Month: May 2017

Categories
Job Board News


The secret to professional freedom lies in having a good routine

Whenever I meet an aspiring professional looking to make a mark on the entertainment business I typically ask what projects are currently consuming their time. Regardless of what information follows, the person I’ve just meet often concludes their summary by saying something to the extent of, “But that isn’t what I plan to do long term. I really want to ________.”

When it comes to your professional life, which optimistically only takes up 50% of your waking hours on this planet, there are few feelings worse than not happy about your current position. Every day feels like a slog, and even if the work you’re doing is good the way you feel about it is largely negative. You want more, which is normal. Most people want something more than what they have now, but very few know how to get it. Most want to be their own boss, make their own rules, or simply create the things they want to create, but they they don’t know how to do so and make a living.

We’ve all seen and heard those Nike advertisements that end with the iconic slogan, “Just do it.” Many will tell you this is a motto for life in general, and that the hardest part of any journey is the first step. While this may be good advice, it is really only a half-truth. You can go far by simply forcing yourself to do something even when you don’t feel like it (exercising regularly is a good example of this), but to become an independent professional it takes more than simply showing up and working to succeed.

The other factor of the equation that begins with “just do it” and ends with your having professional freedom is routine. Establishing and maintaining a healthy daily routine can make all the difference in longterm success and happiness. It’s also surprisingly easy to get started. Here are a few things you need to decide up front

  • When do I need to leave for work and when will I return
  • What do I wish I could do outside of work
  • What do I have to do outside of work?
  • When do I wake up?
  • When do I go to bed?
  • How often am I going out at night to relax/have fun?

Once you have these answers, the rest is largely a matter of scheduling and sticking to the schedule your create. I recently read an article on the most productive professionals, and almost all of them have a similar morning routine. The individual tasks vary, but every one of them has eaten, stretched, exercised, bathed, and meditated before 7AM each morning. Obviously this is not something all of us can duplicate, but it does let you know where the bar is set for the most successful among us.

As a more practical example, let me tell you about my routine.

I work from home full-time. Outside of that job I do freelance writing when I am able, in addition to working on my own writing projects. I hope to finish a book this year, or at least a draft, and I would like to be able to run a 5K in under twenty-five minutes. I typically go to bed by midnight and I’m up by seven without an alarm.

If I just live my life hoping my goals become reality and I continue to be a successful person there is a chance that someday, by fluke or chance, good things will happen for me. People who consistently work hard inevitably rise through the ranks, but without being proactive there is no knowing how long that ascension might take.

With this in mind, about two months ago I started making changes. First, I went to be no later than 11PM during the work week and made it a point to at least be awake and showered by 7AM. Next, I told myself I would run at least three days a week at the gym and that I would force myself to write at least 500 words a day. I could choose the time I went to the gym and the subject of my writing, but I had to get them done nonetheless.

The first week was basically hell. Every day I had a different excuse why I should not make the changes I knew, deep down, I needed to make. “I’ll start next week,” I’d say, “No one cares about this other than me, so I probably shouldn’t care that much either.”

That last one is actually true. At the end of the day no one cares about your personal development as much as you do, so unless you take it upon yourself to change no one is going to do the work for you. Most people, unfortunately, never find the strength to take such actions into their own hands. They remain complacent, complaining about opportunities that never came their way without acknowledging the often obvious truth they never deserved them.

I still struggle today. Every day I have to force myself to do the things that will allow me to progress as a person. I tell myself if I can do them then everything else will be easy because the most difficult part of my day will be complete. Once you accomplish the things that feel hard the easy stuff is even easier. You have more energy and focus, too.

Make this the week you put action behind desire. Take your career by the horns, develop a routine, and in no time at all you will find more time than ever before to work on the things you are most passionate about.

James Shotwell is the Marketing Coordinator for Haulix. He is also the host of the Inside Music podcast, as well as a ten year veteran of the music business. You should follow James on Twitter.

Categories
News

Just how prevalent is music piracy in the age of streaming? 

Here at Haulix we are in the business of fighting piracy. Our company was founded to reduce promotional costs for labels and artists while also ensuring unreleased music does not leak online. This was long before streaming came into existence (2008), but with each passing year since streaming came of age with services like Spotify and Apple Music people continue to ask if piracy is really still an issue.

The answer, as you can see above, is a definitive yes.

A new chart from Statista compiles data gathered across 13 countries over the last six months. As you can see, more than a quarter of all people surveyed admitted to accessing pirated music, including more than half of those aged 16-24. This is the same group considered to be the ‘core demographic’ or most alternative and pop music. 

Streaming may have simplified access, but it still comes with a cost. Furthermore, streaming exclusives – like those offered by Apple Music – has lead some to seek alternate means of access the music so as not to pay for access. If a consumer is already using Spotify, for example, they are more likely to seek a pirated version of an Apple Music exclusive than they are two maintain two accounts (or switch altogether).

It is unclear at this time if we will ever find ourselves in an age where piracy does not exist. That said, at Haulix we are always working to strengthen our security. We have stopped and identified nearly 100 pirates in 2017 alone, and the year is not yet half over. You can try Haulix for free for a full month. Click here to find out more.

Categories
News

One thing young artists can learn from Gregg Allman

We lost a giant over the weekend.

Gregg Allman was a pure, unbridled rock and roll icon whose talent and contributions to music cannot be overstated. His work inspired and will continue to inspire generations of musicians to find their own sound in a world increasingly driven by trends.

I am sad to say I only realized how true all of this was in recent months. Back in February I participated in an annual month-long writing challenge that tasks music critics with listening to and reviewing a different album every day for a month that they have never previously heard. It’s something I’ve grown to look forward to as it gives me an excuse to step away from the constant stream of new material hitting my inbox to explore the corners of music history my ears have yet to discover. For reasons I still do not fully understand, the first artist that came to mind for this year’s event was The Allman Brothers, so that’s where I started:

Allman Brothers – Idlewild South (DAY 1)

Like most people born after the band had already peaked I learned about The Allman Brothers through infomercials for classic rock compilations. Songs like “Ramblin’ Man” and “Midnight Rider” were staples of those collections, and the short clips that would play during those extended advertisements were burned into my memory from an early age. Idlewild South (1970) features “Midnight Rider,” but it is far from the best song on the record. I think “Don’t Keep Me Wondering’” could and should have been just as big of a hit for the group. This album is good for car rides and relaxed jam sessions with you and your air guitar while no one is looking. The groove is deep and calming. Let go and ride the wave.

Idlewild South was the first album The Allman Brothers released. It’s a studio album where only one of the seven song lasted longer than five minutes (“In Memory of Elizabeth Reed”). It’s a fantastic record whose groove has not been duplicated by any other artist, but I soon learned that the album did not showcase the group in their purest form. While the slick studio production went a long way to proving the band’s talent as musicians and budding songwriters it’s the raw, loose feel of their next release, The 1971 live album At Filmore East, that reveals the Allman Brothers Band’s true color. There are once again just seven tracks, but there is an electricity to ever moment that packs a punch to this day. It’s the kind of recording that lights a fire in your soul and makes you feel alive. I swear you may never know how good a guitar can make you feel until you hear this recording of “You Don’t Love Me.”

After I heard At Filmore East for the first time I knew my course in life had shifted. You know the sensation I’m speaking of, or at least I hope you do. It’s the kind of thing that happens once in a great while when a moment, encounter, interaction, or piece of art moves you in such a way that you feel like you see the world through fresh eyes. You at once have a slightly better understand of the universe and once again realize how much there is left to be explored. After all, you never knew you needed this thing that has just irreversibly changed you, yet here you are happy for the change. It’s the kind of thing you cannot predict or force, which is what makes it so magical.

Since that early February day I have slowly found myself consuming more and more of The Allman Brothers music. The band’s entire catalog is on Spotify, including every deluxe reissue, super deluxe reissue, and numerous live recordings. I don’t know exactly how much music there is to be heard in full, but killing a full day with strictly Allman Brothers material would not be difficult. You might be able to do it without hearing the same recording twice, but I’m not sure. My longest stretch was eight hours – a full work day – just three days before Gregg Allman passed.

The funny thing about these moments when our life shifts is that once they happen it can be hard to remember how you felt before they occurred. When I saw news of Allman’s passing my heart ached the way it had when Prince passed a year prior, or even Bowie before him. The difference being, Bowie and Prince made music I had known my entire life. Their careers provided the soundtrack to many childhood and teenage memories, but not Allman. At best Gregg Allman had been a part of my life for just three months. 90 days, maybe 91, yet that was all he needed to leave an impression on me that I know I will never be able to shake.

There is a lesson here for artists in every medium. Whether your work is discovered upon released or forty years down the line, quality art will still make an impact on the consumer. Quality art is one of the few thing time cannot fully ravage, or at least not for much longer than virtually everything else on Earth. Great Songs and paintings and films will always outlast their creators, and in turn will serve as something of a time capsule for future generations to experience. But you don’t have to worry about all that right now. All you have to do is making the best art you can, telling your story how you want it told. The rest is not entirely in your control, so don’t fret it. I can assure you Gregg Allman never did. He lived and created on his own terms, and I can only hope the rest of us find a way to follow his lead.

James Shotwell is the Marketing Coordinator for Haulix. He is also the host of the Inside Music podcast and a ten-year music business veteran. You should follow him on Twitter.

Categories
Job Board News


New openings (5/29/17)

Campaign Specialist (Pandora – NYC) 

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.

Social Media Coordinator, Music (All Def Digital – Los Angeles) 

All Def Digital is looking for a full-time Social Media Coordinator (Music) to increase fan interaction across key social platforms. The coordinator will play a big part in planning and driving success of social and video content.

Manager, Film & TV Music (WMG – Los Angeles) 

Under general supervision, with latitude for independent judgment and decision, Seeks out, makes contact and meets with Film & TV music representatives for purposes of recommending music to be used on their projects, negotiates quotes as necessary, and markets songs/catalog to Film & TV community.

Music Coordinator (Mob Scene –  Los Angeles) 

Mob Scene is seeking a talented Music Coordinator to join our Music Team and work as direct support to our music creatives. The ideal candidate will be highly organized, efficient and self-motivated with a general working knowledge of music licensing and music cue sheet reporting, and an obsessive love of all things music.

Director, Consumer Analytics and Data Science (TouchTunes – NYC) 

The Director, Consumer Data Science and Analytics will be responsible for increasing revenue growth by accessing and analyzing consumer purchase and behavioral data and developing insights to increase customer engagement, optimize the product portfolio and assess areas for growth. Reporting to the SVP, Marketing you will work closely with the product management, marketing, advertising and sales organizations. The Director will work closely with his peer groups as well as finance and the technical database teams to provide thought-leadership, prioritization and delivery of insights across the TouchTunes suite of hardware and software products. The Director must be a thought-leader with a curious analytical character, striving to identify and convey analysis-based insights while embracing the analysis and data itself.

Manager, Music Label Partnerships (YouTube – Los Angeles) 

As Manager, Music Label Partnerships (US), you will be responsible for providing ongoing relationship management to YouTube and Google Play’s key US label partners, with a focus on supporting labels and artists with promotional opportunities to help build their success. In this role you will interact regularly with counterparts at labels and also collaborate closely with internal teams. You will have exceptional partner management skills, a service mindset, and extensive relationships in the music industry.

Manager, Marketing Strategy MSG Live (Madison Square Garden – NYC) 

Development of fan-focused brand strategies, brand execution and fan engagement for Live events with a focus on music events at the New York venues, including Madison Square Garden, Beacon Theatre, Radio City Music Hall and The Theatre at the Garden. This individual will coordinate across all marketing functions and manage relationships with internal stakeholders, external agencies and partners to ensure effective development and execution of marketing efforts in order to achieve business goals.

Serve as primary liaison with our clients at promoters and booking agencies. To build and nurture the fan communities which come together around our live events, shows and venues, in line with our business goals.

Marketing & Social Media Coordinator (Cafe Press – Louisville, KY) 

The Marketing & Social Media Coordinator is responsible for collaborating with our customer service team, creating unique content around cultural trends, and growing our social communities.  He/she will also be a key member of the brand marketing team, supporting public relations and branding efforts.

Music Licensing Contract Specialist (Netflix – Los Angeles) 

Netflix seeks an experienced Music Licensing Contract Specialist to help support our expanding slate of Originals content.  This role will work closely with our Music Licensing Managers and our Music Contract Administrator and will have broad responsibility for reviewing, drafting and negotiating a high volume of contracts for the Music Group.

In this unique and exciting role, you will be the Music Group’s first Music Licensing Contract Specialist.  This is not your traditional licensing contract role:  in this role you will manage vital components of our music license review and negotiation process and will have visibility into all facets of our music business from a studio perspective, a “network” perspective and even from a music publisher perspective.  As this is a new role, you will have the opportunity to shape Netflix’s music licensing process.  If this sounds intriguing, read on for the details…

Artist Marketing Manager (Redbull – Santa Monica, CA) 

Red Bull’s Culture Marketing department champions the leading voices and unique stories in Music, Art and Dance across our established programming pillars, including Red Bull Music Academy, Red Bull Sound Select, Music Festival Live Broadcasts on Red Bull TV, BC One and more. The Artist Marketing team, a division within the Culture Marketing department, is made up of passionate, arts-driven creators and curators committed to inspiring artist development and innovation across multiple disciplines. The Artist Marketing Manager, ABS role at U.S. HQ is focused on building an internal talent buying agency, centralizing the brand’s music booking conversations for all of the U.S. He/she is a project management leader who can deliver both immediate and long-term solutions to the various challenges that surround our artist booking initiatives, and educate the business on industry standards and best practices.

Development Assistant (St. Paul Chamber Orchestra – MN) 

The Development Assistant provides administrative support to the Development Department, including corporate sponsorship benefit fulfillment, gift entry, data maintenance and support for special events.

US Music Researcher (Boiler Room – NYC) 

Boiler Room are looking for a passionate individual to help our team research and discover ideas and scenes from across the globe based in our New York office

Key responsibilities

  • Day-to-day research of the wider world of music with a focus on the US, Canada and Latin America; from rap in Mexico to Jazz in Oakland
  • Developing ideas alongside the creative teams to create engaging and exciting content across all of our platforms
  • Identifying trends, upcoming artists and opportunities, across the US, Canada and Latin America

Senior Manager, Studio Sourcing – Production (Disney – Burbank) 

This employee will identify and lead Studio Production Sourcing initiatives, ensuring these initiatives meet the price, quality, reliability, and security requirements of our production teams. This role will be responsible for the execution of all production sourcing initiatives, covering the needs of Disney, Marvel, and Lucasfilm productions globally, as well as Stage Plays, Industrial Light & Magic, and Skywalker Sound. This position will also work with Pixar and Walt Disney Animation Studios to identify projects and efficiencies across the production sourcing landscape. The employee is also expected to have a close, collaborative relationship with the aforementioned teams and to develop a deep understanding of their strategies and priorities, as well as possess a detailed understanding of the motion picture production process and vendor base.

This position reports to the Director, Studio Sourcing & Strategy.

Tidal Partner Manager (Sprint – NYC) 

Identifies, creates and develops on-going marketing alliances and relationship programs between the company, strategic partners and customers. Evaluates program trends and provides analysis and recommendations to management. Works toward mutual goals and objectives to build awareness and support of overall strategic benefits of the alliance. Represents Sprint and strategic partners internally and externally to identify, analyze and resolve issues on both sides of the relationship. Manages internal and external resources across Sprint and partner companies to drive revenue results. Provides analyses of business opportunity, financials, long-range forecasting and studies associated with potential markets, alliances, and partnerships. Monitors programs to assess the sales impact of the solutions in the marketplace and the overall success of the alliance.

This position will work closely with and report directly to the Director, Music Partnerships. The Marketing Manager, based in New York, will support the Director in managing our TIDAL music partnership to ensure both companies benefit from this partnership. Responsibilities may include partnership management, strategy development, activation planning, communication to external and internal constituents and management of agency partners. A music industry background is required (including music industry trends, Rights, licensing. Artist relations experience and talent alignment is a plus). Some client service and VAS experience is welcome.

Counsel, Music Production (Netflix – Los Angeles) 

Netflix seeks a seasoned production music attorney as Counsel, Music Production to help support our expanding slate of Originals content and our domestic and international expansion strategy. 

The successful candidate will work in the company’s Music Group, which is part of the Business & Legal Affairs Team based in Beverly Hills. The Music Group is based in Los Angeles, London and Berlin and is responsible for all of Netflix’s global music business and strategy, from the production and licensing of Netflix Originals to the administration of Netflix’s repertoire of music and through to the distribution of the Netflix service globally. This exciting role focuses on the production side and will be responsible for structuring, negotiating and drafting agreements with the composers, songwriters, artists and performers who create music for Netflix’s Original film, series and documentary content and with the record companies and music publishers who license music.  He or she will handle music contract and copyright related matters as they arise, will likely need to dig into local law and practice in various International territories, and should be extremely comfortable working independently and counseling internal and external business partners, making decisions that have both legal and business impacts, and evaluating risk and making quick decisions when faced with the exigencies of production. He or she will have an innate ability to maintain organization and focus that fuels his/her effectiveness in successfully juggling multiple projects.   The successful candidate will also thrive in an environment that places thoughtful efficiency over process yet have the ability  to work with organizations or institutions who may not hold the same beliefs.

Music Department Staffer (Cabin 21 Sound – Los Angeles) 

Hollywood based entertainment sound company looking for a full-time Music Department Staffer.

This position works under the supervision of the Music Director and helps drive strategic direction. He/she must be a seasoned composer, preferably with experience composing for the Theatrical Marketing/Trailer Music genre. The ideal candidate will have strong relationships with Music Supervisors and Editors and be willing to network within the industry to further the Company’s goals.

Music Department Assistant (Nectar’s – Burlington, VA) 

This part-time position’s primary role is to assist in the marketing and production of all shows and events. Responsibilities include the oversight of all websites and social media, graphic design, grassroots promotion, development and execution of individualized marketing plans and other related duties.

Sound Technician/Sound Engineer (BB King’s Blues Club & Restaurant – Nashville) 

BBKings Nashville is looking for a full time sound engineer/tech. We are rapidly expanding and looking for quality people to help out with our music program. Bonus opportunities available. Will require normal tech nightly duties along with scheduled maintenance assignment weekly. Pay to be discussed upon interview.

Grant Manager (Country Music Hall of Fame – Nashville) 

The Country Music Hall of Fame® and Museum seeks an experienced grants manager to lead and grow the Museum’s development efforts with foundations, corporations, and government sources. The grants manager will be responsible for attaining an aggressive resource generation goal that includes diverse grant gifts to support the Museum’s collections, exhibitions, educational programs, capital campaign, etc.

Older posts (7+ Days)

Development Operations Coordinator (St. Paul Chamber Orchestra – MN)

The Development Operations Coordinator is responsible for accurate, appropriate and timely processing of contributions, all aspects of gift accounting and documentation through the AudienceView database, financial reporting and reconciliation and gift acknowledgements. This position also serves as a liaison between the finance and development departments.

Studio Manager in Media Arts (Tufts – Boston)

The Studio Manager manages and maintains fine arts studios in Film, Animation, Video, Sound, and Digital Media, (including facilities, affiliated classrooms, analog and digital equipment, processes, documentation and training, and inventory of materials and supplies) ensuring that they are equipped, supplied, and configured to support the academic and creative goals of faculty and student users. The Studio Manager provides technical support services to faculty and students, including advising, instructing and assisting in the development, production, post production, installation, and display of media projects.

Culture Marketing Manager (Red Bull – Miami)

The Culture Marketing Manager (CMM) drives the development and execution of regional culture-focused marketing initiatives (e.g. music, art, dance, fashion, film and social innovation initiatives). Through events, artists, and influencers, the CMM builds local and regional brand affinity while paying into Red Bull’s global strategies.

Campaign Specialist (Pandora – Oakland)

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.  

Creative Operations Coordinator (Pandora – Oakland)

As a Creative Operations Coordinator, you will play a critical role in the Creative Organization by working to effectively streamline the daily workflow of design, audio and photography projects for marketing, brand, sales and internal initiatives at Pandora. You must demonstrate excellent skills in communication, organization, project coordination, and critical thinking, and thrive in a fast-paced environment with multiple projects and demanding deadlines. We are looking to develop our Creative Operations team within the Creative Organization and your role will be crucial in our future growth and success.

Creative Director, Marketing and Branding (NPR – Washington DC)

The Creative Director will be a key member of the Marketing team within the Marketing, Branding, and Communications (MBC) department. This position is responsible for the strategy, integration, and execution of NPR design activities. Duties include design research, clear presentation of design project goals and objectives, and content creation. S/he will plan, analyze, and create visual solutions to communications issues, and will contribute to editorial and graphical review to ensure items are of the highest quality and consistent with NPR’s brand identity.

The Creative Director is responsible for the strategic development and production of print and digital content for publications, exhibits, presentations, social media, etc using the highest design standards. These products include a wide range of media from illustration, photography, iconography, motion graphics, graphs, charts, and more. S/he will be the lead on event collateral (posters, programs, event banners, website graphics, etc.), campaigns (website images, web ads, print ads, iTunes promotional pieces), stationary, posters, product development for the shop.npr.org, and additional projects.

The Director will work with staff across all NPR divisions to develop communications priorities, strategies, and plans for content development. S/he is responsible for developing and implementing project timelines and workflow, leading content creation for projects, and ensuring delivery is on time and on budget. The candidate will have experience with managing numerous, fast-moving projects, and associated budgets, staff, vendors, and consultants. The ability to develop strong working relationships across functions and at all levels is key.

Campaign Manager, Audience Studio (NBC Universal – NYC)

We are in the business of leveraging vast amounts of consumer and viewership data to change how traditional (linear) TV and digital advertising impressions are packaged, sold, planned, delivered, optimized and measured for clients. If you are looking to join a small, agile team of disruptors looking to shape the convergence of traditional TV and digital advertising, look no further! NBCUniversal is looking for passionate, results-oriented and motivated self-starters to support innovation in our new Audience Studio. Audience Studio is the collection of all of NBCU’s data-driven, cross-portfolio and cross-channel advertising products.

Social Media Coordinator / Booking Agent (The Agency – Little Rock, AR)

Primary responsibilities include: updating, implementing and management of social media and marketing materials to assist in client development; basic office operations, scheduling, data entry and booking models and actors in advertising, television, fashion, film and special events.

On-Air Guest Coordinator (Evine – Eden Prairie, MN)

The On Air Guest Coordinator is responsible for providing support and completing administrative duties for guests, hosts, models and on air styling to ensure brand image is maintained in a 2/47 environment.

ESSENTIAL JOB FUNCTIONS

  • Provide administrative support to Director, On-Air Talent and Guests
  • Create monthly guest newsletter
  • Create itineraries for high-profile guests and celebrities, working closely with Merchandising, Sales Managers, Creative, Social and Marketing teams.
  • Aid in organizing and facilitating casting calls for Guests
  • Ensure the guest greenrooms are properly maintained
  • Lead/execute guest certification training session communications to new guests, SMG and merchandise teams
Categories
News Podcasts

Inside Music Podcast #110.5: Hiatus Shmiatus

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 explains our recent hiatus.

https://soundcloud.com/inside-music-podcast/inside-music-1105

Categories
News


On Manchester, security, and the future of live music

Words cannot express the pain we feel in our chests following the news coming out of Manchester earlier this week. Countless people have tried to summarize the enormity of this tragedy, many with a gift for words far greater than our own, and we feel everything they – and you – do as well. Terrorism is horrific in any form it takes, but where children are involved it’s particularly devastating. This is only further emphasized that the incident occurred at a concert, a place where most of us find safety in numbers and community. The people there were present to escape the troubles of the world around them, but the horror found them, and now it seems life will never be the same again.

Details on the moments immediately before the explosion at Manchester Arena are still pouring in, but authorities believe the attack was carried out by a suicide bomber carry a backpack with a homemade device inside it. It is unclear if the individual in question attended the concert or ran up on the gate in the moments immediately following the show. We do no know for certain that they acted alone, but on May 23 the Islamic State group did claim responsibility. The known terrorist organization claimed “a soldier of the caliphate planted bombs in the middle of Crusaders gatherings.”

When the Bataclan concert venue was attack by terrorists in 2015 Bono, frontman of U2, was quoted in the press as claiming the event was “the first direct hit on music.” Whether or not that statement is based in hard facts it is undeniable that most never considered concerts or the venues that host them to be anything less than safe. Hundreds, if not thousands, of live events happen all over the world every single day without incident. Concerts are a place where people can go to feel a part of something bigger than themselves and, for a brief amount of time, escape the troubles of their lives. In an increasingly chaotic world, concerts remain a fairly accessible oasis for most people.

Speaking with The New York Times around the same time as Bono, Pollstar editor Gary Bongiovanni recognized a dark truth. “It’s only logical for major venues worldwide to have heightened security,” said Bongiovanni. “But the truth is that there is only so much anyone can do to stop a wave of suicidal attackers.”

We talk about this a lot for numerous reasons, but incidents like this further exemplify the simple fact that people cannot control the world around them. The only thing a person can really do is choose how they respond when tragedy occurs. Do a person pull back from the world because they fear the next place they go or event they attend will be the next to be attacked? Are people supposed to simply accept the old adage that it’s dangerous business walking out their front door and therefore not be so shocked to see horrors unfolding in the world around? Should people break down and cry for those lost while searching for a way to move forward and, to whatever extent is possible, influence positive change in the world around them?

It’s not our place to answer these questions, but anyone reading this should know we are asking the same things of ourselves and one another. Summer is festival season, and many people we know are planning to attend large scale, sometimes multi-day, music event with thousands of strangers in places that often outsource security work to the most affordable company. It is important in times like this to remember the risk being taken when you attend concerts now is the same risk that has always existed. The chance that something horrible may happen is always a possibility in nearly every situation you find yourself in day to day. There is no way around it, and if we allow the fear we feel now that such realizations are brought to mind then those who wish to destroy our way of life through such horrific actions win. They feed on our fear. They want us to abandon our way of life because of they made us feel weak, defenseless, and afraid.

There will no doubt be much discussion about security and live events in the days ahead. It is likely we will even see some changes made, especially at arena events. Follow closely and watch how the industry responds. Be cautious of trusting anyone who promises this will never happen again. That kind of guarantee is no achievable in today’s world. As with all things in life, people will ultimately need to rely on – and turn to – one another to create spaces where we can feel safe once more. We need one another, and right now there are dozens in Manchester who need our support more than most. Lift them up.

James Shotwell is the Marketing Coordinator for Haulix. He is also the host of the Inside Music Podcast. You should follow him on Twitter.

Categories
Job Board News

New openings (5/21/17)

Development Operations Coordinator (St. Paul Chamber Orchestra – MN) 

The Development Operations Coordinator is responsible for accurate, appropriate and timely processing of contributions, all aspects of gift accounting and documentation through the AudienceView database, financial reporting and reconciliation and gift acknowledgements. This position also serves as a liaison between the finance and development departments.

Studio Manager in Media Arts (Tufts – Boston) 

The Studio Manager manages and maintains fine arts studios in Film, Animation, Video, Sound, and Digital Media, (including facilities, affiliated classrooms, analog and digital equipment, processes, documentation and training, and inventory of materials and supplies) ensuring that they are equipped, supplied, and configured to support the academic and creative goals of faculty and student users. The Studio Manager provides technical support services to faculty and students, including advising, instructing and assisting in the development, production, post production, installation, and display of media projects.

Culture Marketing Manager (Red Bull – Miami)

The Culture Marketing Manager (CMM) drives the development and execution of regional culture-focused marketing initiatives (e.g. music, art, dance, fashion, film and social innovation initiatives). Through events, artists, and influencers, the CMM builds local and regional brand affinity while paying into Red Bull’s global strategies.

Campaign Specialist (Pandora – Oakland) 

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.   

Creative Operations Coordinator (Pandora – Oakland) 

As a Creative Operations Coordinator, you will play a critical role in the Creative Organization by working to effectively streamline the daily workflow of design, audio and photography projects for marketing, brand, sales and internal initiatives at Pandora. You must demonstrate excellent skills in communication, organization, project coordination, and critical thinking, and thrive in a fast-paced environment with multiple projects and demanding deadlines. We are looking to develop our Creative Operations team within the Creative Organization and your role will be crucial in our future growth and success.

Creative Director, Marketing and Branding (NPR – Washington DC)

The Creative Director will be a key member of the Marketing team within the Marketing, Branding, and Communications (MBC) department. This position is responsible for the strategy, integration, and execution of NPR design activities. Duties include design research, clear presentation of design project goals and objectives, and content creation. S/he will plan, analyze, and create visual solutions to communications issues, and will contribute to editorial and graphical review to ensure items are of the highest quality and consistent with NPR’s brand identity.

The Creative Director is responsible for the strategic development and production of print and digital content for publications, exhibits, presentations, social media, etc using the highest design standards. These products include a wide range of media from illustration, photography, iconography, motion graphics, graphs, charts, and more. S/he will be the lead on event collateral (posters, programs, event banners, website graphics, etc.), campaigns (website images, web ads, print ads, iTunes promotional pieces), stationary, posters, product development for the shop.npr.org, and additional projects.

The Director will work with staff across all NPR divisions to develop communications priorities, strategies, and plans for content development. S/he is responsible for developing and implementing project timelines and workflow, leading content creation for projects, and ensuring delivery is on time and on budget. The candidate will have experience with managing numerous, fast-moving projects, and associated budgets, staff, vendors, and consultants. The ability to develop strong working relationships across functions and at all levels is key.

Campaign Manager, Audience Studio (NBC Universal – NYC) 

We are in the business of leveraging vast amounts of consumer and viewership data to change how traditional (linear) TV and digital advertising impressions are packaged, sold, planned, delivered, optimized and measured for clients. If you are looking to join a small, agile team of disruptors looking to shape the convergence of traditional TV and digital advertising, look no further! NBCUniversal is looking for passionate, results-oriented and motivated self-starters to support innovation in our new Audience Studio. Audience Studio is the collection of all of NBCU’s data-driven, cross-portfolio and cross-channel advertising products. 

Social Media Coordinator / Booking Agent (The Agency – Little Rock, AR) 

Primary responsibilities include: updating, implementing and management of social media and marketing materials to assist in client development; basic office operations, scheduling, data entry and booking models and actors in advertising, television, fashion, film and special events.

On-Air Guest Coordinator (Evine – Eden Prairie, MN) 

The On Air Guest Coordinator is responsible for providing support and completing administrative duties for guests, hosts, models and on air styling to ensure brand image is maintained in a 2/47 environment.

ESSENTIAL JOB FUNCTIONS

  • Provide administrative support to Director, On-Air Talent and Guests
  • Create monthly guest newsletter
  • Create itineraries for high-profile guests and celebrities, working closely with Merchandising, Sales Managers, Creative, Social and Marketing teams.
  • Aid in organizing and facilitating casting calls for Guests
  • Ensure the guest greenrooms are properly maintained
  • Lead/execute guest certification training session communications to new guests, SMG and merchandise teams

Older listings (7+ Days)

Special Events Coordinator (LA Philharmonic – Los Angeles)

This position is responsible for day-to-day administrative and clerical tasks to support the Special Events team in the implementation of 30+ cultivation and fundraising events.  The coordinator will also support the Special Events team in the production of the winter and summer galas at the Walt Disney Concert Hall and Hollywood Bowl respectively.

Senior Music Curator (Amazon – Seattle)

Amazon is looking for an experienced professional to define and push forward our music curation strategy across multiple territories. The Senior Programming Manager for Amazon Digital Music will be responsible for driving customer engagement through the creation and maintenance of playlists and streaming radio stations. This leader will set a path towards iteration and improvement by learning about our customers and their behavior through the collection and analysis of data. This leader will work closely with the Content Acquisition, Marketing, and Site Merchandising teams on customer- and partner-facing initiatives. The Senior Content Programming Manager will also work with Product and Engineering teams to ensure that both internal and external experiences are best-in-class.

Promotions Assistant (KROQ – Los Angeles)

The World Famous KROQ Promotions department is looking to hire a few more promotions assistants. Our ideal candidate is outgoing, timely, responsible and proficient in all social media platforms, If you’re twenty-one or over, and well acquainted with our music & brand, please apply. The promo crew is the perfect opportunity to learn the ins and outs of radio, music, and events while working hard and having fun.

Jewish Arts & Culture Coordinator (JCC of the Greater St Paul Area – St. Paul)

The Jewish Arts & Culture Coordinator is responsible for managing all aspects of the Marvin J. Pertzik Jewish Cultural Arts Department. As a member of the St. Paul JCC’s programming team, this position is responsible for developing, planning and implementing quality programs and events that strengthen both traditional and contemporary Jewish cultural identity for our community. This is a full time, exempt position that reports to the Program Director.

Promotion Events Support (iHeartMedia – Nashville)

Assists the promotions or marketing departments with daily activities that promote the station(s), clients or events.

Responsibilities:

• Coordinates and attends client meetings with sellers and sales managers as needed to plan events and event logistics.

• Collaborates with multiple departments to create and execute promotions such as remotes, events, van hits and other street team activities from start to finish.

• Drives promotional vehicles.

• Performs basic office administrative functions and updates station web site.

• Conducts on-site promotions, and handles clients and listeners.

Talent Buyer (Live Nation – Denver)

Responsible for executing all aspects of Talent Booking for all levels of venues in the Denver Business Unit (including Clubs, Theatres, Ballrooms, Amphitheatres and Arenas).  This includes but is not limited to identifying and pursuing artists, negotiating artist guarantees, developing ticket scaling in venues, managing expenses, collaborating with marketing department on show advertising plans, settlement of shows on night of performances, and traveling to performances throughout the region.

Music Account Executive (CBS Radio – Washington DC)

CBS Radio Washington, DC is looking for seasoned sales professionals to develop dynamic marketing campaigns for new and existing clients. The ideal candidate will be someone who can develop new client relationships through cold calling, networking and referrals from existing clients; have an innovative approach to client development and be a team player. This person will continually contact, develop and pursue direct advertising accounts for WPGC and WIAD (Music formats). These individuals are also held accountable for achieving sales budgets and collecting on the accounts. Candidates must have a positive attitude and a drive to win. Self-motivation is essential. If you’re interested in a position thriving in a highly energetic sales environment – this job is the opportunity for you!

Event Production Assistant (WMG – London)

The Events Production Assistant will support the SVP, UK Artist Relations & International Events with the design, planning and execution of all Warner hosted events both in the UK and Internationally.

Part Time Content Specialist (Townsquare Media – Rochester, MN)

Townsquare Media Rochester, MN has an immediate opening for Part-Time Content Specialists on 103.9 The Doc. The ideal candidates have a strong background in creating relevant, topical content for on air, online, and video. You should have an understanding of the The Doc’s format and the audience and community that we serve. A connection with the 25-54 year old listener and online follower and their lifestyle is beneficial. You are willing to create videos, are a blogging and social media machine, and can carry on a meaningful conversation on the radio or are at least willing to give it a go. We’re moving quickly on this so submit your best material as soon as possible. Resume, references and samples of your writing, blogging, and social media are required. Any audio or video samples are a plus.

Marketing Assistant (WMG – Burbank)

With its broad roster of new stars and legendary artists, Warner Music Group is home to a collection of the best-known record labels in the music industry including Asylum, Atlantic, Big Beat, Canvasback, East West, Elektra, Erato, FFRR, Fueled by Ramen, Nonesuch, Parlophone, Reprise, Rhino, Roadrunner, Sire, Warner Bros., Warner Classics, and Warner Music Nashville, as well as Warner/Chappell Music, one of the world’s leading music publishers, with a catalog of more than one million copyrights worldwide.

Multimedia Producer (PRI – Minneapolis)

Working in consultation with the Executive Editor, the Multimedia Producer will be responsible for producing regular music segments and stories in a new collaboration between PRI’s The World and the Smithsonian Center for Folklife and Cultural Heritage. The collaboration will explore stories of communities around the world through the music they make. The Multimedia Producer will select stories, research, brief the host, produce studio interviews and mixes and edit audio for the radio broadcast. The Multimedia Producer may also be expected to report and voice their own radio pieces as well as create multi-media content for pri.org using the CMS, including writing posts, sourcing images, and creating slide shows when appropriate.

Categories
News

Stop comparing your career to outdated music business models

Earlier this year I traveled to Detroit in order to interview an Leo Bautista, a young man who is better known to the world as Rival Summers. Leo’s fans had requested I feature him on my podcast several times in the months prior through emails and tweets, which in itself wasn’t entirely usual, but the volume of requests far exceeded any other artist week after week. Anyone in entertainment will tell you that is the kind of thing you need to pay attention to, so – I did.

I was largely unfamiliar with Rival Summers before scheduling the conversation, but the ten hour drive from Minneapolis to Detroit provided ample time for me to become immersed in Leo’s discography. He’s single-handedly creating (and recording – Leo often plays most, if not all the instruments on his albums) a style of pop rock that takes just enough cues from the soundtracks of John Hughes film to feel timeless in their own way.  It is immediately accessible and undeniably catchy music that people of all ages can relate to, but there are layers to the material that provides a depth many in his genre struggle to achieve. There is also an ever so slight edge to it all, making Rival Summers a project that could just as well be found on Warped Tour as it could opening for bigger radio rock artists in arenas. In short, it’s something special:

After realizing all of this over the course of my drive you can probably understand how surprised I was to hear Leo tell me, on record, that was a bit disappointed with how his last EP, Undeniable, had performed. The album was the product of nearly five years’ work, and Leo’s fans had contributed money through a crowdfunding campaign to allow him a full month of recording time in California alongside one of his music idols, My American Heart frontman turned producer Jesse Barrera. It was a month that Leo says changed his life and career. For the first time he was able to fully focus on music in a place that inspired him in a way his home in the midwest could not replicate. He was more or less on his own and doing the thing he loved because people who believed in his art cared enough to support his continued development without knowing what would come from doing so.

Undeniable, a name Leo chose because it is what he inspires to be in music, was released in April of 2016. Leo did his best to promote the record online, receiving several mentions on blogs and a few positive reviews, which his fans then promoted through their networks with retweets, likes, and shares. Everyone who heard the record seemed to enjoy it, if not love it, and that made Leo happy. Still, in the back of his mind something was missing. Despite all the love and support from his fans Leo was not seeing the opportunity to take the next big step in his career that he believed the album could create. Add to this the fact he parted ways with his creative partner at the time, which hindered touring as a full band, and it is easy to understand why there seemed to be a negative for every positive.

Leo eventually came to realize he was wrong all along. Like anyone striving to turn their passion into a career he unknowingly allowed himself to get caught up with the business of art, which has a nasty habit of making people undervalue their creativity based on how they believe the world outside their audience feels about their work. Leo’s fans had told him Undeniable was a record they needed and were willing to support before it was even created. He was empowered by an audience he built through his own hard work to further chase his dreams and build a career. The record may not have brought a label deal his way or provided a management contact with a massive network of powerful influencers, but it reaffirmed his relationship with his audience and brought numerous new believers to his craft. Touring may hurt in the short term, but we are quickly approaching an age where digitally-inclined talent can build thriving careers without going broke on the road to play for 30 kids a night. Leo has the ability to try alternative paths because his fans are already dedicated to seeing him flourish.

You probably realize this by now, but Leo is not alone when it comes to this problem. Entertainment as a whole has changed very quickly in the last ten years. The ways we tell people to think about careers in entertainment however, have not. In today’s industry anyone with an engaged audience can build a meaningful, financially stable career as long as they are willing to work hard and constantly give back to those who support them. Today’s artists can create Patreon pages that allow fans all over the world to give as little as $2 a month to see their continued success, which can very quickly turn into hundreds or even thousands of a dollars per month total, all without an artist having to leave their home. Today’s artists can use StageIt and similar platforms to host concerts from their living rooms. As long as an artist has a fan base that wants to hear more from them it is possible to completely circumvent the traditional music industry model and find major success, including platinum records and sold out shows around the globe.

James Shotwell is the Marketing Coordinator for Haulix. He is also the host of the Inside Music Podcast, as well as a ten-year music industry veteran. You can follow James on Twitter.

Categories
News


A simple, yet effective tip for growing your Facebook audience

Do you ever get tired of seeing post after post from so-called social media consultants who claim they can teach you anywhere from 10 to 120 tips for building a following on Facebook? We do. Not only are the bulk of these typically common knowledge, but they also rarely produced meaningful results. You always have to assume that any ‘secret’ you found via Google or other third party source is not really a ‘secret’ at all, meaning those tips will not get you any further than anyone else.

If we were any other blog about marketing this would be the part in the post where we claim to be different. We would tell you that our tips are pulled from experience, and that we have helped many people just like you find success in the social space. We would brag about how our system has helped people gain more likes and improve engagement without doing much, if any, more work than they were already doing. We would take all the credit, but that is not what happens on this blog.

The tip we have to share is as common as any you’re likely to find, but we guarantee it produces real results.

When you have a successful post, whether it reaches an audience organically or through paid promotion, invite everyone who engages with your content to like your page.

Let’s do a quick example: Silent Scream is a metal band who just posted a teaser clip of their new video to Facebook with a $5 promotion. As the promotion runs, more than 100 people like the clip, and several dozen leave comments asking when the full video will be available. Every single day, a member of Silent Scream clicks on the “_________ and ____ others like this” text located directly under the post. I’ve highlighted the area in question, can sometimes appears as a number rather than individual user names:

When the members of Silent Scream click that text, a pop-up like this appears:

As you can see, several people who liked the post have not yet liked Silent Scream’s page. The members can use this screen to invite everyone who engaged with the post to like their page. Not everyone will accept, but those that do will already have an interest in your music. They will be excited to see more of what initially drew them to you, and they will be encouraged to engage further because they will know you recognized their interest.

Will people decline your invite? Of course. But this kind of marketing, just like any other, is ultimately a numbers game. You case the widest net possible over people who you believe would like your content and you hope they respond. The more, the better, but any is better than nothing.

The best part? This marketing costs nothing! If you have time and the ability to click invite repeatedly you can grow your audience with each new update.

Categories
Job Board News


Op-Ed: Save some art for yourself

Music writing can be a double-edged sword as far as fandom is concerned. The fact you’re in a position to influence a group of consumers makes it possible for you to get closer to your favorite artists than you probably would otherwise, but it also means you have to continue following those artists’ every move long after your initial interest in their work has begun to fade. This is honestly a best case scenario because more often than not writing about music means you have to not only know, but learn to appreciate the works of many artists whom you would otherwise not make time to experience. Establishing a career in writing requires that you be engaged with the wide world of music, and that entails keeping tabs on far more artists than those you personally enjoy. Over time this can make the joy of writing feel a lot more like work than most would care to admit. But that’s because writing is just that — work.

This is not a complaint, per say, but rather a matter of fact. You cannot make it in music writing simply by covering the artists you enjoy when you enjoy them. You need follow-through, and more importantly you need to engage the fans of artists regularly in order to ensure people continue to care your writing and/or publication exists.

When I began writing about music I did so because I felt there were artists I knew and enjoyed that most of the world had yet to recognize. If you could find my first hundred articles I can almost guarantee every single one would be based on an artist or group I admired at the time, and if I’m being completely honest I would also wager most of those posts are fairly similar. They each praise a group I loved at the time, and they each argue others should feel the same. I built my initial following by covering bands like A Day To Remember, Chiodos, Secret Secret Dino Club, and The Wonder Years whenever possible, and I made it a point to interview someone from the band every time a new piece of news presented an opportunity for discussion. As word of my work grew, so did interest from others bands and labels about having their talent promoted through my channels. I was completely blown away by these requests, so of course I agree to almost every one that hit my inbox, and as I began to network with the industry at large my writing began to encompass more and more bands. Some acts I enjoyed, but most were perfectly average in my mind, and looking back now I know the only reason I covered them is because I felt that it is what my (arguably non-existent) audience wanted. Whether or not that was true is something I’ll never truly know, but I do know that covering a wide array of talent helped me navigate the industry and secure full-time work in the business I love the most. Was it worth it? Absolutely. Do I continue to cover any and everything that comes my way as a result? Hell no.

It’s incredibly difficult to land a job in music that allows you to share everything you love all the time. Most jobs are far more focused than that, be it covering solely alternative music or perhaps just hip-hop. Finding a paid position that covers everything is rarer than a Morrissey performance that goes off without a hitch, and they are becoming increasingly hard to come by as the demand for specific content curators continues to rise. I used to have a big problem with this because I felt, and still do believe, that everyone is able to enjoy a little bit of everything. I might not love country music, but there are several country artists I enjoy. The same goes for musicals, top 40 radio pop, and obscure shoe gaze bands. None of these areas of music are where I spend the majority of my time, but they each are filled with wonderful talent that is deserving of exposure and praise. Just because this is true however does not mean I am the person to tell you these acts exist. I can tweet about it, sure, but I cannot dedicate every minute of my day to telling you about everything I love as I once did. That is not my job.

At first, the need to separate the work I am paid to do from the work I would like to do was incredibly frustrating. I felt as though my initial mission to help more people discover great music had been compromised by the need for a paycheck, but over time I came to realize that was not true. Having full-time employment gave me more freedom than I had ever had before as far as creative pursuits were concerned, and though I couldn’t argue the need to cover everything I could do more to help a specific set of artists and bands than ever before. Instead of writing about 40 or 50 acts a week I wrote about 10 at most, but I made sure to make each piece released as good as it could be. Having less artists to cover made it possible for me to dig deeper with my coverage and, ultimately, provide higher quality content to my readers.

But what about all that other stuff I loved? Did I turn my back on a world of talent just because they didn’t fit my 9-5 lifestyle?

Of course not.

I still love a wide array of bands as I always have, but these days I keep some things I love to myself if for no other reason than the ability to enjoy certain songs or records without turning that enjoyment into work. Before I had full-time work in music I viewed everything I enjoyed as something I would eventually cover, which in turn made everything I enjoyed some form of work. Maybe it wasn’t hard work, but it was work nonetheless, and as a result my relationship with music began to change. The idea of listening to music for the sake of simply enjoying it became an absurd concept, as I hadn’t purely enjoyed music for years on end. I liked it, and I wouldn’t know what to do without it, but at the end of the day I was trying to put food on my table based on what I was listening to, and that put a lot of undue pressure on myself, as well as the talent.

When I speak to aspiring writers and music professionals today I encourage them to experience as much music as possible. As soon as I do this I immediately tag my comments by adding that not every great song or record needs to become the sole focus of their work moving forward. It’s not only perfectly acceptable, it’s needed. If you lose your ability to simply enjoy music you will be unable to accurately critique it. The reason anyone begins chasing after a career in music in the first place is based on their love of enjoying music in their youth, and when you lose the ability to appreciate music in that way you begin to lose track of why you work in music. It’s not about clicks, and it’s certainly not about being the first person to hear the next buzz worthy release. It’s about celebrating art and the appreciation of art, as well as making others aware of undiscovered talent. You can only do this to the best of your abilities if you too are still able to be wowed by music. If you’ve lost that passion, or even if you believe it has begun to fade, take a step back from writing and unplug from everything except your stereo. Put on the records that first inspired your career aspirations and reconnect with the source of your drive to succeed. Never lose your passion.

James Shotwell is the Marketing Coordinator for Haulix. He is also the host of the inside Music podcast. You can follow James on Twitter. In fact, we think you should.

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