New York ? New York is no stranger to Lawrence music, whether by way of touring bands, emigrant artists or visiting devotees to the auditory arts.

But last weekend was particularly thick with the townâÂÂs sounds.

Dozens from LawrenceâÂÂs scene paid homage to the 2002 CMJ Music Marathon a four-day festival that takes it name from the College Music Journal magazine.

Several were on stage. Others were there to get a glimpse behind the business of music. And many made the trip for the MarathonâÂÂs hundreds of shows.

âÂÂLawrence is pollinating throughout New York,â said Nick Gordon, an expatriate of a couple years in NYC. Gordon was found Wednesday at CBGBâÂÂs communing with Marathon attendees from Lawrence.

âÂÂThe locals are frightened by all the Kansans and how damn easy-going we are,â he joked.

Among the Kansans on CMJâÂÂs stages this year were Ultimate Fakebook, The Belles, The People, Shiner and Rex Hobart and the Misery Boys.

âÂÂI donâÂÂt think people realize how high the standard is for quality music in Lawrence,â said Gordon, who since moving to NYC has worked for Caroline Distribution. âÂÂThe thing I have learned about New York is that there is so much competition for artists and musicians that you really need to BE here to make an impact,âÂÂ

Marathon men

Short of moving there like Gordon, CMJâÂÂs Marathon provides an intense opportunity to meet and mingle with an unusually high concentration of the industryâÂÂs network.

Though they werenâÂÂt on the MarathonâÂÂs stages, members of Lawrence bands like Hook and Ladder, SoundsGood and Ghosty still went for the opportunity to promote their bands.

Ghosty drummer Richard Gintowt flew to New York with just two backpacks: one with a few daysâ clothes and the other loaded with demos. The stack of handwritten CD-Rs — each inside a sleeve of artwork copied at KinkoâÂÂs — was ready for college radio music directors, indie label sorts and other industry contacts who might prove helpful in furthering GhostyâÂÂs career.

âÂÂI got rid of all 27 CDs. I probably should have brought more,â he said, lamenting ill-considered handouts. âÂÂLike the one I gave to the dude on the bus who signed AC/DC and Meatloaf (he laughs). You know, I donâÂÂt think heâÂÂs going to be giving me a call anytime soon to sign Ghosty. But he has our demo, so whatever,âÂÂ

Though he points out that ALL of his handouts are longshots, Gintowt said one of his better-chosen recipients was another Lawrence native living in New York: Travis Millard. Currently a contract graphic artist for the likes of Spin, Millard has done extensive work for local bands, including album art and a music video for The Get Up Kids.

âÂÂGenerally everyoneâÂÂs looking out for their own interests at (CMJ), so it can be hard to get peopleâÂÂs attention,â Gintowt said. âÂÂI think a good rule of thumb is that any time somebodyâÂÂs willing to help you, let them help you as much as possible. So when Travis asks for four copies of our demo, IâÂÂll give him seven.

Grass-roots networkers from the Lawrence area have given Millard demos and zines before, he said, and heâÂÂs down with helping out.

âÂÂIf I like something, I might pass it onto some friends,â Millard said. âÂÂSome work for labels and stuff, but I donâÂÂt really shop talent around. I help out when I can, but itâÂÂs just tough. You gotta scrap.

âÂÂPeople remain buds out here that come from Kansas,â he said. âÂÂIâÂÂve also had a few Kansas people look out for me before,âÂÂ

Demo derby

SoundsGood producer/MC Miles Bonny was also trying to work some Kansas connections at CMJ. For one, Bonny was in touch with Gordon, who deals with many hip-hop labels at Caroline. But like Ghosty, SoundsGood applied to get on CMJâÂÂs stages, but didnâÂÂt make the cut.

âÂÂWe sent in an unmixed three-song CD-Râ for the application, Bonny said. âÂÂWe should have sent something more professional.

âÂÂBut then again IâÂÂm glad we didnâÂÂt perform. There were many small showcases in bad locations that featured the unknown bands,â he said, referring to far-flung shows in Brooklyn and Queens. âÂÂI wouldnâÂÂt have wanted to participate in one of those,âÂÂ

However, the guys in Ultimate Fakebook would suggest bands in BonnyâÂÂs position to reconsider.

Before becoming one of LawrenceâÂÂs preeminent bands, Fakebook played CMJ for the first time in 1998.

âÂÂWe played a real small little dingy club called The Spiral Lounge,â said Ultimate Fakebook frontman Bill McShane.

âÂÂIt went OK, but it was weird because we didnâÂÂt know anybody or anything at that point, and we found out that some industry people had checked us out there unbeknownst to us,âÂÂ

The connections a young band makes in New York (or elsewhere for that matter) often arenâÂÂt going to be the kind where you can put your finger on when who was where and what came of it, he said.

âÂÂItâÂÂs always worth it to play in New York City because thereâÂÂs so many industry people there,â McShane said. âÂÂThere might only be five people at your show, but one of the five is an A&R guy. Especially at CMJ. Everyone in the country gets together for it,âÂÂ

Now that SoundsGood has a polished album to submit with next yearâÂÂs application, Bonny said he thought the groundwork has been laid for a solid showing.

Like Gintowt, Bonny spent much of his time at CMJ networking.

At a forum on electronic music, he said he made a solid contact at one of the two magazines he subscribes to, XLR8R.

âÂÂSomeone in the audience asked what they could do to develop their local music scene. So I raised my hand and talked about what weâÂÂre doing with LawrenceHipHop.com and what weâÂÂve done to promote and develop whatâÂÂs already existed here,â he said, referring to the Web site he helps maintain.

âÂÂThe XLR8R editor really responded well to that. Afterwards he wanted to give ME his card,â Bonny said.

âÂÂI gave him a stack of CDs (his album and ones by Approach and Archetype), and I gave some to FatBeats, Sarah Jones, Talib Kweli, Prince Paul — a bunch of other people. IâÂÂm really not expecting a reply from any of them. My main objective is just to get the name out and plant the seed to follow up with later for future releases or whatever,âÂÂ

With long-shot lore so close to home — see the recent ascent of Kansas CityâÂÂs multiplatinum Puddle of Mudd following such a demo drop off — even the furthest fetched break canâÂÂt be ruled out.

âÂÂI got on ‘TRL’ holding a Sum 41 poster, yelling ‘Yeah! Sum 41âÂÂs No. 1!â” Bonny said. âÂÂI gave them a SoundsGood album and later when I watched the show I saw my CD in his pocket on TV.âÂÂ