Jasper thinks the main reason for Sub Pop’s longevity comes from its relationships with the artists. “We have never put ourselves or the label name first,” she points out. “That is not our way. It’s about the bands—and the fans. That is the greatest common denominator across our history.”

DRY HUMOR, CHEEKY SITE
This exchange explains why it is nearly impossible to find out anything about Sub Pop on its website—which is hilarious. Much of that is due to Chris Jacobs, Sub Pop’s editor in chief, who is responsible for nearly all of the company’s public words. Here is an example of the cheek of Sub Pop’s site:

Q: I heard that Sub Pop went out of business. Is this true?
A: If we were out of business, why do you think we would be spending all this money keeping a website up and answering your questions?
Q: Is the Nirvana “Love Buzz” single still in print?
A: No.
Q. You must have some “Love Buzz” singles lying around; I’ll pay you (insert some grossly large sum here) for it.
A: No.
Q: Well then, someone who works at Sub Pop must have a copy; can I buy it from them?
A: No.
Q: Where is Kurt Cobain buried?
A: He was cremated.

One imagines the questioner, maybe infrequent or imaginary, stoned or drunk with fan love. But the writing reveals a quintessential Sup Pop “brand characteristic”—anonymity and irreverence. They might take their artists seriously, but they don’t posit themselves as such. The text also reflects the humor of most of those I met there. That tone, knowing and wry, but not smart-ass or arrogant, is the voice of Sub Pop—or at least its website. Marketing director and chief publicist Steve Manning says that the degree of autonomy the Sub Pop staff has is huge. “We hire smart, capable people and let them do their jobs. We offer advice. We care. But we don’t get in each other’s way. Those who are wired to flourish with such freedom thrive; those who don’t, don’t.”

FREEDOM TO SCREW IT UP
The freedom of which Manning spoke is also reflected in how Sub Pop treats new artists. Tony Kiewel is director of A&R, an anachronistic term for Artists and Repertoire that has little to do with that job today. Kiewel’s role is to seek out new talent, a great job, for sure, but think of the difficulty of finding talent when the talent’s work is not exactly your style or taste. Never mind, says Kiewel: “This is their big moment. Theirs. Not ours. It might be their only album, their testament, their blood, their sweat, and their tears. If they want to call their record Fuckin A (which happened), who am I to say they can’t? If they want to make a video of a child bathing in feces (which happened), we’ve gone along with that, too. Whether or not it’s in their ultimate interest, I think it’s your job to tell them so, but you never really know.”

After viewing the shit-smeared video for Ugly Casanova’s song “Things I Don’t Remember,” I couldn’t help but wonder that sometimes artists can make something so brilliant that they drive it off a cliff. Indeed, five minutes of watching a child covered in poop is, well, unique, even charming in a weird way (see it to believe it). But the point is not scatology, it is the fact that Sub Pop allows artistic freedom—even if the idea turns out to be a stinker.

There is an expression used “quite freely” around Sub Pop: “polishing the turd.” It essentially means, “When life hands you lemons, make lemonade.” No one at the label wants to be quoted using it because it implies some artists’ ideas are shitty. But sometimes, of course, they are, and it is hard to dissuade them from using an idea that is not in their interest. Much of the “feces” in the Ugly Casanova video is apple butter. So, in that case, they’re actually polishing an apple that just looks like a turd.

Jacobs explains in an e-mail, “If they want to name their record something we might personally find ill-advised, it’s our job to let them know [our opinion]. But, ultimately, the decision is the artist’s and one we are happy to support. What’s more, our initial opinions are frequently proved wrong in time. For instance, people really seem to love that Ugly Casanova video.”

Sub Pop gains its reputation by being a place for innovation. It seeks innovation in music and gives new artists the opportunity to sink or swim. But it is a place where honesty and integrity matter more than the God Almighty Dollar—or at least so far as I could tell. Once again, it demonstrates that good work originates from good people and good people attract good work.

THE ROSE OF REDEMPTION
Sub Pop is perfect for people like Kleinsmith: The fact that a man of his mental firepower (and former habits) could remain at a place is testament to this. It was never easy for him.

In college, Kleinsmith “fucked up” a lot. But before his pot-smoking, underachieving college days, he was the kind of guy who was motivated and excelled. He learned then that it was easy to throw your talent away. Immediately after being placed on academic probation for grades at the University of Oregon, he discovered graphic design. Today, that college experience of “fucking it up”—nearly losing himself and his talents—humbles him. It remains one of his great motivators. It keeps him honest, hungry, determined, and attuned.

The semester after being placed on academic probation, Kleinsmith took some design classes and kicked ass, made high marks and found his calling. Shortly after, he found a garden where he could grow as a professional and as a man. Kleinsmith is not a man in the 12th year of his last job. He’s more like a kid in the first year of his dream job. So what if he has to polish a turd now and again? Most people eat them for a living.

www.subpop.com