"Ying Yang Twins will shoot next video in Los Angeles tomorrow"

When: TOMORROW - Tuesday, June 7th
Where: Los Angeles, CA

If you are interested in doing a behind-the-scenes story or covering the Yang Yang [sic] Twins video for their second single, "BADD" - please contact:

Joe Wiggins
Urban Publicity
TVT Records
23 East 4th Street
New York, NY 10003
212.979.6410 x290

What: Platinum Atlanta-based rap duo and Source Awards Rap Group of the
Year, Ying Yang Twins follow-up to the red hot single "Wait" will be "Badd"
featuring Mike Jones. A video for "Badd" will be shot in Los Angeles
tomorrow. "Badd" is the second single from the new Ying Yang Twins album,
U.S.A. (United State of Atlanta)

Ying Yang Twins online press kit can be viewed by clicking on the link



don't stop believin'

Says Amanda Cagan:

"This summer at Journey’s 30th anniversary U.S. tour, dubbed 'The concert that takes you back…and into the future,' fans will experience a mixture of nostalgia, excitement, and delight from the moment they arrive until the time they leave. In addition to being treated to an entire evening of music spanning Journey’s entire history, this trek will include an added ingredient, “Journeyville,” a festive area located near the front entrance at most of the venues. Fans will be treated to continuous video playback on large outdoor screens showing various moments throughout Journey’s history such as classic music videos, behind-the-scenes clips and much more...The centerpiece of “Journeyville” will be a “30th Anniversary Journey Motorcycle,” created and built by Arlen Ness Motorcycles and featuring amazing artwork from all of Journey’s albums. Fans will have a chance of winning this beautiful motorcycle by making a contribution to Journey’s favorite children’s charities at the exhibit. One lucky fan will ride away into the sunset on this one-of-a-kind motorcycle at the end of the tour!"


Danger Mouse and Cee-Lo Team Up as "Gnarls Barkley"

I don't get the Gnarls Barkley reference. But I was a rather vocal supporter of the Round Mound on the grammar school court, so I frankly just don't see the humor.

Not much I want to complain about on either the copy or the project, which I'm looking forward to. But anyway, Danger Mouse, the dude behind that recent "watershed moment in music history," paired with "the flamboyant, one-of-a-kind force of nature Cee-Lo," are looking to release this thing in late summer of this year.

"The album is currently in the hands of Monopoly Atlanta and Waxploitation Music Corp, with the artists in talks with major label distributors," the PR goes on. "This is the kind of distinctive, ahead of the curve album that kids are begging for," say Waxploitation's Jeff Antebi. There you are, kids. Don't get cut on that edge.

"Calling all critic -types!!!"

So much of this is based in a lame inability to just not pay attention to PR, but there you are. I think I've received multiple email messages this week from Lava Records (that's Warner Bros) publicity VP Lisbeth Casaday about the John Butler Trio, and I just broke. "Seriously folks - JBT are breathing new life into the catch phrase 'alternative'" didn't even dissuade me.

Tireless publicity = Good publicity? Like radio play?

"The unbelievably talented Australians...made their network debut on Letterman last Tuesday. And, we are #21 on the overall new Artist Chart."

And this modest measure of success may be because this band is good. But how would I know when I can't not respond to publicity.


gain exposure with key audiences of Gen X/Y

but i was there

bring shoes, and your ass.

you must e-mail rsvp for the list to:



Hey Bloggers: Get paid to advertorialize just like publicists and the fashion magazines that eat their swill: "We give you the subject, you write and post it to your blog, we send you $5 through Paypal. That simple." Rad.

annie, throw in the towel

"The songs on The Very Best Of The Human League are, simply put, as good as pop gets," says Alison Tarnofsky over at Astralwerks. You're not going to find me trying to deny the pop genius of a song like "Don't You Want Me?" But really.


amazing musicians/kick-ass activists (whatevs)

While I'm not used to actually reading email from Mike Cubillos at Earshot Media, imagine my pleasant surprise when I opened a message from this guy yesterday and noticed that Gratitude is set to play multiple PETA-sponsored barbecues! Good for them! (And I mean that, as the writer of this blog is no longer either cynical or "meta.")

The sad part about it all is that although, "Gratitude will be taking part in Peta-sponsored BBQs around several of the [AP Vans Tour] shows...details on these will be announced soon." Hunt as I may, I can't come up with any definite PETA dates at present. Sorry. But here are dates on the AP Vans thing, bros.


still so not back to work

I started to explain to someone the other day about how the stuff of real life was just so much more rad than the stuff of Promocopy. And then I realized I was just talking too much and not saying anything. Like Promocopy. But Ms. Boot: there are all of these clues that I just can't add up and my research arm is wasted. (And just wondering: if you know who I am, how come I'm not promoting you?)

back to work (not an exact science)

One that I've never heard before: a publicist was complaining to me the other day about how terrible a writer her boss is. She was telling me that her boss, who owns the label she works for, often "helps out" with the press releases, but is then unwilling to be edited. The exchange and final product, the publicist told me, proves to be both frustrating and embarrassing for her. I'll say that a boss who doesn't play by the rules is nothing new to me, and neither is the scenario of work being marred by controlling overseers (hear that editors!), but I found myself paying less attention to what she was actually telling me than to what I read as a relevant subtext.

(Let me digress for a moment here to remind readers that a healthy handful of publicists that I deal with in real life know--I suspect--very well that I am behind Promocopy. But for whatever reason, these people are uncompelled to discuss the matter with me, and the issue has gone (for the most part) unmentioned heretofore. The relationships are tricky because, although the publications I tend to write for can hardly be described as high profile, most of the labels/PR companies I deal with are fairly small and quite willing to take press wherever they can get it. So I'm guessing that most publicists consider me bitching about them on this site to be a sort of lesser of two evils--the greater evil, then, being me not giving these people press elsewhere. Of course, I've never threatened to withhold press from a label because the label's publicist complained about (mis)treatment on Promocopy, but I think the suggestion may be working for me nonetheless. I often wonder, though, what kind of inconspicuous communications I'm receiving within this dynamic.)

This particular publicist asked me if I thought her label's press releases were terrible (it was apparent that she, to some degree, felt this way). It had honestly never occurred to me that the copy was that bad, and I had never brought it up to her. But I couldn't help wondering if she was gently nudging me toward criticizing her boss. I've been wondering for some time when Promocopy would make the jump from receiving post material exclusively from other writers with an interest in criticizing promotions; I've been waiting to hear from actual publicists who have some specific, insider dirt to dish. I'm totally not averse to exploring the gossip potential of this platform.


(please don't confuse this with the sound)

(And that "Pitchfork, how I love to hate to love thee" bit is totally mine. Quotable quote. I don't care if you were thinking it and were just too embarrassed to say it. You're too late. Tough luck.)

not an exact science (ft. Daedelus)

I love the new Daedelus record (not pictured at right). Exquisite Corpse. Mush Records. (Or hear Daedelus now on the Busdriver album) (*). I like the calculated ambivalence to hip-hop. "Musically Made Mishaps" never sounded better.

And while I'm at it, at least three tracks on that new Four Tet album are fucking awesome! That's all I'm saying.

(*) Ok, I'm saying a little bit more, but about something different, which, like much that's been posted here this week, may or may not make sense depending on how far inside my head you are. Fucking Pitchfork that I love to hate to love amazes and impresses me by running a piece on Busdriver yesterday (while I was down and out). I was complaining just yesterday about the general lack of respect for this guy, and then the internet came back on. Something about how dude's getting too little press , although I still know fuck all about Swishahouse. Backpackers out, hipsters in. I'm not sure how I feel about that one, but whatever.

hack (not an exact science)

I bitch about these publicists, but here's the bind I'm in: Dude tells me over the phone from Miami this morning that his "concierge service" produces one-of-a-kind entertainment/event/vacation experiences and that one such memorable mold breaker involves some low level exec renting a yacht with a cadre of marginal adult film actors and then inviting his coincidentally-just-happens-to-be-in-the-same-port-vacationing (with his family--ugh) boss to join him for a ride, in response to which the boss soon thereafter promotes said exec to VP. Sound like the stuff of legend? (I don't think it matters.) My commission: to write 700 words on the dude who makes this kind of thing happen for a living, incorporating "colorful details and anecdotes," of which the story above is, I'm afraid, on the mark.

I know that none of this is really about promotional copy, but I think I'm dealing with similar themes.

not an exact science (not an exact science)

I had to pick up a physical dictionary to see if my use of "feat" in the last post was correctly spelled.

(Shit goes nutty when the internet is not working. It's like the 19th century out here.)

not an exact science (reprise)

(written in anticipation of reinstated internet access, 4/30, 1:20 pm) Internet was working for a moment there, but I'm now again so totally alone. Something about the phone jacks in this place. Funny how I had this guy who sounded so not amused on the phone (literally, I'm guessing, on the other side of the world) when I realized that the phone chord for some reason wasn't plugged into the wall. "Thanks! I think it's working now." But it's plugged in now and shit is still and/or again not working. And I'm wondering now if people who wrote (write?) in journals--by which I mean, wrote without any anticipation of even the minor publishing feat of blogging--got the sensation, when writing, of just muttering to themselves.


not an exact science (dub plate)

In a recent two-week period I received records/promotional materials addressed to my name at two different magazines for which I've never written--but each was sent to one of two different publications for which I do regularly write. Right writer's name, wrong publication name, right address (in relation to writer). Twice. Get it?

Although, curiously, I applied for a job at one of the mags that I had never written for about a week after receiving these records. I didn't realize it until now.

not an exact science

(written in anticipation of reinstated internet access, 3/28, 10:52 am) In the irregular event that I end up without an internet connection, I get this very isolated, claustrophobic feeling. It's not that I hate talking on the phone, but I have to admit that I find a kind of artistry in written communication that manifests itself well through email and is totally lost in conversation. And I always get stuck chatting on the phone, which I actually kind of like to do, but it feels totally unproductive. Whereas email provides the ever-present capacity to just cut off the dialogue at any moment. I like that. And instant messenger: I hate that shit. But I'd take it right now, out here on my island.


satan getcha

And then there was the time that I commented on some guy suggesting (on MLK day) that if Dr. King were alive he would be tuning into a live radio broadcast that night of a band this guy was promoting. Seemed kind of dodgy to me, kind of flippant--not even taking into account the lack of regard for Dr. King's musical tastes, which all sort of made a joke out of the whole thing, which gets back to my flippancy claim. But I was probably being a bit sensitive and an ass when I posted this guy's telephone number and email address on the blog. I'm an ass. What do you want me to tell you, people?

So dude writes me two months later to tell me that no one ever emailed him, which means that no one reads my blog. damn. foiled again.

The best part about it is that I really like the record that this band he was promoting has made. I sometimes feel kind of resigned to loving the music and hating the way it's promoted. But just sometimes.

ain't noise pollution (hey Lucy Beer!)

(Before reading this post, please take some random piece of information contained in email format--preferably with large file attached to it--and send it to the email address you'll find when clicking upon this text.)

I guess I play dirty and take cheap shots whenever possible, so I'm no ethical authority. But some publicist has added Promocopy Robot to her email promo list, which I find to be well beyond the pale. Please, publicists: take pity on me. This inbox is literally the only part of my life not corrupted by your agenda.

A little part of me has died today and I'm currently writing a short opera about it.

I commend Lucy Beer in the off chance that she thinks it's funny to put me on her list, as a means of aggravating me. If that's the plan, let me be the first to note that the technique is successful; it's working. But I rather imagine she just thought that I was celebrating music promotion over here and wanted a piece of my audience. That vast, responsive audience.

Why can't these people just stay away and let me bitch about them in peace? I mean, really. And anyway: it's all promotion, right? Which Lucy Beer is taking advantage of right now by me writing about her. damn. foiled again.

(But I take all this back if you want to write me a note and not push any product on me. That's fine. Josh Bloom wrote me another nice message the other day. Nothing wrong with that.)


the [award] goes to kris chen

Several weeks ago Kris Chen, who works at Domino Records US, wrote me to tell me that he didn't belong on the Promocopy Players list. "I think real publicists are jealous because I'm not one," he told me. "I run the mailroom and pay the bills and pretend to be a publicist when I don't have enough budget to hire one." I guess I had caught him on a few of those occasions when he was pretending.

I only mention it now because I've made him Promocopy's honorary mascot. "Sadly," he said at the time. "I don't think anyone is jealous. Yet." How could I not be charmed?

Also, Kris: If you find this demeaning, feel free to tell me to knock it off.


not yet a woman

Kelly Osbourne is putting out another album in June, and you know I'm dying to weigh in on the promotional copy, which packs an awesome four pages of bio information. I haven't even read beyond a few blurbs for fear that this is going to be too amazing to pass up.

"...the young scion of rock royalty..."

"...co-written by Kelly herself."

"...Kelly delves into the deterioration of our society..."

Tantalizing. The problem is that her publicity machine is benched. Sprained something. I can't even remember. But I don't want to be that overly aggressive coach that risks the season for a couple minutes of play from the star.

Kelly Osbourne will be in New York for press 4/22 - 4/26, so I guess there are other options (unlike the rest of you, I'm two people). Sleeping in the Nothing the album's called. So, so rad. I'm trying to make an adult decision on this.

remember how they messed up this old fool

This is kind of old, and I don't have anything funny (or not) to say about it, but anyway: "Devendra Banhart is currently hard at work in upstate NY recording his first release for XL Recordings...with an eye towards release later this year," says Howard Wuelfing. "He is joined in the studio by Thom Monohan (Pernice Bros.) engineering and Andy Cabic (Vetiver) and Noah Georgeson abetting him as accompanying musicians/singers."

Getting excited? (I really don't think there are any satirical possibilities here. This is just news. I don't even know what Devendra Banhart sounds like, come to think of it. I couldn't care less.)

"He'll then join Andy and Vetiver as guitarist and second vocalist touring Europe in May and June," continues Wuelfing. "Plans are for Devendra to tour Europe on his own with backing band in June July and August, and the the U.S. in October."

That's it.


The List (promocopy robot [unconvincingly] poses like an academic to impress Oliver Wang and then makes fun of it to impress Jessica Hopper)

Most of what's below refers to Clyde Smith's idea of "the list" of hip hop artists constructed for and by an indie rock audience's appreciation, as earlier noted on his ProHipHop.com. He uses an example at SXSW: "I directly experienced who's on the list and who's off at a SXSW Murder Dog showcase," says Smith. "SXSW is indie rock oriented and hip hop acts that don't appeal to an indie rock crowd don't do well there."

Let me first say that I would be carrying on this dialogue with Clyde Smith via direct email if not for the nagging feeling that every time I put serious work into Promocopy-related topics--and Smith's posts concerning my blog have offered me a lot to chew on--Promocopy had ought to benefit through production. I'd also respond directly to his posts at ProHipHop if the blog allowed for comments. But here I am.

Secondly, and no news to anyone who pays a lot of attention to Promocopy: I'm pretty far out of my range on topics of hip-hop, and I don't want to give the impression that I should be understood as anything other than an outsider in a conversation about hip-hop, particularly with someone so informed on the matter as Smith (not to mention my construction of an argument isn't exactly an equal match for his). But fortunately for me, the guy has politely engaged me in dialogue and is (I'll be the first to admit) setting me straight on a few topics. And most importantly, this dialogue (for me, at least) is not about hip-hop per se, but rather about how indie rock views hip-hop and whether or not there is a type of hip-hop that indie rockers are exposed to and gravitate toward (and whether that exposure and gravitation are two sides of a single coin).

Diplomacy and caveats aside, I'll concede to Smith that my mention of Nas, The Roots and J5 last time indicates three examples of what is essentially the type of rap artists that an indie rock fan would listen to, if for no other reason than the fact that I brought them up. Although, (naive as I may be) I seriously have to question lumping Nas alongside Jurassic 5, even in terms of both having (as Smith describes the two) "either an old school or a conscious hip hop identity." Nonetheless, the fact that I chose to cite Nas instead of (to use one of Smith's references) something on Swishahouse clearly underlines Smith's point that an indie rocker wouldn't even know to look toward Swishahouse.

I think both Smith and I have a sense of which hip hop artists, as he puts it, are "on the list"--Smith recognizing the duality because he sees both who is on and who is off; me just recognizing the list. I'll slightly modify last time's gee whiz question to ask, "can I, informed primarily by indie rock, appreciate Swishahouse," and I'll set that one up as a premise. I'm really interested in whether this on/off-the-list binary is a matter of the list writers (ie, the indie rock community) being ignorant of hip-hop that doesn't make the list, or is it more about the list excluding such hip-hop as a matter of cultural taste (ie, is Aesop Rock just more palatable to the indie rock sensibility than--to again use Smith's example--something on Swishahouse)? I personally feel (seeing only one side of it as I am) like it's a little of both, although I can't help but think that my own distaste for certain types of music almost always comes down to a kind of ignorance on my part. But can that cultural divide that creates my ignorance be crossed, and does hip-hop want indie rock coming across?

And here's where I get to use my favorite phrase: hell if I know.

Again, big thanks to Smith for spending time on the topic. I find his insight informative and illuminating, especially as I suspect that he has better things to do than school indie rockers on the politics of hip-hop consumption.



Pitchfork went all real-time today, further squelching any chance I might have at relevance. And then Schreiber wrote a news piece about it (which I find totally metastic--but then, I would).

Much as I love Pitchfork, this is all getting so Major-Indie. Prepare to pay with either your wallets or your souls, post-punkers.