This Friday marks the beginning of April, and at that time there will be less than three full weeks before the start of Launch Music Conference 2016 in Lancaster, PA. We had an absolute blast participating in the conference last year, and fortunately for us the fine folks at Launch were kind enough to invite us back. James, the same guy who runs this blog, will be representing Haulix on site, and he would love to meet anyone who users our service. If you want to connect with him before the event to arrange a meeting or perhaps a preview of the new Haulix, reach out via Twitter.
Here’s a little more about the conference:
The Eighth Annual Launch Music Conference set for April 21st – 24th in Lancaster, PA is a jam-packed event, full of panels, seminars, parties, events, and performances, has welcomed heavy hitters such as Panic! at the Disco, Atreyu, twenty-one pilots and Foxy Shazam, as well as 215+ artists annually over the last seven years across 12 venues and 18 stages. Today, Launch Music Conference is thrilled to welcome and unveil their 218 unique performers at this year’s event. Attendees can view the entire line-up and schedule at http://launch2016.sched.org including key performers like, Yazz The Greatest, an American Actor and Rapper, best known for his role as Hakeem Lyon in the Fox primetime musical drama TV series, Empire, who will be performing at the Convention Center- Freedom Hall and newly announced Country superstar Jon Pardi on Friday, April 22nd at The Chameleon Club.
This year, Launch Music Conference is partnering with The Entertainment Institute (TEI), founded by Kevin Lyman (Creator of The Vans Warped Tour), Jen Kellogg (20 year concert industry veteran) and Matt Halpern (Founder of Bandhappy and drummer of band Periphery) who will be curating all educational panels and host a slew of breakout sessions throughout the weekend. Each panel and breakout session will give Launch Music Conference attendees a chance to learn about artist career growth, finding the right manager, booking agent roles, touring and more.
Launch Music Conference is thrilled to welcome the top industry personnel to this year’s event including: Finn Mckenty (CreativeLive), Dan Rozenblum (Circle Talent Agency), Christian McKnight (LiveNation New York), Mike Ciprari (SJC Drums), Eric Osman (Bands With Management), Jason McMahon (Substream Magazine), and Jen Appel and Chrissy Borsellino (The Catalyst Publicity Group), Jen Kellogg (The Entertainment Institute), Kevin Lyman (Creator of The Vans Warped Tour, The Entertainment Institute), Biggie (Good Fight Ent.), Jesse Cannon (Noise Creators), Mike Ziemer (Third String Productions), Mark Schulz (Recording Academy), Tim Borror (United Talent), Eric Tobin (Hopeless Records), Matt Halpern (The Entertainment Institute), Ryan Soroka (Soroka Agency), Derek Brewer (Outerloop Management), Terry “Buzz” Brown (Darkchild Ent), Terry “Tru” Sneed (Finagle Ent), Lou Plaia (ReverbNation), Nikhil Potdar (Outerloop), Mike Mowery (Outerloop), Chuck Andrews (Goodfight), Vince Edwards (Metal Blade), Cory Crossman (City of London, ON), Deborah “Zuke” Smith (zuketunes), and Kate Truscott (4Fini).
The lineup for the 2016 run of Van’s Warped Tour was unveiled last week, and it won’t be long before bloggers, vloggers, and podcasters from all corners of the country are submitting their press credentials in hopes of covering the world’s largest traveling music festival. There are more than 50 bands on the lineup this year, and among them are some of the biggest name the alternative scene has ever known, including Good Charlotte and Sum 41. Both those bands are great, and we definitely think you should catch their sets, but if you want to make your coverage of Warped Tour unique we urge you to find time for the smaller bands on the bill as well.
Warped’s main stage acts will most likely bring in clicks for your website at a faster rate than articles pertaining to the younger acts, but in our experience the best coverage often arises from time spent with those still trying to find their footing in the music business. These are the same bands who wake up early every day to work the lines before gates open, and then spend every waking minute possible on the festival grounds in hopes of meeting or making fans. Those individuals and groups are the ones making the most of their Warped Tour experience, and they’re likely to see the biggest return for time spent as a result. In fact, many of the tour’s biggest bands today were once artists hustling CDs outside the gates, and that will no doubt continue to be true with the next round of alternative headliners.
By stepping away from the obvious draws and seeking something worthwhile in other corners of Warped Tour you open yourself, not to mention your audience, up to a world of possibilities that could lead in a million different directions. Perhaps you discover the unknown band who will headline the festival two years later, or maybe you meet an artist whose got a story that you know your readers will want to hear. The point is, you will find something to cover that is different than what will be covered by everyone else at the festival, and as a result you will be able to forge relationships and connections with people who may be able to help you down the line. The networking opportunities at Warped for aspiring professionals is one of the more underutilized points of entry to the music business with easy access in the industry, which is precisely why we’re here telling you to take advantage of it.
The following bands are the 10 act we think you should consider covering, but it’s really just an effort to get you to consider something different with your tour coverage. Some names may seem bigger than others, but we believe they all offer unique perspectives on music, the industry, and the state of the alternative community as a whole that have gone largely untold up to this point. Like their peers before them, these acts are in need of strong journalism and word of mouth to make it over that last horizon of viral/buzzworthy popularity so that they might be able to make music their full time careers. You have the power to help change their lives, and we’re asking you to consider doing so following your time at Warped Tour this year:
Avion Roe
Former Inside Music guests Avion Roe are no strangers to appearing on Van’s Warped Tour, but this will be the group’s first major outing since signing with Epitaph Records in the fall of 2015. The band has already completed their debut album, but it’s not the end of March and we have yet to know anything about the record or when it will be available. The band’s music should speak for itself, but as longtime supporters we can attest to the fact there are few bands on Warped that will be able to match the energy this group brings to the stage. We predict this summer will be the one that establishes Avion Roe as the genre heavyweights they appear destined to become, and it’s a story you won’t want to miss.
Sykes
We caught Sykes during an unofficial SXSW showcase our friends at The Catalyst Publicity Group hosted earlier this year and were immediately taken by their unique twist on classic pop rock tropes. The band has already developed a fervent following outside the US, so it’s not a leap to assume their stint on Warped will make them equally popular here in the states. Just try and experience the song above without wanting to hear everything the band has written. We dare you.
Mother Feather
Mother Feather is a band that should need no explanation. The name alone is enough to spark your curiosity, and the visuals that help promote the group only amplify that interest. When you do hear their music, be prepared to discover an infectious combination of classic rock sensibilities and modern rock attitude that just won’t quit. In fact, we had to stop writing this paragraph several times while the band’s music was on because the urge to play air guitar and dance around the office with our cats was too strong to resist.
Prof
Prof’s 2015 video for his single “Bar Breaker” was one of the wildest clips to his the internet last year, and we have a feeling his live show will be just as crazy. Warped Tour rarely selects more than a handful of rappers for the festival, and this year is no exception to that rule, but the addition of Prof shows Warped still knows big potential when they see it. Of all the bands on this year’s lineup, Prof is among those least known by the tour’s core demographic, but we’d wager that will change in no time at all.
Coldrain
At first glance, Coldrain feels like an odd addition to the Hopeless Records roster. The label has housed their fair share of modern rock acts over time, but in recent years Hopeless has been viewed by many as a pop punk brand. What you realize when listening to Coldrain is that Hopeless ˙has never been a label focused on one particular, but rather a feeling only felt when a certain kind of music is played. It’s like a sudden rush of blood to the brain ignited by music that offer deep and true expression of the human experience, and that is exactly the kind of art this group creates.
Against The Current
If there is such a thing as being a ‘sure thing’ in music, Against The Current would be it. For the better part of two years now this band has been skyrocketing through the pop and rock underground, carried by the powerful talent of singer Chrissy Costanza. Some will compare her to Paramore’s Hayley Williams, but if that happens it’s only because people don’t know who else to compare someone to when speaking about female vocalists in the alternative world. The truth is Costanza, much like her bandmates, is a true original.
Palaye Royale
Palaye Royale may be the best kept secret in Sumerian Records history. Their sound is a cross-section of radio ready rock and punk aesthetics that will have you bobbing your head in no time at all, and their live show has been the talk of the underground for what feels like forever. Warped has more straightforward rock bands than at any other point in recent memory on the lineup this year, and that bodes well for Palaye Royale’s ability to win over new listeners. If you haven’t heard the group’s label debut, “Don’t Feel Quite Right,” we urge you to pick it up as soon as you are able.
Bad Seed Rising
The youngest band signed to Roadrunner Records, Bad Seed Rising is a force unlike anything the rock scene has experienced in a decade or more. Where many young bands tend to write about their personal experiences and the struggles of growing up, Bad Seed Rising have always had their eyes on the bigger picture. This bands writes song that can and hopefully will one day change the world. Everything they do is done for the purpose of not only furthering their own careers, but mankind as a whole, and they’re only getting better with age.
The Heirs
We have a feeling The Heirs could to Warped Tour 2016 what PVRIS has been in years past. Just edgy enough to be considered alternative, yet catchy enough to grab the attention of pop tastemakers, The Heirs offer an infectious mix of ideas that is both fun and captivating. Most people don’t consider Warped Tour to be a place where people go to dance is if they were in a club or in their room alone, but The Heirs might change that when songs like “Ecliptic” are played.
ROAM
We’ve written at length about ROAM, and with each new mention the group seems to be inching closer to pop punk domination. Warped Tour could be the tipping point, and even if it’s not the pits for this band’s sets will be ones you do not want to miss. If you’re looking for a group that is connecting with the next generation of Warped Tour regulars, this band is the answer.
Tidal recently hit its one-year anniversary, and to celebrate the streaming service unloaded a ton of data this week related to its growth and success over the last twelve months. The company says it now has 3 million paid users, up from just over 500,000 at launch, but it did not reveal any information regarding how many free trials had been used during the same period. The number of total subscribers is still far below the 11 million who use Apple Music, not to mention the alleged 30 million users claimed by Spotify, but it’s growth nonetheless.
The far more interesting factoid from this data dump, and the reason for this post, revolves around the claim that Kanye West’s new album, The Life Of Pablo, received more than 250 million streams in its first 10 days of release. That is an impressive number when taken at face value, but when given several seconds of contemplation it’s also fairly meaningless. Tidal does not state whether they are referring to full album streams or the cumulative number of streams for each track on the record. They also do not clarify what constitutes a stream. Is it one full song, or is a stream counted even if I change the track a few seconds after another one begins?
Before we try to breakdown just what this number might mean we must first consider how many people had access to the album during its first 10 days of release. Tidal required users to signup for a their service, or at least a free trial, to hear The Life Of Pablo, but since there are no numbers available for trials that were not converted to subscribers we’re going to have to make some assumptions. Let’s say Tidal has a 50% conversion rate on new signups (they don’t), and just for fun we’ll pretend the 2.5 million new subscribers all joined when The Life Of Pablo was released. That means at least 5 million people signed up for a trial of Tidal, which means somewhere around 6 million people had access to the stream. Again, this number is not hard science, but for the sake of simplicity we’ll use it for all the math we do moving forward in this post.
Let’s say 250 million streams referred to complete front-to-back plays of The Life Of Pablo. With a running time right around 60-minutes long (59:41), this means the album was played for the equivalent of 625,000,000 days in the first 240-hours it was online. With an estimate of 6 million users with access, this means every user would have played the record enough to have heard for more than 104 days of their life, and that is assuming every Tidal user was even interested in the record.
Maybe the 250 million streams comes from the cumulative number of individual song streams for every track on the record, which would make the most sense. The average runtime for a song on The Life Of Pablo is 3:12, which puts the estimated cumulative amount of time the album was played in those first 10 days at 13,000,000 hours, or just under one full day per user. This is still a ton of listening hours, but it’s far more reasonable than the number in the previous paragraph.
What is most likely true is that 250 million streams does come from the cumulative number of individual song streams for every track on the record, including partial streams. Like iTunes, it’s likely Tidal counts a song stream after a certain amount of the track has been played (usually around 30-seconds). This would mean tracks off The Life Of Pablo had been started at least 250 million times, which is still impressive, but not that 250 million tracks had been streamed in full.
Speaking from a sales perspective, the industry ratio for streaming is 1,500 streams equals that of one album sold economically. Using 250 million as our base number, this means Kanye moved 166,000 albums in what is essentially his debut week of release. This would mean a 50% drop over West’s previous debut week low of 327,000 units for the 2013 release of Yeezus. 166k is certainly nothing to scoff at, but considering the large disparity between those first week numbers it’s hard not to question if the decision to make The Life Of Pablo a Tidal exclusive, not to mention releasing it without a download for consumers, ultimately hurt Kanye more than the press garnered for the move helped promote his record’s release.
Let’s also not forget that The Life Of Pablo was pirated from torrent sites more than 500,000 times in its first few days of release. That number does not include direct downloads from piracy blogs or downloads from services like Zippyshare, which would likely push the total number well beyond the million mark. The fact the album still hasn’t been made available for purchase or downloads has only continued to encourage piracy, and with each week thousands of additional illegal downloads occur as a result.
Tidal mentioned in their initial data dump that Kanye’s ‘Yeezy Season 3’ fashion show, which doubled as the official premiere for The Life Of Pablo, was watched by 23 million viewers. In theory, Tidal could count this number towards total album plays mentioned in their press release, but if true that would be some exceptional and largely unnecessary number boosting. After all, who is Tidal hoping to please with these numbers outside their core investors? They have shown growth, and with more artist collaborations additional subscribers will come in time, but their biggest exclusive to date has doubled as a commercial low for the artist on the other end of the deal. Maybe this is Tidal trying to show us the glass is half-full when we know it’s half-empty, and if so then I am still unconvinced. Until Tidal can show its platform benefitting musicians in a way neither of its main competitors can match it will remain an overpriced alternative to larger, more recognized brands with superior catalogs.
James Shotwell is the Digital Marketing Manager for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder of Antique Records. Feel free to tell him you love or hate the article above by connecting with him on Twitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.
Not long ago a friend of mine wrote an article on the legacy of a now defunct rock band called Scary Kids Scaring Kids. Reading their post brought to mind some of the amazing videos the band created, which lead to me wanting to see those clips again. After multiple searches, some including the term ‘HD,’ the best version of their videos I could find was this:
A little rough, right? And this is a music video that received a lot of recognition when it was released. Can you imagine how rough non-signature videos are being treated in the digital age? I continued searching the internet for a higher quality version of the video, but eventually realized my only option was to skip the clip altogether or settle for the video above. I settled, and I’ve been kicking myself a little bit ever since.
Call me crazy, but in an age where essentially every song ever recorded can be downloaded in less than fifty key strokes I can think of no reason for the history of music videos to be so poorly preserved online. YouTube is now the number one method of music discovery, and more importantly there is money to be generated from viewers having access to your entire video catalog. Streaming is a growing part of every label’s revenue stream, and to not take full advantage of that feels like a missed opportunity. Labels lose out on potential income, artists miss an opportunity to have their music introduced to potential new followers in the best quality possible, and fans miss out on the ability to experience these clips the way they were meant to be enjoyed.
Ever since the age of social media every company seems to have found a new level of respect for how people view their image, so why do so many artists and labels allow themselves to be so poorly represented in the video marketplace? Whether the videos are never uploaded in the first place, or if they were uploaded years ago and never updated as the capabilities of YouTube evolved, there are countless examples of poor respect for video content in music industry. One excuse may be that studies today show the lifespan of new videos decreasing rapidly, but I do not believe that rule should be applied to clips involving music. People connect with music in a way that is completely different from every other form of art, and even though the way you’re receiving the audio may originate from a video the connection being made is still just as strong as if the song were coming from your stereo. People use music to set the mood, keep them company, motivate them, lift their spirits, and a million other reasons in between that keeps them coming back to the same artists and tracks over and over again for years.
Music videos do not have the same characteristics as most viral videos, but many do possess the potential for high virility if marketed correctly. Music videos, like great songs, are something people will share with friends and family for years to come. When future generations study the music of the past, videos will play a large role in understanding not only the song, but the culture that inspired it. That is, after all, what music videos represent. Whether or not you want to admit there is no denying the influence Miley Cyrus has had on pop culture in 2013, and a large reason for that impact is owed to her music videos. “We Can’t Stop” presented the reinvented Miley to the world, and within days the clip racked up tens of millions of plays. “Wrecking Ball,” which followed a few short months later, did even more impressive numbers while featuring a far more naked Cyrus. Some of us laughed at the clip, others found their new pop idol, but regardless of where you stand the song changed how you viewed the world. For days, if not weeks after you and friends joked about Miley, her twerking, and all the teens online tryingtocopy their newfound heroine. Her album, Bangerz, did none of that, and almost soon as it hit shelves it was no longer part of the conversation. That’s not a slight against Miley, but simply listening to her ‘wild new style’ is not enough to generate the type of headlines made from singing the same material whilestraddling construction equipment in the nude. The album may (probably) be forgotten, but the videos live on for as long as sites like YouTube exists, and they will continue to be a topic of conversation every time someone talks about culture in 2013 until the end of time.
In an effort to be completely honest I feel I must admit to be a child of a generation who grew up with shows like MTV’s Total Request Live dominating their after school activities. As someone growing up in a small Midwest town, videos were my window to the world, and I believe they can still serve that purpose for millions of people today. Yes this includes videos currently being released, but without preserving and taking the time to appreciate the visual content of the past we’re missing out on a big part of our shared cultural history that deserves far more respect than it has ever been given. Remember when fans of rap started wearing their pants backwards in the early 90s? Music videos taught them that. The “Thriller” dance you see people perform at weddings? Music videos taught them that as well. Twerking? Well, you get the point.
We live in an age where the history of almost everything is available within a few clicks, and as we continue to move forward technology will only grow more advanced, with video content leading the way we engage with the world around us. Labels and artists taking the responsibility into their own hands to upload and maintain older video content is going to be key to preserving the history of music, and it would be a shame to see the countless music videos that once entertained millions lost in the digital shuffle.
The following post is the latest product of our ongoing content collaboration with Muddy Paw PR.
The one consistent piece of advice I received when researching what to expect from my first SXSW was to go with the flow, and plan for the unexpected. You will not make every showcase you plan to see, but you will end up seeing some pretty phenomenal shows by accident, etc. As it turned out, they were right. My experiences in Austin allowed me to come back reenergized and ready to take on the world. Part of that was the experiences themselves, but the other part was applying some key SXSW advice to my daily life, and to the always teetering work-life balance. So what SXSW lessons can you apply to your daily life? Well….
Flexibility is the key to happiness
As a small business owner, flexibility is one of the most important, yet difficult hurdles I’ve had to face. Being at SXSW challenged the neurotic planner that lives within me, and forced me to be ok with doing things on the fly, and not having a set schedule. The world didn’t end if I missed a showcase, and I didn’t allow myself to dwell on the “what ifs.” Instead, I chose to go with the flow and tackle what was in front of me, and what felt right. If a friend mentioned an event a few streets over and it coincided with a panel I planned to see, I quickly weighed the pros and cons of each, before going with the one that made the most sense in that moment. I didn’t spend hours or days agonizing over decisions like I might at home.
Don’t get me wrong, there’s a benefit to taking your time with decisions and being responsible—we can’t always do what feels good, or we’re going to sink our careers pretty quickly and end up watching Netflix full time. But there’s something to be said about kyboshing all the back and forth agonizing over smaller tasks and just sticking to your gut. The time you save wondering if every decision you made was the right one will allow you a lot more time to focus on growth.
Make time to have a little fun
For all the years I’ve longed to go to SXSW, I’ve envisioned it as a giant networking opportunity. A chance to meet others in the business, pull in new clients, and network like there was no tomorrow. And don’t get me wrong, it’s all those things—but what I didn’t expect was that the real networking would come into play when I was having fun, hanging out with friends, and getting introduced to others under their wing. Not to mention, the more time I took to just relax and enjoy the company of the people I was with, the more positive I was, and the more I felt I was attracting the right kind of networking opportunities. Back in the “real world”, it can be easy to get sucked into a constant loop of work, with no real end in sight. By remembering to take the time you need to step away, get out of the house or office, and spend some true quality time with friends, not only will your mental health thank you, but so will your creativity.
Have an agenda—but don’t be afraid to deviate
I touched on this above, but although I believe that flexibility in your SXSW planning is key to a great experience, I also believe that you should have a strong agenda going in—otherwise it’s going to be a really expensive vacation. Is your goal to network? Great. What does that mean exactly? What’s the purpose of your networking? To book more gigs across the country? To find an investor for your business? To find new clients? Find your purpose for going and outline the steps you plan to take to make that happen. If it means setting up business meetings ahead of time, do it—and don’t wait until the day before you leave. Make a plan, and do your best to stick to it, but don’t be afraid to deviate from the plan if you feel like something else might be a better fit.
This idea of having an agenda yet not being afraid to deviate is one of the most powerful lessons I took home. In the back of your mind, you should always know your purpose—as an artist, business owner, professional, etc. Everything you do should be getting you closer to your goal, and that goal should always be kept in the back of your mind. Yet, if something you hadn’t planned or thought of comes across your path that you feel makes more sense, or will accelerate your career, don’t be afraid to explore that option.
Appreciate the little things
So many of the experiences I had at SXSW were grand in nature. Focused panel topics, well-laid out brunches, and meticulously planned showcases dotted my schedule. While all of those things were incredible, some of the most memorable moments I had happened while I was indulging in the little things, like eating breakfast tacos with friends the day before leaving, or grabbing free merch from a friend’s showcase. It was all the tiny little moments that no one talks about and most people never remember that made my experience as remarkable as it was. Taking that philosophy home, I’m learning to take small moments and step back so that I can appreciate all the tiny little moments that make life worth living. Things like the taste of a really good scoop of ice cream. The way the spring air feels on my skin. My dog wagging his tail when he knows it’s time to go for a walk. These are the things that make life beautiful. No one ever died saying “I wish I’d worked a little harder and spent less time hanging out with loved ones.”
Get inspired
One of the most magical things about SXSW was how inspired it left me. Seeing so many friends, attending so many showcases filled to the brim with talented musicians, and seeing so many people chasing, achieving, and living their passions left me wanting to fight 10X harder for mine. It’s a simple thing: the more you surround yourself with inspired people, the more inspired you’re apt to be. After all, we are the average of the five people we spend the most time with.
Coming home from Austin, I was tired, but I was also filled with hope. I was exhausted, but I was renewed with energy, passion, vision, and drive. I felt determined to continue to surround myself with as many driven and inspired people as possible, eliminating anyone who drained my energy or brought me into any mindset other than a successful one. Take this time to think hard about those you surround yourself with. Are they making you a better person? A better artist? A better business owner? Find those people that are—your people and don’t let them go.
Imagine all the things you can do when you learn to relax, have fun, and surround yourself with other inspired, passionate people. Imagine all the goals you’ll check off, and the impact you can make. It’s easy to get bogged down with the day-to-day cycles of work, but you got into this industry because you loved it, and because you felt it was your calling, right? So remember to have some fun along the way and enjoy the successes you’re given. Otherwise, what’s the point?
Angela Mastrogiacomo is the founder and CEO of Muddy Paw PR, a Boston based public relations firm specializing in personalized campaign initiatives for independent artists, as well as music blog Infectious Magazine. She is also the curator of several chapters of the music community Balanced Breakfast, which currently operates in 12 cities including San Francisco, Los Angeles, Austin, Nashville, Toronto, Portland, and many other music cities. She loves hanging out with her dog, eating ice cream, and a good book. Read more at https://angelamastrogiacomo.wordpress.com/
The bigpanic in the world of social media in 2016 has been the rise of algorithmic feeds and the competition amongst brands, bands, and artists it is believed to create. YouTube, Facebook, and Vine have already implemented algorithms that are designed to show users what the system believes is most important to them first as opposed to what is newest on the site, and with each change came a wave of panic from those who rely on social media to raise awareness for their latest products, tours, or related offerings similar to what we are experiencing as of late in relation to Instagram. The truth is, however, that those who are already reaching thousands or even millions of users have far less to worry about than those with only a few hundred followers, and even then there is very little to be concerned about as long as you’re doing the one thing we all hope to find whenever following a new account online: Quality content.
Yes, despite the rumors that the only way brands, artists, and bands will be able to reach followers moving forward is by encouraging them to opt-in for notifications every time an account posts a new image, the real answer to the so-called “algorithm apocalypse” is the same answer to the question of how one amasses a sizable following in the first place. Aside from family ties, the quality or perceived quality of content being shared is one of the biggest factors in determining placement in social media algorithms. In theory, if you have an account with a large amount of followers you have most likely earned those follows through sharing great content, and as long as you continue to post content that is meaningful to your followers then your reach will continue to thrive. Some followers may be lost, but if so it’s only because their previous actions on that platform rarely involved engaging with your content, and if that is the case – does losing them really matter at the end of the day? You might not reach as many people, but those who actively engage with you will be retained, and those who haven’t been engaged will remain inactive. If that makes the entire idea of worrying about algorithmic changes feel silly it should because such fears are largely unfounded.
Regardless of whatever algorithmic hurdles are placed on reach by social media platforms those who create quality content will always rise to the top. Their rise might be a bit slower than it would have been in the days when everything was shared all at once in real time, but then again it might not. Throttling the flow of content in a way guarantees more people will see the best content available, which means they will be spending less time seeing and engaging with things that don’t really interest them. This act of internet time saving encourages engagement by quickening meaningful discovery, and as long as you’re producing the best content you can create people will discover your work regardless of the invisible math behind how they find it.
Okay, since I get asked almost daily about how to sell prints, the legality of it, etc. I figured I would post up a full blog not just so I don’t have to answer this long winded question daily, but so others have a spot to find the information they need.
In terms of the prints I sell. I only sell prints of friends, bands who are friends, or bands I work with many times. I do not sell prints of bands I do not personally know, and I do not sell prints of bands I’ve only worked with once or twice. Each print is approved by the artist or band and we work a deal out (I will get more in depth with that later on). I do not sell prints unless I have written expressed approval to sell them. Why? Well, many reasons.
SO! The legality of selling prints to begin with kind of follows under a few different laws… first the DMCA states that ANY photo you take, as soon as you take it, is copyrighted as your work. The only thing that can possibly negate that, is if you have signed a contract that says other wise. For those who shoot bigger bands live, I’m sure you have signed a waiver saying exactly that, or stating that you can ONLY use the images for the approved specific outlet you are working for.
There is also a law that you cannot use someone’s image for commercial purposes with out their legal permission or they can in fact, sue you, give you a cease and desist, etc.
Now I often get asked if I use model releases with bands… no. I don’t. A band will likely not sign a legal contact during a photo shoot, for the photos, and generally that would immediately put them off to shooting with you.
So, here’s the thick of it… IF you decide to sell photos of a band with out their permission and they find out… a cease and desist is the LEAST of your worries.
Almost every national band has a label, booking agent, publicist and manager, you can assume there are at least 100+ bands under that umbrella. Every booking agent works with multiple promoters, who work with multiple booking agents, who work with almost every venue you could possibly shoot at.
SO! Here’s a somewhat uncommon but real occurrence. One of the above (publicist, band, manager etc) finds out you are selling images of their band with out permission. They BLACKLIST YOU. You are no longer allowed to shoot any bands that publicist, label, manager, work with, or at the venue or venues that the booking agent or promoter work with. This can last for an undetermined amount of time. Your career as a music photographer is put on hold until further notice.
I have seen this happen to a few photographers in my time, I wont post their names but ill call one… Mike. He was selling images of a certain arena metal band (who have a release form that says you can not sell their images). And after being caught he was banned from all live nation venues, as well as shooting any bands that publicist and label work with (which are… many). He was out of the game for about 3 years and only recently started being allowed back into shows to shoot.
Another one, we will call Bob. Was selling photos of a small band (at the time), who weren’t even on a big label, they played 200-500 cap rooms at their best… but got caught selling photos and was banned from the venue and shooting anything else that label had – I haven’t seen him since.
And last… ME. I was selling live photos of bands with out asking them first. This was around 2004-2005. I even had them sold in a music store, because I knew legally, I owned the photos, period! I don’t know who found out… I wasn’t given an email asking to remove them, I was not notified at all… I was just told “no” to any press request by that label. Finally someone far above me, explained the situation of why this was happening to me, I removed the photos, apologized, and about a year later I was allowed to shoot their bands again. I stopped selling prints right then and there from about 2005 til the fall of 2011 when I started up again with a different business model.
I looked at it like when you walk into a store and buy an 8×10 of your favorite actor, or batman or some sports photos… I didn’t know about licensing and releases.
SO! After that learning experience I started a new way to do prints, each print is approved by the artist, and either they get copies of the prints, a percentage of sales, a discounted shoot, cross promotion etc. Everything is fully locked in before I even put the image up, which is why some shoots I do, do not become prints, and why sometimes I will do a shoot in November, and it will become prints the following April. But each print has written approval to sell, with a full agreement prior to it going on sale.
Also, and most important to me… I am only selling prints of people I am close with, friends, and bands I work with often. I do not sell photos of bands that don’t know me, I don’t sell photos of bands I’ve only worked with once or twice.
You want to sell prints? My advice, start with a band you are close with/friends with. Work out a deal that is mutually beneficial and build from there. If you want to sell prints of a band you do not personally know, contact them or their management, but just know, bands and management are generally hesitant to work with someone they don’t know in a licensing and product capacity, however, its worth a shot!
Last bit of advice, don’t make the mistake of selling photos of bands with out their knowledge or approval… because while you can argue the legality of it… you cant argue yourself into a guest list, photo pass, or a venue.
EDIT: Vince (publicist from Metal Blade) and also a photographer, left a very important comment on this that everyone should read: “This is most definitely a case where asking for forgiveness instead of soliciting permission isn’t advisable. Additionally, when press/photogs are black listed, if the offense was grievous enough, publicists will even notify other publicists and labels. Fuck up hard enough, and everyone will know about it.”
Hope this helps – I will update this with any relevant questions I get about this.
On this episode of INSIDE MUSIC, host James Shotwell calls Brian Logan Dales, vocalist for The Summer Set, to discuss his band’s new album. Brian tells James how the LP almost didn’t happen, and how the creation of one song changed everything. The two also discuss the band’s history, the perils of long set lists, their mutual admiration of Bruce Springsteen, and what it takes to shake the idea that every album must be bigger than the last. The Summer Set will release their latest record, Stories For Monday, on April 1, 2015 through Fearless Records.
The song you hear in this episode is “Figure Me Out,” which also happens to be the lead single off Stories For Monday.
You may already know this, but Inside Music is now available on iTunes! Click here to subscribe.
If you’re anything like me, you probably started the day by recognizing that the start of a new work week had indeed arrived and then immediately began shaking your fists at the sky in anger. Monday is rarely anyone’s favorite day, and from what I have seen firsthand it feels safe to say it’s the one day of the week some people outright hate. I guess to them the arrival of the work week symbolizes the end of their quote/unquote freedom, and as a result they head into the office/factory/restaurant/store with a negative outlook already on their mind. This leads to bad attitudes, which only makes the experience of being at work worse, and for some reason it also seems to make time slow to a crawl. We’re not about that life, and we hope this post can do the same you that the song contained within it did for us.
Here’s a headline you’ve probably read before: Growing up is hard. I never thought of myself as the type of person to relate to the generic motivational phrases disguised as groundbreaking ideas juxtaposed against nature or floral backgrounds you most often find plastered across the Instagram and Tumblr pages of today’s youth, but if we’re being entirely honest I’ve probably always been that type of person. We all are, I think. We are all hope that steering the ship of life in our favor is as simple as thinking positive and behaving in a proactive manner, but as time continues to pass that alleged reality is repeatedly proven false.
I don’t write all of this to dishearten your, but rather to prepare you for everything that will force itself in your way as you continue your journey in life. Sometimes even when it seems our dreams are coming true we learn the truth about those goals is nothing like we imagined it would be. Sometimes we reach what others might call the height of success only to find ourselves yearning for something more. As human beings our thirst for adventure is endless, which it should be, but that doesn’t mean we like having to find new paths to self-fulfillment when our original plans prove insufficient.
From an outsider’s point of view, The Summer Set seem like a band that couldn’t ask for much more out of life. Having found a sound all their own in the vastly overcrowded world of pop rock, the band has spent the better part of the last decade building a dedicated global following that now spans two generations of alternative music fans. Their 2013 LP, Legendary, is considered an essential record for anyone hoping to understand the current alt-pop climate, and therein lies one of the many reasons the band is only just now, in April 2016, releasing a follow-up.
You see, Legendary catapulted The Summer Set to their heights of their music scene, but not the height of music in general. Though the record spawned several singles that eventually garnered radio play the album didn’t quite have the push needed to breakthrough to mainstream audiences in a meaningful way. Any success is good success of course, but the member of The Summer Set were unsure how they could outdo what they had just created, and as soon as they were presented with the opportunity to begin working on something new they chose collectively to a break instead. Countries were visited, memories were made, and slowly, but surely the group began piecing together more material. Still, something inside them questioned whether or not it would be good enough to push the group beyond the success of their previous album, and that uncertainty eventually lead them to question their future as a band.
It wasn’t until vocalist Brian Dales penned “Figure Me Out,” which serves as the opening track on the band’s new album Stories For Monday, that the band found their purpose and drive once more. The track, which tells of someone struggling to know themselves in the midst of realizing that their dreams might not be as ambitious as they had anticipated, reminded the group as a whole why they played music in the first place. The Summer Set didn’t start out with plans of being Billboard sensations. That would be nice, of course, but simply having recognition was never their intent. The band started because they wanted to connect with people, and through writing Stories For Monday they remembered they were already able to achieve that goal, as well as many more. They still want success, but they understand they have already achieved it as well, and a result they no longer worry whether or not every new track is good enough to be a hit at radio. They create because it’s what they want to do, and they play the music that makes them happy. What more could they really ask for?
When I listen to Stories For Monday I am reminded of the importance of knowing why you’re doing whatever it is you’ve chosen to do with your life. All too often we get distracted with what the world tells us is an indicator of success and we forget to ask ourselves what would make us happiest. All the accolades in the world may look good on a press release, but unless you believe in what you’re doing you’re never going to feel good about the results. The Summer Set may have taken years to find themselves, but we all benefit from their hard work. Stories For Monday is reminder that we are at our best when we do something for reasons other than personal or financial gain, and it’s also one of the best album you will hear all year long. Don’t miss out.
James Shotwell is the Digital Marketing Manager for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder of Antique Records. Feel free to tell him you love or hate the article above by connecting with him on Twitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.
A lot has been written about the supposed dire state of the music industry, but truth be told there are a number of successful and growing companies, including record labels, that are thriving in 2016. In this column we bring together every job opening we can find from the companies responsible for building the future of the business and present them to you, our reader, in hopes of aiding you on your journey to join the global music industry professional family.
Each week we scour the internet for the latest and greatest job postings throughout the music industry. You can help us better serve our community by sending any job openings you find or have to james@haulix.com. Be sure to include the name of the company hiring, a detailed description of the position being offered, a desired start date, contact information, and any additional supplemental information you feel may be needed.
Job summary: Responsible for increasing Corporate Sales Team revenue by providing proactive support related to prospecting, lead generation, market research, and administrative tasks.
Job summary: If you have a passion for the music industry, vinyl records, an impressive mental database, and can #hashtag any record without even having to think twice, then let’s talk! This is a great opportunity to be a part of a growing start-up with a growing user-base.
Job summary: Responsible for multiple aspects of artist and label consumer marketing programs. Responsibilities include creating marketing plans, developing content calendar, drive fan acquisition strategy and project manage campaigns around digital consumer marketing initiatives. Lead, develop, manage and execute email marketing programs and effectively communicate to relevant marketing parties during ideation and execution. Tasks also include, generating reports, copy writing and providing email design direction for each project, developing segmentation strategies while leveraging relevant first party data for re-targeting and personalized email content to drive message to fans.
Job summary: The Music Coordinator works closely with the Business Affairs team to coordinate various music and talent production projects, along with other administrative duties. They work closely with the other disciplines in delivering and exceeding client expectations.
Job summary: The Marketing Asset Coordinator will assist in managing the workflow of files and communication between Creative, Graphic and Sound vendors and Marvel Studio’s Filmmakers, Editorial and VFX departments. This requires coordination of multiple titles, projects, sources, locations and distribution methods. The position requires great attention to detail, strong communication skills.
Job summary: We are seeking a Conversion Associate who owns, lives and breathes customer conversion. You will help strategize, develop and execute Spotify’s conversion strategies through email. You are data- driven, creative and can execute fast and flawlessly. You are a self starter and also an excellent collaborator and you are constantly looking for ways to strengthen your conversion marketing strategies. Your goal is to cultivate long lasting relationships with our users.
Job summary: Email Developer – Marketing Manager will play a pivotal role in managing a robust suite of fan transactional, relationship and marketing communications for Live Nation. The team’s goal is to inform fans of live music about the shows that match their interests and inspire them to check out new artists. Critical to this is ensuring that every email delivered provides a rich and engaging experience
Job summary: Do you think you have what it takes to be part of Hopeless Records? We are looking for a new person to add to our growing team and it could be you! If you love our bands and feel like we would be crazy to not hire you, then please get in touch right away. You will be doing anything you can to help Hopeless Records and our artists while upholding our company principles. More specifically your role will be focused on the following.Support of day to day activities of executive team including coordinating meetings, handling follow-up communication, expense reports, travel, basic research, etc.Handle basic office functions including greeting guests, answering phones, and ordering supplies.Provide professional and personal support for the company President including local transportation.Coordination of company meetings/offsite events and attend and provide support at shows and festivals.
Job summary: The job of an Artist Relations Manager is to make sure the Recording Artist is satisfied in working within Phenomenal Music Group. To do this, the Artist Relations Manager provide services to the Recording Artists under him/her and performs various tasks to ensure the Recording Artist(s) know that they are a valuable assets of the company. Phenomenal Music Group rewards Artist Relations Managers in several ways, particularly if an Recording Artist of the Label attains a Gold or Platinum Record.
Job summary: Prepare BEOs, scheduling staff, prepare areas in the restaurant and theater, and resolve any issues, complaints, and/or problems to ensure quality product delivery and customer satisfaction. And above all else, make events of a lifetime sincerely remarkable and heartfelt.
Job summary: Mood Media Denver is seeking one high energy and self-driven sales professionals to join their Team. Mood Media Denver suite of products include in store music, digital signage, on hold and in store marketing messages, satellite television, scent media, professional sound systems, paging, and drive-thru communication systems. This amazing suite of products is targeted to help its clients communicate with their customers, enhance the clients’ brand and drive incremental sales at the point-of-purchase.
Job summary: As National Promotions Specialist for Columbia Nashville, you’ll maximize the effectiveness of the National Promotions staff who promote such artists as Kenny Chesney, Tyler Farr, Maren Morris, and Chase Rice to radio.
Job summary: We are looking for a marketing manager to become in charge of our rep network of college student across the nation. You will be assigned specific colleges to focus on, students to be in contact with on a regular basis, as well as goals that you will help your teams reach. You will be be involved in a variety of marketing initiatives and overall helping IndieU grow our user base within various college campuses.
Job summary: The Netflix marketing legal team is hiring a manager of music to help negotiate music licenses and advise internal marketing and PR teams on best music practices pertaining to their projects.You love everything music. You spend your free time searching the Internet for the next great artists, and nerding away on musicology. You know everyone in the industry; the record labels, the publishers, artists, managers, agents, unions, studios, networks, agencies, marketing teams, producers, post producers, editors, and directors.You have contacts for that obscure track from the 1970s and you’re ready with alternate tracks to suggest if it doesn’t clear. You think having several different licenses (synch, master, mechanical, etc.) for the same work makes complete sense and don’t think twice about a 7-way ownership split for a side of a song.
Job summary: We are looking for energetic associates with a proven track record of sales and customer service success to promote and sell Facebook and Website based marketing solutions to local advertisers in the Fox Valley.
Job summary: The Account Manager is a position centered on client services and is one where strategic planning and execution is a primary function. The Account Manager is a critical role in delivering best-in-class service for Vevo’s advertising clients, while embodying Vevo’s mission both in and outside of the office. In partnership with the Account Coordinator and Account Executive, and in collaboration with the Marketing, Research & Operations teams, the Account Manager is responsible for ensuring successful delivery of all assigned campaigns, including original content, custom-built, high-impact and targeted media. The AM functions as the day-to-day point of contact for all existing accounts to address client questions and concerns, coordinate assets, analyze reports, provide strategic campaign related metrics and manage client expectations in a timely manner. As the primary overseer of Vevo’s on-going business, the Account Manager has to be proactive, communicative, detail oriented & maximize the performance of digital campaigns from receipt of IO through final delivery & billing.
Job summary: This individual will be responsible for providing exceptional customer support which will include domestic and international reservations to meet our VIP corporate & publicity travel needs. Position will require heavy telephone and proficient computer skills. Must have excellent customer service skills and ability to interact with all levels of travelers and vendors (airlines, hotels, limos, car rental, jet aviation companies, airport meet and greets). Will also provide backup/support to Jet Charter coordinator.
Job summary: We are looking for a rockstar Web Project Manager to add to take the execution of our new live streaming video website to the next level. Ideally, we are looking for a candidate with several years experience in a similar role. You must also be a highly adaptable and motivated, and ready to meet any challenge. This is a position for a self-motivated “out-of-the-box” thinker, who can anticipate problems and troubleshoot solutions.
Job summary: We are looking for an outstanding Ad Sales Account Director to join our team in Detroit. We’re looking for someone with a proven record of revenue generation and a deep interest and passion for online media and innovation. We want someone who loves our product and knows how to sell creative solutions for clients and partners. You should be confident without ever being arrogant and you work hard, but know how to have fun. Above all, your work will impact the way the world experiences music.
Job summary: We’re looking for candidates who have 2-4 years of relevant industry experience in online ticketing, sales, talent management, and/or artist booking. Our ideal candidate has worked in the music industry in a growth-stage environment and has a track record of successfully delivering compelling presentations to all levels within a prospect account. Our next Account Executive is driven to raise the bar of success for the larger team, and knows what it takes to develop a successful partnerships in the industry. If you are smart, driven, and passionate about revolutionizing the ticketing industry, we want to hear from you.
Job summary: We are seeking an experienced professional to monitor and identify means to improve Live Nation’s commitment to sustainability, initially through our US amphitheaters, with the goal of expanding sustainability programs and initiatives to all Live Nation venues and operations.
Job summary: The Marketing and Promotions Coordinator is responsible for assisting with all aspects of marketing, sales and logistics with respect to the live entertainment / cruise business
Job summary: The Client Relations Coordinator position will play a crucial role for Ticketmaster’s OnTour team, in the company’s continued evolution in the live entertainment industry. Ticketmaster’s OnTour team is the company’s artist facing department, tasked with building Ticketmaster’s relationships with the artist community, along with informing artists’ teams and acting as a resource to those teams to help them maximize ticket sales, marketing and drive incremental revenue throughout their tour cycle. The Client Relations coordinator will play a critical role in maintaining a solid foundation for the expanding OnTour team, and identifying potential areas of growth with both new and existing clients. The qualified candidate will have demonstrated an understanding of the live music industry.
Job summary: The Media Consultant position carries the responsibility for developing and selling radio/digital/event advertising campaigns to prospective businesses for CMG Miami Radio’s 4 super brands and our robust digital offerings. This individual must be independent, very organized and detail-oriented. We are looking for candidates that are competitive in nature, who have the ability to first seek to understand a problem, and then develop creative ideas and solutions.
Job summary: Click is an evolving Los Angeles-based communications firm that is seeking an energetic self-starter who works quickly and accurately, can meet tight deadlines and loves movies and/or TV. The ideal candidate would join the team as a Publicity Assistant in support of our Chicago-based PR Manager. This person will learn about various aspects of the entertainment industry as well as effective online publicity and marketing while assisting with the day-to-day operations of servicing our clients’ needs.
Job summary: Beats is seeking an experienced Audio Product Marketing Manager for a full time role at our Culver City, CA location. This position will serve as a category expert and voice of the consumer. It will be the Product Marketing Manager’s responsibility to transform our innovative product assortment into a compelling narrative that inspires users. In addition, the position will also lead internal ‘Go to Market’ process to help bring innovative products to market in a holistic and consistent way. The ideal candidate will thrive in a cross-functional and collaborative environment and have deep understanding of Beats’s target market.
Job summary: Dave Ramsey’s organization is all about helping people and giving them hope. We are a group of energetic, motivated EntreLeaders who absolutely love what we do. We are on a mission to change the nation, and we are looking for other like-minded, high-quality people to join us.
Job summary: We are a full turn key artist development center that trains and launches talent and we MUST have an experienced social media team behind them. Right candidate must must must know WordPress, and experienced in the top 3 graphic software programs. If you are a team player and can work with a great innovative fast forward music company, come join!
Job summary: Pandora is looking for an experienced Account Strategist who has a background in digital or radio advertising with a proven track record of building and maintaining strong client relationships. This individual will partner directly with the sales team to build strategic media partnerships while providing a highlevel of client service for assigned Advertisers, Agencies and internal Clients.
Job summary: My Country Nation is looking for an exceptional Social Media Producer to lead all social media efforts for this growing digital platform. The ideal candidate will be a social media guru and lover of country music and country lifestyle with an assertive drive to take ownership of MyCN’s social channels, creating a unique voice and producing superior content that aligns with social media best practices across all platforms.
Job summary: As part of the US Latin marketing team, the Manager, Marketing is responsible for the planning, development, pitching and execution of innovative marketing strategies to launch, brand and develop artists throughout the product lifecycle for assigned artist projects.
Job summary: We are looking for a Campaign Coordinator to join our Ad Ops Team based in our New York City headquarters. The Campaign Coordinator will be responsible for the day-to-day execution of our email marketing program. This role involves the creation, scheduling, deployment, and reporting of email materials.
Job summary: As a member of the Partner Marketing team, part of the Consumer Marketing organization at Spotify, you will be responsible for driving go-to-market strategy and life-cycle marketing for priority global priority partners with the aim of achieving key acquisition, engagement and subscription metrics. This position requires experience planning /managing integrated marketing campaigns, excellent communications skills, and the ability to collaborate cross-functionally on all initiatives. Reports into the Global Director, Partner Marketing.
Job summary: Oversee and direct aspects of day-to-day digital management. Responsible for creating and executing digital marketing and promotional plans across all areas of online including portals and distribution partners, artist websites, social media, new technology, CRM, SEM/SEO, third party lifestyle, and e-commerce. Responsible for nurturing and leveraging relationships with the artists and their management teams. Required to set goals and manage campaigns in an effort to optimize reach and revenue. Responsible for managing and interpreting departmental reports and partner data.
Job summary: The role will report to the Vice President of Casting, who you will work with to strategize and execute a plan for acquiring and converting new leads for our talent-casting service, as well improving client retention. You will manage a small team of product evangelists (“casting specialists”) and be tasked with sourcing and acquiring new leads, focusing on growing our network of casting directors, filmmakers, and companies that have productions to cast – from major and indie films to plays, musicals, web-series, commercials, music videos, explainer videos, and more.
