Interview with David Mihail of DMX
MVP:We're in Seattle with David Mihail. David, what is your title at DMX Music?
David Mihail: Director of Music Entertainment at DMX Music. I oversee quite a few things - decisions like what music videos would go well in retail spots, overall flows.
MVP: For people new to the music video world, could you please give the definition of that a retail pool actually does?
DM: A retail pool? Well, we've got a few different functions. One thing we do is service retailers - that's our main focus. Our clients include American Eagle Outfitters, Nordstrom, AMF Bowling Centers -- they're not a traditional retailer, but people seem to like to watch music videos even while they're bowling. They have what they call "Extreme Bowling" nights, where they show the newest, coolest music videos. We find that we're able to really target their demographics. The bowlers there tend to be 17-25.
MVP: As someone who sees lots and lots of music videos, is there anything in particular that you look for, past that it's a good song and a good video and fits into that demographic you mentioned? Are there numbers you look at, whether it be Soundscan or radio to help determine what gets that coveted DMX airplay and what doesn't?
DM: We certainly look for the cool factor above all else. It doesn't matter how much something is selling. That being said, if something is selling, even if it's something not groundbreaklingly cool, we'll probably give it some spins. A little bit of notoriety never hurt anybody, right? Say something comes out - actually Caesars is a great example. They had a video that came out a couple of years ago. It had such a cool factor that we started playing it right away. Radio and traditional video outlets weren't playing it, but we picked up on it because it was just cool. Now, fast forward to 2005, and Apple picks it up - I'm talking "Jerk It Out" of course -- for their iPod commercials. They re-released it on Astralwerks, it's getting major spins everywhere and this is something we've been on all along. Did it matter to us in the beginning that they weren't getting play on radio? Did it matter that they weren't getting huge Soundscan numbers? No, not at all. What mattered was that it had a coo factor. We do also look for a matter of "rightness". We play these videos playing in retail stores. Things that are overly dramatic, depressing, or full of nudity -- we tend to shy away from that stuff. Oh one more thing - we generally don't play videos with a shoplifting theme. I think you can figure out why.
MVP: What do you make of the current proliferation of bands and labels making music videos?
DM: It's a tremendous thing. The cool factor that I spoke of is a creative thing. I like the fact that people are realizing that you can be cool, you can be creative, and that's what matters. Back in 1996 when I first got into this business, it seemed that everyone was making bigger and bigger budget videos. You had to spend $500,000 for a video. You had to have 300 helicopters swooping in and a speeding motor boat going through. Now, people are realizing "You know what? It's about making people feel something". They don't have to feel like they're sitting in a theater watching a James Bond movie. What matters is that you get that human emotion: whether it be some excitement, that's always good; or laughter, there's a lot of really funny videos. Sadness can even add that spark, though again that may preclude it from retail play.
MVP: What is your opinion of the obvious new, pronounced impact of independent labels and how is that affecting the majors?
DM: Well the cool thing about the independent labels is that they really tend to focus, they really care about their artists. It doesn't get diluted. I think what happens, there are a lot of good, hard working people that work at major labels. Sometimes, however, in any large company; and I know from the inside how this can happen, one department has its focus, and another department has a whole different thing they're trying to bring about. The same thing happens at labels. A & R can come up with a great band, however, somehow, through politics or whatever, that gets lost when it comes down to the actual promotion. With the indie labels, because of the size of the company, they can't afford for that kind of stuff to happen. With that special focus, they can do an excellent job. They may not have the big dollars, but they find very creative ways to make things work. For example, The Postal Service on Sub Pop, how they made that whole lawsuit with the actual US Postal Service just go away. I don't know that a major label would have found that creative means, I think they might just have jumped to lawyers right away. So, indies are great!
MVP: Living in Seattle has got to be a great blessing. There may be a couple of other contenders for best indie rock town, but they would probably lose in a battle with Seattle. You've been here for a while, what's your take on it?
DM: Seattle is back! We're home to several great labels - most prominently (and alphabetically) Barsuk & Sub Pop but there are many others as well. I think we got some great things going on right now, we've got some bands that are really starting to make a splash. There's a band called the Ruby Does -- great band, they've opened for bands like Burning Brides, they've got just a nice raw sound. They're on a very cool label here in town called Loveless Records. The label is part owned by Pete Nordstrom and John Richards - the morning guy at KEXP. Loveless really does some great things. Some Seattle bands have already taken the leap to the major labels: The Lashes have just signed with Columbia, and Death Cab For Cutie jumped to Atlantic. It's a very good time for Seattle rock n roll. Another band I really like is called Post Stardom Depression. Their sound is really cool; they've got the Big Rock thing going on. They're on yet another fantastic Seattle indie label - The Control Group. TCG is also home to young band Schoolyard Heroes, who absolutely knocked me out the first time I saw them. Vendetta Red didn't do as well as expected with their first release a couple of years ago but they're coming back very soon and they sound more focused. Everyone should be on the lookout for Kuma - they're one of Seattle's most popular bands. Think Goth Rock with a pop tinge. And last but not least - the band whose combined age is like 24 or something - Smoosh. The two young sisters play music that's way beyond their years. They've already become legends, having opened for Pearl Jam, Jimmy Eat World and The Presidents of the United States Of America. Yeah, Seattle. A lot of good stuff going on here right now.
MVP: Great! Thanks, David.
DM:You're welcome.