Hello, everyone. Congratulations on making it to the end of another work week with your sanity and happiness (hopefully) still in tact. We like to use Friday afternoons as a time to decompress and reflect on the efforts made in recent days, which is why this recap was brought into existence. Thank you for joining us.
The purpose of this blog is to inform, entertain, and inspire both current and future generations of music industry professionals. We want to have a good time as much as anyone else, but before we do that there is a lot of hard work that needs to be done if we are going to move this industry forward. Our hope is that this blog can serve as starting point for the bigger conversations that need to take place throughout the music business, and we want to encourage everyone with an opinion they’d like to share to join us in our efforts. 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.
It is pretty hard to believe February has already come to an end. It seems like just last week we were celebrating the start of a new year, but in fact we are only twenty days away from the beginning of spring. Time flies.
Looking back on the month as a whole, we’re proud to say we have made a lot of progress towards further refining our distribution software. In recent weeks we launched our mobile platform for journalists, bettered our email system for clients, and began taking steps toward a new round of major updates that we feel may be even better than the ones we just released. We can’t share any details on that, of course, but we will say that March is a new month and the possibilities for our future are endless.
On the blog end of things, February has proven to be our busiest month to date. We extended our coverage to seven days a week, launched two brand new recurring columns, and interview more than two dozen music industry professionals. If you’ve been busy in recent days, here is a quick rundown of the content posted in the last week:
Looking ahead, we’re pretty confident March will be our craziest month ever. Updates are planned, as well as the debut of at least one new mini-series on the blog. For now though, we want to wish you a safe and relaxing weekend. We’ll be back tomorrow with a new ‘Journalism Tips,’ followed by the latest ‘Job Board’ openings on Sunday.
Hello and welcome to the final Blogger Spotlight of the week. We started working on this particular features less than two weeks ago and are excited to see if go from idea to live on the site in such a short time. If you have any questions regarding the content of this blog, or if you would like to learn more about our efforts here at Haulix, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
Not long ago I was scrolling through the latest pop music headlines when I noticed a story on MTV’s Buzzworthy blog about Lorde joining Katy Perry and Ellie Goulding at a party. It was the kind of headline many music news snobs might throw shade on, but I could not help clicking to see what New Zealand’s seemingly apathetic songstress could possibly be up to in a club with pop’s dance club queens. The answer, as you can probably guess, was having a good time, like all sixteen-year-old millionaire vocalists do.
What I took away from that post about Lorde and her public attempts at coming out of her shell had nothing to do with the article itself. No, what I learned that afternoon was that someone at MTV could kick my ass as a writer. Someone on their contributing team is so gifted with wordplay that they can take something as dull and self-explanatory as a few late night photos of celebrities and create a blog post worth reading.
I knew immediately that we need to feature the author of that post on this blog, but before I reached out to Byron Flitsch I spent time getting to know more about him and his work. He writes about pop culture, yes, but he and his abilities extend much further than whatever is hot at radio right now. Byron is a mountain mover. He faces whatever challenges life throws his ways and conquers them, then figures out ways to do more for everyone around him. He’s as funny as he is smart, and as kind as he is talented. We’re thrilled to have him on the blog, and will waste no more time to getting to our interview.
If you would like to know more about Byron and his efforts in writing, please be sure to stop by his personal website and follow him on Twitter. You also need to read MTV Buzzworthy. Additional questions and comments can be left at the end of this post.
H: To get us started, please tell everyone your name, job title, and a few of the places your work can be found:
B: Byron Flitsch, Freelance Contributor at MTV Buzzworthy/Freelance Writer/ Teacher/Traveler/Story-teller/
H: Thank you again for taking the time to speak with us, Byron. We are big fans of your work. Tell me, has music always played a very influential role in your life?
B: Thanks for being a fan. Does that mean I can start an official fan nickname? You know, Rihanna has her “Army” and Beyoncé has her Bey Hive. I’m going to work on this… I’m thinking “Byron’s Boos” What do ya think?
It’s funny, I was just having a conversation with a friend the other day about what my true passion is and aside from pop culture, dogs, and “Felicty” reruns. I’ve really always loved music – especially pop music .
Truth time: I used to write poetry back in the day (no really, I have like, seventeen-bazillion journals) and thought I’d write lyrics for a living. Music has always played a role in my life. It’s good for stirring emotions when you’re working on a story; it’s great to sing a long to when you’re trekking on road trips. Good music is essential to happiness and creativity.
H: When you look back at your younger years, are you able to pinpoint in formative moments or experiences that steered you toward the career you have today?
B: I wrote a story on my dad’s archaic work lap top about two dinosaurs falling in love when I was about eight. I remember reading it to my family and both my parents being like, “That’s funny! You’re good at writing. You should do more!” I remember thinking it was fun making things up and telling my own versions. I could lie and be applauded for it—GAME ON!
I also was the editor of my school newspaper and yearbook. I remember loving having stories to tell—whether it was about how bad the school lunches were for you or the senior section in the yearbook—I liked sharing words on the page.
H: Who is the first artist you can remember obsessing over? How did you discover them? Go on, tell us a little about your earliest ‘fanboy moments.’
B: My first cassette tape I ever bought was Debbie Gibson and I remember memorizing every word, choreographing dances to it and pretty much being obsessed with it all. Speaking of creating choreographed dances, I also nailed routines to Janet Jackson, Madonna, and Whitney Houston.
I became obsessed with Alanis Morissette as I got older. I know every single word from “Jagged Little Pill” – Go ahead, test me!
Fine. I’ll admit it! Things are about to get real here: Jewel. I WAS ALSO OBSESSED WITH JEWEL.
H: You’re from Wisconsin initially, but like many in this area of the business have since transplanted to larger cities (first Chicago, now LA). Do you ever see yourself returning to small town life, or do you think you’ve become a lifelong city dweller?
B: Nope! No small town for me ever again. It’s not that I don’t miss some aspects of my Wisconsin upbringing (Shout out to my 4-H loves!), but I’m a big city guy now. I love the variety, restaurants, culture, and the energy that the random nooks and neighborhoods that cities offer. Maybe it has to do with my love for travel and exploration, but the bigger the city, the more I feel connected to the place.
H: You attended Columbia College and had a double major. One of those was Fiction Writing. Did young Byron picture himself penning the next great American novel?
B: I don’t think I ever pictured creating the next “Big American Novel”. OK, that’s a total lie. Well, maybe not such much an epic Hemmingway style, but like, a best seller so I could be a guest on “The Tonight Show” and talk about being a cool writer while wearing stellar fashions while I get interviewed.
I also did have a love for R.L. Stine and the Boxcar Children collection while growing up and always thought it would be awesome to inspire younger people to read.
H: Let’s dive into your experience. What was your first ‘gig’ in the world of writing? Unpaid work counts.
B: My first gig was as editor for a literary magazine, NOTA, at the first college I attended (I transferred three times!) in Eau Claire , WI. Some of my fondest memories are reading piles of submissions and then to the wee hours of the morning with my fellow editors. Oh, and we used to sponsor monthly open mics and I used to perform in them.
I repeat: I used to run poetry readings in college. On Fridays. I used to spend Friday nights doing reading poetry I had written. I was that guy.
My first journalistic/freelance gig was with a Chicago (now defunct) magazine, UR Chicago. I wrote a “single-guy-dating-in-the-city” style column that was first-person narrative of my life. It brought story telling and a journalistic-like approach to a gay person’s dating life. I got paid absolutely nothing to do it but still loved every single moment of writing it.
H: How did your first writing internship/job outside school come together?
B: I never had an official full-time writing job that wasn’t freelance, however, I did have A LOT OF FREAKING JOBS before I got the gigs I have now. Once I counted that I’ve had like, forty jobs since I was sixteen. That ranges from working in a movie store, shooting pictures of babies and families in a mall photography studio, waiter at a martini bar, wedding photographer, clothes folder, commercial actor, nanny, bartender, gym front-desk attendant, magazine salesman, office manager, museum docent and SO MANY (TOO MANY!) more.
I honestly believe all those jobs brought me to my writing and art. I did those jobs to stay financially afloat so I could concentrate on finding what I really wanted to do in life. So, in essence, all those jobs were like an internship. Each job taught me about myself, my work, my goals, and helped me pay rent. They also kept me focused on mastering my love for making stuff so I NEVER HAVE TO GO BACK TO PICKING UP SWEATY TOWELS AT A GYM FRONT DESK.
H: Your majors do not necessarily lend themselves to the world of entertainment journalism. Who or what initially inspired you to pursue a career in writing? Specifically, the entertainment journalism side of things.
B: My parents have always been supportive of my writing. Actually, many teachers through out middle and high school were as equally supportive.
On the journalism side, one of my mentors/good friends/ Editor of Splash magazine at the Chicago Tribune, Molly Each (check her out at mollyeach.com, she’s brilliant), was the first to really introduce me to fun freelance writing. She helped me score a gig at a magazine in Chicago where I got to cover everything from local fashion parties to style and it allowed me to explore my writing interests while focusing on my writing voice. She’s really been the main supporter of my writing career and I couldn’t thank her enough for that!
I also have to shout out my partner who is the motivator of my writing. Having a guy that listens to me read him my original drafts to offer his opinion is love. Trust me, original draft listening isn’t often pretty.
H: We discovered you through your efforts at MTV, but you have been published in a number of internationally recognized publications and blogs. Did you have any full time roles in the world of writing before becoming a freelancer? What lead you to step away from the ‘norm’ and dive into freelance?
B: I mentioned before that I never had an official full-time job in writing, but I did have a staffed position at a travel magazine called Where while living in Chicago. It’s one of those glossy mags you pick up in a hotel in major cities. I covered the shopping section each month. It was still freelance, but it had specific deadlines, meetings, and expectations much like a full-time job.
I’ve been lucky to have so many opportunities to not have to get a full-time gig. Would I take a full-time job—absolutely, Especially if it was good one! But my dogs are resting on my feet as I gather my morning pitches as we speak and I couldn’t ask for a better office environment than that!
H: How would you describe your writing style to people who may have never stumbled across your work before today?
B: I think it’s authentic to who I am in real life. It’s conversational, witty, punny, approachable, but it also takes many thoughtful introspective angles. It all really depends on what I’m writing for. My MTV voice is fun and sometimes sassy, my stories and essays can take a different, equally fun, tone.
I always want my writing to speak to a reader with a confidence that makes them want to trust the reasons they chose to take the time to read and engage in my work. However, I also want to offer an authentic vulnerability that makes them feel that I’m just like them and trying to figure out how what the heck this life is about while we all live together on a giant rock called “Earth” that’s just chilling in space.
Translation: I like to write like how I converse when I am on my second glass of wine at a dinner party—Buzzy without the sloppy slurring.
H: Without going too in-depth, please walk us through a normal work day:
B: I wake up and stalk pop stars on Instagram (I pitch a lot of photo interest stories to MTV), hit up a coffee shop for breakfast, feed the pups, hit the MTV Buzzworthy blog to get my stories in as soon as possible (Most of the time, our pieces ask for quick turn around). I take my dogs on a long walk to the dog park so I can clear my head, think about what’s next in the day or get inspired. (Seriously, go to a dog park if you’re every frustrated with work –creative or not. Seeing dogs live up life, chilling with each other and barking because it feels good is the best way to realize that no matter what you do today, it’s pretty awesome to have the chance to do it. )
Later, I work on my book(s) I’m writing, search the Internet for funny stuff to post on my friend’s Facebook walls, search for GIFs that properly express my feelings. Then I spend time searching for places to send my literary work, work on more personal work, search for more GIFs that express my feelings.
H: Beyond paychecks and steady work, how do you measure your success in writing?
B: There is nothing more gratifying than when a random reader sends me a twitter message or email saying “I loved your work!” Even more special is when someone contacts me to say how an essay or story I wrote changed their life, made them decide to do something they were on the fence about, or made them feel confident knowing they weren’t alone in an experience I also once had myself.
I had a teenager read a story of mine that talked about being in the closet in a small town and said that it saved him from doing something drastic to his life. To me, stories that connect us to people we have never met and probably will never meet, is the power of the writer. I feel fortunate enough to have that gift and chance to connect to others. Sometimes that connection with others is about Rihanna; sometimes that connection is about changing someone’s perception on life.
H: You do a lot of work outside the world of journalism as well. From storytelling events, to teaching, and even running The Everyday Gay. As someone who seems to have done or created everything he’s wanted, what goals do you have for the future? What areas of writing and entertainment would you like to pursue further, or perhaps look into for the first time?
B: I’ve been the luckiest dude ON THIS PLANET when it comes to the chances I’ve gotten with my work. Partaking and winning The Moth, being a part of 2nd Story in Chicago (check them out: www.2ndstory.com), being published in anthologies and working with so many talented editors in the media business have all been amazing gifts that I will never take for granted.
BUT I WANT MORE!
I’m currently working on my book, collecting short stories for another idea, concentrating on my essay collection and have a dream of writing a children’s book (or collection of those). I’ve always had a dream of being a travel show television host—not giving up on that. I used to do on camera acting/commercial work and loved the scene and I think there’s a great way to tell stories.
H: A lot of the people reading this are young writers currently starting out in, or at least considering beginning a career in the world of journalism/criticism. What advice would you offer these people to help further their efforts?
B: There’s the classic advice like, “Stick to it!” or “Don’t get frustrated when you don’t get published!” Those are always legit.
However, I’m going to serve up some professional advice realness: Meet your deadlines. I don’t care who or what you’re writing for, don’t be that person that is always late with copy or doesn’t turn around a re-write for a literary magazine on time. It’s rude, it frustrates editors, and that bad reputation will get around to other editors. It may sound obvious, but you’d be surprised how many professional writers don’t stay on deadline. I’ve actually gossiped with editors about writers that are like this and how they are chucked to the bottom of lists during assignment time.
Also, be nice to your editors. THEY WORK THEIR BUTTS OFF and are under a lot of stress. Trust me. Just like any other job, being a freelance writer is about maintaining graces and understanding that it’s not all about you. I am so grateful for all the editors I’ve ever worked with during my career. It’s a collaboration that has taught me to be a better writer.
H: What is your favorite article you’ve written recently? If you have two, go ahead and share both.
H: I noticed on your personal website there is a pie chart about the things you quote the most, with Sex & The City taking up 50% of the image. Do you think there should be a third film, or did the sequel spoil all the fun? I still tell people I’m a Miranda.
B: I am not joking when I say that I will write, direct, and do whatever it takes to get that third SATC film out in to the world. It needs to be finished. I wasn’t a fan of the second film, but we need the completion. GIVE IT TO US NOW, PARKER.
H: Looking ahead to the rest of 2014, do you have any projects or special events planned you can share with us?
B: As I mentioned before I’m just working on my book. I’m also hoping to get back in to live storytelling. You can follow my twitter (@byronjflitsch) to get those details or check out my site.
H: If you could change one thing about the music industry, what would it be?
B: We need to tone down the epic “It’s coming” build up of albums. So many pop stars build up their forthcoming music via their social media accounts or with such gigantic buzz and then the music comes and we’re like, “meh.”
When Beyoncé dropped her latest masterpiece out of nowhere the world STOPPED. They weren’t expecting it so we dropped everything to listen to it to build our own expectations. I think that’s a part of music we have lost—building our own expectations and not using all the hoopla to get us to create our own opinion. I think surprising fans is more of a statement than wooing them.
Hello, everyone. Welcome to the first and only Blogger-Meets-Publicist spotlight you will see on this blog all week. It’s a rare treat that we have the opportunity to sit down with someone as engrained in the industry as the person at the center of today’s feature, and the insight she has to share is something you do not want to miss. If you have any questions regarding the content of this blog, or if you would like to learn more about our efforts here at Haulix, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
One of the beautiful things about building this blog has been the way our coverage of various people and sites has allowed us to network with an even larger community of writers critics, artists, and music fans than we ever imagined. By watching readers share and discuss our stories we have been able to work towards creating content more suited to your interests, and one thing you have made abundantly clear is this: You want to know more about people who balance multiple roles in this industry. We have spent the past several weeks seeking out the brightest minds who currently juggle roles with two or more companies, and in the weeks ahead we plan to profile many of them in our ‘Industry Spotlight’ series, starting this afternoon with the one and only Kim Kelly.
Over the last decade Kim Kelly has engrained herself so far into the world of hard rock and metal that she’s appeared in or on essentially every major music publication with influence in the world of rock. Pitchfork, Noisey, Terrorizer, The Atlantic, The Quietus – you name it and there is a good chance Kim has written for them. She is also the founder of Catharsis PR, which has aided some of the best and brightest young minds in music to gain additional exposure in recent years. In the interview below she tells us how it all came to be, and it’s a journey unlike any we have ever shared before.
I must admit before we dive in that this interview is a bit unique in that my initial research on Kim proved to have some errors. There is time and effort put in to learning the story of every one of our guests before our interviews commence, but sometimes information slips through the cracks. Fortunately for us, Kim was a good sport and didn’t rag on us too hard for our errors.
If you would like to learn more about Kim Kelly, we highly suggest you follow her everyday thoughts and observations via Twitter. You should also check out Catharsis PR. Any additional questions or comments can be left at the end of this post.
H: Before we begin, would you please tell everyone your full name, job title, and a few publications where your work can be found:
K: My name is Kim Kelly. I’m the assistant editor of Iron Fist Magazine and a frequent contributor to Pitchfork as well as to numerous other publications (Noisey, Spin, NPR, Decibel, Kerrang, the Atlantic, the Quietus, the Wire, Fader, Metalsucks, Myspace, et cetera). In addition, I write the ‘Ravishing Grimness’ column in Terrorizer Magazine.
H: Thank you for joining us, Kim. When you look back at your life and consider the formative moments that steered you toward the career you have today, what memories comes to mind?
K: Listening to Lynyrd Skynyrd in my Dad’s pickup truck, spending most of high school sneaking out to metal & punk gigs in Philly with my best friend Kelly, the first time I heard Bathory, working as a DJ and loud rock director at my college radio station, interning at Metal Maniacs, starting my publicity company Catharsis PR, holding the first issue of Iron Fist, being asked to write for Pitchfork, moderating a panel on extreme metal & feminism at SXSW, speaking in front of the Tilburg city council at last year’s Incubate festival…they’ve all been important steps along the way. The first time I saw my name in print and then the first time I was paid for my writing, now those were big ones. I still get excited about those.
H: Who was the first artist you remember obsessing over, and how did you originally discover them?
K: I got really into Nirvana when I was an angsty fourteen-year-old weirdo, then really, really into Cannibal Corpse when I was a slightly older, marginally less angsty weirdo. My mom used to play her Nirvana CDs in the car, and one day, it finally clicked. I found Cannibal Corpse on my own, and immediately became enthralled by death metal, goregrind, and assorted gleefully brutal shit for the next few years.
H: Does that fascination continue to this day?
K: I still like them both, but my interest has faded and musical preferences have shifted. Thou’s Nirvana covers give me shivers, though.
H: Let’s turn the focus to writing for a moment. When did you first look at the world of journalism and criticism as a possibility for your future?
K: Reading Metal Maniacs was huge for me as a kid, because every time I’d open it up to see Liz Ciavarella listed as the Editor, I’d daydream about someday seeing my name in the same place. It became my goal in life to get published in that magazine (I pulled it off when I was 19, but that’s another story). Seeing that month after month eventually made me realize that, hell, why couldn’t I write for them? If Liz, whomever she was, could rise to the very top, why couldn’t I at least paddle around a bit in the shallows? This was years before I became real-life friends with Liz; I’m still a little embarrassed about how starstruck I was when we first met, but she’s continued to be a huge inspiration.
I went into it hoping that I could combine the two things I loved most – music and writing – and with a ton of hard work and lots of good luck, perhaps find some measure of success. I’m not good at much else, so I thought it was worth a go. My original plan was to become a Senator, but then I fell in love with Bathory and ruined everything!
H: [I believe] Your writing career began, like many today, online. Where did you discover Pivotal Rage Webzine, and how long were you a reader before joining the team? What can you tell us about the application process?
K: My career did not begin online. My career began in print, in 2003. I started out writing about politics for my school paper as well as for my local newspaper, the Burlington County Times, and continued in that vein until the day my editor slid me a nondescript metalcore CD and said, “You’re into this kind of thing, right? Want to write a review?” Turns out the CD was rubbish but the music writing thing came fairly naturally. When I was sixteen I hooked up with Pivotal Rage (at the urging of my friend Alexi Front) by sending in some writing samples and crossing my fingers. They asked me to join, and I spent a few years writing reviews and such for them as well as a few other small webzines. I am very grateful to them, but am sort of glad you can’t find any of those websites anymore ‘cause I was nowhere near as clever as I thought.
H: My research shows that your magazine gig in writing came from BAST in 2006. How did that opportunity come together, and what can you tell us about the role Martha Hughes played in making it all possible?
K: That’s not quite correct. I wrote one or two articles for BAST, which was a Bay Area metal fanzine edited by “Black Metal Martha” Hughes. We got in touch via Myspace (lol 2006) and I convinced her to give me a shot. My first proper print magazine gig was Hails & Horns Magazine, which has since been resurrected as New Noise Magazine by my wonderful and supremely capable editor Lisa Root. She let me run wild through those pages, and through that gig, I got to know a lot of the publicists, labels, and writers I still work with to this day. Thanks, Lisa.
H: How would you describe your writing style?
K: Passionate and conversational, I guess? Unless I’m in serious music journalist/critic mode, I just write how I talk. I am pretty excitable and have a big vocabulary ‘cause I read too much, so, there we go. I tend to inadvertently use a weird hodgepodge of slang terms ‘cause I’ve traveled a ton and my boyfriend is English. It’s really all a big mess. I probably curse too much, too.
H: We should mention you also worked in other areas of music around this time. Specifically, you had a role in publicity with MAD Dragon, as well as a promotions title with Candlelight Records. Did you pursue writing before going after these areas of the industry, or did they all develop around the same time?
K: I’ve always been a writer. I was involved with MAD Dragon because it was part of my coursework at college. My school, Drexel, had its own record label, and my music business concentration landed me right in the thick of it. I also had a wonderful experience working with Paula and Steve at Candlelight Records, but eventually had to leave my position there in order to concentrate on my schoolwork. I wouldn’t be opposed to another label job in the future if the right opportunity came along, but, I’m happy where I am now.
H: In recent years you have continued to write while also pursuing a career in publicity (Catharsis PR). When did you decide to step out on your own in the PR world, and how do you balance the demands of both roles?
K: I started Catharsis PR during the summer of 2008. It’s been a tough climb, and I’ve learned a lot of hard lessons, but it’s been worth it to see my work create a positive impact in the lives and careers of the incredible musicians I’m lucky enough to represent. Five years later, it’s going better than I could’ve ever imagined. The gamble paid off. Sure, it can get difficult to keep up with both writing and PR. I’m usually super stressed and working on a hundred things at once, but once you’ve accepted chaos as a way of life, it gets easier. No rest for the wicked, right?
H: Has there ever been a time when you faced a conflict of interest as a result of your roles in both PR and journalism?
K: A lot of writers also do PR. It’s tricky, but it’s doable. It’s important to find a balance, and to realize that sometimes hard decisions will need be made and that ethics must take precedence over anything else.
H: Without going too in-depth, please walk us through a normal day at work:
K: Wake up, answer emails, tea, more emails, tea, write some things, work on PR stuff, bother my boss on Gchat, update social media sites for my clients, remember to eat something, send pitches to editors, delete press releases about lame bands, reply to press releases about rad bands, write more, more PR stuff, realize it’s gone dark outside, make dinner with my dude, then either stay in to work all night or go out. Repeat. I try to keep a am/pm10-7ish schedule, but, it never works. The concept of “free time” makes me anxious, so I suppose it’s for the best.
H: Beyond paychecks and bylines, how do you measure your personal success?
K: There are a few publications I’ve always wanted to write for, and slowly but surely, I’m checking them off the list one by one. It’s also immensely satisfying to slave over a piece of writing for hours on end and then, once it’s published, see it receive a positive response from people you respect or, even better, from the band itself.
Besides that, I’ve got interviews with Loretta Lynn and Attila Csihar lined up for next month so I’m pretty much set for life.
H: What advice would you offer up and coming writers considering a career in music?
K: Don’t.
But, if you’re truly determined, start a blog and write every day for a few years until you’re confident in your work, then start pitching other outlets. Don’t be afraid to follow up. Keep your day job ‘cause you ain’t gonna make much money doing this, but don’t let anyone shortchange you, either. Remember that your work has value.
Oh, and don’t be a dick.
H: There have been a number of people who have suggested there is no longer a need for professional music critics in an age where everyone is given a voice through social networks. Do you feel they still have a place in the world?
K: At this point I think it’s just as valuable to bring attention to new, undiscovered, or obscure bands as it is to bathe a big album by Metallica or whatever in oceans of music criticism. There is so much music out there that it’s impossible to listen to everything. Writers should act as guides, by seeking out and then steering folk towards those hidden gems. I don’t care about what the big bands are doing; plenty of people are willing to write about them, and that’s fine. I’m interested in the other stuff, the ugly, loud, violent stuff. The more people I can expose to that, the better. If I can turn one person on to Crom Dubh, Sortilegia, or Nightfall, my job is done.
H: When it comes to receiving music for review and feature consideration, which distribution platforms do you prefer and why?
K: Don’t be coy, you and I both know that yours is the best. I especially like the streaming feature, ‘cause I don’t like downloading things and my apartment is already a nightmarish morass of books, records, and mountains of CDs leftover from the early days when labels would mail out promos by the sackful. I’m so glad that that practice has died out; cheers for ushering that along, Haulix!
H: Speaking of listening to music for coverage consideration, do you have any advice for the independent artists reading this in hopes of learning how better navigate the industry?
K: Do your research before contacting a writer or publication – find out what they cover and try to gauge how well you’d fit into their tastes or aesthetic before trying to cop a review. Be professional (i.e. don’t bug editors/writers on Facebook!). Work hard. Tour harder. Pay for a good recording. Learn how to swallow your pride, and also how to stand up for yourself. Understand that you will almost definitely never be rich, but that the memories you make doing this will probably be worth more. Remember to use BCC. Do not try to sell me on your fucking indie pop record.
H: If you could change one thing about the music industry, what would it be?
K: Bury the concept of “The Hottest Chicks…” in anything forfuckingever. Sexism is not metal.
I also wish bands were compensated more fairly for their hard work, and that the music industry was less concerned with jerking itself off and more interested supporting quality music.
H: You have accomplished quite a bit over the last decade. Looking ahead, what career goals are you currently focused on?
K: I’m working on a book proposal and a few other projects, but honestly, at this point my biggest goal is to get published in a something my grandparents have heard of. NPR? Nope. Spin? “What is that?” I thought I’d struck gold with the Guardian, but no such luck. Does American Rifleman have a music section? Maybe I can try them next…
H: I believe that covers everything. Do you have any final thoughts or observations you would like to share with our readers?
K: Thanks for the interview, James. Everyone else is invited to check out my new blog, Necrolust (www.necrolustzine.com), and fight me on Twitter @grimkim. Send me a link to your band if you sound like Hellhammer, Appalachian Terror Unit, or Skepticism (otherwise, please don’t).
Life is too short for second best…and if you are a false, don’t entry.
Hello, everyone! Welcome to the first of a few new ‘Advice’ column we have planned for the day ahead. This one in particular is quite special because it was contributed by one of the hottest up and coming alternative acts in the world, and the advice they have to offer could very well aide another developing act in reaching a new level of success. 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.
For the better part of the last three years, Stars In Stereo have been working their way up the underground rock ladder of success. From their from their first practice in the city of Los Angeles until now they have been focused on proving once and for all that rock and roll is not dead. In fact, it is very much alive, and anyone with doubts need only witness Stars In Stereo’s critically acclaimed live show for proof. This four piece is the real deal, and slowly the rock world has begun to give them the attention they deserve.
Recently, a publicist friend of ours brought Stars In Stereo’s latest release to our attention. After learning of their journey through the various levels of rock recognition it dawned on us that the band may be able to offer some insight into life as a touring artist that otherwise may never be shared. We made a request, and late last week the following submission arrived in our inbox:
5 Tips for DIY Bands
My name is Jordan McGraw, I play guitar in Stars In Stereo and I own a record label called Hundred Handed. When we started this band, we decided that we wanted to do things our way and have control over every step of our career. We signed ourselves to our own label and went for it! So far, it is working out better than we could have imagined. Here are a few tips about what I’ve learned from being in a “do it yourself” band.
1. My first piece of advice for a do it yourself band is to keep in mind that doing it yourself does NOT mean doing it without help. The first key step to putting your DIY band out there is to surround yourself with people that know everything that you don’t about what you are doing or hoping to do. This person could be one mentor at the beginning or a whole team of people. Either way, you NEED someone watching your back and looking for the things you might have missed or might not have learned about yet. For us, the first person to help was our friend and producer/engineer Eddie Jackson. He roped us in when we were going on too far of a creative tangent but was such a close part of the team that he could tell when and what seemed like a tangent was more of a development and would challenge us to go after it. We wouldn’t have found our sound as quickly as we did without him. Once we had our sound and a first batch of songs, we were lucky enough to catch the ear of Craig Aaronson (he signed The Used, My Chemical Romance, Avenged Sevenfold… the list goes on). For the next year, he acted as an A&R type voice, manager, agent… everything. From there we went on to grow into a need for more team members. Best of all, because we are a DIY band, we were able to pick who we brought in based on what we wanted and what they were willing to do rather than just being handed a team and dealing with it.
2. My second piece of advice is to STAND YOUR GROUND. Now you have your team, listen to them but don’t let them push you away from what you want. It’s no secret that the music industry is full of “know it alls” but there is no right answer… There never has been. Hell, tell me I’m full of shit if you don’t like this article… but DO keep in mind that the formula for the music industry is broken. Not in every way… but it is broken. With social media, easier access to studios, the ease with which you can steal music, and plenty of things I probably haven’t even heard of, there is no one way to do things. So, if something doesn’t feel right, challenge your team to come up with a new way to get it done. If that new way fails, try another one.
3. Thirdly, now that you are your own boss, you now have all the time in the world to get through every step of your career. That’s not necessarily a good thing… Taking too much time and being too picky about little details when it comes to EVERY decision will, 9/10 times, be detrimental to your end goal of success (whatever your measure of success may be). BOSS YOURSELF AROUND. Set realistic deadlines for every step of your process and do everything you can to get there.
4. This is a big one to me… One thing that I see time and time again on tours with other DIY bands is the blurring of the line between business and creative on the way up. When you are on tour with a band, make friends with them, hang out with them, party with them, whatever… but don’t turn every hang into a networking meeting. From what I’ve seen, it never works as well as a band thinks it will. A lot of times they don’t make a lot of the decisions anyway (because they aren’t a DIY like you… They have higher ups to answer to). If their manager is around, THEN put on your business hat. If you’re hanging out, grabbing a beer with the headliner after a show, just hang… Don’t start selling yourself for other tours or collaborations. All that fun stuff happens with time and with a good relationship.
5. Finally, this is a full time job. If you’re going to “do it yourself,” expect to do A LOT more work than if you were just going to be on some label where they do the work for you. Lots of emails, late nights, early mornings, hiring, firing, failing, problem solving, budgeting… PLUS the creating, writing, performing, practicing, interviews, photo shoots, video shoots… EVERYTHING. If you aren’t ready for that, then do it another way. Again, there’s no one right answer.
Stars In Stereo have big plans for 2014. Be sure to ‘Like’ their Facebook page and follow the band on Twitter.
Hello and welcome to a brand new week of music industry advice and insight on the official blog of Haulix. We have been preparing all month for the days ahead, and could not be more excited to finally share the content we have in store with all of you. From interview to advice, everything you love about this blog will be making an appearance in the very near future. 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.
There are many types of music critics in this world. Some people love to hear themselves talk, others feel they have a mission to prove one genre is better than all the rest, and still others critique for the sake of finding the best music anywhere in the world. Genre does not matter. Age does not matter. If they have an audience, these critics want to know why. They dedicate themselves to the pursuit of the most memorable, catchy, infectious, and downright unforgettable audio offerings ever created. They are a rare breed of writer, and we are fortunate enough to have one of their brightest minds with us today.
For the better part of the last three years Daniel Gallegos has served as founder, editor, and sometimes photographer of The Dread Music Review. The goal of these efforts has not been to preach about one genre of music, or to say one group is better than the other, but to show the world all music is awesome and worth hearing. Through music reviews, live coverage, editorials, and little bit of everything in between, Daniel explores the wide reaching world of music so casual listeners can enjoy the latest greatest offerings from around the globe. His mission is one we applaud, and we are honored to have him take part in this series.
If you would like to learn more about Daniel Gallegos and the efforts of The Dread Music Review, please take time today to follow the site on Facebook. additional questions and comments can be left at the end of this post.
H: Please tell everyone your full name, job title, and the site you’re going to discuss with us today:
D:Hey James! My name is Daniel Gallegos, owner, writer, and sometimes photographer for the DreadMusicReview.com.
H: Thank you for taking the time to speak with us, Daniel. I’m excited to learn about your journey in this business. Tell me, has music always played a major role in your life?
D: My father always told us ‘Music is the voice of the universe’, He was very musically talented and ensured music was always a part of our lives growing up.
H: Who was the first artist you can remember obsessing over, and how did you initially discover them?
D: I believe it was 1985 or maybe 1986, RunDMC broke the music barrier by covering Aerosmith’s ‘Walk This Way’ which came up randomly on MTV. I ended up not only learning every single song by RunDMC, but also Aerosmith, and began to understand how diverse the world of music really was.
H: Do you remember the first concert you attended? Go on, tell us a little about that experience:
D: The first memorable concert i went to was the Rolling Stones Steel Wheels Tour, in Los Angeles at the Los Angeles Memorial Coliseum. We had flown from Albuquerque to LA just to see the Stones play. It was a fast unplanned weekend trip my dad put together in just a few days, because he wanted me to see one of his favorite bands while they were still touring. The Stones played 3 shows in 3 nights, we were there for two of them, i believe this was back in 1989. I actually spent that Halloween on the beach with my ears still ringing from the concerts.
H: We’re mainly here to discuss your working in writing, so it’s only fair we dive into your history there as well. Can you pinpoint any formative moments or experiences you had growing up that may have steered you towards a life of music criticism?
D: I have always had a love for music, I have found that while most my friends growing up stuck with listening to one genre, or style of music, i always wanted to hear, and experience more. I was the kid always flipping through the stations, looking for the songs that felt right, and sounded perfect.
H: Where did you get your first taste of writing professionally?
D: in 2008, I was photographing events for the now defunct ArizonaReview, taking photos for Nubia Calvillo’s articles. We actually sat down after one event, looking over my images and discussing how we wanted to place them in a way that told their own story along with hers. I sat down and wrote out what i saw, and how it made me feel. from that point on, writing about shows just became an obsession.
H: Onto the site. Would you please tell us the origin story behind Dread Music Review? You are, after all, known by many as ‘Mr. Dread.’
D: I spent a very long time wrestling with the decision to make my own site. Running a website is hard work, and takes a degree of dedication that is incredibly amazing to maintain. I had spent months looking for companies i would like to write for, but i couldn’t seem to find anything that seemed to resonate with the non-biased form i had grown to love in the ArizonaReview. I discussed making my own site with some writers, photographers, PR agencies and labels and decided to push forward with the idea of launching a site, with the goal of not just sticking with one genre of music, and to be open to all forms of musical expression. While brainstorming ideas, one of my phone ringtones went off, it was a sound-clip from “The Princess Bride”, so i looked at that movie for inspiration, and went forward with the Dread Music Review name.
H: We should address the nickname. When did you first begin using the pseudonym Mr. Dread?
D: That credit goes to my daughter, Bonnie, after discussing the name I had chosen for the site, she began calling me “Mr. Dread” and it just stuck, so i integrated it into the DMR.
H: What were your initial goals when DMR launched, and how have they changed or evolved in the years since?
D: The goal of the DMR has always been the same: we want to share with the the world all music. The goal isn’t to preach about one genre of music, or to say one group is better than the other, its to show the world all music is awesome and worth hearing.
H: How would you describe the content offered by DMR to people who have never visited the site?
D: I would have to tell them that we are lovers of all forms of music, and share all that we can, and if they check out our site, they will more than likely find something that will be interesting to them.
H: The competition in the field of digital music journalism has ballooned in recent years. What do you feel sets DMR apart from the rest of the sites vying for clicks?
D: I do my best to find local writers and photographers for events. I have found that if you invest in local people to go to shows and events and to take photos and write reviews, they bring their own cities/colleges and areas with them to the site.
H: Looking at the site now, I notice that you have pretty much no advertising whatsoever. Have you attempted to monetize that site at all? If not, do you have plans to do so in the future?
D: I have wrangled with the idea of selling advertisements, and even using resources like Google ads, or other pay per click ad banner companies. But, so many sites already have all the same advertisements and banners and “click here"s and pop-ups. I have found that ads distract from the content. I want DMR readers to read about music, and events and check out artists, not wrestle with ads. As much as i would love to see the DMR make money via ads, i would rather have a clutter and ad free environment for our readers. In the future, i would like to be able to offer concert and event tickets, and even work in advertisements for our DreadMerchStore, but at the moment it just seems like a bad idea.
H: Besides traffic and continued access to press materials, how do you measure the success of your efforts with DMR?
D: I went to a show in Phoenix, Az, a local band was on stage, and they actually told the crowd about the awesome interview their drummer had given to the DreadMusicReview. The pride in the knowing that band recognized the DMR onstage and was excited about being featured in it has been the standard of how i measure the DMR’s success. we dont do it to be "successful”, we do it to help the artists get out there and become just a little bit more well known.
H: What advice would you offer to up and coming writers who are currently considering a career in music joualism/criticism?
D: Keep at it. Set some goals and don’t stop until you reach them, then make some more and keep that train rolling. Always follow up, even if it is days or weeks later, keep communication going; Your career and that of the artists you feature are dependent on how well you communicate with those in your industry.
H: When it comes to receiving music for review/feature consideration, which distribution platforms do you prefer and why?
D: I have found Haulix to be an absolute godsend! I get an email from a band or PR agency with a Haulix link to content from the band and everything i need is right there at my disposal. I sometimes get links to soundcloud, or other music sharing sites or even just youtube, but being able to have everything bundled up and readily available saves so much time.
H: Beyond continuing to develop DMR, what career goals have you set for yourself?
D: I plan on expanding the Dread family, i have recently started a new project, the DreadMovieReview, still in its infancy and beta stage, along with a band merch site to offer products to artists to sell to their fans at wholesale prices.
H: Is there any area of the music industry you have yet to dabble in that interests you? On the flip side, are you active in any areas we may not have discussed in this interview?
D: Eventually, i would like to move into the PR aspect of the music industry, there are so many awesome PR agents out there that have taught me so much, and some that go above and beyond, like Tom George from Fixit, or Mike from Earshot, they are always there for whatever us writers need. I would love to learn as much as i can from their side of the industry.
H: If you could change one thing about the music business, what would it be?
D: I would like to see less festivals and more intimate events. But there is such a demand for festivals, it would be along time coming to see that kind of change.
H: There are a number of young artists reading this who hope to one day be featured on sites such as yours. What advice would you offer them on advancing their careers in the modern music landscape?
D: Get yourself out there, submit your music and bios to every site you find, and network as much as you can, the friend you meet today could be the person hyping your record to all his friends tomorrow! Also, invest in a good PR agency. They will help you reach as many potential fans as you can.
H: Looking ahead to the rest of 2014, are there any major changes or evolutions coming to DMR? Tell us what lies on the horizon.
D: I am planning on bringing live concert streams to the DMR in June, hopefully streaming EDM festivals as well. My goal is to have the DMR be the place to go to for up to date information on new and current artists.
H: Okay, I think that covers everything. Before I let you go, do you have any final thoughts or observations you would like to share with our readers? The floor is yours:
D: The best thing i can say is always move forward. Plan ahead and you will come out ahead.
Hello and welcome to the official blog of Haulix. One of the questions we are asked most often on this blog is whether or not we know of any job openings within the music industry. We try our best to inquire during interviews with our guests, but recently we decided to kick things up a notch and launch a column specifically dedicated to new opportunities around the music business. It’s called the Music Industry Job Board, and this is the third installment.
Every Sunday afternoon, we gather the new job and internship offerings we have come across in recent days. We do our best to offer description of each job, as well as any supplemental information related to the application process. The latest round of openings can be found below.
You can help us build this list! If you have an opening you would like to see added to a future job board post, please email james@haulix.com with all the pertinent information. We can also be found on Twitter and Facebook.
Job summary: The Shazam team are now looking for a Junior Account Manager/Coordinator on a temporary basis to join a growing & busy team.This is a critical role in the sales planning process at Shazam & encompasses pre and post sales support, administration and reporting.This newly created role will provide support to the New York Account Management team and will cover both Shazam for TV (SFTV) and Music. The ideal candiate will be responsible for making sure that all stages of the sales process are managed appropriately. This will include working closely with Account Managers, Ad Operations, and Trafficking teams.
Job summary: We are looking for a forward-thinking candidate who can help take our branded content to the next level. You should be the person who knows about the next big social trend before anyone else and how to merchandise it. We work with premium brand partners in a fast-paced environment—missing deadlines is not an option. You’ll be responsible for developing and driving social amplification and strategy, content distribution and content integration for our branded content and marketing campaigns. An interest in and understanding of advertising, innovative marketing and the digital space is a must. You’ll also need extensive experience with all social platforms and the ability to interpret and report on social metrics in a client-facing way (i.e. you can make a deck). Finally, you should have a proven track record of exceptional client service and campaign coordination, especially as it relates to internal communications and time management.
Job summary: Domino is seeking a confident high caliber individual to oversee its digital account and sales initiatives, based in its Brooklyn office. The position will manage key partnerships and initiatives across digital music and video service providers (e.g. iTunes, Spotify, Amazon MP3, YouTube) for North America. Our individual should possess a strong, imaginative, progressive ‘sales orientated’ vision with a pioneering spirit. Additionally, the applicant must demonstrate a command of new digital commercial models and ability to adapt to shifts in the marketplace, with a passion to plug and promote our amazing musical repertoire across the digital services. The ideal candidate is very familiar with Domino’s output, aware of its history and will complement the company culture.
Job summary: We need a super-talented and enthusiastic business development manager to join the team, based in either San Francisco or New York City: someone who has a hunger to make a substantial difference to a fast-growing digital music business. Reporting into our central commercial business development team at our head office in London, this role is key to our growth. Together with the US staff on the ground, you would be working across a matrix structure to deliver our targets.
Job summary: Opening in the summer 2014 in the Front Street Entertainment District in Hartford, CT, Infinity Music Hall & Bistro will be a music hall and restaurant destination beyond compare anywhere in the US. As our second location, IHH will be a dramatic affirmation of our much-loved brand, which delivers world-class music and dining in an intimate, beautiful and friendly setting. We are seeking an exceptional individual to be our on-site leader. The General Manager will be the number one champion of our quality obsessed and service focused team culture at the amazing Hartford location. All candidates must have extensive fine dining management and music presenting experience. Consideration will be given only to applicants with proven ability to be the ultimate host and have outstanding communication skills. Financial management experience is also required. Experience opening new restaurants is preferred.
Job summary: We currently have a weekend opening for an Associate News Producer. If you have prior broadcast news experience, including news writing & delivery, audio production, and social media skills, this might be the position for you! An mp3 newscast sample is required. This is an on-site position based in Rocklin, CA.
Job summary: Refinery29 is actively on the hunt for a next-generation Executive Editor, News & Entertainment to join our team and lead our 24/7 News operation to the next frontier. If you’re a big-ideas editor who is obsessed with breaking headlines, and smart, opinionated, high-performing content, we want to meet you. Only those who work at highly trafficked websites—and who demonstrate true strategic leadership with a passion for pushing the boundaries of what’s possible—need apply. Refinery29 is a leading authority in fashion and lifestyle—in all its facets—and our audience demands a distinct point of view on entertainment, wellness, food, technology, women’s issues, music, politics, and essentially everything that touches their lives everyday. The Executive Editor of our dreams will expand and enrich our already addictive signature R29 coverage and infiltrate the Internet with a new kind of breaking news that modern women crave.
Job summary: The Partnership Manager will be responsible for the development, and day-to-day management, of programs that increase Monster’s reach and exposure through integrated co-marketing programs, licensing partnerships, and brand collaborations with consumer brands and partners (example: UFC, WPT, Caesars Entertainment, ClearChannel/iHeart Radio, etc). This person will work with the Marketing Leadership Team, Senior Sales Team and Monster management to build sustainable relationships and maximize opportunities with partners by managing and driving initiatives with partners and across internal Monster teams and the brand & partnership teams, working with external partners and internal Monster teams to develop partnership initiatives, driving the execution of initiatives, communication across Monster teams, reporting to Monster management on results.
Job summary: Part time contract position at a growing music studio in Sugar Land, TX. The studio will handle all administrative work – advertising, acquisition of clients, collections, administrative reports to insurance companies. The therapist only needs to administer therapy. Compensation will be based on a percentage split, to be negotiated. This is an ideal position for a therapist who is not yet established with clients. It is also a great opportunity for therapists who like to do things “their way.”
Job summary: We’re looking for a responsible, self-starter to perform the role of Executive Assistant to the company’s EVP of Creative who oversees creative operations. This person will also serve as the Office Manager of the Chicago office and the liaison between Chicago staff and Superfly’s Director of Human Resources.
Job summary: MUST HAVE EXPERIENCE AS ASSISTANT ENGINEER AND BE PROFICIENT IN: HD pro tools 10, SSL AWS 900 console, SSL patchbay , Cue systems, Handling of vintage Tube microphones, Antelope and Atomic clocks, General studio maintenance, MAC OSX and mountain lion, Personable, Professional.
Job summary: Since our founding in 2008, Jingle Punks has quickly become the premier creative music agency in the US. We are the go-to resource for custom composing and music licensing for the film, TV, Advertising, and Digital Media space. The job will be to assist in logistics and studio productions operations and to help manage and organize a growing team of 15+ Composers in NYC and LA-based recording studios.
Job summary: We are currently looking for an enthusiastic, highly organized, results-driven, team-player, and customer focused individual for the full-time position of Manager, A&R, based in Nashville. This individual will be responsible for seeking out songwriters, artists and publishers of music and songs for acquisition of their services for domestic Company use with emphasis on country music. This is a fun and challenging position in a fast-pace environment.
Job summary: Provides general support specific to the Digital Sales Team, be primary person dedicated to reporting and analysis of data to help market and sell our music more proactively.
Job summary: The Fox Sports Music department is seeking an Assistant to provide administrative support to the Vice President, as well as provide general office support to the department.
Job summary: To maximize sales by meeting or exceeding performance targets and sales objectives, and provide high quality customer service to an assigned territory of independent CBA retail accounts by direct and frequent customer contact and relationship management.
Job summary: OPB is looking for an individual knowledgeable and experienced in station programming and passionate about supporting the local music scene to be our Assistant Music Director for opbmusic. The Assistant Music Director, along with the Program Director, implements the programming strategy for opbmusic’s 24-hour channel; manages a team of volunteer DJs; oversees music acquisition, airplay, and reporting; and ensures compliance with FCC and copyright regulations. OPB is an Equal Opportunity Employer.
Job summary: We are looking for an energetic Freelance Entertainment Publicity Manager, specialized in the field of music, with a particular focus in Hip Hop / R&B / Urban. You must have a strong network of existing relationships with entertainment media, especially in the urban community. Online and offline media contacts may include Vibe, Complex, Serius Radio, XXL, MTV, BET, AllHipHop com, the FADER and others that include general entertainment media. You MUST have a strong knowledge of digital publicity, social media management, tumblr and blog management and SEO.
Job summary: The primary purpose of this position is to assist Consolidation Manager in the preparation of monthly, quarterly and annual consolidated financial statements. This role is within the Entertainment One Television Division.
Job summary: Our merchandising department is looking for an ambitious, energetic and goal focused individual to join our sales team. Two+ years in merchandise and/or textile screen printing sales is mandatory along with strong computer, analytical, communication, and people skills. We stress quality, dedicated customer service and 24 hour turnaround. We have a competitive incentive program for the right individual. If you are a closer looking to work in an exciting environment with tremendous upside this is the job for you.
Job summary: We are on the hunt for a special volunteer this summer for our outreach on Warped Tour. We are looking for male or female, 21+, that is passionately pursuing Christ and loves others. Preferably someone with touring and ministry experience and doesn’t mind being dirty and some hard work. If this seems like something you would be interested in, please contact stellaskad@gmail.com for the online application link.
Job summary: FRANK PR, a NY based entertainment public relations firm, is looking for a Publicist to work closely with clients, executives and staff. A vibrant, young company, FRANK PR provides services to some of the most prestigious names in film, television and entertainment. The agency’s staff includes highly motivated and qualified public relations professionals, each with first-hand experience publicizing entertainment and special events throughout the country.
Job summary: Interns will be involved in various day-to-day operations throughout the synchronization department providing a general understanding of how a music publishing company operates.
Job summary: Sought for Southern California’s leading classical repertory theater in Pasadena. Interested in the arts, with an eye on marketing? Adept at social media? If your career goal is in arts administration or general marketing, A Noise Within offers a terrific internship opportunity for you.
Job summary: Fxck Cancer Foundation is looking for volunteers on the World’s Loudest Month Tour. Dates below:
Welcome to Rockville April 26th-27th metropolitan park Jacksonville Florida
Carolina Rebelion May 3rd-4th Charlotte motor speedway North Carolina
Rock on the Range May 16th,17th & 18th crew stadium Columbos Ohio
Rocklahoma May 23,24&25 Pryor Oklahoma
Phil from fxck cancer is looking for volunteers to help with setup and breakdown of the booth. Also helping with receiving donations and handing out product. Phil needs people that aren’t shy and that have good communication skills. Volunteers will help educate concertgoers about early cancer detection and help fxck cancer to raise awareness by passing out their tri fold pamphlets.
Hello, everyone. Thank you for taking a little time out from your weekend to read up on the latest industry advice and insight. We are thrilled to be sharing the third chapter of our ongoing ‘Journalism Tips’ series, and to be honest we think it might the best one to date.
We are always looking for new ways to expand and further refine our efforts here at Haulix. If you have an idea for this blog, or if you would like to learn more about the digital distribution services we offer, please do not hesitate to email james@haulix.com and share your thoughts. If you prefer social media, feel free to reach out to us on Facebook and Twitter.
I’m pretty sure I’m not the only one who’s heard “it’s not what you know, it’s who you know.” Don’t take this as the beginning of some blogged bash towards education, because believe me; if you’d like to get anywhere, you need to be able to walk the walk, if you already plan on talking the talk.
Which brings me into what this is all about: Networking.
It’s all up to you to decide how far you take your efforts, but networking is one of the most important things you could do for your career. I’ll speak from my own experience in saying that if it wasn’t for networking, I wouldn’t have made my first footsteps towards a career in the industry.
In today’s day and age, the first sort of networking that probably comes to mind would be social networking. But who’s to blame? Society thrives off the internet, and this is the easiest method of communication, because you can do this from just about anywhere, including your bed early in the morning, a bus bench, a crowded elevator, your work desk, and your sofa after a long day.
If you don’t have any friends who work in the industry, whether in journalism or the music business itself, make some. It could start with something as simple and easy as a twitter follow, and from there, things can only grow. Make sure to genuinely interact with them via retweets and @ replies, and over time, they may or may not follow you back. Further down the road, you can be a bit more social by asking questions for advice or you could even take it a step further and offer your help by writing at their site. You’d be surprised at who would actually take the time to help you out.
At this point, I would consider it to be more acceptable to send Facebook friend requests. Speaking from my own experience, I know I’m more likely to accept requests from people I’ve at least had some conversation with over Twitter or some other form of social media. But that’s just me. Ultimately, be sure to see and treat Facebook for what it is: a personal method of staying connected with others.
To those of you who are more seasoned when it comes to journalism, my only advice to give is to make sure that your network extends past your bubble of a community. For example, if you write for a punk/scene oriented publication, I suggest networking with people at other publications, say, NPR and Pitchfork, because it’s always nice to have connections across the board.
Now let’s talk physical networking. We all know SXSW (and any other major music conference, for the matter) is the place to be for meeting others from similar walks of life, but have you thought about such as record stores and venues? Photo pits are only so big, and backstage areas really aren’t as exciting you think they can be (at times), so why not take the opportunity to make conversation to help make the time pass by a little quicker? During events as big as Warped Tour, the line for press credentials can take a while to sit through, and you’re literally surrounded by other press members. The ideas you can get from others could help you exponentially, and even more if lasting connections are made.
This is by no means a call to be inauthentic with others. Instead, this is a reminder that you’re surrounded by people who could one day help you down the road when you need it. I’ve had many great friendships stem from what I originally considered to be simple acquaintances gained through networking, and that serves as another reason for me to encourage stepping out.
If you have a scene, you should live in it, and by that I mean that you should meet people, build friendships, and help each other.
When he’s not listening songs from the upcoming Comeback Kid album, Adrian Garza writes at Under the Gun Review and works at the Editor-In-Chief at The Southeastern Times, Southeastern University’s student newspaper. Follow him on Twitter.
Hello and welcome to the final update of the work week here on the official blog of Haulix. We like to use this time to reflect on everything that has happened around our offices in recent days and want to thank you for taking the time to stop by. If you would like to learn more about the services offered by Haulix, please do not hesitate to email james@haulix.com and request more information. We can also be found on Twitter and Facebook.
Kicking off this week, we wanted to take a moment and thank everyone who has sent us feedback regarding our recently launched mobile platform. We knew people were hoping for such an update for a long time and are thrilled to finally be able to deliver. If you missed the original announcement, click here for details regarding the system and how you can access your promos on the go.
On the topic of new updates this week, the entire Haulix team has been hard at work creating a new support site. We hope to complete this project in the weeks ahead and launch around the time spring arrives. Every article from the old site will be included and updated to ensure top shelf assistance is delivered with each and every click. We’ll bring you more details regarding the redesign launch sometime in the weeks ahead.
As far as our efforts here on the blog are concerned, things have never been better. The recent decision to extend our coverage to seven days has allowed for more great content to be delivered each and every week, which makes us and hopefully you at home quite happy. We have new columns, guest contributors, and a budding job board that is poised to take off in no time at all. There is a lot to be excited about around here, and we thank you for continuing to support our efforts.
In case you missed anything around the blog in recent days, here is rundown of everything posted since last Friday:
Hey there, everyone. Thank you for stopping by the official blog of Haulix! We are thrilled to be sharing the second installment of our recently launched How To Kill Your Band column this afternoon, and hope you’ll continue stopping by as this series continues 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.
An Introduction:
I’ve been in the music industry as an artist for nearly10 years now. In that decade I’ve achieved nearly all of my childhood music dreams, but I’ve also made just as many mistakes that run over my mind before I fall asleep each night. A wonderment of how a few different decisions, rerunning in hindsight, would work out in some alternate universe. This ever creeping determinism is a fallacy I’m quite aware of but one that I will never completely shake, though it’s these experiences I’ve learned the most valuable lessons. These are the things I’d like to share in a series of mini-blogs I call How to kill your band.
#2 – The $200 Hump
Deciding to go out and make a living as a musician is less a career decision and more a statement on your mental health. It’s never been more apparent how arduous it is for modern musicians to earn decent money from their craft. Album sales have been nosediving since 2000 (even digital sales decreased in 2013, the first time ever) and though paid streaming services are growing, they provide even less in terms of revenue to the actual composers. “Make your money touring”, has been the go-to answer over the past couple decades but as Oh, Sleeper’s Shane Blay so eloquently broke it down a couple years ago, even that has become a breakeven prospect, at best, for mid-level bands.
Is it still possible to make money touring? Definitely, but it’s harder and more competitive than ever. Never have there been more bands on the road battling for a relatively fixed amount of fan dollars and so to be successful you have to surpass this little thing I like to call “The $200 Hump”. If you can make it over this hump, there’s money making promise. But if not, you often end up in eternal band poordom where ending tours means less money to your name then when you started.
Why $200? This seems to be the per show guarantee a lower level signed touring act needs to pass in order to keep growing and I have a few good theories as to why. First, for local talent buyers there is an inherent value in booking even a smaller signed band. In most cases, these bands won’t even draw enough on their own to justify a $100 guarantee but it does give promoters a band to build a show around. Locals are smart and know who is signed to what label and sharing the stage is enough incentive to open a show and basically donate their friend’s ticket revenue to the touring act. Pretty much no matter what, even the freshest of signed acts can get $100-200 any night of tour and that is the just the value of investing in yourself enough to get a label deal.
Now that’s not going to come close to paying bills. That might cover gas (and tolls, I’m looking at you Long Island…) but that’s pretty much it. Everything else: breakfast, lunch, hygiene, etc are all coming out of your savings. At this level you cycle from saving money working while home and then quickly blasting through those reserves on tour. It’s not a sustainable way to live, but it does offer you the opportunity to do what you love and is a step towards more rewarding pastures.
To break this $200 barrier you have to do one thing – draw. No shit right? But in such a saturated market it’s a tremendously difficult thing to do – bringing 50+ people to your show on a nightly basis across the country is pretty damn impressive. The instant promoters see you can reliably deliver even just a few dozen in ticket sales, it becomes exponentially safer to offer you more money. Bands that can break this barrier usually have buzz gained from past touring, online celebrity, or just raw talent – these are things that tend to keep growing. Passing the $200 mark usually takes this level of significant draw which is based on more than just your associated label and so once you break the barrier, it’s much easier to keep it going.
That’s basically the difference, at some point you prove you can draw and it’s what makes or breaks your band. Further, as a mid-level band earning $300-700 per night, that increase can actually start becoming tangible profit for each member as long as you are smart on the road – something that’s not easy in itself. What I think my $200 theory ultimately suggest is the gap between a low-level and mid-level band is much bigger in reality than it may seem in dollar amount even if that difference is felt in your pocket. It marks clear the separation between the bands struggling to stay alive and the ones that have found their niche and can see the promise of perhaps, one day, maybe pay rent.
This column was contributed by Eric Morgan. Eric spent a number of years touring the world as part of the Victory Records band A Hero A Fake. He’s currently developing a new project,Bornstellar, which plans to release its first EP later this year. Click here to learn more about Eric’s time in music.
Hello and welcome to the final Blogger Spotlight of the week. We realize it’s only Wednesday, but we have so much content ready to release that it’s time to put this column on the shelf for a bit. Before we do however, we are delivering one of the most requested interviews we have ever received.
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.
Those who find lasting success in the music industry often do so because they have fully committed to their craft. They find the power to shake off whatever self-imposed barriers to success stand in their way and do everything in their power to forge a path entirely their own towards the goals they have set for themselves. They may turn to others for advice and reassurance, but no one can do the work for them.
The burden of purpose is one only you can carry, and in order to succeed you have to be prepared to commit all the time you have available to the pursuit of professional happiness. You can accept no substitute. There is a place for you in this world and you are working towards it.
Cassie Whitt accepted the challenges that come with a career in music when she decided to launch her own blog in 2008, but her pursuit of a life in music actually began several years earlier in 2004. That was the year Cassie, then 14, first discovered My Chemical Romance. Their music helped Cassie turn her life around, and in doing so exposed her to the true power music can possess. She knew then she needed to do something to help others find music that would eventually change their lives, and the rest – as they say – is history.
These days Cassie can be found around the offices of Alternative Press Magazine where she serves the publication’s web content manager. She loves her job and continues to help connect people with talented artists on a daily basis. We’ve been receiving requests to feature her story since late November and could not be more excited to finally be able to share her adventure.
If you would like to learn more about Cassie and her undying love for all things My Chemical Romance, please make it a point to follow both her and Alternative Press on Twitter. Additional questions and comments can be left at the end of this post.
H: Hello! Before we dive in, would you please tell everyone your name, job title, and the publication(s) you currently work for:
C: My name is Cassie Whitt. I’m the Web Content Manager for Alternative Press.
H: Thanks again for taking part in this series. We like to begin by getting a little background information about everyone. When you think of your earliest memories with music, what comes to mind?
C: I always think of running errands with my grandmother and listening to Patsy Cline cassettes in the car when I was a three or four years old. On the cover art of one of the tapes, Cline actually looked like my grandma, so I grew up singing “I Fall To Pieces,” “Crazy” and “Walkin’ After Midnight” with her—a part of me thinking the whole time my Meme actually was Patsy Cline. Later, in high school, when I joined choir, Patsy Cline was the reason I was thrilled to be an alto. I have a soft spot for classic country, especially Johnny Cash, because of my grandparents.
H: What was the first album you purchased with your own money? Do you still own it today?
C: I believe the first “album” I purchased was actually the Backstreet Boys’ Millennium on cassette. Haha! That was back when new releases would first go onsale in stores in cassette format, and nine-year-old me couldn’t wait to have it. I don’t think I have any of my cassettes anymore (I believe Spice Girls were also in the collection, if that gives you any idea of my awesome taste in third grade.) I do, however, still have Eiffel 65’s Europop on CD and still know all the words to every song. Yikes!
H: Can you pinpoint any specific time or moment in life when you made the conscious decision to pursue a life in music?If so, can you tell us about it?
C: In 2004, I discovered My Chemical Romance at dire time in my life. I was 14, miserable and desperately needed some sort of positive intervention. MCR provided a guiding light for me, showed me hope and–in a pretty drastic way–helped me turn my life around. They showed me the real power of music and how it could effect significant change in individuals and in the world.
Because they helped me and because I knew music had the power to help people, I then knew that I wanted to help others. I knew I had strength in my ability to write, so I wanted to use my writing to bring musicians and fans together or to help people discover the music that could change their lives the way it changed mine.
H: Let’s touch on your history with writing for a moment. What were your earliest efforts in writing outside of school?
C: Before I even knew how to spell, I used to dictate stories to my grandmother who would type them for me on my grandfather’s typewriter. Growing up, I spent a lot of time at his desk typing away, giving life to the worlds in my head. I actually didn’t have Internet or a computer until I was in middle school. I first started blogging when I was 12 or 13. Back then, it was very diary-style and bleak. I’m glad the first blogging site I was a member of has since died. Haha!
H: Who or what inspires you as a writer?
C: Living, my environment and just really observing and interpreting the world around me. My brain is always full–sometimes too full–and that’s where writing comes in. It’s a way to get some of it out.
H: Okay, onto your life today. When did you first join the AltPress team, and what can you tell us about the application process?
C: I joined the AP team as an intern in the summer of 2012. It was my final requirement for graduation, and I was very persistent, because it was my dream internship, and I had resolved myself not to settle for anything less. I joined the team as an official staff member the fall following my internship. Because I had shown them I was proficient at handling the site when I was an intern, they called me back on a temporary basis, then they must have liked my direction for the site, because they kept me on!
H: What was your experience in music blogging prior to AP?
C: I started my music blog, CassieTheVenomous.com in 2008 when I had just started J-School. My Chemical Romance were between album cycles at the time and a lot of the mainstream music media were doing a really shitty job covering them. It’s super-important to me to keep my favorite band’s history well-preserved and accurate, so I started my blog as a niche news site to give MCR fans better information than what was available to us at the time.
I was also the Blogs Editor for the then newly formed editorial department of our student-run rock radio station, ACRN.com. There, I oversaw a staff and a pool of niche blogs and began contributing content that was closer to the AP scene than to CMJ to their site. I did one of my first large interviews for ACRN, actually, with Andy Biersack of Black Veil Brides circa 2009 because I could sense their impending explosion.
H: Speaking of the term blogger, that brings up a question we tackle a lot: Do you consider yourself a blogger or journalist? Both? People seem to put a lot of weight in these titles.
C: When I’m blogging, I’m a blogger. Terms are relative, and I think they’re dependent on the platform and on what you prefer to call yourself. When writing for AP, I definitely don’t consider what I’m doing blogging unless I’m literally writing a blog-style Op-Ed.
H: Without going too into detail, could you run us through a typical day at work for you?
C: My job is very much about conceptualizing and realizing, and I wear many hats as one of only two people in my larger department dedicated solely to web. I curate, create or direct much of the content you see on AltPress, so my days vary based on which project needs the most attention, and keeping the wheels of the site constantly turning.
H: The world of music blogs has exploded in recent years, with competition for traffic and content growing fiercer by the day. AltPress has remained on top throughout however, and it shows no signs of changing any time soon. What do you think it is about the content offered by AP that keeps it ahead of the competition?
C: I grew up reading AP and I’m still amazed every day I come into the office and get to walk the wall of framed magazines and just be surrounded by the amazing history that has been built here. To me, it’s an honor to work here, and I want to maintain our website in a way that makes everyone proud and that continues the legacy we’ve built on a new platform.
There are members of our staff who have worked in music media longer than I’ve been alive. That experience and wisdom is invaluable, and because I’m young enough to be a peer to our audience, I can take that wisdom and shape it in a way I know the people who come to AltPress.com will relate to. I think it’s less about traffic and more being human and listening to the people who take the time to visit your site and making sure you’re not cheating them with sub-par content.
H: As someone who writes news in addition to features, you generate a wealth of original content every day of the week. How do you measure success and/or progression in your career?
C: There’s not a mathematical bone in my body, so numerical measurements mean zilch to me. I see a story as a success when people make an effort to reach out to me about it personally or when someone wants to further a discussion based on an article I wrote. For me, success is about connecting, entertaining, inspiring and informing. If I can make someone laugh or think differently about a subject with a piece I write, that’s a success.
H: The role AltPress has played in breaking new alternative bands goes without saying, but I am a bit curious about your discovery efforts. When you want to find new bands for the site, where do you turn?
C: I actually “scout” many of the bands we put in the AP&R section of the magazine these days. I don’t think you can be active on the web in the music world and not discover new bands. It happens everywhere you go. I usually just stumble across bands through the people I interact with. I’ve actually found a fair few of our AP&R bands from perusing YouTube. If I see a band name I don’t recognize, I Google it automatically. I’m super-curious and love learning, so I kind of can’t help myself!
H: Keeping with the theme of new artists, what advice would you offering musicians out there currently hoping to earn a bit of digital space on your site?
C: Just reach out! My inbox is always open, and it may take a couple nudges to get my attention, but if your music is good, it will receive fair consideration for feature from the other editors and me. We usually have a bit of a hierarchy for features (AP&R first, secondary coverage afterward), but if you blow us away, you stand a chance. Don’t be intimidated.
H: In addition to the albums that appear in the physical magazine, you run a wealth of reviews online. When it comes to receiving music for review and preview purposes, which services do you prefer and why?
C: Am I not supposed to put Haulix here? Because I honestly really like Haulix. Haha!
H: What is the biggest misconception people have about life in the music industry?
C: I think the biggest misconception about AP specifically within the music community is that we’re this big, scary monster that lives in a sky scraper in either New York or Los Angeles. We literally have five people total in our editorial department and exist in a warehouse in Cleveland. Haha! It’s not glamorous, and it’s nowhere close to being easy, but there’s nothing in the world I’d rather do.
H: Even though you work with one of the largest music publications around, you’re still quite young. What is your ultimate career goal?
C: I feel like I’ve been lucky enough to achieve my ultimate career goal. Working for AP was always the top of the top for me. Now, I guess my career goal is bettering our brand and helping it grow into the future. I’ve gotten my dream job; now I can work on my personal/life goals. Maybe I’ll write a fiction book or something. I don’t know! Oh, and if MCR ever come back and decide they need a career archivist, I’m 300 percent down for that. Haha!
H: If you could change one thing about the music industry, what would it be?
C: The pretense, cynicism and jadedness that some people harbor.Anyone in this world who loses track of their inner music-obsessed fourteen-year-old should find a different career path. Music is supposed to be this amazing force that connects people. Outta here with your negativity!
H: We cover a lot of ground here. Before I let you go, do you have anything you would like to add?
