Hello and welcome to the second weekly update ever posted on the Haulix Blog. We are still working out the exact formula for these posts, but we’re glad you returned nonetheless.
The past seven days have been as busy as any at Haulix. On the blog end of things, I worked on a plethora of new pieces while also conducting interviews for future installments of our multiple spotlight series. It was hectic, but productive, and I’m sure another jam packed week will follow the holiday on Monday.
On the product end of things, we’re going to have to plead the fifth. We have a lot of big efforts underway, but now is not the right time to share them with the world. Next week, however, may be another story entirely.
Seeing as it is the end of August, which marks the third month this blog has been in existence, I thought it would be a good idea to review all the content we have ran over the last thirty days. You can find links to every article below, separated by category. We’ll have a wealth of new content for you following the holiday weekend, so this extended time off may be your best chance at catching up for awhile…
As always, thank you for continuing to use our products and read our blog. Without you we would not be able to do what we do, and we are grateful for the opportunity. Follow us on Twitter and Facebook to stay up-to-date with everything we have in development, and do not hesitate to contact james@haulix.com with any questions or suggestions you may have.
The month of August is winding down fast, but not before we unveil the latest edition of the Haulix Advice series. If you have a suggestion for a future column, or if you have a question you would like us to address, please email james@haulix.com and share your thoughts.
Today we are going to discuss five basic things every artist can do better their tour promotion efforts. Some of these are fairly obvious, while others may be knew to you, but the hard true about both is that neither works magic over night. Social media is about more than momentary brilliance, and one of the biggest keys to any successful campaign is consistency. The following steps might not make you a rock star overnight, but in time they will assist you in cultivating a fan base that feels truly connected with (not to mention are willing to support) everything you do.
We have discussed social media quite a bit in the past, but until now we have stayed away from almost all discussion of tour promotion. We haven’t been avoiding it per se, but the variety of avenues one can take to establish their brand in territories they’ve never before explored is so vast that we didn’t want to rush any of the content we thought could be delivered. This post is a rather simple one that focuses on applying tactics that could be taken from any social media 101 book to the world of touring, but it’s great knowledge to have nonetheless. We plan to roll out plenty more on the world of touring and all the ways bands can maximize the return from such efforts in the months ahead, so consider this a primer for all that is to follow.
1. Research the local market – There are plenty of songs about how life on the road can lead every town to seem the same, but for a band just finding their footing in the industry each town you visit should be viewed as unique opportunities to build your audience. No two towns are the same, and that goes as much for the people as it does their willingness to support art, so when setting up shows it’s best to research how similar events have run in the area. Is the cover charge to your show in line with recent regional performances from other acts your size? Speak with bands who have played in the area (even better if they actually live there), scan tour forums, and do your best to work with fans whenever possible. Ticket prices are one of the biggest factors people consider when deciding on whether or not to attend live events, and as a band trying to build an audience you want to make that decision as easy as possible. This may mean you incur extra costs early on, but if you hook them with your performance the future returns from their support of your efforts will far surpass the whatever percentage you had hoped to gain off the door.
2. Always introduce yourself – When working to promote shows or tours you will likely be emailing, calling, and otherwise communicating with a number of new people in hopes of gaining additional exposure (blogs, radio, newspapers, etc.). Always assume the people you are reaching out to are not familiar with you or your music, and take time to introduce yourself properly. Offer current information about your group, releases, and upcoming gigs, as well as links to additional content such as videos, photos, press clippings, or an EPK. If they’re already familiar with you, great! If not, they can not become familiar without having to do any additional work on their end.
3. Find your audience (Do not expect them to find you) – The internet has an odd way of making people feeling like they’re more known in the real world than may actually be the case. There are exceptions to this, of course, but for the most part early on your band is only known to you, your friends, the people you and your friends have told, and anyone who just so happens to be so interested in discovering new music that they spend hours seeking it out online. While that may help you get a start with your career, not to mention almost guarantee a sold out show at whatever basement or garage in your hometown will let you put on concerts, but it does not put bodies in venues towns, counties, states, or countries away. To do that you need to seek out new listeners, and one of the best ways to do that is through social media. Speak directly to the fans of music that is similar to yours and be responsible for starting their relationship with your band. This can be done on Twitter, YouTube, Facebook, or even in the comment threads of music sites. Build an organic connection with the curious music fan and they will seek out your efforts. Even if they cannot go to a show themselves, that feeling of connection to your music may very well lead them to help promote with messaging of their own.
4. Retain and engage your audience through email – Though there seems to be a million ways to communicate instantaneously these days, there is still a lot to be said for a strong email campaign. Collecting contact information from people at your shows is a great way to connect with curious listeners and work towards further developing the relationship discussed in the previous tip. You can use your email list to not only promote upcoming tours, but also push new releases, news updates, and merchandise. (Bonus tip: Hosting regular sweepstakes via newsletter is a great way to retain and build your contact list. People love free stuff.)
5. Don’t forget to promote offline – You can send all the messaging and promotionally-tinged greetings you want online, but nothing compares to the connection you are able to form with people in a face-to-face setting. If time allows, arrive in the town you’re playing as early as possible and seek out locations people who enjoy may your music might frequent (venues may be able to offer some advice). After you check in with the promoter for the evening, visit those spots you researched earlier and talk to people about your music. Share songs via headphones whenever possible and use their interest in what you’re playing to get them in the door that night. Remember: First impressions are everything. Meeting people outside of a setting typically reserved for music (venues, record stores) can be a great way to promote, but if you push too hard people will not think twice about turning away. Be polite, introduce yourself, and always do your best to let them know you’re truly interested in their opinions. They might not be able to make the show, but they may ask about purchasing music or ask how they can stay up-to-date with your future activities.
Welcome to the latest edition of the Haulix Blogger Spotlight series. This time around we’re switching focus from those who have already established their name in the industry to those who are just starting out with a story about an Atlanta resident with drive and talent to spare. If you have a suggestion for a future edition of this series, please do not hesitate to email james@haulix.com and share your story.
According to numbers taken from a 2012 report, there are just over 141,000 new websites registered each day. That means over 50 million new sites come into existence each year, and at least a couple dozen (if not could hundred) of those relate to music. Most will not make it more than a few months, but those who survive the turbulent first year will have taken a big step toward a future in this business. Without further ado, allow us to introduce you to one person who surpassed that one year mark, and follow along as we tell his tale of rising up in an ever-changing industry.
Launching in the fall of 2010, Kill The Music entered the alternative music blog circuit considerably later than many of the sites we have featured in this series. One may see this as a disadvantage given the alarming amount of sites already competing for traffic, but founder Jordan Mohler knew he had something special to offer that could be found nowhere else online and forged ahead with his dream. That unflinching determination to succeed worked, and in no time Mohler found himself being referred to as a tastemaker in the industry with a site that offered podcasts in addition to the regular coverage found on most music blogs. Today he continues to push forward, seeking new avenues to deliver content to readers while simultaneously strengthening his editorial department, and we could not be more excited to share his story with all of you.
If you would like to learn more about Jordan’s work, be sure to stop by Kill The Music and, if you’re a Tumblr user, follow them as well. If you have any additional questions, please add them to the comments section at the end of this post.
H: For those unaware, please state your name, the site you work for, and your role at said site:
JM: My name is Jordan. I run a site called Kill The Music; I’m the founding editor.
H: What was the first album you really connected with? How did you discover it?
JM: The Black Parade by My Chemical Romance. My friend showed me the video for “Helena,” and I laughed it off at first cause I thought they were another whiny, emo, makeup-wearing band. However, I listened to TBP when it came out and was hooked. Sadly, I never got a chance to see them befote they broke up.
H: Name the first album you bought with your own money. Did you still own it?
JM: If I can recall correctly, I believe it was Louder Now by Taking Back Sunday. I had just seen Fantastic Four and saw them on the soundtrack so I went out and bought it. I was particularly intrigued by the song “What’s It Feel Like to Be a Ghost?” cause it had a “cool” name for a song.
H: Some people say the first genre you fall in love with is the one you follow for life. Is that the case with you?
JM: I liked metalcore for a while then delved into alternative rock, pop punk, hardcore, prog metal, and even dubstep. I try to keep my iPod diverse as possible [laughs]
H: What inspired you to get started in writing in the first place?
JM: I wanted to cover stuff I liked and help out the few good local bands.
H: Was entertainment journalism the first area you wanted to write in?
JM: At first, yes. As the site got bigger, I started to cover different areas like games, movies, etc.
H: Before we dig into how your site works, we should probably figure out how it began. What is the origin story for KillTheMusic?
JM: Honestly, I started the website after seeing The Social Network. While my site may not be on that level, it did motivate me to get off my butt and do something creative.
H: Where does the name of the site come from? Did you have any alternates before settling on that one?
JM: I got the name of the site from the Every Time I Die song, “Kill The Music.” Which happened to have Gerard Way on guest vocals.
H: There are many sites out there covering similar areas of music as your site. What is it about your content offerings that separates you from the competition?
JM: We don’t cover stupid band drama to get views or turn tweets into news stories, unless it’s something noteworthy like a secret show announcement or something.
H: In addition to the site, you also have a podcast. Can you tell us a little about that?
JM: I wanted an outlet to interview people that aren’t directly involed in the music scene. Also, I grew tired of video interviews I think my friend Sergeant D are gonna answer some questions, Loveline style on the next episode.
H: From a marketing standpoint, how do you promote Kill The Music? What methods have proven most beneficial? Least?
JM: Well, I used a Facebook ad coupon recently from my domain host which got us around 632 new likes. I just printed up business cards to hand out at shows (and so I have an excuse to quote American Psycho). Least effective method is probably is telling a friend who has no interest in the genres we cover.
H: When you want to discover new music, where do you look?
JM: While most will say Rdio, Spotify, last.fm, etc, I find that YouTube is actually helpful. Sometimes, I’ll discover bands I missed out on like Alice In Chains, Acceptance, Eighten Visions, Mr. Bungle, Faith No More, Botch etc.
H: What advice would you offer a band who wanted to stand up from the others competing for a chance to appear on your site?
JM: Make quality sounding music. If you don’t come out with a good recording, not many people will want to listen to it, even if you pull it off live. Also, see the below answer.
H: Speaking of music discovery, you probably receive a lot of submissions from young artists vying for a spot on your news feed. What advice can you offer young artists hoping to stand out in your inbox?
“You’re not obligated to promote/post every band that comes your way, especially if they’re not professional about it. Giving special attention to bands who send your music and a good press kit, though, is a good idea. If you posted about everyone who sent you stuff, you’d probably never have time for anything. Time is money.”
H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?
JM: Haulix works for me cause it’s simple. Major labels have their own system, but all the records you’ve been sent aren’t in the queue like in Haulix. I just wish some PR/labels would make the albums downloadable instead of streams in case I’m wanting to listen in my car or at work away from a computer.
H: Piracy is a bigger issue than ever in music. Do you think there is a solution?
JM: Bands/labels need to include better incentives with the physical CD. Maybe a certain amount of the CD’s would include a coupon for a hefty discount in the merch store, or a chance to meet the band when they roll through your town. Perhaps bringing the CD to the show would let you skip the line somehow.
H: If you could change one thing about the music industry, what would it be?
JM: Every band that plays to backtracks should be dropped from their label and be banned from making music, similar to Pete Rose being banned from baseball.
H: You seem to have big plans for the future. Before we let you go, can you tell us a bit about what you have planned in the months ahead?
JM: Sponsoring a festival in October; which has a great lineup and having bigger guests on the podcast!
Hello again, everyone. Welcome to the fourth installment of our PR Spotlight series. The first three weeks found us talking to a family man with decades in the business, a woman who had recently moved from a major label to one far more independent, and a twenty-something who is only a year into running her own business. This week we’re headed back to the West Coast to speak to another entrepreneur who spent years working in the record label game before deciding to step out on their own. If you have a recommendation for a firm or publicist you want to see featured in an upcoming spotlight column, please do not hesitate to email james@haulix.com and share your story.
Alabama is not the first place many think of when considering the history of punk and hard rock, but without that very state one of the alternative scene’s most influential publicists would not exist. Austin Griswold is the founder and head of Secret Service Publicity, but his career in the entertainment industry dates back much further than his relatively young PR empire. He first moved from his home state to California with little more than a dream and a Chevy Blazer, but in just over a month’s time began to find his footing in the industry. He continued to work hard and over time rose through the ranks of the business, which included years spent at Epitaph Records, before finally stepping out on his own company. We spoke with Austin about all this, as well as his advice to bands and aspiring publicists, and more. You can read his journey and insight into the business below.
On a personal note, I have worked with Austin and watched his skills develop for the better part of six years, which pretty much amounts to my entire professional career in music. He was one of the first publicists to give me a chance to work with known talent, and has always been there to help me if I ever had questions. His work with bands is second to none, and the insight he offers in this interview is just one of many reasons why he’s someone I would hope young publicists aspire to imitate in their own careers.
If you would like to learn more about Austin’s work, you should visit (and bookmark) Secret Service Publicity online. Any questions for Austin can be left in the comments section at the end of this post.
H: For those unaware, please state your name, the company you work for, and your role at said business:
AG: My name is Austin Griswold and I am the owner of Secret Service Publicity.
H: Let’s take it from the top! What is the first album you remember falling in love with, and how did you discover it?
AG: I can’t remember if it was Pearl Jam’s Ten or Metallica’s “Black Album.” Both came out the same year and that’s when I really fell in love with music. I think I was probably introduced in part by my older sister and brother but also friends at school. I remember stealing my brother’s issues of SPIN and Rolling Stone to learn about bands and would copy his taste of music.
H: At what point did you realize you wanted to turn your interest in music into a career?
AG: I played, or attempted to play, in bands at a pretty early age. I think from my early teens I knew that I wanted to be involved in music in some form or fashion. It probably wasn’t until I was trying to figure out what my degree in college would be that I decided on music publicity.
H: You have worked in entertainment publicity for a number of years. What attracted you to publicity work in the first place?
AG: It was easier than pre-med in college! No, I gravitated towards public relations my freshman year. I always felt comfortable writing and found I had a skill for publicizing. It was a natural fit for me and I knew I wanted to work as a publicist in either music or at the very least the entertainment industry.
H: What was your first gig in the industry (paid or unpaid), and how did you land the position?
AG: After moving to Los Angeles, my first official job was working as an intern at a film/TV talent management company called Untitled Entertainment. It was an eye opening experience. It wasn’t exactly what I wanted to do but I got a really good inside look at how a big Hollywood firm worked. I learned a lot, but the biggest lesson was that I needed to get a job that paid. Los Angeles isn’t a cheap place to live.
H: You hail from Alabama, but have spent the better part of the last decade in Los Angeles. When did you make the move to the West Coast, and what inspired the decision to pack up in the first place?
AG: After I graduated from University of Alabama, I moved back home to Birmingham and started interviewing for entry level positions at PR and advertising companies in the area. I quickly found that I wasn’t the least bit interested in doing PR for some fertilizer company or worse. I knew that if I really wanted to work in entertainment and music then Los Angeles was the place for me. In hindsight, I guess Nashville would have been a closer option, but country music wasn’t really my forte at the time. I had always been curious about LA and envisioned myself living there one day. So, I packed up everything I could fit in my Chevy Blazer and left. It took three days driving solo cross country and when I got there I lived in some crack motel on Sunset for about a month until I got my legs under me and my first apartment. It was worth it though!
H: You started at Epitaph records in 2007. Can you tell us a little about how that job came together?
AG: After interning at Untitled Entertainment, I got a paying job at a PR agency called Bender/Helper Impact in West LA. The company handled larger corporate entertainment clients like Dreamworks, FOX, Magnolia Films, etc. While college may have taught me how to write, BHI taught me how to be a publicist. It was like boot camp for PR cadets. I moved up the ranks there pretty quickly over the course of a few years, but my desire to work in music was strong as ever. I came across a job posting for Epitaph, interviewed and never looked back.
H: After a number of years in that role you decided to step out on your own with Secret Service PR. What lead you to this decision?
AG: Epitaph was a great company to work for. I learned a ton there and grew immensely as a publicist. I also got to work with punk rock legends. My boss was Mr. Brett from Bad Religion! Towards the end though, I felt that I wanted to continue my journey, continue growing as a publicist and experience new things in my career. I still have some great friends there and am proud to have them as a client.
H: As someone who has worked publicity in and out of a label setting, do you feel record labels are as necessary for a band’s today as they were when you started in this business?
AG: I think there are a lot of record companies that provide a great service to bands. Under one roof you’ve got radio, touring, marketing and PR support; services that would cost an independent band a ton of cash a la carte. There’s also a certain level of credibility and legitimacy that comes along with being “signed” to a label. However, is a record label a necessity to thrive in today’s music industry? No. There are a dozen different models to get your music distributed and promoted these days as an independent act. Today’s industry is like the Wild Wild West. There’s no order to the madness, and it’s every band for themselves. Only the quality of your music truly matters.
H: Where did the name ‘Secret Service’ come from?
AG: Good question! I had a list of names I was debating. I wanted a name that was exclusive and meant quality. It was much better than the alternatives I came up with.
H: Who was the first band you worked with at Secret Service? How did they react when you approached them about joining a new company with only one employee?
AG: My first client at Secret Service was actually my former label, Epitaph Records. They helped me get off the ground and hired me to work with Thursday and Social Distortion. Outside of that, I also worked with Bowling For Soup and Rival Sons. The manager and label that had hired me for those were familiar with my work at Epitaph. I think my small roster and proven track record of results gave them the confidence that I could get the job done.
H: You’ve been a resident of the sunshine state for a number of years, but now that you are your own boss you could theoretically live anywhere you wanted. What keeps you in LA?
AG: What keeps me in LA is that I really couldn’t imagine living anywhere else. It’s a great place to run my business since most everyone I work with is located here, most of the bands I work with tour through here and there’s a lot of media that is based here. On a personal level, I love this city. It’s where I’ve met most all of my adult friends and have made a life for myself. I can also go to the beach, hike a mountain, go to the lake and go snowboarding most anytime I want. And don’t get me started on the weather…
H: Having found success in leaving home, would you encourage others hoping for a career in the music industry to head out west themselves?
AG: I think it depends on what you’re looking for and how far you’re willing to go for it. It takes a thick skin to be young and just starting out in the workforce here. It’s also a small industry where jobs are few and far between. If you’ve got the dream and have what it takes then I say come on. There’s nothing worse than looking back and saying “what if?”
H: There are a growing number of PR outlets popping up around the country run by aspiring PR stars. What is one common mistake you see people make when they’re just starting in publicity?
AG: Not to sound discouraging but, if you’re just starting out in publicity I wouldn’t advise opening up a PR company. You probably don’t have the experience, knowledge or relationships required to do the job right. A foundation of fundamental public relation skills is a must in order to be successful in your career. If you don’t know how to properly write a press release, don’t have a grasp on grammar, don’t have the ability to communicate in a clear and concise way or have existing media contacts then you probably shouldn’t start a PR company. I’m never one to knock someone else’s hustle, but I find it alarming when “publicists” without any experience or knowledge bamboozle bands into paying them for services that they can never deliver on. Start at the bottom, develop a great work ethic and the needed skills and you should find success later on.
H: In addition to working with signed bands at Secret Service, you have been known to help unsigned talent as well. What do you look for when seeking new talent, and where do you go to find it?
AG: The main thing I look for in new bands is purely talent. One of the benefits from running my own PR company is being able to work with whoever I want. If that’s the raddest band I’ve ever heard with only two friends on Facebook, so be it. If I believe in them, then I will fight for them to the end. I find a lot of bands through word of mouth, going to shows, through social media and even submissions by other industry people.
H: As a publicist, what advice would you offer writers hoping to work with your clients?
AG: With any publicist, I’d advise developing a good relationship with them. You’ll likely be working with them on various projects for a long time. Just because you don’t get that interview you were hoping for doesn’t mean it’s the end of the world. As a publicist it’s my job to decide what is in the best interest of my clients in terms of the media, and sometimes that means saying “no.” Don’t give up though, sometimes “no” just means not right now.
H: Piracy is one of the most discussed topic in the industry today. Do you feel album leaks are preventable? If so, how would you advise an artist to keep their music safe while still getting the word out?
AG: I think album leaks are preventable to a point. A good publicist will know who can be trusted and who can’t. Using a watermark service like Haulix gives me the piece-of-mind to send music to my trusted media contacts and while I know they won’t leak the music, I also know that I’m protected. Leaks happen from time to time and it’s unfortunate that one person would feel the need to derail months of hard work and setup, but that’s the reality we live in, in today’s digital age. You have to roll with the punches. In any case, once physical CDs are shipped from distributors to retailers albums inevitably leak. I think hiring a good publicist with experience and long-standing media relationships to be your gatekeeper is the best way to keep music safe and get the media attention you deserve.
H: When it comes to working with your clients, how do you prefer to share their music with press? What is it about this method that appeals to you the most?
I use Haulix to send music to press. It’s the easiest and most secure service I’ve used. It’s simple and straightforward and I know that if there is a leak that I can easily find out where it came from.
H: If you could change one thing about the music industry, what would it be?
AG: That’s a tough one. We’re living in a time where it’s really difficult for bands/artists to make a living. The days of big advances, massive budgets and touring support are mostly a thing of the past. If I could change one thing it would be to find a revenue stream that works for musicians. That’ll be my next on my list to tackle. Also, I’d put a death nail in the CD. Its day is done.
H: Your roster is as eclectic now as ever before. Do you have any plans or releases on the horizon you’d like to share with our readers?
AG: I’ve got some big plans on the horizon for 2014. I’m looking forward to the continued growth of my company and finding amazing new bands to work with. Right now though, I’m really excited about Balance and Composure’s new album coming in September. It’s ridiculously good!
Hello and welcome to a new week of industry insight here on the official blog of Haulix. We have featured over a dozen notable industry writers up to this point, and this afternoon we could not be more excited to share another great mind with all of you. If you have a recommendation for a site or writer we should highlight in a future installment of this series, please do not hesitate to contact james@haulix,com and share your story.
Some say it takes a village to raise a child, and in a similar sense it takes a team of contributors to make a music blog great. Anyone can start a website with a few dollars and an internet connection, but without support from at least one other person the quality and consistency of content will suffer in time. Finding a good partner takes about as much hard work as it does luck, and for today’s highlighted blogger the search to find a like-minded individual crossed several state lines.
Matt Nistler is one-half of the creative power behind The Sound Alarm, a site which we first highlighted earlier this year during a conversation with co-founder Kayla Guyette. He went to school for graphic design, but thanks to positive reinforcement from people in his life decided to pursue an interest in writing (that also lends itself to design work from time to time). That interest lead to the launch of one of the most interesting blogs currently covering alternative music, and we could not be more excited to share his journey up to this point.
The Sound Alarm is not your typical website. They don’t see the need for news posts that could be found anywhere on the net willing to cover music and they rarely worry themselves with whether or not they post every single day. Their focus has always been quality over quantity, and through our discussion with Matt you’ll learn how that has made all the difference in their success. If you would like to know more, head over to The Sound Alarm and see what Matt has spent the past several years developing. You can leave any additional questions for Matt in the comment below.
H: For those unaware, please state your name, the site you work for, and your role at said site:
MN: My name is Matt Nistler and I’m the co-founder of a music website called The Sound Alarm.
H: If you had to pinpoint when it all began, what would you cite as the moment you fell in love with music?
MN: I’m not sure there is any one moment that I fell in love with music, as it is something that I’ve been drawn to throughout my life. But I would say the moment I knew I was in love with our music scene was when I first attended the Vans Warped Tour. There was just something magical about getting to see so many bands that I looked up to all in the same place.
H: What was the first album you purchased with your own money? Do you still own it?
MN: The first album I ever purchased was Sweet Dreams by La Bouche. I was so stoked walking down the cassette aisle of Best Buy knowing I’d be able to listen to “Be My Lover” any time I wanted. (Apparently grade school me was a Euro-dance fan?). I like to think my music tastes have slightly improved in the years since. I still have that cassette in a closet somewhere back at my parent’s house. The singer actually died in a plane crash in 2001, so there won’t be any more La Bouche purchases in my future. Kind of depressing.
H: You started The Sound Alarm in 2010. Did you have any experience in the music industry before that time?
MN: Yes, prior to The Sound Alarm I was a contributor for a different music publication, The Daily Chorus. It was probably most known for the “Top Unsigned” list. I also conducted a number of interviews for SmartPunk and managed an indie rock band as well. I enjoy taking on music-related graphic design projects too when I have time.
H: You studied Graphic Design in school. What drew you to the world of journalism?
MN: I always enjoyed writing essays in school and was often complimented on my writing, so pursuing the world of journalism just made sense. I was the layout editor at my college’s newspaper, so sitting in on the weekly meetings helped me fine-tune those skills even further. I love that I have the opportunity at The Sound Alarm to combine my passions of music, journalism, and graphic design.
H: What inspired you to start your own business, and how did you come to know co-founder Kayla Guyette?
MN: I came in contact with Kayla while coordinating an interview with the band that I was managing. She was an editor for a different publication at the time and I was very impressed with her professionalism. A few months later we came in contact again and realized we were both interested in starting up a music website of our own. We were seeking editorial and creative freedom and The Sound Alarm was born.
H: Where does the name ‘The Sound Alarm’ come from?
MN: The Sound Alarm is a play on words. Most people hear the phrase “sound the alarm!” when something bad happens that deserves everyone’s attention. “The Sound Alarm” flip-flops that idea by alerting our readers of good sounds that deserve their attention. That’s where our slogan “alerting you first of the hottest new music” originates from.
H: Kayla shed some light on this for us, but one thing that makes your site unique is the focus on features over news. Was this always the case? What attracted you to this approach?
MN: When we started The Sound Alarm, it was never our intention to post every possible news story. We knew there were many other publications already doing. Instead, we opted to devote our time towards actually checking out the music of the bands we post about and coordinating features (such as “Six Picks”) with our favorites. We do still post some news stories though, as it is important to have our readers up-to-date on what albums and tours to be on the lookout for, but everything we post is with an intentional filter.
H: It’s not about being better than anyone else, but what would you say separates the content found on The Sound Alarm from what is being offered on any number of sites covering similar areas of music?
MN : One of the reasons why Kayla and I started The Sound Alarm was that we both felt there was a lack of positivity and overabundance of gossip in the music press business. As fans of music we wanted to know what new music to check out and also wanted fans to get to know their favorite bands better. There were too many blogs that were quick to point out which band member was dating which other band member, who got arrested, and who had their…uhm…private parts posted online. We pride ourselves on the overall positivity in the content that we post, the fun features (such as contests and fan- interviews), and the quality of what is posted.
H: The Sound Alarm is an independently run site that has made no mentions of plans to introduce a payment plan anytime soon. What is the ultimate goal of TSA?
MN: As cliché as it may sound, if we can introduce even one reader to a new favorite song or band, then we feel we are accomplishing our goals as a music community. We would obviously love The Sound Alarm to someday be a profitable enough venture to be our only jobs, for now we are more than happy running things independently for the love of spreading great music.
H: You have helped many bands get their start through The Sound Alarm. Where do you look when hoping to discover new music?
MN: I generally get caught up on most of my music news through the press releases I receive in my email inbox. I’m also constantly browsing Spotify and Facebook Pages to find new bands to check out. I do miss the days when MySpace was more relevant. It was a great way to discover up-and-coming bands.
H: What advice would you offer talent hoping to one day appear on The Sound Alarm?
MN: Before you reach out to the press, make sure you have at least a few studio recordings. They don’t have to be completely perfect and mastered, but if your only samples are rough demos recorded on your MacBook, then we’re both better off waiting until you have a more clean recording. Having a solid press kit and promo photo help as well. Regardless, make sure to run spell check before reaching out to us, since if we can’t take your email seriously, we’ll probably have trouble taking your music seriously too. Lastly, make sure your style of music at least somewhat encompasses the genres we cover (mostly pop/rock, punk, indie/rock, etc.) too. It’s cool that you’re an aspiring yodeler, but we’re probably not going to post about it.
H: What is the biggest mistake you see young artists make?
MN: The biggest mistake I see young artists make is lack of accessibility. By this, I mean it is important to connect with your fans as much as possible, both in the real world and on social networks. Meet with fans before and after the show. Hold video chats or acoustic performances online. Be active on Facebook, Twitter and Instagram. Stay humble. On the flip side, if you’re only focusing on promoting and not on writing a great song, then you’re completely missing the mark, too. It’s a delicate balance.
H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?
MN: As our staff is based all over the world, we prefer digital streams and digital downloads. I still have a place in my heart for physical copies, but when it comes to sharing music with our staff, it is much more convenient to share a hyperlink than to go to the post office to mail a CD.
H: If you could change one thing about the music industry, what would it be?
MN: I wish the music industry was still as booming and influential as it was in its heyday. I miss when the only way to hear new music was to go to the store and pick up the new cassette or CD, or turn on the radio. The digital age is great and has many benefits, but it has also led to a lot of job cuts in the music industry and I think some of the mystique has been lost of going to the store, picking up the album, and running home to page through the accompanying booklet.
H: Before we let you go, can you tell us a bit about what you have planned in the months ahead?
MN : This is an exciting time of year with all of the upcoming fall tours and album releases that are just being announced. Keep checking back on www.thesoundalarm.com and find us on Facebook / Twitter / Instagram (@TheSoundAlarm) for all of the latest happenings and features. Thank you for the interview!
This week has been absolutely insane. From the content we shared with you, to the pieces we have yet to release, things have been pretty busy around our offices. We mentioned yesterday that we wanted to begin letting you in a bit more to what we’ve been up to, so consider this your first weekly update.
We spoke with a lot of brilliant people this week for our industry spotlight series, including the three whose features ran on this very blog:
Jesse Richman of PropertyOfZack told us about his love of interviews on Monday.
Jen Appel of The Catalyst Publicity Group shared her journey as a young entrepreneur on Tuesday.
Ashley Osborn of Highlight Magazine told us about the ups and downs of creating a monthly digital publications on Wednesday.
It was an honor to share each of these stories, and we look forward to bringing you updates on their journeys in the future. We have plenty more interviews to come in the weeks ahead, but for the sake of keeping some surprises under wraps we’re not sharing that list just yet. That said, if you follow us on Twitter and Facebook I can promise you will never miss a single column.
Outside of the blog we are continuing to work on refining our products to offer increasingly better service and performance in the months ahead. Our current focus is improving our email system, but you’ll have to wait a bit longer for details on that.
My personal goal in the weeks to come is to expand our blog coverage to five original pieces of content each week, in addition to updates like the one you are currently reading. This means a continuation of our various spotlight series and advice column, as well as the introduction of new columns in the near future. We may even have some guest bloggers! If you have any suggestions of people/sites to cover, or if there is an area of the industry you would like us to discuss, please comment below and let us know!
Okay, this post is getting long. Thank you for joining us on this journey over the past few months and we certainly hope you’ll stick around for all that is to come. We have learned a lot together, and we are very excited for everything the future holds, both known and unknown. Have a great weekend.
We spend so much time on our blog talking about the people who use Haulix that we sometimes forget many of our readers may be unfamiliar with the products we offer. As much as we love sharing the stories of the people who work in the industry, our top priority at the end of the day is to provide secure media hosting and distribution services to the entertainment world. Today we’re going to look at four reasons people sign up Haulix, and in the weeks to come we’ll be posting more updates on what is going on behind-the-scenes at HQ. If you have any questions about our product, or if you would like to schedule a tour through the service, please do not hesitate to contact james@haulix.com. If you want to do more research on your own before reaching out, feel free to click around our recently redesigned website.
1. Security – Music piracy is at an all-time high, and here at Haulix we are doing everything in our power to prevent your album from falling victim to early release. Through a combination of advanced watermarking technology, Permissions, encryption, and secure traffic techniques we are able securely host, distribute, and track your media while you focus on promoting the material itself.
Watermarks contain user specific information that allows us to identify which contact specifically downloaded or streamed a file through Haulix. On average, each track will contain 15-20 watermarks which can survive most attacks such as re-encoding and conversion. Additionally, you have fine grained control over how many times they can stream or download a promo. All traffic in and out of Haulix is SSL encrypted (like bank websites). Haulix automatically prepares your tracks for watermarking and when a contact downloads or streams an album, the injection process is performed in seconds.
2. Customization – We love to focus on the backend of things so that publicists, labels, and bands can put their efforts into promotion. We recognize that in order to do that to the best of their abilities our clients need to be in control of how their content is no only dispersed, but presented. From the “promo” pages where your music securely lives online, to the email you will send when inviting press to experience your material, there are dozens of ways our product can be customized to fit your needs. Want to use a color theme or still image as the background to your “promo” page and/or emails? No problem! Want to limit the number of times an album can be streamed or downloaded by any particular individual? We can do that too.
3. Organization & Analytics – (This may seem like two, but they go hand-in-hand). Expanding on an aspect of our service mentioned in the previous two points, Haulix also helps distribute content. Through our one-of-a-kind email system our clients are able to create contact lists ( or upload their existing contacts), organize them into groups however they see fit, send personalized messages, and access analytics with ease. You’ll know who read your message, which ones accessed the material, and how the engage with it once on the “promo” page.
From a press perspective, Haulix offers a unique organization tool that allows journalists to view all the promos they have been sent by people using our system. Which leads us to our fourth point…
4. Journalist Approved – We could write and write about how we believe our products to be the best in the business, but it wouldn’t matter half as much as the approval of the people bands, labels, and publicists are trying to reach through our service. We don’t want to pat ourselves on the back too much, but here are a few things people have said about Haulix in recent months:
“I always get a little extra excited when I see I have new music through Haulix because I know I can jam it in mere seconds with no hassles.” – Jameson Ketchum, Substream Music Press
“Haulix takes all of the hassle out of receiving new music. It simply combines everything on one page and provides you with promo pictures, bios, videos and whatever else. Since most of the publicists we work with tend to use it, it’s nice to be able to quick switch back to your full catalog of promos you’ve received.” – Drew Maroon, MindEqualBlown.net
“I prefer a watermarked (to keep be accountable of course) zip download with high quality mp3s. Now I don’t always get that, so I roll with what I get. Haulix is cool because you can download and stream and it has the capability of supplying high quality stuff if the label/PR people provide it.” – Drew Beringer, Absolutepunk.net
“I want tracks I can stream, and preferably download too — I’m a New Yorker and do a lot of my listening on the subway, where streaming isn’t an option. Haulix is straightforward and intuitive.” – Jesse Richman, PropertyOfZack.com
Welcome to the second Haulix Blogger Spotlight of the week. This time around we are headed to the windy city known as Chicago, Illinois to speak with talented young writer who is working tirelessly to create a new kind of music site that is sure to please those with a nostalgia for the glory days of entertainment magazines. She is not alone in her pursuit, and in the months ahead we plan to feature a number of people working alongside her, just as we have done with multiple sites in the past. If you have a writer you would like to recommend for a future installment of this column, please email james@haulix.com and share your story. You can also contact us via Twitter and Facebook.
Today’s highlighted talent is the co-founder of a digital publication that has taken the idea of a modern webzine to places none of the other sites featured up to this point have dared to explore. She and her team are amongst those leading the online music journalism evolution, and it is a truly pleasure to share her story.
Highlight Magazine is not your typical music blog. They feature similar news coverage and exclusives as any other site, but once a month they also publish a digital magazine offering in-depth reporting and gorgeous pictorials (for free, no less). They cover everything that falls under the category of ‘could one day be on Warped Tour,’ and in a little over have attracted a dedicated online readership built thanks to solid marketing and strong word-of-mouth. Leading the team (along with her two co-founders) is Ashley Osborn, a Chicago native with a passion for music and photography that is second to none. We spoke with ashley about the inspiration for Highlight Magazine, balancing her rising popularity as a photographer with her commitments to the site, where she sees the industry headed, and much more. You can read about her adventures in music below.
If there is one thing to take away from Ashley Osborn’s story it’s that hard work and good networking skills are key to success in the music industry, and that goes for musicians as much as it does members of the press. Talk to people, not at them, and learn about their journeys in the business. You never know where your connections may lead, and even if the go nowhere you’ll at least have a new friend who can relate to your struggle.
Ashley Osborn can be found on Twitter, as well as in the photo pit at major music festivals across the country. Those of you looking for latest music news can find it on Highlight Magazine’s official website. If you would like to see some of Ashley work as a photographer, click here to view her portfolio.
H: For those unaware, please state your name, the site you work for, and your role at said site:
H: I believe you’re the first blogger based out of Chicago to be highlighted in this feature. What was the first album you fell in love with, and when did you know you wanted to work in the entertainment industry?
AO: I hate being that guy (hehe)! But I’d have to say Fall Out Boy’s Take This To Your Grave. It came out when I was in one of the most awkward stages of my life. A close family friend that used to babysit me (I was 11 at the time) was a scene kid and had me listening to all of this incredible music starting at the age of around… eight. But that album was definitely one that caught on. When I was around 11/12 I began going to shows a lot more with her and by the time I hit 7th & 8th grade I was definitely way into the Warped Tour scene. Never looked back. Started joining street teams for labels and assistant managing some local bands with social media/marketing. I just loved it and I loved that the community was such a family!
H: Being a blogger is about more than just typing, and one of the things you’re probably most known for is photography. Where does your interest in this medium come from?
AO: When I used to go to bigger shows I used to see this local Minneapolis (hometown) photographer, Joe Lemke, and he always intrigued me. I literally ALWAYS had an obsession with awful point and shoot cameras. I’d go to shows and all I ever really cared about was having photos to remember. I’d always snap way too many from the crowd (so weird). And eventually at a Paramore show in late 2009 I talked to Joe and he told me about what he does and that’s when I was like, “Holy shit, I’m going to do that.” After that night I saved up to get my first camera.
H: First camera? What you use now?
AO: I got a Canon Rebel XS in 2010 and then a Canon EOS 7D in 2011, worked with a 5D Mark ll for a while and I just bought a 6D!
H: Back to the site. You’re one of the co-founders of Highlight Magazine. How did you and Cara (the other co-owner) meet?
AO: We actually met at a Bayside / Saves the Day show at House of Blues. We were always in the photo pit together (Cara is an amazing photog who used to shoot for Beyond The Barricade with her co-founder, Jenna) and we never talked. Randomly this night we did and the rest is history!
H: So you meet, and we assume you became friends shortly thereafter, but where did the idea to start a website come from?
AO: I was actually at Chili’s (the best restaurant on earth) with our other co-founder McKenzie (Mackie) Hughes. Her and I had talked about our love for the industry and how I wanted more opportunity to work with (shoot with) artists because I was getting really serious about my career. We basically discussed the state of the industry for hours over endless chips and salsa + diet coke. Mackie and I knew that we wanted to start a magazine that was unlike the rest of the zines out there. One that only focused on positivity and overcoming struggles. One that could help the underdog and spread ideas/lessons across the board. I knew that Cara had interned with Alternative Press and I loved her work so I immediately brought her up. I remember telling her this idea that night and she was in!
H: Unlike most blogs, Highlight Magazine is actually available in magazine form (digital, of course). Can you tell us a bit about the decisions that lead you to create something more than your typical music blog?
AO: A lot of it was the actual magazine part. Something people could read through page by page and hold in their hands. Since we wanted Highlight to be a community we knew this would be fitting (in our minds at the time). I also was sick of all of the same old styles out there and I knew we could create something brand new. I’ll never forget the night Cara sent over the first draft of Highlight at the end of Feb 2012. I actually teared up because it was so amazing and I was so excited. She created it all from SCRATCH.
H: In addition to the digital monthly magazine, Highlight also features daily news updates, exclusives, and the like. How do you decide what content makes the magazine and what is better left on the newsfeed?
AO: Jenn Stookey is our managing editor and Anjel Lopez is a goddess who literally helps with everything. Her and Jenn coordinate all of the online side of things. When publicists come to us with pitches I try to accommodate the best I can – especially with the up and coming acts since that’s what we are about. But I send out more press requests than I can even calculate sometimes. We aim really high. 75% of the emails I get back are still no’s but it’s okay – makes it interesting!
H: How far in advance do you plan the cover articles for Highlight Magazine? *Bonus points if you reveal next cover star*
AO: Anywhere from five months to five days. Things get pretty insane… Nothing is ever set in stone. Somehow September’s cover artist (I can’t say who but I can say they are from Australia) has been planned for about two – three months now!
H: When you’re interested in discovering new music, where do you look?
AO: Honestly? My inbox. I also search around on random spotify playlists a lot!
H: What advice would you offer aspiring new talent hoping to be featured in a future issue of Highlight Magazine?
AO: Please do not Facebook message me. Email me! I read everything – truly. And if I can’t help I forwarded it to Jenn and Anjel! But I can say that you should make sure your band has solid support behind you. That sounds weird. But it’s hard for us to feature really small bands because we aren’t a huge world-wide publication (yet). We need your help with promotion and we need your fans to be excited you are joining our family.
H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?
AO: I know this is a Haulix interview but I love Haulix… When I dabbled in starting my own PR company I even used it! It’s very easy and it let’s me see everything I need use and download to all at once. I also use dropbox (the entire magazine runs via dropbox).
H: Highlight Magazine is currently a free publication. Do you have any plans to monetize your efforts in the foreseeable future?
AO: We made an attempt actually in June to have $1 digital downloads. It’s weird for me to talk about this but here it goes. Highlight averages 18K impressions an issue, when we tried to monetize it we didn’t get near that. It was never our goal to make money. Sure it would be really nice and we do have plans to push it more with advertising. But we want to keep the magazine free because we want to reach new people and continue to build this community we have created. We were founded on those principals and I want to keep those values going.
H: If you could change one thing about the music industry, what would it be?
AO: I’m not exactly sure. I’d have to think about this long and hard. But I will say that Warped Tour this year was sad. When I was home in Minneapolis there was barely anyone there and that’s pretty terrifying considering I grew up around that scene. I guess I hope that this up and coming generation gets converted over to rock and roll instead of electronic and pop music. I may be 21 but if Warped Tour ever ended… I have no idea what I’d do. Just wouldn’t feel like summer.
H: Before we let you go, can you tell us a bit about what you have planned in the months ahead?
AO: In regards to Highlight, the team is ever growing. One of my writers just stepped up to manage our digital marketing. I can’t really say that I’m thankful for the team enough. We’re incredibly small but we are all passionate about the industry and have the same vision. I’m very proud of what we have done. We won’t stop until we get Fall Out Boy, Paramore or One Direction (Cara, Jenn and Anjel really want One Direction – hehe).
In regards to my photo work, it’s been pretty all over the place. I’m just trying to focus on landing a tour that I can afford to take because all I’ve ever wanted to do was document that side of the industry. I just have so many ideas and I want to keep pushing myself in every single way I can. This year I’ve been lucky enough to have done a few short tour runs and it was so nice to get my shoes wet… But I really want a full US or UK/Europe. As of now I’ll just be in Chicago working my boring day job and traveling a bit working on some small projects.
Hello and welcome to the third installment of our Haulix PR Spotlight series. The last two weeks featured industry veterans with over two decades of experience between them, but this week is a bit different. Instead of highlighting someone more or less settled into an industry career we’re going to a focus on a talented individual who is causing quite a stir with a publicity company she started less than two years ago. Her journey to stability is only beginning, and we’re excited to share her progress thus far. If you have any recommendations for future publicists we should feature, please email james@haulix.com and share your story.
The age of social sharing and digital distribution has made getting your creative works to anyone willing to listen easier than ever, but that simplicity comes with a cost. As much as the ease of use helps you it also aides your numerous competitors in getting their new works out as well. This flood of content has made it harder than ever before to get noticed in the industry, and that very problem has lead many to throw in the towel altogether. Why add to a crowded marketplace when it’s already near-impossible to be heard? If you’re going to make it in this business there is only one answer: Because you have something unique to offer.
Like the rising number of musicians vying for attention these days, there has been an explosion of in the number of small publicity and management firms in recent years. To strike out on your own in the business world takes a lot of drive and confidence, especially in the music industry, and even those who find small amounts of success have a high likelihood of failure within five years time. Still, against seemingly all odds a small amount of these young entrepreneurs are finding solid ground in the industry, and today we could not be more excited to be highlighting one such talent.
Jen Appel did not always dream of being a music industry publicist, but in just over year after launching The Catalyst Publicity Group that is exactly where she has found herself. Backed by a team of hardworking dreamers with similar aspirations for careers in music, Appel has built a blossoming brand that artists big and small call home. Her drive for success is matched only by her passion for music, and it is our hope in sharing her story that another generation of young PR talent may be inspired to take their careers into their own hands.
Jen is a truly great soul who is always willing to speak with aspiring industry professionals. If you have any questions or comments for her, you can reach out via Twitter and she will get back to you within hours. While you wait, be sure to follow The Catalyst Publicity Group so you know what Jen is working on next.
H: For those unaware, please state your name, the company you work for, and your role at said organization:
JA: Jen Appel, CEO & Publicity Director, The Catalyst Publicity Group
H: Let’s start with the basics. What was the first album you connected with, and how did that record come into your life?
JA: I wouldn’t call it the first album I connected with, but Sugarcult Start Static is definitely an album that brings me back. I remember one of my friends suggested we play the album while water skiing out on the lake. I had never heard of Sugarcult before so I thought I would give it a listen. From there it stuck with me and became one of my favorite albums. There isn’t one track on the album that I don’t love, still to this day.
H: You went to school for communications, so I am lead believe you knew for awhile it was what you wanted to do in life. What attracted you to publicity as a career path in the first place?
JA: To be honest, I thought I would end up as an Interior Designer. Throughout high school I was on the Architecture/Interior Design path and quickly fell in love with drafting and building plans. When I first went to Indiana I enrolled in the Interior Design program however I wasn’t too fond of the 3D model building that would take up half of my degree so I decided to change. Halfway through my Freshman year, my advisor suggested I try Public Relations. After meeting the most incredible professor I knew PR was for me. My professor had worked at Saatchi & Saatchi for over 30 years creating some of the most well known commercials and a part of that he was their PR Director. After my Freshman year I interned at a top PR firm here in South Florida and that’s when I knew it was the right career path.
H: At what point did you connect your interest in music with your desire to work in publicity?
JA: Music has always been a passion of mine and my family. My uncle has played in several bands and is a master on the drums. I remember from a really early age trying to learn the drums and attending as many concerts as I could with my family. From there I went on to play in band and orchestra throughout middle and high school but it wasn’t until college that I really connected the two. During my Junior year at Indiana I met one of my best friends, Steph, an incredible singer/songwriter. Somehow we decided that I would “manage” her (and I use that in quotes because I really had no idea what I was doing, at all). It became something fun for me. I didn’t do much but I knew that music was something I wanted to tackle at some point. Skip to 3 years later when I lost my job at a Marketing Firm due to the horrible economy, I decided it was time try out music PR.
H: You started The Catalyst Publicity Group a little over a year ago. What lead you to start your own business?
JA: What lead me to start my own business is simple, I found that people in this industry only cared about themselves and there was a lack of passion for the actual music and musicians. I wanted to start Catalyst to show that there are people out there that care no matter what size your band is and where you are in your career.
H: Who was the first artist you worked with, and what can you tell us about your first experiences pitching new talent?
JA: The first artist I worked with was a pop-punk band out of Dayton, Life After Liftoff. When first pitching new talent it can be difficult especially if the band is smaller. I work with my team to make sure we brainstorm every angle of the artist to ensure we are getting the right pick up.
H: There are a growing number of publicity groups working in the alternative music realm. What is it about Catalyst that separates you from the competition?
JA: We are a family. Not to sound cliche but our team is really close and we make sure to help each other out whenever possible. In addition, our talent is family to us. We make sure at every turn that they are taken care of, even if it is something outside of the PR realm, they are our number one priority. My biggest key is to make sure that everyone is comfortable with their campaign(s) and that we are having fun. Music is supposed to be fun, something that takes you away from your problems, why does it have to be any different with a PR campaign.
H: What do you think is the biggest lesson you have learned in the last year of your career?
JA: Not everyone is nice. This has been a tough lesson to learn over the last year. I’ve always been the type to see the best out of people and think they are also here to help, but that is not always the case. There are some evil crazy people out there that have no problem taking advantage of you to gain full speed ahead.
H: If you could offer one piece of advice to aspiring publicists hoping to work in music, what would it be?
JA: Get to know your local/regional music scene, try to take some of the smaller bands on as freelance clients just to get a feel for what it is like. Before you reach out to any PR firms for work remember that typically there are no days off and this certainly is not a 9-5 job. This was the most difficult thing I had to learn when transitioning into music.
H: As someone who has worked with talent both signed and unsigned, do you feel record labels, big or small, are a necessity in the modern music industry?
JA: Yes and no, I believe it is dependent on the talent. It really depends on where the artist is at in their career.
H: As a publicist, what advice would you offer writers hoping to work with your clients?
JA: Please, please take the time to research my clients before an interview. It is just as frustrating for an artist as it is for a publicist when interview questions are so generic. Be creative with your questions, it’ll take your publication and career farther. H: Do you feel album leaks are preventable? If so, how would you advise an artist to keep their music safe while still getting the word out? If you can, share an experience.
JA: I would suggest an artist pair up with a PR firm to ensure their music is safe while garnering pre-release press. This is just one way to ensure that your album won’t leak, but these things do happen.
H: When it comes to working with your clients, how do you prefer to share their music with press? What is it about this method that appeals to you the most?
JA: There is the standard press blast and pitching but I really find the best method is to actually chat with press about an artist. I try to get to know the editors I work with, figure out what kind of music they’ll like and pitch them on a case by case basis. I am all about conversing with people and if I can tell someone about a band and show my excitement it’ll take the campaign farther then a typical press release. H: If you could change one thing about the music industry, what would it be?
JA: To be honest, I don’t think I would change anything about the industry. H: Your roster is growing every week it seems. Do you have any plans or releases on the horizon you’d like to share with our readers?
JA: Right now we have several artists on tour so make sure to check out our blog section on the Catalyst site and see if they are coming to a town near you. September will be one of our biggest months to date. Not only are we celebrating our one year anniversary but for the first time Catalyst will be sponsoring the Driven Music Conference in Atlanta Sept 26-29. If any artists are interested in showcasing please head over to DrivenAtlanta.com.
To keep up with everything Catalyst head over to our website: TheCatalystPublicityGroup.com.
Another Monday has found its way into existence, and here we are once again with a new Haulix Blogger Spotlight. This feature is the longest running on our still-young blog, and this week it gains one of its lengthier entries to date. If you have someone you would like to nominate for a future installment of this series, including yourself, please do not hesitate to email james@haulix.com and share your story.
PropertyOfZack founder Zack Zarrillo was the very first blogger to be featured in this series, but only a fool would think everything POZ has accomplished in recent years resulted from the efforts of one barely twenty-something with a laptop and a lot of big ideas. In fact, the contributing staff that helps keep POZ atop the alternative news game numbers in the dozens, and amongst them lies one curious soul by the name of Jesse Richman. He may not be the top news writer in digital journalism, but his work on artist features has helped widen the gap between POZ and their closest competitors while simultaneously helping usher in a new wave of talent to alternative scene.
Sometimes you meet influential people in the strangest of places, and other times it’s more a twist of fate. For Jesse Richman and I the latter was definitely the case. SXSW 2013 was fast approaching and before I could log on to book a hotel I learned all rooms in the immediate vicinity of downtown Austin were completely booked. A chance conversation with Zack Zarrillo put me in contact with Jesse, and before long I had found a temporary home with him less than a mile from Austin’s biggest events. We had never met or spoken before arriving, but in the days that followed I was able to watch his masterwork first hand as Jesse prepared and conducted interview after interview with talent from all walks of life. In between press events he would catch bands, usually chosen ahead of time to maximize coverage, and on the off-chance he found himself with a free moment he would begin working on his posts for the following day via phone or laptop. His work ethic is unlike anything I have witnessed elsewhere in the industry, and it’s an honor to share his story here today.
We spoke with Jesse about his life before music, what got him interested in writing in the first place, and where he sees the music industry headed in the years ahead. You can read his thoughts on all this, as well as few details on what PropertyOfZack has in store, below. If you would like to know more about Jesse we highly encourage you to stop by his Twitter, or his personal portfolio site.
H: For those unaware, please state your name, the site you work for, and your role at said site:
JR: My name is Jesse Richman. I’m a Senior Writer at PropertyOfZack, which I’ve called home since 2010. I also do sporadic work for other sites, and maintain my own music blog as well (generally for more personal writing) at MakeupForTheSilence.com.
H: What was the first album you really connected with? How did you discover it?
JR: Music has been a part of my life since literally before I can remember; when I was a baby, I refused to sleep if there wasn’t a record on the turntable.
That said, the first album that really felt like it was mine was Live’s Mental Jewelry. I remember catching the video for “Operation Spirit (The Tyranny Of Tradition)” on MTV one afternoon and just being blown away by it – visually, lyrically, sonically. When I learned soon after that they were a bunch of 20 year old kids from a town less than two hours away, it became clear they existed specifically for me to find.
H: What inspired you to get into writing in the first place?
JR: It’s just something I’ve always enjoyed, and always had a bit of a knack for. A lot of it was just loving reading, and wanting to make something others would love and learn from too. A handful of good English teachers to encourage me didn’t hurt. That said, I never really had the creative impulse for fiction writing; expository writing, whether journalistic or biographical, has always been more in my wheelhouse.
H: You went to school to study law. What attracted you to the world of entertainment journalism?
JR: I did go to law school, and I actually still practice law full-time – it’s the day job which affords me the opportunity to pursue writing as more than a hobby despite the collapse of the marketplace. As for what attracted me to entertainment journalism, I’ve been a voracious reader of music literature for as long as I’ve been a music listener. I have memories of Study Hall periods spent in the school library, churning through decade-old issues of Rolling Stone. You’d have been hard-pressed to find a day where my backpack (covered with band logos drawn on in White-Out) didn’t have at least one music bio crammed in among the school books. I think it’s just always been in the cards that I would write about music.
H: Your work can usually be found on PropertyOfZack, a site that we have featured before. What is it about the content offered on POZ that separates you from your countless competitors?
JR: in our early days, POZ really distinguished itself with its video content – Live’s, Acoustic sessions, documentary coverage of things like the GK Holiday Fest. Over the last year we’ve made a strong push to expand our written content to match. We’ve introduced Perspective (our features series), weekly Friday Discussions, our retrospective Decade pieces, and now Inside – multi-article deep digs on key players in our scene. We’ve got a really strong core of writers, and we’re giving them the opportunities and the tools to explore their passions. Everybody wins – the site, our writers, and especially the readers.
H: The majority of your features involve interviews. Do you recall your first interview experience as a journalist?
JR: I’m sure I did some interview work for my high school paper that I’ve long forgotten, but I really cut my teeth working for the Arts section of my college paper – I think I sat down with every band on campus at some point.
H: Every writer is guilty of having stock questions they fall back on when times get tough. If you had to guess, which question do you think you’ve asked most often over the course of your career?
JR: I’m endlessly fascinated by the creative process – how songs are written, how bands go about arranging and recording those songs. I love to ask business-related questions, because nobody knows where the music business is headed but everyone’s got their opinion on it. And if all else fails, I ask what’s on the radio in the van/bus, partly because I’m confident enough in my musical knowledge that I can turn any answer into a launching pad for more questions, and partly because the easiest way to crack opena tough interviewee is to get them talking about something they’re passionate about.
H: There are a growing number of people who view what you do as a possible career path for themselves. What advice would you offer those who hope to make a name for themselves in writing these days?
JR: Write, write, write. Read other writers. Talk with other writers – it’s never been easier than it is right now to get in touch with virtually anyone. Debate, test their ideas, make them test yours, listen to feedback. Then, write some more.
H: You’ve racked up quite a list of interviewees over the years. Who is left on your “interview bucket list”?
JR: Anyone who’s made music that makes me feel! I don’t really have a list, but there are definitely some childhood musical heroes I’d love to really get in deep with someday – Ed from Live, Raine from Our Lady Peace, Colin and Mr. C of The Shamen. And if the ghosts of Kurt Cobain or Doug Hopkins of the Gin Blossoms feel like dropping by for a chat, I’m game.
H: What would you say is your ultimate goal as a writer?
JR: To be read. And to have something to say that’s worth reading. I might be putting the cart before the horse there.
H: PropertyOfZack is known for breaking up and coming rock bands. Where do you turn when hoping to discover new music?
JR: My fellow POZ staffers. Our fellow websites, like Under The Gun Review and AbsolutePunk. My friends in the blogosphere. I follow a list of 300+ music-related folks on Twitter – musicians, songwriters, producers, PR folks, journalists. Tumblr has a vibrant, if echo-y, critical community. Podcasts – I subscribe to probably 10 music-related podcasts.
I’ve also built up something of a mental list of must-read music critics – folks who, through their skill and insight, make me think about music in new, exciting, eye-opening ways. Nitsuh Abebe, Maura Johnston, Tom Ewing, Stephen Erlewine, Steven Hyden, Luke O’Neill, Leor Galil, Jason Pettigrew, Annie Zaleski, and many more. Everyone who posts at The Singles Jukebox. Apologies to everyone I’m forgetting. There’s so much more to writing about music well than just discovering new acts.
H: Speaking of music discovery, you probably receive a lot of submissions from young artists vying for a spot on your news feed. What advice can you offer young artists hoping to stand out in your inbox?
JR: Don’t bother. Really. I ignore virtually everything I get sent from publicists (and, sadly, from bands themselves). Write good songs, play good shows, build a buzz. I keep my ear to the ground, and if you’re doing something interesting, odds are it’ll make its way to me.
H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?
JR: We wouldn’t be here doing this interview if we didn’t both think Haulix was the bees knees, right? I want tracks I can stream, and preferably download too – I’m a New Yorker and do a lot of my listening on the subway, where streaming isn’t an option. Haulix is straightforward and intuitive.
H: If you could change one thing about the music industry, what would it be?
JR: I’d find some way to put the money back into it! The last 50 years were a bubble, and that bubble’s burst, but it was a glorious bubble to live in, wasn’t it?
H: You tweet a lot about having big plans for the future. Before we let you go, can you tell us a bit about what you have planned in the months ahead?
JR: I’m really stoked for Riot Fest, both as a writer/interviewer and as a fan who never had the chance to see The Replacements live. CMJ is coming, and I’ve already started making plans for next year’s SXSW. In between all of that, I’m just going to keep writing as much as I can!
