Hello, everyone! If you’re reading this it means you survived the first month of the new year and are just hours away from greeting February. Things were a little slow when the year began, but the industry picked up very quickly once the everyone returned from their holiday break. We have been running around every day in hopes of making this the best year Haulix has ever had, and in the paragraphs below we’ll catch you up on everything you may have missed.
The question we have been receiving most often on Twitter, Facebook, and other areas of the social media realm is when our much discussed mobile platform will launch. While we still do not have an exact date in mind at this time, we can reveal that we are currently in what we hope will prove to be the final stages of testing. Once we know everything works as well as it possibly can we will push the service out to you as fast our we are able.
Outside of our work on mobile, there has also been plenty of effort made to further refine our software in recent weeks. Most projects are still under wraps at this time, but we are able to share that one update currently in development involves a new outgoing email engine that will be even faster than the one we currently have in place.
On the blog end of things, January was by far our busiest month to date. We featured a number of personalities from across the industry, including three professionals who work full time outside the US. We have a lot more in store for February, including the launch of at least one brand new, never-before-seen feature that we feel journalists will absolutely love.
Beyond the promise of new columns, February will also find the blog expanding to seven days of coverage each and every week! We love providing you with insight and advice on life in the music business and are extremely thankful for your continued support. This expansion is one of many we hope to realize in 2014, so please encourage everyone you know who has an interest in the business side of music to stop by when time allows.
In case you missed any of our posts this week, here is a link of everything that has run in recent days:
We will be back tomorrow with the first-ever Saturday update and we hope you will take the time to join us. If not, have a fantastic and safe weekend. If you can, make time for discovering new music. It’s worth it.
Hello and welcome to final Blogger Spotlight of the week. The interview you are about to read was written and conducted by music writer Jesse Richman at our request. If you have any questions regarding the content of this blog, or if you would like to learn more information about the services offered by Haulix, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
You might not recognize the name James Shotwell at first glance, but if you’re here reading the Haulix blog (and I know you are, because you’re reading this right now! gotcha!), you’re actually intimately familiar with his work. Yes, James is the man behind the keyboard here at Haulix, turning the spotlight on industry professionals of every stripe with his interviews, offering advice on publicity, marketing and more to bands, and keying you in to the newest features of Haulix’s platform. Think about that for a moment – how is one man capable of writing about, or even qualified to write about, all of this stuff?
Well, as it turns out, this isn’t James Shotwell’s first rodeo. I’ve long known James as the founder of Under The Gun Review, one of the best sources on the Internet for insightful, smartly-written commentary on the latest in music, film, comedy and more. (He’s also the guy who put up with a full week of my snoring at last year’s SXSW, which means he’s either a living saint or a crazy person. I’ll let you be the judge of that). Still, as I discovered in this interview, there’s a lot more to James than even I knew. Instead of boring you any further, I’ll just let the man tell you about himself, in his own words, below.
If you would like to learn more about James, make sure you follow his thoughts and observations on Twitter. Additional questions and comments can be left at the end of this post.
H: I think we’re all pretty familiar with who you are and who you work for, but what is your official title here at Haulix, and what does it actually mean you do here?
J: Well my name is James and I am the marketing coordinator here at Haulix. I run organize and execute all social media campaigns, run the blog, research promotion opportunities, and generally do my best to make sure the Haulix brand is being represented well both online and off.
H: Ok, we’ll get back to Haulix in a little bit, but let’s start where you start. Where were you born and raised, and more importantly, what role did music play in your life during those early years?
J: I was born in Bowling Green, Ohio in late 1987. It’s the same day Miley Cyrus was born, and oddly enough many of my earliest memories with my mother and music are when she was a diehard fan of Billy Ray Cyrus. I mean a real fan, like, fan club exclusive windbreaker and everything. She even likes the non ‘Achy Breaky’ albums.
Music has always been a big part of my life. My grandfather was a pastor in the church, and I spent many days roaming the empty pews while he and the choir prepared for the next week’s service. My parents were also big music fans. My mom, as mentioned above, loved country a lot when I was very little. My dad was into rock, both christian and mainstream, and they began taking me to concerts before I was old enough to enter school.
H: What’s the first band you fell in love with? What was it you love(d) about them?
J: The first band I can remember being captivated by is Audio Adrenaline. Specifically, Audio Adrenaline during their ‘Some Kind Of Zombie’ phase. Horror is something I love nearly as much as music, and I look to that band and that record as very formative forces in my early years. They were a christian rock band, but they had an edge and gift for lyrical wordplay that drew me in like no other. We even saw them live at one point, but I barely remember the show.
H: What about your first live music experience? Who did you see, when, where? What stands out about that first show?
J: I touched on this before, but my parents were taking me to music events from a very young age. I cannot pinpoint which was first without calling my mom, but I remember the Audio Adrenaline ‘Some Kind Of Zombie’ tour leaving a big impression on me. They were headlining with the OC Supertones as direct support. Before that, I believe we saw the vocalist Carmen in Toledo, but again – too young to remember. My dad tried to buy me a shirt from the Audio Adrenaline show to mark the occasion, but the only size they had left was adult medium. I didn’t care though, and for the next year or two after that I would sleep in a tour tee from that night.
H: At what point did you know you wanted to make music more than just a hobby? DId you ever pick up an instrument yourself, or did you always know you wanted to be the man behind the curtain, as it were?
J: I think my interest in the music business began with those early concerts, but it wasn’t until I heard Blink-182’s ‘Enema Of The State’ that I felt any drive towards making music my life. Until that album hit my ears music was something I used to connect with the world outside the quiet farming community I called home. My parents bought me a cassette copy of ‘Enema,’ and that same summer I probably spent every other night riding around my town on a bike with headphones in (behavior I no longer encourage – wear a helmet!), screaming along to every line. I felt drawn to the chords and the lifestyle of being yourself the music spoke about, and before long I was signing up for band in school and attending local shows at night.
As far as actually performing is concerned, I was a member of my school band (concert and marching) from middle school until graduation. I also played guitar for a number of years, and even put out a couple solo releases under silly uber-emo names that will remain out of this interview because I don’t need the internet digging up forgotten streams. I played shows, tour the region with friends, and whenever that was not an option I booked shows for friends at a local venue. I was never the greatest booking agent, but I loved being involved in creating entertainment opportunities and realize now those times helped inform the ‘Advice’ columns I now write through Haulix. It all comes back around, I guess.
H: Folks here might only know you from Haulix, but before you started working for the best online music promotion service in the business (it is, isn’t it?), I knew you as the man behind the keyboard at Under The Gun Review. Where did the impetus to start UTG come from? How has that site grown and evolved over the last half-decade?
J: I spent the majority of high school and college doing whatever I could to build my resume in hopes of one day catching the eye of someone in the music industry. At some point during my Sophomore year in college I stumbled across a Facebook post seeking writers for a new music review site called HighBeam Review (RIP). I applied and spent a couple of months writing for them, but ultimately decided to step out on my own after falling in love with a chapter on music from Abbie Hoffman’s ‘Steal This Book.’ He wrote that anyone could gain access to free music from record labels if they were willing to run a zine of their own, and for whatever reason my broke as can be self thought that was the perfect role for me. I gave notice at the site, launched a blogspot after my own name, and about two months registered the Under The Gun URL.
With our sixth anniversary just two months away I must admit the many changes the site has undergone since launch have been on my mind quite a bit as of late. I was the only contributor originally, and at first there was a strict policy against news on the site. I only wrote reviews, and every day a new review would be posted. Over time I realized that reviews alone would not build a community however, and slowly news began to creep into the site. More writers came, new ideas emerged, and now we feature news, reviews, editorials, pictorials, and a few random articles in between. There are nearly 40 contributors spread across the globe, and many of them have been with the site for well over a year. We’re a family as much as we are a team, and we even found time along the way to introduce film coverage into our offerings. It’s been an absolute blast thus far and I cannot wait to see wait year six will hold.
H: You’ve broken a number of stories at Under The Gun Review – it’s a great source for music news. But perhaps even more importantly, Under The Gun frames that news with context, insight, and educated opinion, and that editorial work has been recognized by some of the biggest sites in media. Do you have a particular favorite story or feature that you’ve worked on? Which accolade was the most surprising? The most meaningful? Don’t be shy, toot your horn!
J: First off, thanks for tooting our horn. We try to focus on quality over quantity and never let the chance for easy hits interfere with our desire to offer in-depth insight into the entertainment industry, but it’s admittedly a constant struggle and we appreciate anyone who notices our efforts – good or bad. That said, I often find myself falling in love with features that are not necessarily the most read or widely covered. My greatest joy in doing UTG comes from creating features that I don’t believe would have otherwise existed had our staff not thought to create them. In 2013, a good example of this would be our in-depth interview with Cody Votolato about the early years of The Blood Brothers and what he remembers from the time surrounding the release of ‘Burn, Piano Island, Burn.’ That album has impacted more lives than probably anything I could hope to write, but as the decade mark was approaching it seemed like everyone was fine to let the day pass without a moment of reflection. Our column may not have been our most read interview of the year, but for fans of the band it offered a never-before-shared perspective on their most formative years that many probably never thought they would read. To me, that’s the kind of content sites like UTG should hope to create every day. We know we don’t have access to Miley Cyrus or other ‘in the moment’ stars, but we do have the ability (and time) to craft unique editorials on topics and ideas that bigger publications are forced to pass over for one reason or another. Sometimes we lose sight of how great that is, but we’re getting better at it.
H: One of the things that makes Under The Gun Review unique is that you don’t limit your reporting to music – movies and comedy make up a large part of your coverage. What’s your favorite movie of all time? Is there a story behind your interest in the cinema?
J: My love of cinema, much like my love of music, started very early on. There was a small theater near our home in Ohio that I would frequent with my parents as a child, and for whatever reason I still hold many memories from that location close to my heart. The pain I felt when ‘Aladdin’ was sold out its opening weekend still haunts me.
When it comes to film and UTG, the decision to inject more cinema into the site was one that felt logical from the start. Everything on the site, at least initially, was spawned from my personal interests and tastes. I like to think of myself as someone with a very open mind when it comes to art, and I do my best to seek out new music/film/photography/etc whenever the opportunity presents itself. I figured if there were enough people in the world who agreed enough with my diverse taste in music to read UTG there were probably just as many, if not more, who also loved film. We gave it a go, and as of December 2013 our film coverage is as frequent as our music, with nearly as many reviews being completed in the calendar year as the previous two combined.
Favorite movie is a question I do not take lightly. I have thought about this for many hours, and have gotten into heated arguments with myself over the pros and cons of movies far older than myself as a result. That said, I am confident in my belief there is no greater film in existence today than the 1976 classic, NETWORK. It blew audiences away when it was release, and to this day it holds up on each repeat viewing. The dialogue is crisp, the acting is on point, and the tale of a newsman trying to stay above water in the face of the ever-changing world of media is something I connect with far more than I would ever care to admit. I think everyone who writes about the world probably feels the same. That is, if they’ve seen it.
H: How about comedy? Is there a favorite comedian, or comedy album/special that sparked your interest?
J: My biggest creative inspiration is George Carlin. I have poured over every one of his comedy specials and books at least three times already and I know I will go through it all many more times before my days are done. I found his book, ‘Napalm and Silly Putty’ in my local library in middle school and have been a fan ever since. My parents were (and are) against profanity, so I had to keep his work secretive around the house. Some teen boys have hidden porn collections, but I just had dirty comedy written by the snarkiest grey-haired man I had ever encountered.
H: As long as we’re on the topic, it’s that time of year again… list time! Instead of making you run off a countdown of faves (I imagine you’ll be doing plenty of that regardless), how ‘bout you tell us one artist, movie and comedian that made an impact on you this year but flew under the radar for most? Let us bask in your secondhand cool for a minute, so that we might be cool too.
J: Things that the spotlight we call ‘hype’ missed? Hmm…
Artist: Sledding With Tigers
This is a bit of a selfish pick because my label just agreed to do their debut album, but throughout 2013 I was slowly falling in love with this band. I like to think of them as the love child Kimya Dawson would have if she were impregnated by The Front Bottoms, only slightly more punk.
Movie: The Kings Of Summer
This movie had so much hype leading into summer that I thought it would be a runaway success on the level of ‘Little Miss Sunshine,’ but for one reason or another it got lost in the early june box office shuffle between ‘Now You See Me’ and whatever came out before ‘Man Of Steel.’ Coming of age are almost movies always a safe bet for a good time, but there is a special chemistry shared between the three young men at the center of this story that is nothing short of electrifying to watch. Plus, Nick Offerman appears.
Comedian: Lamont Price
I just saw Lamont perform as an opener for Big Jay Oakerson on New Year’s Eve and he absolutely crushed. His stage presence is very welcoming, making you feel almost like a best friend sitting opposite your over-active, nicely afro’d friend with hilarious stories to share. It’s hard to discuss him too in-depth without giving away bits, but a quick scroll through YouTube will probably give you all the information you need to know.
H: Back to business – along with UTG, you recently spent time with a company called OurStage. What was OurStage, and how did you get involved with them? What was your job there? Tell me about a particularly memorable experience from your time there.
J: I got involved with OurStage after a former UTG contributor suggested I apply for one of their paid internships. I lived in Michigan at the time, but when they asked me to fly out for an interview my parents helped me book a flight the next day. I came out, we talked for about forty-five minutes, and I went home. Two weeks later, while stranding in Arkansas following car trouble on my way back from SXSW, they called and offered me a full time role promoting a new project they were developing. That project eventually died, but I stayed on as social media head for a few additional years. I also worked on the blog, which highlighted the efforts of OS artists as well as those in the mainstream.
In 2012 the company suffered a few financial setbacks, and as a result I was laid off for several weeks. When they called me back to work, an opportunity came up for OS to sponsor a stage on Warped Tour and we leapt at it. I was chosen as the tour manager not long after, and the following summer I accompanied Larry g(EE) across the country for six weeks of shows on the world’s wildest traveling music festival. It was a one-of-a-kind experience that I will never forget.
By the time I returned to the office there had been several more changes to the structure, and I eventually settled into a general marketing position that included my previous efforts in social media and blogging. That lasted another year, and then I decided the time had come for me to move on.
H: OurStage, like most entertainment ventures, ultimately struggled to succeed. Having had a front-row seat to its rise and fall, what lessons did you learn from your OurStage experience that might help Haulix users fare better in their own ventures?
J: OurStage taught me that in order to succeed in the startup world you need a complete offering. OurStage built a streaming platform for exposing people to new music that worked great and proved to be a valuable tool for businesses hoping to leverage music in promotional campaigns. That always worked and will, most likely, continue to work for whatever business builds a similar platform in the future. The problem is that when the company tried to expand it did so in ways that did not always benefit the initial offering. For example, we had a social network element to our site that was never very social.
Haulix offers a far more complete product. We keep your music safe and offer a great streaming platform for journalists, yes, but we also offer all the tools needed to distribute and manage your media in ways that entirely customizable to your needs. We also offer analytics on both email and media engagement. It’s a ‘one stop shop,’ if you will. Having nailed that down, we are now able to refine what we know works while focusing additional time and effort on exploring future updates.
H: Is there anything else I’ve missed? Any other industry-related experience I haven’t mentioned?
J: I do some PR work with The Catalyst Publicity Group.
Oh, and I am one-half of Antique Records. We’re a boutique label based out of Boston that specializes in limited edition releases. We have a dozen or so tapes out right now, as well as great 7” from the band Maura. We just announced plans to release Sledding With Tigers’ debut album in early 2014.
H. You joined Haulix in June of last year. How did you find your way here? Were you a user of the service before you came to work for it, like a modern-day Sy Sperling? What was it about Haulix that intrigued you enough to cast your lot with the service?
J: My role at Haulix came into existence more or less out of my own curiosity about the company. I had been tweeting with Matt (the founder) over the last several years, and one day our conversation built from a basic Twitter chat about the company’s plans to a chain of emails that eventually became the position I have today. Being someone who works online, I’ve learned to appreciate anything nice anyone says about my efforts, and as a result have made it a point to tweet zines/startups I enjoy to let them know they have my support. Haulix has been my favorite platform for music distribution since I first encountered it in 2008, so I had been tweeting to them (and about them) for a number of years before it ever grew into something bigger. When Matt asked me however, I knew right away it was unlikely a company I loved as much as Haulix would come my way again and leapt at the opportunity to add to their efforts.
H: What about a “best practice” here at Haulix? What’s one part of the service you see being underutilized, or misutilized? You folks offer a lot of great tools – what should your users be doing to make sure they’re getting the most out of your offerings?
J: Something I know I am guilty of underutilizing in the past as a journalist is the ability to add comments/review links to your individual promos. Most bloggers I know either email links to PR people or hope someone connected with the release notice their social media promo blitz, but you can directly engage the people responsible for sending you the promos you have review through our service. I’ve included a screenshot to be nerdy/helpful:
H: The music industry is rapidly changing, and between your different positions, you’ve got your finger on the pulse of it. What advice would you give to someone who is just getting started, or is wanting to get started, on a career in the industry? What are the clearest avenues to success? To what do you attribute your own success?
J: I’m a firm believer the best industry minds get their start in their local scene. If they do not have a scene they should consider their first challenge in the business to be creating one. My town lost its only music venue when I was in middle school, but thanks to a very kind family I was given the opportunity to reopen it while still in high school. I booked over two dozen concerts before graduation, working with both local and national talent, and though it closed again shortly after I left for college the experiences made possible by its existence laid the foundation for everything that would follow in my life.
There is no ‘clear avenue to success’ in this business, but those who find a niche they enjoy and dedicate all their effort into doing that thing to the best of their ability are those ones most likely to succeed. There is something to be said for knowing a little bit of everything, but unless you can do a few things incredibly well you will not be very useful for long.
H: Finally, prognosticate a little. Where does the industry go from here? Where do you see Haulix in five years, and where do you see yourself?
J: To be honest, it’s really hard to guess what the industry will be like five years from now. It seems more and more artists are moving away from the traditional album release format, and I think in the long run that is probably best for a lot of talent currently working the unsigned music circuit. More often than not albums seem to end up being underwhelming and turn away people who may have been sold on the group if they had chosen to release one song at a time, or even a couple of tracks every few months.
As for Haulix, I believe the sky is the limit. We have been consistently growing for a number of years and we would like to continue doing so for as long as possible. We will be launching our mobile platform this year, and there are several additional developments we are currently considering. Can’t let those secrets out just yet!
My biggest goals right now are to stay the course with my current projects and see just how far they can develop. Working at Haulix is a dream come true, and the fact it allows me time to also write freelance on the side is something I certainly do not take for granted. I would be perfectly happy never working in a conventional office setting again.
Hello and welcome to a very special edition of our ‘Advice’ feature. We know many of you have been following our series on professionalism, but this afternoon we want to take a brief break to help our readers who are currently preparing to travel to SXSW. If you have any questions regarding the content of this blog, or if you would like to learn more information about the services offered by Haulix, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
SXSW is still seven weeks away, but if you are even considering the possibility of performing in or even visiting Austin during that glorious week in March the time for preparation is now. In fact, you should already be well on your way to being completely prepared to overtake Austin, but just in case you have been dragging your feet we created this post to help get you back on track. Read through, ask yourself the questions listed, and by the time you’re done you will be more ready than ever to tackle the chaos known as South By Southwest.
1. Do you know your travel plans and budget for the week?
Budgeting and planning a trip can be a headache, which is why many people choose to procrastinate nailing down the details of any journey until the last possible moment. If you want to make this SXSW the most successful is can possibly be you need to know your plan of attack as soon as possible. Book a flight (while you still can), lock in your lodging, and discuss amongst everyone coming with what your daily budget will be. Many events offer free food and drink, but those seeking water or actual meals will need cash in order to satiate their cravings.
Beyond budgeting financially, you will also want to begin discussing how you plan to use your time in the city of Austin. Create a calendar and fill in every event you absolutely need to attend. Once that is complete, work together with your band members and anyone else going to Austin and devise ways to promote you music and any performances you may have during the week. Assign each other tasks and brainstorm various approaches you can take to gain the public’s attention.
2. Speaking of promotion, how are you going to get the word out about your music?
There are over 1500 bands performing in Austin during the week of SXSW, and more than 90% will walk away without seeing much, if any change in their careers. We could go back and forth about the reason for this, but more often than not it boils down to how much attention the individual act is able to bring to themselves during the course of the week. If your plan for promotion is social media updates and handbills, you probably will not see a very big impact on the trajectory of your career following the festival. If, however, you begin researching innovative marketing techniques for 2014 and apply them to your efforts in Austin the sky is the limit. Creativity is key to success, and when you’re surrounded by literally thousands of creative people it takes something extra special to stand out from the herd. Do not let your art become part of the majority.
3. Are you focusing on your efforts on quality or quantity?
There are bands who believe the key to being noticed at SXSW is to play as many shows as humanly possible, but the real way to take your career to the next level is actually far simpler: Connect with the audience. Whether you play one show or ten, it only takes one person with the right connections noticing your music for your career to change overnight. Do not stress over the amount of gigs you have or the time allotted, but instead focus on delivering the highest caliber performance possible when the time comes. Remember: It only takes one person to change your world.
4. What are you doing right now to promote your time in SXSW?
The entire list of artists showcasing at official SXSW events was recently released, which means everyone with a publicist on their team is already at least one email into their promotional efforts for Austin. As an independent artist with few festival appearances under your belt, it would be a good idea to begin promoting and otherwise advertising your presence at SXSW as soon as possible. Reach out to bloggers, share your latest music and let them know if they’re coming to SXSW you would love to meet up. You don’t need to sell them right away, but you should at least make them aware of your plans. It won’t be long until publications begin compiling the ‘must-see’ bands of SXSW and with a little luck your group could make the cut. Click here for some additional tips on contacting members of the press.
5. What goals do you have for SXSW?
The worst thing you could possibly do before heading to SXSW is convince yourself that one trip to Austin will change your life forever. We’re not saying such things will not happen because they most definitely could, but the odds are incredibly stacked against you. Set achievable goals that will help you further your efforts in the long run instead of focusing on short-term success. If you want to play to 50 people, then do whatever you can to bring 50 people to your show. If you want to find a manager, order business cards and make plans to network whenever time allows.
SXSW works for those who know how to work it, and the first step to doing that is understanding you get out of your efforts what you put in. Those who do the work necessary to play at their absolute best and go out of their way to be creative with marketing are going to get further than the band with great hooks and zero following. It’s that simple.
Hello, everyone! Welcome to the second week of our ongoing ‘Advice’ series on professionalism in the music business. We have been crafting this run of columns for a while and are very much looking forward to sharing the result of those efforts with all of you in the weeks ahead. If you have any questions regarding the content of this blog, or if you would like to learn more information about the services offered by Haulix, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
Though we are all on our own unique journeys in this life, there is not a soul among us who finds their way into their dream career without first overcoming that little voice in their head that tells them they are not good enough or are otherwise undeserving of the achievements they seek. Steven Pressfield, author of The War On Art, describes this voice as ‘resistance,’ which by definition is anything that holds you back from doing what you are compelled to do. It’s a creativity assassin and it can take the form of many things, including procrastination, lack of motivation, insecurities, self doubt, fear, unhealthy relationships, addictions, and the like. Whatever prevents you from becoming the truest version of yourself and expressing that person to the world is your own form of resistance, and learning to overcome that force is the first step to becoming a professional in the music business.
Make no mistake: The war against resistance is a daily battle. In fact, it may even be hourly at times. Resistance strikes when you are least expecting it and cripples the part of your brain that allows your imagination to flourish. It weighs you down with stress and unnecessary distractions until you are unable to step outside your comfort zone, then drowns you in the ever-increasing mediocrity of repetition. It can be overcome however, and those who eventually become professionals in this business will find a way to conquer whatever holds them back. To quote Pressfield, “Turning pro is free, but it is not easy. You don’t need to take a course or buy a product. All you have to do is change your mind.”
We cannot prepare you to battle every form of resistance you will encounter, but we are determined to do whatever we can to aide you in furthering your creative endeavors. For the purposes of today’s post we are going to tackle one of the obstacles most often encountered whenever anyone attempts something creative: Procrastination.
Everyone battles procrastination on a daily basis. From the moment your alarm goes off in the morning procrastination is waiting, just inches from your pillow, to greet you with a million reasons you should put off doing whatever it is you want to do with your life. It can take the form of meetings, Law And Order marathons, drinks with friends, even exercise. Professionals recognize this, and they take steps in their daily lives to limit the temptations resistance can present. Here are some ways you too can actively fight procrastination:
1. Wake up every day ready to work.
This first step to overcoming procrastination is often the hardest, but it can dramatically impact the amount of resistance you will encounter over the course of any given day. The most important thing you can do for your craft is work at it, and to do that to the best of your abilities requires a daily commitment. Set time aside each day for working on your dream,whether it’s being a manager or playing lead guitar, and focus on nothing else during that time other than your goal. All things start with a first step, and for those working towards becoming a music industry professional this is the ideal place to begin. Sit down, take a deep breath, and dig in.
2. Keep at it, and realize achieving your goals may take longer than you think.
Showing up to work is one thing, but putting in the work is another conversation altogether. Nothing is more important to the continued development of your craft than sitting down each day and trying. Write something, anything at all, just sit down and put the pen to paper. Strum the guitar until your fingers are sore, pound the drums until your wrists hurt, or whatever it may be.
If you are going to become a professional you need to fully commit to the pursuit of your passion. Close all social networks and put away any piece of technology you do not need so you can allow yourself to become immersed in your passion. The more frequently you do this the easier it will become to tap into your creativity and avoid resistance. Repetition is key.
3. Be patient. Nothing happens overnight.
Professionals realize their goals require great dedication and sacrifice. They know not to expect results right away, but rather to allow themselves time to properly develop. This is not the same as being lazy however, and the two can often get confused. Professionals show up every day and do the work needed because they believe the longterm benefits of their actions will ultimately outweigh whatever hardships they have had to make. They hold tight to the hope that hard work pays off and they see their efforts through to fruition, however long that may take.
4. Learn to act in the face of fear.
Fear is the cousin of procrastination, and together these two forces of resistance can deplete any desire you may have to create. That may worry some, but it should not worry you. Fear, like self-loathing, can be a good thing. Fear tells us that what we are attempting to do matters, and by facing the unknown we are proving to ourselves we are ready to accept the challenges of being a full-time professional.
Remember the lesson we teach children: Being brave does not mean you are without fear, but rather that you are able to forge ahead in spite of it. If you can put that idea into action in your own life the distance between you and where you want to be will begin to shrink in no time.
5. Accept no excuses, especially your own.
You may think you no longer have any excuse to avoid work now that you have conquered fears, but you may want to think again.
Excuses, like resistance, comes in a variety of forms. You may think you’re not good enough, that your geographic location prevents you from doing whatever it is you desire, or that your financial limitations will somehow stunt your potential. These are all excuses and they are all a form of resistance. You must learn to resist the temptation to entertain the ideas these thoughts present. You are good enough. Location and wealth may increase the obstacles you’re presented with, yes, but they in no way prevent you from chasing after your dreams.
6. Don’t take failure or success personally.
When you’re working towards becoming a professional, every success and failure that comes your way feels like it could change the entire world. Professionals know this is not true. They recognize that success most often results from hard work. Failure, on the other hand, stems from a lack of effort.
Professionals show up every day and do the work that needs to be done whether or not they succeed or fail. They have accepted the possibility of being wrong and understand that temporary setbacks will prevent them from reaching their longterm goals. Instead, they learn from mistakes and use success to fuel their continued determination.
7. Don’t be afraid to self-validate.
You are human, and as a result you are from perfect. The journey to reaching your goals is going to be littered with setbacks and failures that make it seem like you’re not good enough, but under absolutely no circumstances should you ever allow yourself to stop believing in your own potential for greatness. Thousands of people have faced far greater opposition and found success. You can too, but it requires belief in yourself.
Hello and welcome to another week of music industry insight and advice here on the official blog of Haulix. We have had an incredible January thus far, but there is a part of us that believes the best content may still be on the horizon. If you like what you see and want to be involved in a future article on this site, please do not hesitate to email james@haulix.com and share your story. We can also be found on Twitter and Facebook.
In a world where there are literally dozens of new music blogs popping up every month it can be hard to choose a name for your digital publication that sticks out to readers in our increasingly-distracted world. Don De Leaumont overcame this hurdle by branding his efforts The Great Southern Brainfart, and in the interview below he shares with us the realization of a dream nearly three decades in the making.
Dreams are quite amazing when you think about it. They come to us when we’re least expecting it and drive us to do things we would otherwise never consider. They live in our souls, propelling us forward on life’s journey and helping us choose which paths to take next without ever providing us with any guarantee of success. We pursue them in spite of this because to not act would be to live a life unfulfilled, and that is a fate far worse than death.
Don De Leaumont has been pursuing his dreams of a life in music since he was very young. Inspired by the record collection of a close friend’s older brother, Don picked up a guitar in his youth and never looked back. As he grew older he realized he also had a passion for music discussion, and not long after The Great Southern Brainfart came into existence. It’s a place Don can share his thoughts on music and engage with others who seek discussion beyond daily headlines, and truth be told it’s one of our favorite heavy music blogs to frequent.
If you would like to learn more about Don and his adventures in the world of hard rock we highly recommend visiting The Great Southern Brainfart on a regular basis. Additional questions and comments can be left at the end of this post.
H: For the record, give us your name, job title, and the publication you’re here to discuss:
D: Sure, my name is Don de Leaumont and the site is called The Great Southern Brainfart.
H: [laughs]
D: That’s pretty much the reaction everyone gives. I’m the head of the site and pretty much do everything.
H: Let’s start with your history. What are the earliest memories you have of your life with music?
D: Well I grew up in New Orleans, so music was everywhere. For as long as I can remember my parents were playing music in the house. They weren’t musicians, but there was always music. We had a stereo in every room. A lot of singer/songwriter and folk music. They liked Crosby, Stills, and Nash type stuff – not exactly the hippie stuff. Also, because of New Orleans I grew up with a lot of jazz music. Dr. John and things like that. Music was always a constant.
H: So it’s safe to say it was always an influence on you?
D: Definitely, and I think I get my opinionated side from my dad. [laughs] He was a bit of a music snob, so I think it runs in my blood.
H: Do you remember the first album you bought with your own money?
D: Probably Michael Jackson’s Thriller. I turned 40 this year, so that came out a time when people my age were really getting into music. It was huge!
H: You write primarily about metal, so when did that genre become a part of your life?
D: I never had an older brother, but I had a cool friend with an older brother. I think it was around 83 and my friend’s brother was really into metal. I remember hearing it from next door and wanting to know what it was he was listening to. I asked him and he told me a bunch of artists to listen to. It wasn’t just one record, but Dio, then Sabbath, then Ratt. I think I went home the next day with five records, including Twisted Sister and Motley Crue. That was when music really opened up for me.
H: Can you pinpoint the moment you began to consider a career in music?
D: I’m also a musician. When I discovered those records from that friend’s brother I was pulled into the world of guitar and Twisted Sister is when I realized it was what interested me. Writing about music though I would probably say happened closer to 88. I loved rock magazines, but I always thought they never asked the questions I would want to ask someone. I would read interviews and come up with things I would have added if I were having the conversation.
I never really pursued writing until the blogging age came around. About 4 or 5 years ago I decided to try my hand at it and that’s what I have been doing ever since.
H: So, let’s talk about the name. What is the story behind The Great Southern Brainfart?
D: As you may have noticed I pretty much have diarrhea of the mouth when talking and fingers when typing stuff. Everything about me just kind of comes flying out of me. The title is a spin on the Pantera album, The Great Southern Trend Kill. It just kind of stuck with me and personified who I was. I never thought or imagined I would be called ‘The Brainfart,’ but it just kind of happened. I roll with it. [Laughs]
H: How would you explain your site to someone who has never visited it before?
D: It’s not your typical news site. I don’t do copy/paste headlines and news blurbs and I pride myself on original content. When you come to the site you’re going to see interviews conducted by me, reviews written by me, editorials by me, and so on. When I’m talking to someone about it I say “When you want to read about music, but don’t care to read the same headlines floating around every else online you should come to the site.” It’s kind of like my lunch table. We sit around and talk about music. If you don’t like it, step up and say something. We can debate it. I love to do that!
H: What would you say are your goals with the site?
D: I don’t do it to monetize or otherwise make money. I look at it like I look at playing music: It’s a place to getaway for myself and my readers. It’s place to voice my opinions on music and you know, stir the pot a little. I think a lot of people play it safe or nice, and I want the site to be a place where I discuss music like in the same way I would talk to my best friend.
H: Have you thought about expanding your staff?
D: I have had a few friends work for me as contributors over the years. I am going to be working with some more in the year to come, but for the most part I feel like some of my favorite sites began to lose my interest when they had too many hands in the pot. You can lose control of the quality. I’m sure that’s subjective though, just like everything else, but the site is my baby and I like to be in control of the content featured on it. I want to keep things as consistent as possible.
H: When it comes to receiving albums for review/feature purposes, which services do you prefer and why?
D: It may sound corny, but I honestly believe there is nothing better than Haulix. When I first started I was receiving boxes of CDs for consideration,a nd after a while it became a bit overwhelming. A site like Haulix simplifies everything. I get an email, login, and from there can not only stream the album I went there for, but also see every other release sent my way from people using Haulix. It’s all in one place, and I can preview materials before downloading or reviewing them.
Some labels and PR groups use their own services, which can be cool, but I love Haulix because it’s all in one place. There are so many people asking for coverage that it’s nice to have it all accessible from one source.
H:What is your ultimate career goal?
D: To be honest, at some point I think it would be fun to write a book about my adventures. I’m only five years in at this point, but maybe in another five years I will write about my adventures in music. Maybe only a few people would find it interesting, but I think it would be fun.
Otherwise, I’ve thought about expanding to podcasts, but at the end of the day I want to have a site that people enjoy coming to. I want to entertain my readers and offer them something different than what can be found on other sites online.
H: Okay, we’ve reached the end of our time together. What can you tell us about your plans for 2014?
D: I think 2014 is going to be a really fun year. Every year has been better than the one before, and I think this one is going to have a lot of shows and a lot of interviews. I am going to aim higher with my coverage and try to work with some bigger names than I have in the past. I want to create better content and push myself to do more in general.
H: That sounds great. Before we let you go, any final thoughts?
D: If you’re looking online and you don’t like what you’re reading, start your own damn site. Start a revolution all your own. It doesn’t have to be a big thing. If you have a voice, use it, and don’t hold back!
Hello, everyone! If you are reading this you have overcome the recurring obstacle known as the work week and are currently counting down the hours until the weekend arrives. We are here to ease those final minutes with a look back at everything that has happened in recent days, as well as a brief glimpse at the future. Let’s dig in, shall we?
Kicking things off on the development end of things, we are happy to report our mobile platform is closer than ever to launch. We have spent the past several weeks working out the design and are now beginning to move into the testing phase, with hopes to announce a release date in the coming weeks. As soon as screens are available you can rest assured we will post them here.
In addition to the mobile platform, our team continues to work at further refining our digital distribution software. We have a number of updates on the horizon, which we plan to rollout and detail in the weeks ahead.
As far as the blog is concerned, we could not be more excited about the response to the relaunch of our ‘Advice’ series earlier this week. Things have been extra active on the social front in recent weeks, and we are extremely thankful for your continued readership. In case you missed anything in recent days, you can find a list of links to every post from this week below:
Next week our ‘Advice’ series on professionalism continues with a look at how to expand your creative horizon, as well as a special guest column on the lessons learn from being a signed band in the digital era. Until then, stay safe and have a wonderful weekend. If you have any questions regarding the content of this blog, or if you would like to learn more information about the services offered by Haulix, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
Hello and welcome to the final Advice column of the week. We have been overwhelmed by your response to this feature’s return and are very much looking forward to sharing what we have in store next. If you have any questions regarding the content of this blog, or if you would like to learn more information about the services offered by Haulix, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
One of the hardest things to overcome as an artist in any medium is working outside of your comfort zone. The term comfort zone is just what it sounds like – the place where you are most comfortable – and as an artist remaining in that place can be a hazard to your career.
The idea of a comfort zone is that it allows a person to exist in an anxiety-neutral state. You’re still engaged with the world around you, but you do so in a way that creates and maintains mental boundaries, which in turn lead to a false sense of security. You’re unable to grow and develop because to do so would be to take on new challenges, each with their own inherent risks and stressors, and as a result you become stuck in a creative rut that will ultimately drive away fans.
There is no on/off switch for comfort zones, and like any other challenge related to continued creativity there is a battle to be fought nearly every day. Comfort zones offer us short term happiness at the expense of longterm development, and for many deciding to chase the latter option is far harder than it may appear. Whether you are forcing yourself to write material for a certain genre/audience because it helped you get your start, or make it a point to play the same cities every time you tour because you know people will come to your shows, every artist faces numerous challenges to their comfort zone if they want to take their career to the next level.
You want to write the next hit song? You want to play arenas instead of basements? You want to be sponsored by Gibson and Orange? The biggest obstacle you have to overcome to reach these goals is stepping outside your own comfort zone. Money, geography, and everything else is just another excuse for not taking it upon yourself to make something from nothing. It will not be easy, and there is no promise things will work out for the best in the end, but if you do not take chances in life you are holding yourself back from realizing your true potential.
If you really want to take your career further you must step outside your comfort zone and the best way to start doing that is by setting an attainable short-term goal. It can be anything you want – writing five new songs a month, booking two shows a day, attending a music business conference, reading some books on better marketing techniques – just set a goal, a deadline, and stick to it.
This post is part of a new series on what it means to be a professional. Those who make a career in music do so because they abandon their comfort zones to expand their horizons. Click here to read the previous entry in this series.
Hello everyone and welcome to the final Blogger Spotlight of the week. We told you we hoped to feature more freelance talent in the new year, and the person at the center of today’s post is without a doubt one of the best yet. If you have any questions regarding the content of this blog, or if you would like to learn more information about the services offered by Haulix, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
The world of freelance can be a strange and difficult place. Your are your own boss, to an extent, and the responsibility of managing the various assignments thrown your way falls entirely on your shoulders. Who gets what, which style to write in, and when everything is due is entirely up to you. Some thrive in this environment because it allows them to create a schedule that works best with their creativity, while others struggle to stay afloat because no one is around to hold them accountable.
Luke O’Neil is one of the most driven and professional freelance writers we have come across in the seventh months since this series began. He has written for pretty much every publication worth bragging about, including The Village Voice and Alternative Press. We fell in love with his work through a recent feature he wrote on the supposed return of emo, which you can read an excerpt from below:
‘It’s been about 30 years since the advent of emo, and while the genre has experienced a variety of well-covered changes over the decades, one thing has remained constant: No one seems to ever agree on how to define it. In part that’s because it casts such a wide net — Touché Amoré don’t sound anything like Turnover, for example, who sound nothing like Dowsing or Captain We’re Sinking or Lemuria and on and on, and yet most anyone would call them all emo bands. Unfortunately, talking about emo forces a sort of musical existential crisis: In order to champion it, you have to admit that it even exists in the first place.’
We could not be more thrilled to feature Luke’s journey on our blog this afternoon. He’s the kind of professional this industry needs more of, and in the interview below he offers some insight on how you too can take your career in writing to the next level.
If you would like to learn more about Luke’s work, please make it a point to bookmark and frequent his website. You can also find him on Twitter. Additional questions and comments can be left at the end of this post.
H: For the record, please tell us your job title and a few publications that recently featured your work:
L: I’ma freelance journalist and blogger. I contribute regularly to the Boston Globe, Bullett magazine and MTV. This year I’ve had pieces in Esquire, Slate, The New Republic, Vice, the LA Times, Dazed, the Village Voice and a bunch of others.
H: Thank you again for taking the time to do this. We like to learn a little about each individual’s history with music before diving in to what they do today. When you think of formative moments and experiences that lead you toward a career in music writing, what comes to mind?
L: I have a vague sense of wanting to be a music journalist from when I was a kid. It seemed like the coolest job in the world, to be able to see music all the time. Be careful what you dream of, I suppose. I wrote a few things for my high school newspaper, and people liked them, and I thought, hmm, I could get used to this. Then I started going to shows in Providence and Boston as I got a little older and I was hooked. I ran my college radio station, and that sort of got me more invested. I went to work for Conde Nast in New York after college, then came back to Boston to go to grad school to study creative writing. Don’t do that. Then I got a job as the music editor at the Dig, and I was basically doomed from then on.
H: Was music always a big part of your life, or was it something you grew to appreciate in your teen/adult years?
L: I used to meticulously craft mixtapes, including covers I would spend way too much time on, for my friends in high school. I would spend as much time as possible going to see shows. I was basically that one music dork, minus the being that much of a dork part.
H: Do you remember the first band you were infatuated with? How did you discover them?
L: I don’t remember specifically, no. It’s been about twenty years. It was probably Nirvana. My earliest memory of completely being blown away by music, however, was coming home from school every day to watch the MTV countdown and being so psyched for “Welcome to the Jungle” to come on. And also “Express Yourself” by Madonna, but I think that was exciting in a different sort of way. From Nirvana it went on to Alice In Chains and Dinosaur Jr – I had a few older friends who were pretty tuned into all that stuff. I remember them taking me to my first real concert, which was Lollapalooza 93. Rage Against the Machine opened the day, and that sort of twisted me around. Actually, now that I think about it, I think it was Juliana Hatfield who first got me. I remember having the “Hey Babe” cassette and just listening to that non-stop.
H: We have only had the opportunity to speak with a few freelance writers before you, so let’s jump ahead a bit in hopes of covering as much ground as possible. What initially attracted you to the world of writing?
L: I liked the idea of being able to share my opinion and have people give a shit about it for some reason. Also it wasn’t a real job.
H: Did you study journalism in school? What can you tell us about your earliest experiences in this career field.
L: I took a few classes, but mostly I studied literature, and then creative writing. I wanted to write short stories, and I did for a while, and occasionally still do, but it was a lot easier to get paid for music writing stuff, so I swerved more into that career lane. This was the early 2000s. Little did I know how fragmented everything would end up becoming.
H: I read in one of your articles that you had at least one ‘typical’ office job before stepping into the world of freelance work. What can you tell us about your professional life before freelance writing came along?
L: I did a few internships in politics type stuff when I was younger. I worked summers on a construction site in college, which was one of the main motivating factors and teaching me that a real job was not for me. I was an editorial assistant for a while in New York. Then, my last office job was working in the Dig offices, probably about 8 years ago. In between I’d work in restaurants when freelancing was slow, but I’m fortunate to make my living writing now. I am a very punctual person when it comes to my writing work, never miss a deadline, always on time for interviews etc, but the idea of having to show up somewhere every day at a specific time, and sit there all day just because someone expects you to be sitting there when they look over does not work for me. My theory is that if someone is getting their work done, why the fuck does it matter where they’re doing it from? People like to call meetings though, it makes them feel like they’re in control.
H: What was the first publication to offer you an opportunity as a freelance contributor, and how did that role come to be?
L: I guess it was the Dig. It was a great opportunity, as I didn’t really know shit at the time. I think I was 24 or so. Will always be thankful for that job, as I wouldn’t be anywhere without them. I had a friend who was writing for them, and she passed me along to the editor at the time, J Bennett, and we hit it off pretty instantly. He’s my friend still, and helped me out a lot in the early days. Another former Dig editor, Joe Keohane, who’s now an editor at Esquire, has been a huge help as well, and I’ve been writing a lot for him lately. That’s how it works basically. You just stick around long enough that your more competent friends climb editorial ladders and wait for them to need something.
H: Do you remember the first article you submitted as a freelance writer?
L: I don’t, but it was definitely a piece of shit.
H: After your first freelance piece was published, how did you go about securing additional opportunities? Did publications begin coming to you? Tell us a bit about getting your name out there.
L: It’s different now. Just in the past ten years, as everyone knows ,things have changed drastically. The thing I tell people who are younger now is that half the job is pitching and corresponding with editors. Grab one’s attention with something they haven’t thought of before, don’t just pitch the same stuff everyone else is.
Here are a couple things I’ve written about being a freelancer that might be helpful, and might be discouraging.
H: Without going too in-depth, would you please run us through a typical day at work?
L: I wake up, get online, see what’s happened in the world, and begin pitching ideas based on the day’s news. That’s broken up by some phone interviews in the day, and having to go out at night to a show, or to a bar. It doesn’t really sound like work, but it’s not as easy as it looks.
H: How do you measure success at your job? What is a ‘good day’ like for you?
L: When I post something that I’m proud of, that I worked hard on, and that actually contributes something to our understanding of the world. This is harder than it looks.
H: As someone who has spent over a decade writing about music, what is the one piece of advice you would offer young bloggers/journalists hoping to find a career in entertainment?
L: Look at what all your peers are saying and say the opposite.
H: Given the number of high-profile sites you write for, I assume your inbox is flooded with requests from bands and artists hoping for feature consideration. Do you have any words of advice to offer unsigned and small label acts to help separate themselves from the competition?
H: As someone who watches young artists and their promotional efforts, what is one common mistake you see groups make when attempting to market themselves?
L: Be a story. Don’t just be a band. There are a million bands. People like me want stories. Either that or write an undeniably genius song. But that second one isn’t quite so easy is it?
H: If you could change one thing about the current state of the music industry, what would it be?
L: Fewer bands, fewer music writers.
H: When it comes to receiving music for review and feature consideration, what digital distribution platforms do you prefer and why?
L: Personally I only want links to streams now. I have to listen to way too much new music every day to be downloading everything. Every music writer has different preferences though, so don’t just take it from me. Do not, however, send physical CDs. No one wants this.
H: Piracy is as much a hot button item now as it was a decade ago. Do you think we will ever see a day when music piracy comes to an end?
L: No, I think the genie is out of the bottle there. I don’t pirate music ,but then again I’ve had the fortune to not have to. People don’t need to listen to as much music as they do. It’s like a form of hoarding the way some people act. Enjoy the song you’re listening to today.
H: I think that covers everything. Before I let you go, are there any final thoughts or observations you would like to share with our readers?
This week on UMusicians, we are bringing you various interviews from people working in the music industry. Through these interviews we hope to bring you insight from those working in the field that you are interested in venturing into, or helping you just learn some new facts.
Today we are bringing out our interview with Matt Brown founder of music distribution site Haulix. Haulix has been a staple in the music industry, to publicist, journalists and record labels alike. Haulix’s notability to prevent leaks from occurring through it’s use, and the easy access to all materials in once place, it’s no wonder why everyone’s making the switch. Read our interview with Matt below!
For the record please state your name and your role at Haulix My name is Matt Brown and I’m the Founder & CEO.
Welcome to the very first Haulix Advice column of 2014. We started outlining our coverage in this area back in December and could not be more excited to begin rolling out new content this afternoon. You can expect new Advice columns every week from now on, including a few ‘special edition’ guest columns in the not too distant future. We are always open to suggestions from readers, so please contact us if there is a topic or question you would like to see addressed on this blog. Please email james@haulix.com for more information.
The dictionary will tell you an amateur is someone ‘who engages in a pursuit, study, science, or sport as a pastime rather than as a profession.’ The origin of the term amateur stems from the Latin word amare, which means ‘to love.’ Amateurs are people who pursue things they love as a pastime rather than a profession. Being a professional, on the other hand, means pursuing the things you love as a profession.
Notice that definition did not mention money? Making money does not make you a professional. Money covers the cost of living and affords you the ability to further pursue your dreams, but it is only a means to an end. Professionals see money for what it is – a tool to aide them in furthering their efforts.
Everyone who chases a dream begins their journey as an amateur hoping to one day become a professional. Whether you long to be the frontman in the next great rock band, or you hope to one day work publicity for the biggest names in music, your journey and that of everyone else in the music industry begins as an amateur. Many, unfortunately, stay that way forever. To become a professional requires great risk and sacrifice, often over long periods of time, and for those that do see it through there is rarely any guarantee of sustainability.
To attempt to become a professional is a terrifying proposal. It requires you to abandon the safety nets you have built in case things don’t pan out and dive blindly into the often treacherous waters of life with your heart on your sleeve. It asks that you put friends and family aside in pursuit of something that is completely foolish and to some insanely selfish, but for whatever reason it is the exact course you have felt propelled towards your entire life. You know deep down you possess the ability to become a professional, but to take steps toward that reality you must change, and for most of us that is the hardest step of all.
We cannot make you into a professional. No one can do that except you, and even then it’s going to be an uphill battle that you will struggle with on a daily basis. What we can do is provide insight and advice on what you can do to become more professional, and over the next several weeks we aim to do just that. Through editorials and list features we will equip you with the knowledge needed to become a professional. Taking steps to become one, however, is entirely up to you.
Follow Haulix on Twitter and Facebook for updates. Look for part two in this series to debut early next week.
