Hello and welcome to the seventh installment in our ongoing Journalism Tips series. This specific column is a continuation of a post we debuted last Saturday (which can be found here), but reading that entry is not a pre-requisite to enjoying the words shared below. We are glad you stopped by and hope the following advice will help further your efforts towards building a lasting career in the music business. 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.
The initial response to last week’s post was so overwhelming that contributing writer Joe Ballard actually spent the last few days refining the words and advice shared below to craft a suitable follow-up. His insight will not only make you a better writer, but it will also make you far less of a pain in your future editor’s side, which might get you further in life than your talents as a journalist when all is said and done.
An Introduction:
You know that classic phrase “it’s a dirty job, but someone’s gotta do it”? I feel like that’s how a lot of people think of us editors. After all, part of our job is to clean up writers’ articles and make them shiny and spotless before they get published. However, even the professionals can’t catch all the mistakes 100% of the time, and this is why I’m here today – to show writers and aspiring journalists five of the most common errors I see in music-related articles and how you can successfully avoid them in the future.
1) Apostrophes in Years
This one is similar to the “that vs. who” mistake in that the incorrect versions are commonly accepted as accurate. Many authors and journalists will typically write a sentence just like this:
Oasis was one of the most popular British rock bands in the 1990’s. (Incorrect)
When it should read as such:
Oasis was one of the most popular British rock bands in the 1990s. (Correct)
It’s a natural inclination to think there should be an apostrophe in a year, mainly because having a number and a letter right next to each just looks odd to many people. When dealing with apostrophes – and this applies to all words, not just years – ask yourself: what does the apostrophe stand for? That’s how you know there should be no apostrophe in the sentence above – because it can’t stand for anything. But where should it go when you’re abbreviating years?
Some of my favorite songs were recorded back in the 60’s. (Incorrect)
Some of my favorite songs were recorded back in the ‘60s. (Correct)
Many journalists make the mistake of writing the former sentence simply because it looks nicer and, well, you see it more often wherever you look on the Internet, whether it’s social media, forums, or even news outlets. The “apostrophe + s” again does not work because it cannot stand for anything there. By putting it before the 6, you’re showing that it’s standing for, in this case, the missing 19.
In the end, the trick to dealing with apostrophes in years is similar to the “it’s/its” conundrum; if you’re writing an article and you get tripped up, stop for a moment and ask, “Can the apostrophe stand for something here?” If it can’t, you can safely live without it.
2) Compliment vs. Complement
This mistake seems to appear in music journalism more often than most other places, but fortunately it’s an easy one to rectify.
Example 1: Few vocalist duos complement each other as well as Emery’s Toby Morrell and Devin Shelton.
Example 2: Oasis paid a lot of compliments to The Beatles throughout their discography.
If you’re a music journalist, 80% of the time you probably mean to use “complement”, which means “to complete” or to “make perfect”. You should only use “compliment” if it’s to express admiration or respect for a band or album.
3) Who vs. Whom
Whom: the one word every writer desperately wants erased from the English language. Luckily, that’s why we have editors and the solution to the infamous who/whom debacle can be explained in a pretty straightforward way.
Use “who” when referring to the subject of a sentence. Use “whom” when referring to the object.
Example 1: Mindy White, who once sang vocals in Lydia but now leads the band States…
The “who” in this sentence refers to the subject, which is Real Estate.
Example 2: I wonder whom the Tonight Alive song “The Other Side” was written for.
The “whom” in example 2 refers to the object of the song – in this case, a person.
In music journalism you probably won’t come across many cases where “whom” should be used. However, if you’re still confused about the subject/object issue, here’s a helpful trick:
If the “who/whom” reference can be answered with “him/her” then you should use whom. If it can be replaced with “he/she” then it will always be who.
Take another look at example 1. You could also put it as “She once sang vocals in Lydia but now leads the band States.”
Likewise, in example 2 you could answer the question by saying “The Other Side was written for him.”
There are examples of rarer usages in all of these cases, but to explore them all would likely leave you with a migraine. As a professional editor, this two-part series is meant to showcase a few of the most common mistakes I see from both journalists and authors. It is of course my job to find them all and correct them, but if you are or will be pursuing journalism as a career, you will impress all current and future employers by constantly practicing and perfecting your linguistic skills.
Joe Ballard is an editor for MindEqualsBlown. We have not interviewed Joe for our blog just yet, but you can rest assured we will share his story soon.
Good afternoon, everyone! If you’re reading this the day it goes live, then please take a few moments to pat yourself on the back for reaching the end of yet another work week. If you’re reading this on any other day, go ahead and take the rest of the day off. We think you’ve earned it.
Every Friday we take a break from usually scheduled programming of informative and entertaining articles on life in the music industry to let you in on what we’re working on behind-the-scenes at Haulix. We love this blog, and it makes us so happy to know many of you visit frequently, but at the end of the day providing the most secure and easy-to-use digital distribution system in the world is still our focus. If you would like to learn more about our efforts to protect the future of the music business, click here.
This week was the first since the majority of the industry returned from SXSW, and to be perfectly honest it flew by in the blink of an eye. We had so many projects, phone calls, meetings, and related to-dos this week that we barely had the time to think about how many hours were left until the weekend arrived. Now it’s Friday and the only thing on our minds is whether or not we have done enough to warrant a little weekend fun. Funny how life works like that sometimes, am I right?
The biggest announcement from the dev side of things this week was the recent update to our email system. If you will recall from our post on Monday, every time a client sends new promotional invitations they will be able to view the recipient list for that invitation via their Dashboard. Simply click the linked number of recipients and a pop-up opens with a list of who the recipients were.
Here is an example:
This update is just one of many we have planned for the months ahead, but it’s the only one we are able to discuss at this time.
As for the blog, you might be interested to know we worked on more than 20 different articles this week. Between new ‘Advice’ columns, transcriptions on interviews, and conducting interviews for new pieces, there was rarely a dull moment in the editor’s office all week long.
We also ran A LOT of content. 9 articles since last Friday to be exact. If there is anything you missed, or if you simply want to revisit something from earlier in the week, use the list of links below to see what’s new:
That pretty much wraps up our work week coverage, but we will return tomorrow afternoon with the continuation of our ‘Journalism Tips’ mini-series on grammatical errors every writer needs to learn to avoid.
If this is your last time stopping by this week, please have a safe and wild weekend. We don’t expect you to send us stories, but we expect you to create memories worthy of being shared. For everyone else, we’ll see you tomorrow.
We love creating content for this blog, but the true mission of Haulix has always been to provide the most secure music hosting and distribution services available online. It’s no secret that piracy has crippled the music industry in many ways over the last decade, and we strive every day to do whatever we can to prevent future music leaks. You see, we may not be musicians ourselves, but recognize that the livelihood of everyone in the music business is dependent on the continued success and support of the artists we sign, promote, and otherwise get behind. If we do not do our part to help them support themselves however we are able then how can we expect anyone to help us when piracy eventually erodes entire segments of the industry?
Recently, it dawned on us that we did not have a strong grasp on what actually makes someone want to leak music. The assumption has been made in the past that these so-called ‘music pirates’ think the praise from anonymous commenters on message boards and forums is enough of a reward to convince them to hurt artists and those who fund them, but frankly we thought that felt a bit too simple to be entirely true. So we decided to do something we had never done before: Seek out a music pirate and convince them to share their story.
Today we are sharing the first in a four-part series on the life of a real-life music pirate. Each entry will tell a chapter of one pirate’s life in music, beginning with their introduction to CD duplication and building to a role in what was once one of the internet’s fastest-growing music leak communities. It’s the story of one individual who managed to engrain themselves in the music industry professionally while simultaneously leaking highly-anticipated records to the world, and it’s told entirely in their own words.
**As part of our agreement with the author of this series, a number of names and websites have been altered to protect identities and certain brand reputations. We have no intention to reveal the author’s name or location.**
Part 1: The Early Years
I suppose my foray into the world of piracy started like most, by digging through my parents’ entertainment cabinet, plundering their CDs and cassettes. I’d store these in my room and listen to them in secret. I doubt I would have gotten into much trouble if caught, but the idea of listening to something that wasn’t delivered to me by radio stations my parents chose excited me to the ends of my tiny little world.
My first cassette was by a boy band. It was the 1998 re-issue of Backstreet Boys. I was probably 10 years old then. I listened to that tape day in and out until I received my second tape, by yet another boy band, ‘N Sync. No Strings Attached.
It was from these humble beginnings that I fell in love with music. From that point I was determined to listen to more than what my mother’s preset FM stations could provide. That’s when the raiding began. I’d sneak listens to CDs by Journey, RUSH, Chicago, and Simon & Garfunkle whenever I could. I strayed as far as possible from my family’s country-western obsession as possible in that cabinet. I found an old walkman and used it when listening on my room’s stereo wasn’t an option. These were my first steps.
Eventually I was found out and encouraged as long as I was careful not to scratch anything. That made listening to these albums unadventurous and obsolete. I needed something else. Something forbidden. That’s when hip-hop came into play.
My childhood best friend had a much different set of parents than I. Whereas mine sheltered me from anything thuggish or promiscuous, his parents allowed him to indulge in violent video games and sexually-charged music. Playing with him meant hours of Duke Nukem and SWAT 3 while Eminem and Nelly played in the background. I learned a lot in that house.
It was during that time that I got my first portable CD player/AM-FM tuner combo. This gave me much greater access to music my parent’s weren’t down with. I’d listen to Casey Kasem’s countdown every week and the local college stations in the days between. While my parents thought I was listening to “Weird Al” Yankovic in my backyard tree-house, I was actually becoming a young rap aficionado.
Outkast, Jay-Z, Usher, Chingy, and the Ying Yang Twins became my soundtrack. Biking around town with my padded headphones on and my CD player in my backpack, I felt like I not only owned my neighborhood, but myself as well. While I certainly wasn’t free to listen to what I wanted by my parent’s rules, I felt free in the music I chose. Hip-hop guided me out of parental restriction and into musical expression.
My rap days faded as the Internet became more prevalent in school and society. Internet blockers weren’t as strict back then, which allowed me to indulge in music videos and websites like SingingFish (RIP). This is about the time pop-punk music started taking hold of my life. Bands like Green Day and Fall Out Boy became my favorite thing. I’d download System Of A Down songs at school, copy them to a disc, and bring them home to burn to another disc. This was by no means an ideal process, but I had no real Internet connection in my house until I was in college. AOL’s dialup service notwithstanding.
No, I wasn’t an Internet pirate until my 8th grade year. Until that point I found other means to obtain music without pay. I’d borrow CD’s from friends and copy them using Windows Media Player at home, returning them the next day. They were none the wiser. This idea carried over to the local library when I realized that it was more than a haven for bookies.
After school each day, I raced to the library to grab one of 4 computers before the other kids arrived. During my hour of registered computer time, I would log onto Runescape and collect coins and medieval weaponry. In a second window (this was pre-tabs), Yahoo! Music would be loaded and ready to go, introducing me to new bands every day. When I heard a song I liked, I’d switch from my game to the player and capture the artist’s name. This would be added to a written list that I would use in my last 10 minutes of each web-session. If my library didn’t have the CD by the artist I wanted to hear more of, I’d order it in. For the next several years, I’d have a new stack of jewel cases waiting for me every week for pick-up. I’d take them home, rip them to Musicmatch Jukebox (Later Yahoo! Music Jukebox and Rhapsody), and then return them after school the next day.
This is when my obsession with collecting music began. Watching the number of albums and hours of audio grow became a drug to me. It became less about listening to the music as it did cataloguing it on my family’s computer. My library grew substantially through the years via my library ordering method. I became the guy my classmates would come to for music. They’d hand me flash-drives and CDs and ask for music. Nothing specifically, just things I thought that they would like. Music became more than a hobby for me in my middle school years. It became an identity.
My Life As A Music Pirate will continue next Thursday, March 27. Follow Haulix on Twitter and Facebook for updates.
Hello and welcome to the fourth installment of Eric Morgan’s How To Kill Your Band series. We run this column every other week and encourage anyone who enjoys the material found below to visit previous editions of HTKYB they may have missed. 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 nearly 10 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.
Part 4 – Don’t tour. Yet.
Learning to book your own tours is perhaps the most important skill you can learn as you make your way in music. It’s not only useful because of it’s immediate impact on your ability to promote yourself on the road, but is also one of the few skills that can pay dividends after your own band calls it quits. Becoming adept at booking takes practice more than anything, but it heavily favors those who are a bit obsessive. Locking in a tour dates takes a certain neurotic tendency necessary to piece together a complex puzzle that never really has a exact solution. No tour is ever going to be 100% perfect from start to end, something that tortured me early on, though the key is learning how to adapt and work to the constantly changing variables – venue closings, promoter drops, competing tours in the area, etc. But before we get to the actual mechanics of tour routing, we’re going to spend this week answering just one question:
Why would anyone book your band?
Every young band would want to be out there promoting their music nightly but it just isn’t something most should do. There has to be a reason for a promoter to book your band and you need to be able to communicate that clearly. As I touched on in HTKYB #2, being signed gives you immediate value to a talent buyer even if he’s never heard of you before. They can build a show around your band because local bands are smart and know every single label so it gives them a reason for sharing the stage with you – essentially something to put on their resume and the fleeting hope that you’ll be so amazed by their set you’ll personally recommend them to your label.
If you’re not signed it’s still possible to tour diy, plenty of bands do it successfully, but you need to be able to offer another kind of value to the promoter. Here it helps to be different – why would a promoter in Toledo book an unknown metalcore act from out of state when there are plenty local bands who actually draw? Offering something not already saturating the market gives them an unique event to promote while also just supporting the basic economics of the situation. This doesn’t necessarily mean you need be genre defying but could also stem from having a distinct live show or an unconventional type of branding. If all else fails, you can even separate yourself by brute force through effort. Offer to set up your own publicity for the show with local radio stations, get posters hung at local joints, and even go out on foot to promote. On many of the early AHAF tours, we’d call ahead to Hot Topics and FYE stores at malls located near that days venue and set up our own in store meetups. We’d get to the store around noon to ready our merch table by the entrance where we’d handout show flyers and promo items to people as they walked in. During the holiday season it was even more valuable because parents would be rushing around looking for last minute stocking stuffers and it was it was easy to convince them they could end their search with an album or t-shirt.
The long and short of it is that it all comes down to giving a talent buyer something they can promote. Whether that be through label support, originality, or meticulously growing your support region by region, you must understand the basic economics through a promoters eyes and give them something they can build a show on. There are bands that get insanely lucky by starting out with notable agent even before their first show (Woe, Is Me, Capture the Crown) but that’s rare and having the ability to book your own tours is a highly valuable skillset if you plan on working somewhere in the music industry post bandlife. Perhaps what I’ve learned most from my experiences on the road is that you shouldn’t rush into touring. I’ve witnessed many bands, who while sounding great, simply weren’t ready to be on the road and eventually succombed to the depleted morale and mounting struggles of unsuccessful tours. It’s much more financially and emotionally supporting to be patient before going on the road, as the consequences of premature touring could end even the most promising bands.
Now if you’ve decided that you have a band ready to tour but unsure on how to get started, then check back next week when I’ll go through some tips and tricks from my experiences on creating your own promoter lists, negotiating prices, and communicating effectively in your offer sheets.
It’s funny how our experiences in life slowly steer us toward the careers we eventually seek. I’m sure most of you can remember a time in your youth when you sat in the back of your parents’ car on a summer day and sang along with whatever was playing on the radio. Metallica, Spin Doctors, Britney Spears, it did not matter who came on next as long as you could sing along (or at least pretend to), preferably at the top of your lungs. That’s an experience almost every child goes through, and it’s something most parents reflect on later as a ‘golden memory’ of their children. For some children, however, it’s something more. They do not know it at the time, of course, and neither do their parents, but for a select few those first car ride sing-a-longs are laying the foundation for a career in music that will likely impact thousands, if not millions over time.
Todd Kunsman remembers those car rides, and from a very young age he knew he wanted to be involved in the world of music. Unfortunately, due to college, work, internships, and the tasks of every day life in between he found making time to do so incredibly difficult. Anything worth doing is worth doing to the best of your abilities, after all, and realizing this Todd waited to begin his journey in the world of music criticism until he had finished school and found time in his demanding schedule for a new project. When that day came, he bought the domain OhSoFreshMusic, and in no time began developing a following passionate about new artist discovery.
Today, OhSoFreshMusic is a hub for people who want to know about the latest trends in music. Through timely news, engaging editorials, interviews, and an ever-expanding collection of unique features Todd has managed to carve a unique niche in the world of music discovery that stands apart from the rest of the blogging world in all the right ways. You can read any article on OhSoFreshMusic and feel the passion the creator of that content had for their subject. If that is not the sign of a truly great zine, I do not know what is.
We spoke with Todd earlier this month about everything he experienced while starting his site, and he was kind enough to offer an in-depth look at everything he went through to get where he is today. If you would like to learn more about Todd and his efforts in music criticism, please take a few moments to follow OhSoFreshMusic on Twitter. Additional questions and comments can be left at the end of this post.
H: Before we begin, please tell everyone your full name, job title, and the site you’re here to discuss:
T: My name is Todd Kunsman and I am the founder, editor, and social media person for Oh So Fresh! Music blog.
H: Thanks for joining us, Todd. I’m a fan of your site, but must admit I have never learned the story behind its name. Would you please tell us the origin story of ‘Oh So Fresh,” and when the site came into existence?
T: I’ve actually wanted to start something music related for a long time, but with College, interning, and working, there really wasn’t much time. However, back in 2010 a few months after graduating college I decided it was time. And to be honest, the name was something that first came to mind and the domain was available so I snagged it. I just had in mind that I wanted a place to find fresh new music and post about fresh faces that might not be getting notice.
H: Now let’s take a step back and learn a thing or two about you. When you think about your earliest memories with music, what comes to mind first?
T: Probably singing in the car as a young kid to all sorts of different music. My parents listen to a whole mix of stuff, so I’d be jamming out to MC Hammer then Spin Doctors. Pretty embarrassing now that I think about it haha.
H: Who is the first musician you can remember obsessing over, and how did you originally discover them? Feel free to share any early fan-boy moments you’re able to remember.
T: Man, I would say Bradley Nowell of Sublime. A friend had showed me some of their music back in in middle school because his older brother was a fan and I instantly became addicted to them. I know almost all the lyrics of Sublime’s catalog just because of the constant replays. I’m still a big fan today, especially of Brad.
H: On what format was the first album (or single) you bought with your own money?
T: Hmm, I know was fairly young and it was probably Will Smith’s Big Willie Style, who didn’t have that album in the mid/late 90s?
H: Do you remember your first concert experience? Go on, paint us a word picture:
T: I’m quite sure my parents dragged me to some Hall & Oates concert at a local music festival in my town. Not really my type of music, but those guys know how to put on a good show.
H: Let’s turn our focus to writing. Can you pinpoint any specific moments in life when you realized your abilities in writing could be put to good use in the world of music criticism?
T: I took a journalism elective in College and surprisingly enjoyed it, which then lead to my communications minor. Since music was always a big part of my life, writing gave me a way to talk about the music I love. From there I just kept pursuing different outlets where I could write about music.
H: Who or what inspires you as a writer?
T: Good music. Every time I hear a song that just catches my attention, the writing just flows easier. It basically gives me more thoughts and passion in the writing when music clicks with me.
H: How would you describe the content offered on your site to someone who may have never visited your blog before reading this article?
T: I think the site description says it best: “The freshest music posted on a daily basis. We share some of the best tunes before the mainstream even knows about it.” But, I would also say if indie. hip hop, electronic, and EDM are genres you enjoy, then you’ll find what you are looking for at Oh So Fresh. There is the occasional interview and feature as well to mix it up.
H: There are a number of sites covering similar areas of entertainment. What is it about the content offered on OSF that separates you from the competition?
T: I think that we don’t always rush to post the latest track as soon as it comes out. Some blogs really compete with each other to be the “first” sharing a tune. Granted, that can get you more traffic, but I like to listen to a song a few times before sharing. So while a song might of just come out, we might write about 3 hours later or maybe a day later. The music we share are songs that we indeed really like and aren’t just posted for the sake of seeming cool or to be the first ones.
H: Out of curiosity, how large is the writing team at your site?
T: It’s varied over the years, currently it’s 5 other writers and at one point I had 7. Typically they write a few times a week, but I post multiple times a day.
H: Are you currently looking for additional team members? If so, what should those interested in contributing to your site do to apply?
T: Sure, I can always use writers or people interested in marketing. All you have to do is email me (osfeditor@gmail.com), tell me a bit about yourself, music you love or currently enjoying, and a bit of your experience. Simple as that!
H: When you were first starting off, who were some of the first labels/publicists to give you a chance and/or take you seriously in the music industry?
T: There were very limited interest from labels at first, but PR people were there from day one. The one I recall really reaching out first was the Planetary Group, who still send me things today via email and to my home. Really nice group of people right there.
H: What advice would you offer to someone reading this now who may be considering pursuing a career in the world of music journalism/criticism?
T: Just go for it. It’s a crowded market, but it doesn’t mean you shouldn’t give it a go. If you are really passionate about it reach out to bloggers or others in the industry. Sure some will ignore you, but others are also willing to share some knowledge if they sense your passion and enthusiasm.
H: You have featured a number of up and coming artists on your blog, in addition to national headliners. Where do you turn when hoping to discover new music, and what should indie artist looking to appear on your site do to get your attention?
T: There are a ton of places I discover new music. One being my email, I get sent 150+ a day and while plenty are not my style, there are always a few gems in there. Soundcloud has been a big one too because it plays similar songs to something you just listened to or the artist shares tracks of other artists they like. And I occasionally find some great material from other writers out there.
An artist can grab my attention by an original email, not some mundane robot-like paragraph. it’s more personable and you can get a better sense of the passion they have for their craft.
H: When it comes to receiving music for review/feature consideration, which digital distribution services do you prefer and why?
T: I like Soundcloud, Bandcamp, and Audiomack. They all have clean designs and are easy to embed when we create posts, which is perfect for blogs.
H: How many articles do you write in a week?
T: I tend to write 4 a day, and maybe like 2-3 during the weekends. Typically it will be between 20-25 a week.
H: What are your current career goals?
T: Currently I’ve been interesting in doing more freelance/consulting work in the music/entertainment industries. Whether it’s social media, marketing, blogging, design, or A&R related things. Trying to get as much experience as I can.
H: What are your goals for the site, and how have those goals changed since launch?
T: I would love to keep seeing the site grow. I’ve had my ups and downs with it (almost quit back in Summer), but I’m glad I stuck with it because I would miss writing and interacting with the music industry. Before it was just a place for me to share music and my friends to check out, now I have more of an audience so I keep them in mind as well.
H: If you could change one thing about the music industry today, what would it be?
T: I’d say some labels pushing generic sounds out there for a quick buck. It’s no wonder there is a decline in album sales (Besides the Internet causing that as well) and that many artists are getting their music out there without a label. Look at Macklemore winning Grammys as an independent artist. I think a lot of labels need to rethink their strategies and many are starting to realize that.
H: Who is one artist you think is severely underrated?
T: That’s a tough one because there are a few I could name, but I’ll go with Jhameel on this one. He’s grown tremendously since he first reached out to me back in 2010, but deserves so much more attention. He’s a singer, songwriter, multi-instrumentalist, choreographer, and a generally interesting artist. Think Michael Jackson meets Prince meets modern pop.
H: What can we expect from your site in the remaining months of 2014?
T: We’ve rolled out a new feature to get College radio stations involved with our site. We just started it so hopefully more will get on board in the next few months and this potentially could be a great feature. Otherwise, great content will continue and hopefully pushing more great artists to the readers.
H: Okay, I think that covers everything. Before we go our separate ways, do you have any finals thoughts or observations that you would like to share with our readers? The floor is yours:
T: If you are thinking about starting a music blog, just do it. If it’s on your mind go for it because many bloggers are friendly and willing to help with questions you might have. I’ve learned a lot along the way, made plenty of connections, and realized this can be a great resume booster. I’d like to thank anyone who visits the site daily or even if it’s only one time, I’m still surprised people actually have such an interest in my site. I also want to thank anyone who has written or is writing currently because they enjoy the site and love music as much as I do. We all have busy schedules but they still make time to work on posts and emails. Also, I’ll be launching a lifestyle and culture site in late Spring called THVT GOOD, check it out!
Hello again, everyone. Welcome to the first industry spotlight feature of the week. We originally began working on this specific article in the first weeks of the year, but due to delays and scheduling troubles we were only able to complete it in the last week. We think the information received was well worth the wait and hope you will as well. 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.
Last week, the website I started a few months after beginning my career as a music critic turned six-years-old. It was the first ‘birthday’ I had spent away from SXSW, and instead of spending my hours strolling Sixth Street debating which pizza place(s) to indulge in I spent time reflecting on all the opportunities that had come my way as a result of taking those first steps to put my name out there. I thought of my first interviews and reviews, as well as the people who made them happen. Today, in a somwhat full circle moment, I have the honor of sharing the journey of one of those people with all of you.
For the better part of the last decade, Jerry Graham was known as the man behind Warm Fuzzy PR. It was his company from the very beginning, and during its existence Jerry was fortunate enough to work with some of the biggest names in modern hard rock. In 2011, however, he decided the time had come for a change and joined forces with The Syndicate as the director of publicity.
The rest, as they say, is music industry history.
I originally met Jerry during the first few months after the site mentioned above came into existence. No one knew my name or anything about my writing, but Jerry offered me the opportunity to work with several of his smaller projects. As time went on he aided me in contacting bigger names, and even helped me in setting up several interviews in the hard rock arena I will never forget.
The music industry is an insanely difficult place to make a name in, but thanks to people like Jerry driven young people are able to find opportunities to showcase their skills before entering the workforce. He’s an industry lifer who only wants the best for his team and everyone they’re connected with, which in this business is essentially anyone able to read this post. He’s kind, intelligent, and one of the most down to earth people you will ever meet.
You can learn about Jerry’s journey in music by reading the interview below. If you would like to know more, if you just want to keep up with everything related to Jerry’s latest publicity efforts, please take a few moments to follow The Syndicate on Twitter. Additional questions and comments can be left at the end of this post.
H: Hey there, thanks for joining us. We ask everyone the same question to begin. Would you please share your full name, job title, and the name of the company where you presented work:
J: Sure, Jerry Graham, Director of Publicity at The Syndicate.
H: You have a long history in music, so we actually have a lot of ground to cover today. I’d like to start by learning a little about your history with music. When you think of your earliest memories with music, what comes to mind?
J: I grew up in Brooklyn in the late 70s, so disco and funk were all over, blasting out of car speakers and those giant portable boom boxes. Rock was happening, but the first real memory I have is the song “Don’t Stop The Music.” It’s this 8-minute, big funk song that has this chipmunk voice that says, “aw, you don’t want to stop.” I remember my dad took me took work in Manhattan when I was like 5, and that song played somewhere in the office, and I just remember being fascinated by it.
What’s funny now, is that when my son was born a few years ago I got that CD for him and started playing it. Now he and my daughter love it as well, and they actually sing it on their own. It’s funny how it came back around like that.
H: Speaking on music purchases, can you remember the first album you bought with your own money?
J: Probably not. I mean, I can guess, but it will probably be wrong. One of the earliest ones I can remember is Living Colour ‘Vivid.’ I also remember, as far as hip hop, there was Kid-N-Play ‘Too Hype.’ Those two in particular stick out to me.
H: This answers really showcase at what point in music history you began purchasing your own records.
J: I guess [laughs]. I always grew up around hip hop and stuff, but my love of rock and metal didn’t start until later. I don’t really have a point of reference for that.
H: That’s a good point. When do you think rock and metal come into the picture for you? Those genres have played a big role in your career.
J: I remember being in high school. There was a girl who wore a Gorilla Biscuits shirt, and people who wore Misfits t-shirts. I guess it was Metallica’s ‘Garage Days’ EP in high school that made me aware of that stuff, but as far as loving it, what really kicked it off for me was hardcore. I’m more into hardcore than metal, and that stuff really kicked it off for me when the post-hardcore era started happening.
…THAT’S WHAT IT WAS. It was Helmet. It was Helmet, ‘In The Meantime.’ I remember seeing Beavis and Butthead talking about Helmet and how they didn’t even dress like they were cool. I’m butchering their delivery, but that is what captured me. Orange 9mm, Helmet, Quicksand. That whole genre drove it home for me, liking hard rock and punk that is.
H: Moving a bit forward, you went to college before jumping into the music industry.
J: I graduated from University at Albany. It was called SUNY Albany at the time.
H: ..And you studied Theater at the time? Did you have aspirations for life in Hollywood?
J: Oh geez, yea, I wanted to be an actor. I got a degree in Theater and ended up working in the entertainment industry for about 3 years. I had a variety of jobs, including casting and extra work. Dabbled in standup comedy as well.
Then I got sick of that lifestyle. I really didn’t enjoy it as far as…doing it. Basically, if you’re going to do those things you have to really commit, you know, ride or die. And I really didn’t have that mindset, but what I did have was music. No matter what was going on in my life, I turned to music. I didn’t turn to entertainment or standup comedy, but music was always there and dear to me.
I had a lot of day jobs as well, which I was not good at because I could not focus on them. I remember, at the time, Walter from Quicksand was starting a label. I said to myself that I really wanted to be a part of it and be involved. I called the office and they told me they weren’t hiring. I told them I didn’t care and that I wanted to be involved. It wasn’t really an internship. I came and worked for free, basically. Whatever they would let me do I did. It wasn’t even that I gravitated towards publicity right away, it was just something I tried while there and it fit my personality really well.
H: Not long after this period you ended up launching your own PR firm, Warm Fuzzy Publicity, which you ran for a decade. How did that come together?
J: When I decided I really wanted to do this, I started going to NYU at night for a certificate in Public Relations because I thought having an education would help me get ahead in the business. What I learned there was great, but I definitely learned more doing things on my own.
So I did that, then I worked at another company for 18-months and hated it, but I did get to work with heavier bands. When I parted ways with them, I immediately started my own company because I felt like I couldn’t really get a shot otherwise. I was supposed to speak at a conference in Boston through my previous job, but when I left that gig they filled my role at the conference. I decided to go anyway, and emailed Hydrahead Records, who were based in Boston at the time about meeting up to talk about PR. When I got home I was very pleasantly surprised to have an e-mail from them and they became the first client of Warm Fuzzy Publicity.
H: You ran Warm Fuzzy for a decade, and in that time worked with a number of artists and labels. Then you joined The Syndicate, which is where you remain today. How did The Syn come into the picture?
J: The Syndicate had a PR person back in something like 2004, and she was awesome, and then she left the company and for one reason or another they did not formally offer a music publicity service for a number of years. My colleague Matt, who I believe you featured before, did that and Comedy, which began to really take off. They decided they wanted someone to aide them in offering more music publicity services and I connected with Moose, the general manager here and Tracey, one of the partners. We hit it off from the interview process and yea, that was two-and-a-half years ago now.
H: I’ve noticed that anyone who joins The Syndicate seems to stay there for a long time.
J: For me, everyone here is very down to Earth. Everyone is genuine and not too guarded about being themselves, and that’s what I like about working here. It’s not like I wear a cardigan to work or have to go to certain shows to be seen. The people here are very passionate about music and we’re all very normal, if you know what I mean.
H: What advice would you give someone looking to get started in the music industry?
J: That’s a tough one, man. It’s not the same as when I started, and I am sure people before me said the same thing. It’s like…I don’t want to compare it to a gang, but it’s the kind of thing where you’re either a lifer or you’re not. This industry is going to give you knocks every day, and you’re either going to take the knocks and keep coming back or you will find something else to do. I don’t know if there is really any advice, but I guess mine would be that if this is what you want to do you have to be available 24/7. That’s it. Especially for management. If a band a band is stuck somewhere at 3am you need to be prepared to handle that. If you’re in publicity, you need to be prepared to cut a vacation short if need be or pull an all-nighter to correct a project.
H: Do you have any career goals or lifelong aspirations you feel you’re working towards at this point, or are you more in the groove your professional life?
J: That’s an interesting question. I will say I really enjoy the international opportunity that being at the Syndicate has allowed me. For example, we just did the US publicity for the M For Montreal festival. A couple years ago I went to Oslo, Norway. I greatly enjoy that because 1. it allows me to see other aspects of the world and 2. it’s nice to be a part of these major events, bringing people together and such.
There are just these great experiences outside of the normal artist, album, tour area that I spent so many years cutting my teeth in. It’s exciting.
As far as career aspirations I will say that I am enjoying how things are moving, and how these new aspects of what I do are beginning to open up.
H: That’s great to hear. What can you tell us about The Syn’s plans for 2014?
J: Well, we just had a very successful run at SXSW including our Hype Hotel presented by Taco Bell showcases, The Laugh Button Live comedy shows as well as running U.S. PR for the French Tech party, M For Montreal and artists from Germany, Brazil and all over. Andrew W.K. is a whirlwind of activity for P.R. at all times so we have a lot of fun things to promote for him in the coming year. There’s a lot of coming projects for the P.R. dept so I can’t talk about all of them here but I will say on the music side that we have a well-balanced roster of indie rock, heavy music as well as some global music, hip-hop and EDM.
H: That covers everything, I think. Before I let you go, do you have any final thoughts or observations to share with our readers?
J: No, not really. It’s not like I’m an editorial person or anything, but I will say that I am very thankful for the people who have given me a chance to work with them over the years.
Hello and welcome to another week of music industry insight and advice here on the official blog of Haulix. We love to entertain, but being informative in a way that is easy to understand is always our primary goal. 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.
There are more music zines, blogs, forums, and fan sites now than ever before in the history of entertainment. If you have a unique audio creation to promote, there is most certainly a corner of the internet’s boundless landscape waiting to devour every second you lay to digital tape. You already know this, of course, which is why you’re so excited to send press kits, press releases, and every type of blanket promotional messaging you can think of to any writer whose email address has been foolishly made available to the general public. We don’t think that is the best way to get your name out there, but if you think it will work for you then by all means give it a go. After all, sometimes the best way to learn is through trial and error.
If you can resist hitting the send button for just a few minutes, however, there are a few simple tips we can offer to help increase your music’s chances of receiving consideration. It’s not a guaranteed formula for success by any means, but if you avoid the following common pitch messaging mistakes you will have an upper hand on the countless bands who are also competing for those writers’ attention.
1. Forgetting to properly introduce yourself
Most small bands handle their own press, but some choose to let friends and small PR firms lend a hand as well. Either way, make sure the person handling your band’s publicity identifies themselves across all messaging and social networks. There are few things more frustrating than receiving genuinely promising music delivered by people who failed to make their own identities known to the people they are writing. It may sound like a hard mistake to make, but it actually occurs quite frequently. Musicians want to share the good news of their exciting new sounds so badly they forget the importance of introductions, leaving journalists to wonder whether the person writing them is a fan of the band, an incredibly amateur publicist, or a member of the group themselves.
In short, don’t let bandname123@gmail.com be your only calling card.
2. Forgetting bios and contact information
This one goes hand-in-hand with number 1. Don’t let the thrill of possibly having your latest creation shared on a popular music publication distract you from covering the basic steps of artist promotion. Introduce yourself and your music, share your latest news, and then provide enough supplemental information that the journalist receiving your materials can create their content without a lengthy string of emails. Your messaging needs to provide everything writers and their readers may need or want to know about you and your music, including your history as an artist and where you can be found online. No one wants to write about someone they’ve never heard or who has no history and seemingly no presence online.
3. No photo
Essentially every website uses photos when creating new content. Whether it’s a review, news tidbit, interview, or something else, sites who cover your music will need photos to help sell the content to their readers. Including an image with your pitch email, or at least a link to an image stored online (via dropbox, for example) makes it easier for journalists to quickly create content around your music. If they like what they hear, but do not have any images for their article they will need to delay writing about you until finding/receiving a photo.
Remember: The fewer hurdles a journalist has to go through to cover you the better.
4. Links Don’t work
This one is just plain embarrassing. You finally get the attention of the editor you have always hoped to contact and the link you’ve supplied for your new EP is dud. Maybe you copy/pasted the wrong link, or perhaps the way you formatted your email caused an error, but either way the person you wanted to impress is now presented with a blank page informing them no such site exists.
These mistakes can momentarily squash all hopes an artist has of being covered by any publication, and the worst part of all if 99% of the time they never know it’s happening to them because they didn’t bother to check the links themselves. It’s possible the editor for Rolling Stone will write you to say the link in the email you sent about that band they had never heard of who has not done too much of note did not work, but it is far from a likely scenario. With most editors you get one chance, at least per album cycle, and broken links is a guaranteed way to get your pitch letter a one-way ticket to the trash bin.
5. Wrong Names, AKA ‘The Copy/Paste fail’
My name is James. If I receive an email to james@haulix.com and it begins ‘Dear Matt, I am writing because I am a big fan of your site,” I get a sneaking suspicion the person contacting me is being a tad disingenuous. Further, it makes me not want to read your kind words and accompanying pitch because it’s the same words you tried to sell one or more of my writing peers.
If you want to make writers think you are creating something unique you need to remember that all writers are also unique, and the same selling points that work for some will not work for others. We have stressed this in previous posts, but cannot be said enough that there is no better way to contact people than with genuinely personal emails. Use their name (and make sure it’s theirs), ask how their day is, and take the time to highlight a specific aspect or two of their craft you enjoy. Kindness and sincerity will get you much further in this business than haste and repetition. Always.
Happy St. Patrick’s Day, everyone. We know many of you are at work this year, but know we too are knee-deep in the hustle and bustle of another Monday at the office. We told you on Friday that we were rolling out a new update over the weekend, and this afternoon we can finally fill you in on what’s new at Haulix HQ.
Starting today, every time a client sends new promotional invitations they will be able to view the recipient list for that invitation via their Dashboard. Simply click the linked number of recipients and a pop-up opens with a list of who the recipients were.
Here is an example:
This update is only one of many we have planned for the months ahead. If you have any questions regarding our services, or if you would like a tour of the Haulix platform, please email james@haulix.com. We look forward to hearing from you.
We receive requests every now and then from readers wondering whether or not we know of any job openings within the music industry. We try our best to inquire during features with our spotlight guests, but up to this point we have admittedly offered few to little leads. We’re trying making a change, and with your help we hope to soon offer one of the most well-rounded entertainment job boards available online.
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: Develop, implement and evaluate WXPN’s online strategy. Using a “digital-first” set of web skills the Digital Content Manager will create, curate, edit, develop, deliver and help to produce digital content while engaging users across all social and digital platforms. Create original content and supervise social media staff. With direction from the Assistant Station Manager for Programming, this manager will oversee the day-to-day web, mobile and social media related content for The Key, World Cafe and XPN.org.
Job summary: Special Needs Camp in East Hanover, NJ is looking for an Activities Coordinator of Music. We are looking for an individual that has experience running a class and carrying out a curriculum. This position needs a person with a lot of creativity.
Job summary: Provide administrative support, including answering phones, scheduling meetings, booking conference rooms and setting up conference calls, and processing invoices and expense reports. Provide general office support for the department, including collecting and distributing mail.
Job summary: Seeking professional tour manager for national touring artist based in Savannah, GA. Artist is on the road 200+ days a year and tour manager is needed as soon as possible.
Job summary: Duties include knowledge of the financial systems, processing and paying invoices, A&R travel requests, preparing and processing union enrollment and contracts, monitoring showcase, 1Mic 1 Take and remix expenditures, and general office duties. Must have a strong knowledge of Microsoft Word and Excel and can work well with high volume work and deadlines. Must be organize and able to multi task.
Job summary: Do you think in #hashtags? The Community Manager will be responsible for the social monitoring, listening, and moderation activities for Live Nation North America social communities on multiple platforms. Working closely with social team, content manager, customer service, vendors, and other stakeholders, the Manager will lead daily community moderation efforts and detailed reporting on the LN fan base. We are seeking a candidate who is passionate about building lasting relationships with social fans/followers, and is able to utilize listening tools & new technology to take our interaction with the Live Nation social audience to the next level.
Job summary: Assisting our existing four person Finance Department; Royalty Processing; Cost Accounting; Accounts Payable; Accounts Receivable; report preparation and data analysis; collections; conducting month end accruals and closings; auditing experience; special projects and the ability to think outside of the box. Excellent communication, computer and multi-tasking skills, especially exceptional proficiency with Counterpoint and Excel are mandatory. We have a fast-paced, casual, team oriented environment.
Job summary: Key overall responsibility is conceptualizing and integrating digital content/strategy into overall artist and label marketing plans/landscape
Job summary: The Manager of Accounting for Warner Bros. Records (WBR) is responsible for all aspects of the monthly close process and label accounting for WBR.
Job summary: The Repertoire Management Coordinator is responsible for supporting in the creation, maintenance, and management of Concord Music Group’s metadata and digital assets, as well as bulk delivery of content to our distributors.
Job summary: The Content Editor, Music & Festivals for AXS.com solicits, creates and edits the written and visual content across the Music and Festivals channel. The function owns the editorial calendar for AXS.com, Music and Festivals and works closely with content operations and creative colleagues to deliver highly engaging and share-able content that speaks to our audience, for the brand, and meets or exceeds the creative standards and business goals.
Job summary: Sony Biotechnology is seeking a Marketing/Administrative Assistant to join its team in San Jose, CA. The primary role of the Marketing/Administrative Assistant is to support general office functions and the marketing department. This position will also serve as administrative support for two executives both based in the San Jose office.
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: Pop/Rock College Reps are paid part time employees who implement grassroots and online marketing campaigns. They work with area businesses, tastemakers, DJs & promoters, peer networks, on campus student body organizations and media to create avenues of exposure for key WMG pop/rock artists and projects. They offer an important “word from the street” perspective in their designated college campus communities and provide valuable consumer feedback and insight to our organization.
Job Summary: The Syndicate is growing its company with the addition of a full-time national publicist. The position will represent our agency’s clients in the entertainment and lifestyle brand spaces. The ideal candidate should have an excellent working knowledge of pop culture and the ability to effectively discuss current music, comedy and lifestyle trends. The candidate should be a strong communicator with superb writing skills. The position requires one to be meticulously confident while pitching to a variety of media outlets including web, print, television and social networks.
Job Summary: Kobalt Label Services (KLS) is looking for an experienced Director, International Marketing to be based in the Kobalt office in New York. This individual will work with the Global Label Services team to coordinate international releases in the Canadian and South American markets as well as coordinating US releases in international markets.
Good afternoon! Thank you for taking a few moments from your busy schedule to spend with on our blog. We are glad you stopped by and hope the content below will help further your efforts towards building a lasting career in the music business. We love to entertain, but being informative in a way that is easy to understand is always our primary goal. 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.
We have been running this column every Saturday for the better part of two months, but so far we have yet to any multi-part features. That all changes today, as MindEqualBlown editor Joe Ballard shares the first of his two-part series on common errors aspiring writing professionals need to avoid. We have yet to feature Joe in our Blogger Spotlight series, but we have worked with him for a number of years and know him to be one of the brightest minds in alternative music today.
An Introduction:
You know that classic phrase “it’s a dirty job, but someone’s gotta do it”? I feel like that’s how a lot of people think of us editors. After all, part of our job is to clean up writers’ articles and make them shiny and spotless before they get published. However, even the professionals can’t catch all the mistakes 100% of the time, and this is why I’m here today – to show writers and aspiring journalists five of the most common errors I see in music-related articles and how you can successfully avoid them in the future.
1) That vs. Who
This is the single most common mistake you will see in any publishing format, whether on a website, a national magazine or a bestselling novel. It happens everywhere, both in writing and speech. Luckily, there’s a simple way to differentiate between the two:
“That” is used when referencing a place or an object. “Who” is used when referencing a person.
Example 1: Cities was the album that took Anberlin’s popularity to a whole new level.
Example 2: Dustin Kensrue is the kind of lyricist who writes his words like poetry.
Easy enough, right? However, it becomes complicated when referring to, say, a band name. What is a band, exactly? Should it be referenced as an object or a group of people? Actually, both ways can be correct, depending on the usage. Let’s take a look:
Example 1: Saosin, who reunited with their original vocalist Anthony Green, will be performing at this year’s Skate and Surf Festival.
Example 2: The band that I’m really looking forward to seeing in concert is Tonight Alive.
If you use the band’s name in the sentence, use “who”. If you use the collective noun “band” then it should be “that”.
2) It’s vs. Its
Another one of the most common mistakes seen in all forms of writing, yet a very simple one to rectify. If you are ever unsure whether to use “it’s” or “its”, speak the sentence out loud. If you can say “it is” and the sentence makes sense, include the apostrophe. If “it is/it was/it has” doesn’t work, then “its” is the word you need.
Example 1: The only thing I dislike about Neon Trees’ album Habits is its short length.
Example 2: It’s been a long wait for the new Pharrell Williams album. Did it live up to its hype?
3) Past tense vs. Present tense
Tense usage in music articles can be a tricky issue, and some of the rules are likely different according to each individual publication. Here, we’re going to look at a couple of rules that are (or should be) universally accepted by every publication, specifically for album reviews.
A. When discussing individual songs, always use the present tense.
Example: The opening guitar riffs of “The Ocean” immediately set the tone for what’s to come, showcasing the group’s expanded sound as well as Jenna McDougall’s range as she shows off her lower tones in the verses but reaches sky-high in the bridge.
This applies whether you’re discussing the new Taking Back Sunday song or an Elvis Presley hit. Whether it’s a brand new review or a retro review, always use present tense verbs to explain a song.
B. When discussing the band or the album as a whole, vary the tense as needed but make sure you stay consistent.
This is where a lot of writers get tripped up, especially when writing retro reviews of albums from previous decades. Let’s use the classic Beatles album Rubber Soul as an example of how you can vary the verb tense within a single paragraph:
I have always loved the song “In My Life”, and the unique sped-up piano at the bridge still gives me chills to this day. The Beatles did a terrific job with the entire album, which still inspires music listeners nearly 50 years after its release.
The same principle largely applies to current albums as well – vary the verb tense as needed, particularly in the intro paragraph – but generally you want to stay in the present tense for the rest of the way.
