Month: April 2017

Categories
Job Board News

‘Hustle Harder’ is bad advice

image

Read a motivational blog, any motivational blog, and you’re bound to see the word ‘hustle’ used as if it were going out of style. People will tell you to hustle every day, hustle nonstop, always be on your hustle, etc. But what does this really mean, and what – if anything – will hustling every day really do for your career?

I take issue with the idea we should always be hustling for a few reasons. For starters, not everyone knows how to hustle. People often confuse hustling with simply getting your work done, or doing whatever you think needs to be done in order to get ahead. That may be true in some cases, but the hustling as an idea is a bit more broad in its definition. Hustling refers to being smarter than those your competing against to get ahead. This goes beyond working hard for long hours. In fact, you don’t even need to do those things in order to truly hustle. Lots of people get ahead by doing less than their peers, and that is its own form of hustling.

Secondly, hustling every day never guarantees success. A person with a terrible voice can practice singing every day for the rest of their lives and never be half as good as the least successful major label artist. Likewise, I can hit gym every day and never gain enough muscle to be a linebacker in the NFL. Just because I want something and work diligently towards achieving it does not mean that goal will one day be achieved. It makes it more likely, sure, but that’s about it.

Third, and most importantly, some hustles are actually detrimental to your personal development. Some people spend years of their lives working toward something that is never going to happen and in the process make great sacrifices that they later regret. To understand whether or not this is happening an individual needs to disengage from their hustle and take stock of their life. They need to possess the power to step back, examine what does and does not work, then adjust their path in life accordingly. When someone hustles hard every single day, 24/7, the opportunity for reflection is lost. By the time people do think to look up, time and life has often passed them by.

Very few people hustle hard every day and achieve their goals. The vast majority hustle hard for longer than they should and realize they missed their chance to pursue what they are really passionate about. Worse yet, many often miss out on experiences with family and friends because of their dedication to the idea of hustling hard.

Those who hustle hard will inevitably burn out. Don’t hustle harder, Hustle smarter, and by that I mean constantly evaluate your situation and what you need to do to create the life you aspire to experience. Examine the world around you and ask yourself if you are really leading to the life you want. If the answer is no, adjust your trajectory and keeping moving. Then do so again and again periodically for the rest of your life.

A great hustle is just one part of the recipe for success. Other elements include talent, networking skills, and general likability. Do you really think the hardest working person always gets the job over the person people like the most, or that those who are naturally gifted in a certain field do not rise through the ranks faster than those who have to work on their talent? The idea that hustling hard will eventually give you what you want only applies in a world where things are fair and trust me – this life is not fair.

Don’t hustle just to hustle, don’t work hard just to say you drove yourself to the point of mental exhaustion, and don’t place work over people. You may never get where you hope to go, but you can still enjoy the journey.

James Shotwell is the Marketing Coordinator for Haulix. He is also the host of the Inside Music Podcast and a ten-year veteran of the music business. Follow him on Twitter for advice, hot takes, and pop culture references.

Categories
News Podcasts

Inside Music Podcast #110: Cory Lockwood (A Lot Like Birds)

Inside Music is a podcast about the lives of professionals in the music business. Each week, host James Shotwell chats with an artist or industry tastemaker to learn how anyone can navigate the world of entertainment.

On this episode of INSIDE MUSIC, host James Shotwell chats with Cory Lockwood, vocalist for the band A Lot Like Birds. Fans of alternative rock are likely familiar with that name already, but for those who have yet to discover A Lot Like Birds picture a rock band unafraid to push themselves and their audience with each new release. That is what has always made A Lot Like Bird a band worth investing in, and their upcoming record – Divisi – is no exception.

Cory and James chat largely about the four years that have passed since the last A Lot Like Birds album and all the changes that have occurred in that time. Divisi is the first record from the band where Cory handles lead vocal duties, and that also plays a large factor in our conversation.

Really though, this episode is about perseverance and finding a way to live with yourself. A Lot Like Birds have learned what so many artists never do, and that is the simple fact that all success starts with personal satisfaction. You can rest assured if they are releasing something it is the best they could create and they absolutely love it. Their passion breeds their fans’ passion, and the support from their fans pushes them forward.

The music on this week’s episode of Inside Music is pulled from A Lot Like Birds’ new album, Divisi, which arrives in stores on May 5. The song we have chosen is titled “For Shelley (Unheard)” and we think it gives you a good idea of what the band is going with this record.

You can subscribe to and review Inside Music on iTunes. The show can also be found on Soundcloud and the Stitcher app.

https://soundcloud.com/inside-music-podcast/110-cory-lockwood-a-lot-like-birds

Categories
News

Rumors of Twitter’s impending demise have been greatly exaggerated

Culture is a beast that feeds on the latest and greatest trends. In order for culture to thrive it must always be moving forward, just like a shark through water, and in the digital age its movement is persistently gaining speed. Business, however, is another story altogether.

Critics of culture and those who obsess over numbers look at engagement booms for new products as being more meaningful than the slower, steady growth of more mature brands. You can see this in the way Snapchat has been treated over the last few years in the media compared to Instagram, or how Instagram was treated before that in comparison to Twitter.

While it is important to stay on top of emerging trends, especially where such things can be applied to your business, there is no need to abandon tried and true platforms of promotion. Just recently a fresh wave of criticism against Twitter came to light, with critics claiming the social media giant had long past its peak and was beginning to slide into the abyss where MySpace and Friendster currently reside. Those rumors, which were never anything more than that, are wrong.

While it’s true that Twitter’s revenue fell 8% last quarter, the drop was smaller than expected and sent the stock up 11% in pre-market trading Wednesday. Twitter also added 9 million new users in the last 3 months, which is the biggest quarter-over-quarter user jump for Twitter since early in 2015; and brings total users to 328 million.

Twitter also recently reported that daily active users are up 14% over the same quarter last year, which mean that users of the service are coming back more often. The reasons for this are numerous and likely tied to the recent election and the aggressive, evolved news cycle that has come from it. Regardless, the fact remains – Twitter still matters.

These numbers tell us Twitter is going to be around for the foreseeable future, but whether or not it is the place to focus your marketing efforts is something you have to figured out for yourself. Every fan base is different, as are the social media platforms they prefer. If your fans are active on Twitter and constantly engaging with your new posts then you should absolutely continue to develop that community. If your fans are engaging you more on other platforms, say Snapchat or Facebook, then you should focus more of your efforts there. Just don’t abandon Twitter altogether.

You can follow Haulix on Twitter for more news and advice columns geared toward life in the music business.

Categories
News

The incredibly simple secret to writing emails that get replies

Everyone working in music receives a lot of emails all the time for a wide variety of reasons. Writers and music critics, for example, receive press releases from anyone with an artist or release to promote who is smart enough to find their email address. They also have messages from editors, personal contacts, and – in the case of blog editors – aspiring professionals looking for an opportunity. It’s overwhelming, and it is becoming increasingly hard for any one message to stand out.

Many marketing blogs will tell you that an eye-catching subject line is all you need to get someone to open your message. This may be true in certain circumstances, but an open only brings a reader to your message – it does not make them engage with it.

If people don’t like what they see at first glance your email is no more successful than the messages that were trashed without an open. Grammar and structure aside, there is one thing that can grab the attention of a writer (or anyone) at first glance:

Use their name.

First or last or both, doesn’t matter. Just use it.

This seems surprisingly simple, and it is, but the vast majority of publicists, artists, and others vying for attention these days do not take the few seconds needed to properly address the recipient of their emails.

Here is a sampling of the most common, least engaging greetings being used today:

  • Dear Music Blogger
  • Hello, Music Friends!
  • Dear [Wrong Name]
  • Media Friends:
  • To whom it may concern
  • ATTN:
  • [Name] <– This happens when they leave what should be automated forms blank, and it happens a lot.

Technology may make connecting with one another easier than ever before, but it still lacks the personal touch of traditional conversation. Even letters written by hand required something more tactile than digital message can allow. Using someone’s name tells them you view them as something more than a faceless body existing in the void of the internet that you seek to use for leverage in the entertainment industry. It’s so simple, yet can mean so much. It tells someone you see them and their work, which often is the result of great sacrifice, and it subconsciously makes them care a bit more for what you have to share.

Categories
News

Making The Most Of Your Summer Festival Coverage

Earlier this week we offered tips to help musicians make the most of their time at festivals this summer, so it only makes sense that we do the same for journalists today. This post comes to us from Matt Leimkuhler, a writer for the Des Moines Register. 

Ahhh. The ever-so formidable task of mastering festival coverage. It’s not easy, running around like a chicken with your head cut off for 12-18 hours on end — making sure every must-see band has been seen, every must-shake hand has been touched and every must-interview act has been chatted with. Not only must you balance every minute of your time and energy, but you must focus that energy to make sure you are creating better content than every other writer on the scene. What does it take for you to stand out during this festival season? Here are five questions I ask myself when going into all types of festivals:

1. What story hasn’t been told before?

Every blog, ‘zine and YouTube account is going to give you the typical, “Must See” lists for festivals, and this is okay. It’s cool to give your thoughts on what the standout acts are. But why not push this idea further? Instead of the “Five Must-See Acts at the Vans Warped Tour,” why not the “Five Songs to Crowd Surf to at the Vans Warped Tour?” Centralize your ideas — make your thoughts unique and insightful. This doesn’t need to pertain to solely preview content — think about different angles for every aspect of the festival.

2. What questions haven’t been asked yet?

If you’re interviewing a band on a festival bill, odds are the act is going through an extreme press run. Don’t waste the band’s time with monotonous questions the likes of “where did you get your band name?” or “how did you all meet?” Goodness, what a waste of time. You [probably] have a smartphone…Google different interviews, visit Wikipedia, or at least read the band’s bio before stepping into the box. Dig into insightful conversation with the musician and you all might actually learn something from one another. And better yet — the artist might actually want to work with you again in the future. A good musician always knows when you’re skidding through an interview and it is a bad reflection on everyone involved. Always do your homework. Don’t be afraid to step away from even insightful and traditional interviews to have a little fun with the artists. Does the band want to talk about the best food to eat on the road? Great! Grab that opportunity and create the best damn “must eat places according to this band” piece possible.

3. What can I do to stay ahead?

Okay: you’ve done amazing preview pieces, you’ve locked in the best interviews, you’ve relentlessly prepared for those interviews and you’ve just landed at the festival. What now? Staying ahead and in your element is tough. Typically, festivals offer the best distractions possible. Food, booze, after parties and sideshows are all fantastic for fans, but you’re at this festival for generate content. Stay in communication with your publicists or tour manager. Embrace the notion of being a public figure. Live tweet sets and daily agendas, reach out to other professionals you know will be in attendance and do you best to not make an ass of yourself (it happens to everyone at least once). Do daily write-ups and reviews of what you’re experiencing at the festival to give the outside world an idea of what’s taking place.  Make the most of every second. Stay focused and make great impressions but don’t forget to have fun and enjoy the fantastic music you’re getting to cover.

4. How do I sum it all up?

Congratulations, you killed your interviews and you made it home safely. Now, time for post-festival coverage. Again – tailor to your audience and strive to be unique in your post-festival coverage. Everyone will have a photo gallery and everyone will have the “best of” lists going live. Try to step back and think about the bigger picture. What really was the best part of the festival? Embrace the entire community you were apart of, not just the music. At this point of your coverage, more than ever, it’s time to be a journalist and tell a story.

5. What about next time?

Be sure to send the required follow up message upon returning home and be timely in turning your interviews around. Never take on too many interviews or you’ll dilute your product and slow down the process. Five well-thought out interviews stand out against fifteen half-hearted interviews any day. Make sure all of the appropriate parties know you are turning your content around in a timely fashion and thank them for the opportunity. Always be humble.

Categories
News

5 ways to make the most of a festival performance

With Coachella weekend two in the books it is safe to say music festival season has officially begun. There are hundreds of events taking place around the country between now and September, many with dozens of artists playing over multiple days, and at the bottom of those lineups are a number of small/local acts who are hoping to leave an impression on attendees. If that position applies to you, then consider this your lucky day.

Every festival is different, and depending on the genre you perform in the culture around the event may be fairly unique as well. It is important to recognize that every festival has its own sense of community and vibe, which you should consider when planning your marketing efforts. That said, these 5 tips will help get you started:

Set goals now and begin working toward them immediately

Festivals are crazy places where thousands gather to enjoy art and consume overpriced food. The number of things vying for the attention and money of any one person is too high to count, but you can take a step toward cutting through the noise by setting goals for your time on-site as soon as possible. These goals should be reasonable and achievable. For example, you’re not going to make 10,000 new fans, but you could plan to distribute 500 promotional items and sell X amount of merchandise. You could also plan to engage with fans by hosting a gathering or hangout at your tent that you promote in the weeks leading up to the event. Anything goes, just keep it simple.

Work the line or, if a line does not exist, simply engage festival goers

The hours before your performance should be spent on promotion. Most smaller artists playing festivals will have sets early in the day, which means those performing will have to work hard to get those unfamiliar with their sounds to show up. The best approach to making this happen is also the most personable one. Get out there, shake some hands, give some hugs, share your tunes via mobile device, and ask people (politely) to consider checking you out.  Not everyone will come, but those that do could easily be converted into new, longterm fans.

Network your ass off

In addition to offering small acts the chance to say they played with some of the biggest names in entertainment, festivals also provide an opportunity for up and comers to network with people who may be able to help them both nationally and far more locally. Festival sponsors, for example, are often companies and people who fund a wide variety of music-related projects. They also tend to know others who do the same, which means they or someone they know could probably help you get ahead if they like what you do. While the same can be said for artists, most up and comers never think to approach the sponsors, and they are arguably far more likely to take a genuine interest in what you do. Don’t let the opportunity to meet with the movers and shakers of your community pass.

Consider a Snapchat Geofilter

Snapchat is one of the most popular messaging apps on the planet, and the company’s recent decision to allow practically anyone to create custom geofilters has given artists of all sizes a new tool in the war for consumers’ attention. Fans can capture your performance, or even just their time at the event, and use your filter to promote the experience to their followers. Rates for geofilters start as low as $10 (cost varies based on length of campaign and size of area you want covered).

Market your upcoming gigs

People who enjoy your performance will likely be interested in seeing you again, so make it a point to advertise where you will be next during your time at a festival. This includes mentioning gigs during your performance and through one on one engagement at your merch table. You should also collect email addresses so you can remind new listeners of upcoming events once their festival buzz has worn off.

Categories
Job Board News

New openings (4/23/17)

Campaign Specialist (Pandora – Boston)

The Campaign Specialist will partner directly with Sales Account Executives and will be responsible for working internally and externally to ensure that we execute strategically and flawlessly for our advertising partners. The right individual will be a key contributor in Pandora’s Client Services team and responsible for operational development, implementing, maintaining and enhancing these campaigns.  This position involves sales and client support, project management, execution and reporting.  

Music Publishing Coordinator (Vice US – NYC) 

Music Publishing Coordinator will work alongside the Vice Music Publishing team to assist with administrative, organizational, and creative needs, including processing composer and licensing agreements, administering Vice Music Publishing music library, cost-tracking music budgets, and helping source, organize and pitch music for all VICE content.

Music Publishing Assistant (Marimba Productions – Neptune, NJ) 

A world-renowned keyboard percussion instrument manufacturer (marimbas, xylophones, vibes, etc.) with publishing business (classical and jazz sheet music, scores, books and CD’s), located in the Asbury Park / Neptune New Jersey area, is seeking a person to assist with all types of administrative duties, music printing and binding, music score correction, and customer order processing and fulfillment. Music reading and or experience with music notation software is an important skill (Finale +/or Sibelius). Copy shop and printing background a plus. Clear thinking, efficient, ability to organize and follow through to completion a must. Must be proficient in all MS Office applications. Entry-level applicants / recent music graduates are welcome to apply. Part time position could transition to FT with benefits. Salary commensurate with experience.

Public Relations Assistant (Carnegie Hall – NYC) 

We seek an Assistant to provide administrative support to our Public Relations office. Responsibilities include, but are not limited to: Serve as frontline liaison with public and media, providing departmental phone coverage, fielding questions, and responding to requests as needed. Serve as Cision system administrator, coordinating and building media contact lists, collecting coverage, preparing daily press clip reports, and maintaining electronic clip files. Coordinate frequent electronic press release mailings, including HTML coding of materials. Manage day-to-day operations of media web site. Coordinate Public Relations office systems, including processing of departmental invoices and budget tracking. Assist department directors, managers, and associates as needed. Assist with press ticketing for concerts and events. Proofread materials as assigned, and participate in preparations for major announcements and special events. Some press duty, including escorting photographers and staffing special events as needed.  

Music Marketing Lead (iTunes & Apple Music – Culver City, CA) 

The Music Marketing Lead is responsible for developing robust marketing campaigns and programs for Apple Music and iTunes across the whole of Apple ecosystem. This position works hand in hand with teams across the organization, as well as with music content providers and third-party partners. The music marketing team is responsible for driving trials and subscriptions, as well as to support partners, content, and content providers across iTunes and Apple Music, and this position will have an integral role in achieving those objectives. This position will also focus on best practices, special projects, global marketing plan coordination, music content, and cross-media initiatives, and partnership integrations.

Director, Digital Partner Marketing (Sony – Culver City, CA) 

The role is responsible for managing social media, digital and mobile marketing campaigns to support the music roster of Epic Records.  Work with artists and label colleagues to develop strategies and implement high impact one-of-a-kind social media, web and mobile campaigns.  This position acts as a central digital point on multiple concurrent urban projects from initial conception through album cycles, as well as maintaining off cycle artist social media and digital presence.

Licensing Manager, Publishing, LATAM (Spotify – Miami) 

The Licensing Manager is responsible for existing and new Spotify licenses, establishing and maintaining key relationships with the relevant rights holders and closing deals in support of our LATAM markets. The right candidate will serve as an advocate, educator and ambassador for our unique platform, whilst ensuring that rights holders (including collecting societies and publishers) are fully aligned to support the ongoing growth and improvement of Spotify.

Coordinator, Campaign Operations (UMG – Santa Monica, CA) 

The Coordinator of Campaign Operations is responsible for supporting the Product & Campaign Operations team. This includes executing the design and creation of artist and label digital marketing campaigns. This person should be tech savvy with an eye for design. 

Marketing Coordinator – Client Marketing (Ticketmaster – Hollywood, CA) 

The Marketing Coordinator will support the daily implementation and coordination of marketing activities, requests, and communications for national touring assignments and clients within Ticketmaster’s Music Segment, which represents artist services, promoters, and venues. Responsibilities include, but are not limited to, scheduling website placements on Ticketmaster.com and emails to the Ticketmaster database, initiating programmatic display, SEM and social campaigns, updating artist content on Ticketmaster.com, and placing pixels. The Coordinator must have the ability to successfully operate in a fast-paced, deadline-driven environment with multiple ongoing assignments, with unplanned assignments and interruptions from both internal and external stakeholders; and to prioritize and carry out those assignments effectively such that s/he exceed reasonable internal and external expectations.

Communications Assistant (Music Conservatory of Westchester – White Plains, NY) 

Reporting to the Communications and Marketing Manager, this new position will be responsible for creating written materials and assisting with various tasks and projects pertaining to the Conservatory’s communications, marketing and public relations. The ideal candidate will have an undergraduate degree in communications, marketing or related field, and will have outstanding written and oral communication skills. Experience working with print/online media representatives, great people skills, and outstanding organizational and multi-tasking skills are a must. Computer fluency and knowledge of Microsoft Office are essential; content management and graphic design software experience is a plus.

Older posts (7+ Days)

Product Specialist, Marketing Measurement (Spotify – NYC)

Spotify is seeking a Product Specialist that will support the tracking and measurement of global marketing initiatives. This role reports to the Manager of Marketing Data Management, and sits inside the Marketing Sciences team. There will be significant collaboration with vendors, other marketing teams, Product Owners and engineers. You will also leverage Spotify’s world class user data infrastructure and collaborate with Spotify’s global community of 100+ data analysts.

Social/Paid Media Specialist (Mad Decent Records – Los Angeles)

We are looking for the right individual with a passion for forward thinking music and previous digital marketing experience at an ad agency, lifestyle brand, label, or entertainment company. This role will be responsible for helping drive our digital presence across social media using both organic and paid media. He or she will have a proven track record of managing paid media campaigns and continuously looking for creative ways to connect with our large fan base and drive new digital, social and mobile projects.

Creative Director / Essential Music Publishing (Sony – Franklin, TN)

We’re looking for an organized professional who will apply his or her love for songs to supporting our writers and pitching our catalog to a variety of outlets. You will work with a diverse group of award-winning staff writers, top-selling Christian artists, and producers.

Manager, Artist Development (WMG – NYC)

Artist Development works closely with every department to put together artists’ day to day activities and travel arrangements.  Making sure the company and management are all in agreement on where the artist is and the work that is being done. Having a close working  relationship with agents and promoters to help find new touring and event opportunities for our artists.

Creative Services Manager (Soundcloud – NYC)

You’ll work in close collaboration with the Brand Revenue team (Sales & Account Management) and interface in a cross-functional capacity on a number of projects with Creative Services, Content and Legal to create engaging brand partner solutions. We expect you to take ownership of each project from the early pre-sales strategy and ideation phase and see it through to the campaign’s final execution. In addition, you’ll be driving the communication of the Brand Revenue team’s needs and expectations across other product and content stakeholders.

Marketing Assistant (Production Music Association –  Los Angeles, CA)

The Production Music Association is seeking an Executive/Marketing Assistant.

Responsibilities:

  • Assist in organizing and planning of organization events
  • Create and execute marketing campaigns through email and social media
  • Create content to be used online and on social media
  • Communicate with members
  • Sponsor research and outreach

Partner Service Manager (Spotify – San Francisco, CA)

We are looking for a Partner Service Manager that will join the Revenue Partnerships team. In this role, you will help shape the future of Spotify’s advertising business by supporting the day-to-day management of some of our most strategic Tech providers that help us scale & optimize our global advertising business.

VP Performance Marketing (Pandora – Oakland, CA)

Pandora is seeking a talented performance marketing leader to generate innovative and insights-driven marketing output with the goal of driving continued adoption and growth across all of our target listener segments. The Vice President, Performance Marketing will be passionate about efficiently acquiring, engaging and retaining customers at scale. The VP is a results-driven marketer, motivated by data to support marketing plans and drive new channels and approaches to customer acquisition. This team oversees paid media, implementing, tracking and optimizing campaigns in partnership with our external media partner and utilizing a dedicated Data Management Platform. The VP will be a highly collaborative leader who can drive a media plan across ad-supported and subscription tiers of Pandora products, with a heavy emphasis on subscriber acquisition and retention.

Executive Assistant (Sony – NYC)

The Executive Assistant will oversee the day-to-day functions of an executive within International Marketing. S/he will handle a wide range of administrative and executive support related tasks.

Media Specialist (Music General Inc. – Brainerd, MN)

Manage and maintain three different websites on a weekly basis with updated information. Design, create, and see through the printing of advertisements that meets deadlines. Basic knowledge of the Adobe Creative Suite including but not limited to Photoshop, Dreamweaver, After Effects, Illustrator, and Flash. Job will require you to travel in and outside of Brainerd to help set up, run, and tear down production equipment. Able to work at small gigs to large corporate events with great organizational skills. Many events will be filmed so knowledge of video camera operation with pre and post video editing in Final Cut Pro is a must. Clients will want to see deadlines met so organization skills and time management is key. Be able to lift at least 50 pounds and willing to work weekends.

Music Librarian/Arranger (Elan Artists – Rockville, MD)

Rapidly growing artists’ management company seeks enthusiastic & motivated Librarian/Arranger for full or part time position. In depth knowledge of classical string chamber music and a related degree are requirements of this position. The ideal candidate would be an arranger as well. Additionally, experience with event planning and/or customer service is highly desirable. Position is full-time or part time depending on best fit for the best candidate; salary commensurate with experience. Office is located in Rockville MD.

Music Research Coordinator (TuneSat – NYC)

TuneSat, LLC, an audio monitoring technology company, is searching for a full time Research Coordinator who will work under the Head of Research and will be responsible for the researching, identifying, and organizing unlicensed commercial uses of music from the Internet and Television into cases.

Music & Entertainment Booking Consultant (GigRoster – Portland, OR)

We are currently looking for individuals who would like to join our team and who have experience in the music business, preferably as a performing musician. This is an ideal opportunity for a person who is familiar with booking entertainment (variety cover bands, Comedians, stage shows, combos, classical…) for the corporate, wedding, convention and casino industries. You should be comfortable working in the private party, wedding corporate event industry around the area including venues and facilities and the types of entertainment local clients look for.

Live Events Assistant (Townsquare Media – Saratoga Springs, NY)

Townsquare Lifestyle Events, the nation’s leading producer of craft beer, wine and food festivals, is growing and we are looking for talented people to join our team! As the Live Events Assistant you will assist with the planning and execution of America on Tap Beer Festivals as well as 5 multi day Food and Wine Festivals.

Marketing Manager for Classical Music (Aspen Music Festival and School – CO)

The Aspen Music Festival and School seeks a full-time, year-round Marketing Manager to work as part of the five-member Marketing and Communications team in Aspen, Colorado. Reports to VP for Marketing and Communications.

Categories
Job Board News

It’s all about how you react

Few things are harder on young music professionals than the first problem to their progress without being directly a result of their action. Until that time, every mistake or setback was their own fault, which created a learning experience that ultimately benefitted their development. The same cannot be said in situations where a third party is the cause of the problem. Here are some examples:

  • The indie label you put your faith into folds
  • The band your indie label invested thousands into breaks up before the album they recorded is released
  • The tour announcement gets delayed because a agents are slow to respond
  • The startup that was going to revolutionize the industry suddenly loses all funding
  • The site you contribute to as a budding writing goes offline due to an error that goes beyond the staff’s understanding of how websites work, thus leaving your unpublished content stranded in purgatory while you await a resolution
  • The vinyl you paid to have press six months ago is delayed an extra two months
  • The PR person who guaranteed to secure your exclusive premiere needs another week

When these things happen it is very easy (and extremely common) for young professionals to get upset. After all, they have done nothing, yet their work has been stifled. They are unable to chase their passion because of something out of their control. for the first time in their careers – maybe their lives – they can do nothing about it except wait and nobody likes to wait.

These moments can be so infuriating for some young professionals that they choose to make rash decisions in hopes of more or less getting things back to normal. The desire to at the very least send a snarky email or tweet is too much for many to resist, and it’s hard to blame them. Setbacks of any kind are infuriating no matter where you are in your career. This is true for all work anyone is doing on Earth right now. What separates people is how they respond in these moments and what they do with the extra time it creates.

Here’s an example:

A writer contributing features to a publication on a regular basis wakes one morning to find their latest article has not been published because the site is offline. It’s early in the day, but the writer is upset, and the site own claims it may be hours or even a couple days before the site is fully functional once more.

In this moment, the writer has a choice: They can either complain or get back to work. Complaining will get them nowhere, and if they sound off to the wrong person or in the wrong place they may even lose their job. Worse yet. if other editors and site owners see the writer speaking poorly of a publication that may make them think twice before hiring that person themselves. Working, on the other hand, provides the writer with a chance to stockpile content and get ahead of their ever-increasing workload. When the site returns they will have content ready to go, and if for some reason the site goes down for good they will have content they can pitch to other publications.

There is no way to avoid having your professional plans go awry because of things out of your control. It happens to everyone on a fairly regular basis, and most people know this to be true. Those who wish to get ahead should see these moments as opportunities rather than hurdles and make the most of the time provided. Their peers will take notice and their professionalism will be rewarded.

Categories
Job Board News

Know your worth (and stand by it)

The first time I was offered a full time job in the music business I was 22 years old and less than six weeks away from graduating college. As if that were not idyllic enough, the offer came from my favorite record label –  a dream come true opportunity to do the exact job I studied for – and only required me to live a few hours away from home in a city I loved.

You know what? I didn’t take it.

Trust me, this was not an easy decision. My interview had been at the label offices, which meant I met the own (a personal hero) and saw the space I could have come to consider a home away from home. The experience was everything I dreamed it might be, and now nearly seven years later I can still remember the excitement I felt when I left because a part of me knew things had gone extremely well.

Then the offer came in.

For a full-time job known for requiring extra hours without overtime, which would have required me to move to one of the top 3 cities in North American and live relatively close to downtown, I was being offered a salary of $26,500 with zero benefits. It was more money than I had ever been offered in my life to do anything by a large margin, but it wasn’t enough. I turned it down not because I thought I was worth more (I didn’t), but because I could not find a way to make the job work with my financial situation at the time.

$26,500 sounds like a lot until you compare it to the cost of being a human in the United States. When the offer came in I was a broke college student in need of a more reliable vehicle and a place to live in a city far from home, not to mention the money needed to move, and I was just months from having to begin paying back thirty-thousand dollars in student loans. I spent days researching roommate options to keep costs low and brainstorming budgets for things like food, but every time I did my potential remaining funds – if any – were terribly low. So low, in fact, that a single incident of any kind (flat tire, unexpected taxi ride, extra lunch) would have put me in dire financial straits.

After much more internal debate than I ever expected I emailed my dream employer and explained that I simply could not take the job with a clear conscious because of the numerous concerns outlined above. They replied by informing me the offer they made was $1000 above their normal starting wage, which I replied to by thanking them, but once again saying I could not take the job. They, in response, blacklisted me and cut off all communication.

I was hurt to say the least, but looking back now it was worth it. I never worked with that label in the same capacity, but in less than a year I was offered a role in another city with a starting wage of $32,000. I took it not just because it was a job I wanted, but because it provided me with the financial cushion needed to not only pay my bills, but also save toward the future. I also had friends in the area who allowed me to sleep on their couch until I could afford a room in an apartment with 3 strangers (roommates), which certainly helped as well. I lived them until I had enough money to move somewhere else with even less roommates, and then again until it was just me and my significant other.

This is not about comfort, it’s about sustainability.  Accepting less than your worth for the sake of experience may take you far, but if you want to build a lasting career in this field that is not dependent on a secondary source of income you have to know when to say no and/or walk away. Money is not the source of happiness, and I hope that no one reading this gets that impression. Money is just what enables us to live in this world and with enough of it – not even a lot, just enough – we can stop worrying about the future long enough to be productive and grateful in the moment. That is what knowing your worth and accepting nothing less can provide: A (momentary) sense of peace. With the knowledge you are getting what you need to get by you can focus more on the task(s) at hand and where you may head in the future.

James Shotwell is the Marketing Coordinator for Haulix. He is also the host of the Inside Music Podcast, as well as the Managing Editor for Substream Magazine. Follow him on Twitter.

Categories
News

The future of music lies in access, not ownership

Music has been around since the dawn of mankind, but the music industry as we know it is still very much in its infancy. People did not begin purchasing recorded music until the last century, and even then it took a several years for what we think of as the modern music business to start taking shape.

The point is, people had access to music long before they could own it, and – according to sales data – people still prefer to ownership in 2017.

You probably already recognized this as true, even if you did not know how to define it. Spotify, Tidal, Apple Music, and all other premium streaming platforms fall under the umbrella of ‘access.’ It’s companies like those that last year lead the industry to its first signs of meaningful growth in half a decade. Over 100 million people worldwide will be paying for a subscription music service by the end of 2017, and that number is likely to rise further in the years to come.

Forbes ran a great piece on access versus ownership earlier this week. Here’s one of the many great takeaways:

the recorded music industry will make more money from access than from “ownership” sometime this year–or already does, if you count any form of radio towards that revenue. Music publishing industry figures are consistent with these trends even if they aren’t broken out as precisely as they are for recorded music.

So what does this mean for artists trying to make it right now? A few thoughts:

– Monetizing access is going to be key when it comes to your bottom line. You should be seeking ways to profit from plays of songs and videos alike across all platforms. 

– Discovery in the age of on-demand access will be a tricky thing. Playlists will likely play an increasingly important role in helping musicians on the rise reach large scale exposure, with brands and popular influencers serving as gatekeepers to potential new listeners.

– Singles matters more than ever. A well-marketed single that gains a reasonable large following online could potentially pay for future recordings, tours, and more if monetized properly. 

– Touring is going to change. The thing about streaming is, you don’t have to pay on a per artist basis. Users can now listen to artists they enjoy nonstop with no intention of ever supporting them through financial means. The number of monthly listeners will no doubt be a statistic used in booking, but talent buyers will have to find a way to convert that number into how many people are likely to actually pay to see that artist/group in person.

Talk to us: What do you think this trend will mean for the future of the music business? 

Exit mobile version