I haven't been in "the industry" for that long, all things considered.

Having spent a good portion of the teen to early twenties of my life playing music, I only swapped over to this side of the fence a meager three years ago, and in that time I've learned about a billion things about how music, on the independent level, works. The most important thing I've learned is that I am simply in the best place on the planet to do what I do. Portland is often criticized for being a bit "hipster" and/or jaded when it comes to music; we have the "been there, done that" stigma. But behind all that, and the oft-times cliquey crowds (many of my more successful friends have pointed out that, while they sell out shows and add dates in towns like Austin, Omaha, and Iowa City, they often have trouble filling a room in Portland), I can safely say that Portland is the best industry town in the country for one single reason: ther is no hierarchy.

I'm sure it seems like there is, and I know a lot of newcomers to the "industry scene" (whatever the hell that means) might feel that way, but really there isn't. I have had conversations with relatively heavy hitters in this town where I felt like they were looking to me not only to see what I had to offer, but what I thought of what they were doing. I've told people about Greyday and seen the blank stares, but not ONE of them has ever acted like I didn't know what I was talking about; there is a mutual respect in this town that I would never, EVER see in my hometown of Los Angeles. I've had drinks and insightful, personal conversations with people who are industry legends, some of them I barely knew at the time, and I have received help from people I never expected to offer it just from asking.

A perfect example: about six months into running a label, I contacted Terry Currier to ask for some advice on distribution. Terry, as you may now, owns and operates the Music Millenium stores around Portland, as well as two (or is it three?) indie labels and Burnside Distro, not to mention the countless shows, events, and festivals that the man helps organize and run. A man with little time for sleep himself, and I send him an email which basically said "I know nothing, please help me". I heard back from him a day or so later, saying he didn't have a lot of time (big surprise) that week, but could we meet for coffee the following week? We did (several weeks later, due to my own personal conflicts) and we proceeded to have one of the most helpful conversations I have ever had, over the span of an hour and a half at a nearby coffee shop (where he even bought my coffee). This from a man who, had he been an LA person of the same stature, would probably have never written back, and would likely have laughed me off.

On the same note, after a horrible debacle involving our third release, we switched pressing agents to a local, Dungeon. We have since done every release through them with exception to one, and I have been greeted not only with professionalism and a geniune desire to do right (they ALWAYS fix problems free of charge, even when they're my fault), but with respect and a want even for friendship; Mike has taken me out for lunch before, and every time I go in to approve art proofs or drop off a new release, we end up spending far more time just talking about each other's lives, and he deals with my often stressed out bitching (ESCPECIALLY about distribution, a big issue for us recently) like a champ, showing actual concern and never once ushering me out of his office.

I have numerous stories to this effect, as I'm sure everyone in this town does, and I am not going to spend the rest of this column name dropping. I will say that, whenever I see one of the Sleater-Kinney girls eating or drinking at local places and NOT being mobbed by people demanding autographs, or meet someone who invites me to their show WITHOUT knowing what I do, or read all of the support for independent musicians in the Willy Week or the Mercury, or hear about Larry Crane (the genius behind all of Elliot Smith's early records and the last two Sleater-Kinny releases, to name but two) giving cut rates for Jackpot to a band who just can't afford the regular rates, to booking agents and clubs being more upset than bands at poor turn outs because "the show was just SOO good", I just feel good to be living and operating my business in a town where people actually notice, care, and are more concerned with what you are doing than where you come from or what your budget is. I have never had a meeting outside a bar or coffee shop, and I have never received anything but support, advice, and often friendship from the people of this town. And I wouldn't have it any other way.

-todd