González quickly became a star in Sweden in 2004. Then, he descended on Great Britain and after a successful tour he was the subject of a Channel 4 documentary and leant vocals to the new Zero 7 release. During his SXSW visit this past March, González hit the ground playing and seemingly did not stop until almost everyone had heard him. “I’ve always wanted to play seven shows in four days,” González said with genuine enthusiasm. Variety ranked him third among SXSW showcases that left them “with the loudest buzz.” That “buzz” translated into sold-out shows during the following week in Los Angeles, New York and San Francisco. Still, the most memorable thing about Austin for González, (as if he had to tell us) “fantastic Mexican food.” - RW Deutsch Art Brut Art Brut’s packed-to-the-rafters showcase was one of SXSW 2006’s most buzzed-about performances. In the months since, the London quintet has lived up to the raves by establishing itself as one of the year’s most exciting new transatlantic imports. The band’s widely-acclaimed debut longplayer Bang Bang Rock And Roll, released in the U.S. in June, has made good on the promise shown at SXSW. The album features 15 riff-intensive, lovably grandiose rock anthems that showcase the suavely flamboyant vocals and dry-humored lyrics of frontman Eddie Argos, who counts Jonathan Richman and Vincent Van Gogh among his idols. Art Brut, which now includes guitarists Ian Catskilkin and Jasper Future, bassist Freddy Feedback and drummer Mikey B, has been one of Britain’s most celebrated new bands since the release of their instant-classic debut single, “Formed A Band.” Now, having taken the U.K. scene by storm, they are poised to do the same in America. - Scott Schinder Corinne Bailey Rae Since sharing an Austin Music Hall bill with Morrissey during SXSW 2006, British jazz-soul diva Corinne Bailey Rae has become the subject of a massive stateside buzz that has enabled her to live up to the title of her song “Like A Star,” the opening track from her self-titled Capitol debut. Corinne Bailey Rae showcases the 27-year-old singer/ songwriter/guitarist’s smooth, emotioncharged compositions and her sultry, lilting vocals. Already a charttopping smash in the U.K., the album made its American debut in the Billboard Top 20, and the warm reception from pop, R&B and jazz listeners has led many to note parallels with Norah Jones’ recent crossover breakthrough. Tapes ‘n Tapes Minneapolis’ playfully experimental, effortlessly accessible Tapes ‘n Tapes maximized their SXSW exposure by playing no fewer than nine gigs during the 2006 music festival’s four days. The enterprising D.I.Y. quartet’s SXSW exploits generated substantial word-of-mouth music business attention, winning them coverage on MTV as well as raves from Rolling Stone, The New York Times and New Musical Express. The exposure also helped them to earn a deal with XL Recordings, which reissued the band’s selfreleased first album, The Loon, in July. Tapes ‘n Tapes was launched in 2003 by singer/ guitarist Josh Grier and keyboardist Matt Corinne Bailey Rae Emma Hardy José González Bailey Rae got her start singing hymns in church in her hometown of Leeds before her youthful obsession with Led Zeppelin led her to form an all-female teen grunge combo known as Helen. But a job as coat-check girl at a Leeds jazz club led her to embrace a subtler, more introspective approach, and her current success attests to the wisdom of that decision. - Scott Schinder Kretzmann, who first performed using precorded beats and samples. Now a full-strength quartet that includes bassist Erik Appelwick and drummer Jeremy Hanson, Tapes ‘n Tapes has emerged as one the underground’s hottest properties, continuing to bewitch new fans with their distinctive mix of arty idiosyncrasy, catchy hooks and infectious energy. - Scott Schinder SXSWorld Review / November 2006 33 For complete, up-to-date information on SXSW 2007 go to sxsw.com SXSW 2007 Quick Guide An overview of Austin and the SXSWorld SXSW 2007 Registration Information SXSW 2007 Badge Types SXSW has a quick and easy online registration and hotel reservation process. For 2007, all registrants paying with credit cards must register and book their hotel room online at sxsw.com/register. SXSW accepts Visa, MasterCard, American Express, Discover and Diners Club. Attend the event of your choice by purchasing a Music, Interactive or Film Badge. A Platinum Badge gets you access throughout SXSWeek and includes all three SXSW Events – Interactive, Film and Music. A Gold Badge gets you access to all Interactive and Film Events. If you must pay by check, wire transfer or purchase order, a form is available at sxsw.com/pdf. The form will contain instructions for mailing your check to SXSW. If you need an invoice, please email [email protected] or fax your request to 512/452-4775. Register early for the best rate. The next registration discount deadline is November 17, 2006. To view all rates and deadlines for all events, see sxsw.com/register. SXSW Registration fees are non-refundable. sxsweek Interactive Film SXSW 2007 Dates SXSWeek: March 9-18, 2007* SXSW Interactive:March 9-13, 2007 SXSW Film: March 9-17, 2007** SXSW Music: March 14-18, 2007 * Platinum Badge Dates ** Gold Badge Dates gold music Saturday March 10 Interactive Panels & Party Screenburn Panels & Arcade Film Panels Film Festival Sunday March 11 Interactive Panels & Trade Show Film Panels & Trade Show Screenburn Panels & Arcade Film Festival Web Awards Ceremony & Party Monday March 12 Interactive Panels & Trade Show Film Panels & Trade Show Screenburn Panels Film Festival Tuesday March 13 Interactive Panels & Trade Show Film Panels & Trade ShowMusic Registration Screenburn Panels Film Festival Interactive Closing Party Film Awards & Party Wednesday Film Festival Golf Tournament* March 14Music Registration Music Panels Music Welcome Dinner* Music Festival Thursday Film FestivalMusic Panels & Trade Show March 15 Flatstock Poster Show Music Festival Friday Film FestivalMusic Panels & Trade Show March 16 Flatstock Poster Show Music Festival Saturday Film FestivalMusic Panels & Trade Show March 17 Flatstock Poster Show Music Festival Sunday Barbecue & Softball Tournament March 18Music Festival *Additional Charge 34 SXSWorld Review / November 2006 Platinum Badge = Interactive + Film + Music Film Registration Film Opening Party Film Festival GOLD Badge = Interactive + Film Friday Interactive Registration March 9 Interactive Pre Party platinum L i n d a Pa r k SXSW Hotels Rental Car Info Public Bus Service You can book rooms at Austin’s best hotels in downtown and central Austin when you register at sxsw.com/register. We have blocked more quality hotels than ever before to satisfy a wide range of budgets and tastes. See a comprehensive list of available hotels and amenites online at sxsw.com/hotels. Enterprise Rent-A-Car Enterprise Rent-A-Car is our preferred rental car vendor for SXSW 2007. Enterprise offers the best rates with convenient locations at the Austin airport and around the city, including a downtown office at the Omni Hotel. Book at www.enterprise.com or call 800-RENT-A-CAR. Use discount code SXSW2007 (3-digit PIN: SXS) Capital Metro Bus Routes Serving the Airport: 512-474-1200 Route Information 1-800-474-1201 Trip Planner: www.capmetro.org Travel to SXSW American Airlines American Airlines is offering a 5% airfare discount to SXSW registrants, available from North America, Latin America, Mexico, Japan, Europe and select Caribbean cities. (Some deeply discounted fares are not eligible for this additional discount.) Flights can be booked online at www.aa.com. Use discount code #A0737AE. TransAtlantic Air Media Travel LTD (formerly Music Travel) of London is our preferred travel vendor from the U.K. and Europe. Air travel packages will be available soon at their website. Contact Sara Manzano [email protected] Phone: 44-20-7627-2200 www.mediatravel.com D u s t i n D o wn i n g Australia / New Zealand Air The Travel Bureau of Sydney is our preferred travel vendor from Australia and New Zealand. Contact Brad Thomas [email protected] Phone: 61-02-9267-4661 www.travelbureau.com.au Hertz Rent-A-Car SXSW has negotiated discount rates with Hertz Rent-A-Car. Rates from $40/day and $144/week. Book at www.hertz.com or 800-654-2240 (CV#01140011 ) Airport Shuttle SuperShuttle from/to Austin Bergstrom International Airport Austin direct number 512-258-3826 National Number 1-800-BLUE-VAN Use discount code 3WMSV. www.supershuttle.com Chauffeured Vehicle Service ETS Global Chauffeured Services provides town cars, limos, luxury SUVs, executive vans and motorcoaches. Book at www.ets-global.com or [email protected] or (866) 681-5466. Austin Taxis American Yellow Checker Cab 512-452-9999 www.yellowcabaustin.com Austin Cab 512-478-2222 www.austincab.com Event & Party Services High Beam Events is the preferred party and event planner for SXSW 2007. For quotes and info: 512-419-9401 or [email protected]. www.highbeamevents.com Austin Convention Center All SXSW daytime events – Conference, Trade Show, Registration, Day Stage Café, Email Center, Platinum Lounge and more – take place in the Austin Convention Center, 500 E. Cesar Chavez. www.austinconventioncenter.com Austin, Texas Legendary as an oasis of liberalism in a desert of Texas conservatism, Austin has become a mecca for the creative class as well as fun lovers of all stripes. Scores of pros and aspiring creators in the fields of music, film and interactive media have made it their home base, while thousands more of their colleagues and peers flock here each year to schmooze with their brethren and sistren while they recharge their batteries in one of America’s great cities. Although the film and interactive scenes are relatively young, Austin’s eclectic music scene has deep roots in the state’s blues, country, jazz, conjunto and polka practitioners who laid the groundwork for later rockers, folksters, popsters and hip-hopsters. The self-proclaimed “Live Music Capital of the World” lays claim to a higher concentration of original music clubs than any other city on the planet. Over the last decade, the entertainment scene has been augmented by hotels, bars and restaurants (purportedly more dining places per capita than any other city in America) truly worthy of the world’s attention. Austin Convention & Visitors Bureau Visitor Center: 209 E. Sixth St. Austin TX 78701 866-G0-AUSTIN Visit www.austintexas.org for useful information about Austin, including local weather and maps as well as music and film resources. SXSWorld Review / November 2006 35 SXSWorld T h e O f f i c i a l M ag a z i n e o f t h e S o u t h b y S o u t h w e st Co n f e r e n c e s & F e st i va l s Be a part of SXSWorld Magazine! If you missed advertising in this issue, SXSWorld Review Edition, you can still take advantage of the upcoming issues. The next issue, SXSWorld Preview Edition, will come out in February, one month before the conferences begin. Catch registrants during the peak of SXSW Week with the conference-distributed SXSWorld View Edition. The SXSWorld Rearview Edition will be mailed in May following the SXSW Conferences. Subscription and delivery is provided free of charge to over 10,000 SXSW Music, Film and Interactive registrants. SXSWorld Edition / Date SPACE RESERVATION Deadline SXSWorld Preview Edition / Feb 07 SXSWorld View Edition / March 07 SXSWorld Rearview Edition / May 07 January 5, 2007 February 19, 2007 April 6, 2007 For inquiries, email [email protected]. Visit sxsw.com/sales and sxsworld.com for more information. Contact Us SXSW Headquarters PO Box 4999, Austin TX 78746 US, Tel 512/467-7979, Fax: 512/451-0754 Email [email protected] www.sxsw.com SXSW Headquarters Sales Department MUSIC: Luann Williams, [email protected] FILM: Wendy Cummings, [email protected] INTERACTIVE: Katie King, [email protected] SPONSORSHIPS: Scott McNearney, [email protected] Sales: www.sxsw.com/sales SXSW Music, UK & Ireland Una Johnston, Cill Ruan, 7 Ard na Croise Thurles, Co. Tipperary Ireland Tel & Fax +353-504-26488, [email protected] SXSW Music & Film, European Continent Mirko Whitfield, Einsiedlerweg 6 Tuebingen-Pforndorf 72074 Germany Tel & Fax +49-7071-885-604, [email protected] SXSW Music, Asia Hiroshi Asada, c/o Rightsscale Inc, 3F EBISU-WEST, 1-16-15 Ebisu-Nishi Shibuya-ku, Tokyo 150-0021 Japan Tel +81-3-5428-3923, Fax +81-3-5428-3962, [email protected] SXSW Music, film & Interactive, Australia, New Zealand & Hawaii Phil Tripp, 20 Hordern St, Newtown NSW 2042 Australia Tel +61-2-9557-7766, Fax +61-2-9557-7788, [email protected] Advertisers’ Index Associated Content.................................................................................. 2 Alpha Female Booking........................................................................... 22 Armed Forces Entertainment................................................................ 32 bizboxseries.com.................................................................................... 22 Bluhammock Music................................................................................ 30 Cirque du Soleil...................................................................................... 14 The Dering Corporation......................................................................... 12 Firewheel Design...................................................................................... 4 High Beam Events.................................................................................. 14 indie911.................................................................................................. 28 IndiePix dot Net...................................................................................... 18 J2 Music................................................................................................... 36 Jakprints Inc............................................................................................ 24 The Mansion at Judges Hill.................................................................... 10 MIDEM...................................................................................... Back Cover Nail.......................................................................................................... 30 Nevada Film Office................................................................................. 18 Radisson.................................................................................................. 12 Seagate Technology..................................................... Inside Front Cover Screenburn.............................................................................................. 14 SXSW......................................................................................................... 6 TicketWeb............................................................................................... 32 Tucson Film Office.................................................................................. 20 Ultrashort Media Inc.................................................. Outside Back Cover Will Van Overbeek................................................................................... 6 Western N Carolina Film........................................................................ 20 Zimmerman Agency/Florida.................................................................. 16 36 SXSWorld Review / November 2006 Register now and save up to €330* I’ve got the music in me, come to the source Music now offers incredible opportunities. And if you have anything to do with the business of music, MIDEM is the source. Only the world's definitive music market brings together so many key international players under one roof – with 10,000 professionals from the recording, publishing, digital & mobile, audio/video and the live sectors, MIDEM is an invaluable source of new business for the year to come. Register before December 19 and save up to €330 on the regular rate participation fee for MIDEM and MidemNet Forum. To find out more and to register now go to www.midem.com Alternatively, contact JP Bommel or Jane Rodriguez Tel: (1) 212 284 5130 email: [email protected] *Valid for all participants without a stand. MIDEM® is a registered trademark of Reed MIDEM. All rights reserved. MIDEM : 21 - 25 January 2007 • MidemNet Forum : 20 - 21 January 2007 Palais des Festivals, Cannes, France • www.midem.com Back Cover: Ultrashort Media