Month: June 2017

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News


What we have learned thus far in 2017

The end of June is upon us, which means we are already halfway through 2017. Can you believe it? We set high goals for ourselves this year, many of which we detailed in a length post that ran on this very blog back at the beginning of January. We promised we would be better, smarter company. We promised changes both big and small. We told everyone we knew that we would not let the setbacks of 2016 continue to make us afraid of change moving forward.

We are happy to report that we have stuck to our commitments and as a result have seen some growth in 2017. This growth falls in line with the growth our industry as a whole has experienced lately, but it is not something we ever take for granted. We have also – and perhaps far more importantly – succeeded in pleasing new and longtime clients through our development efforts. We have made good on promises that we may have let slip in the past, and through doing so improved our relationship with users.

If you told us we would be here back in December we might of told you it was all wishful thinking. We were never truly in dire straits, but after a platform relaunch failed spectacularly in the middle of August 2016 we tucked our tails between our legs and laid low. We did not talk about developing things further as much as we did better marketing what we had, what we knew worked and what we knew people wanted. “Why change?” We thought. “People like us just the way we are.”

Around the end of the year we had a change of heart. People may have liked us as we were, but we were not happy. We wanted a better platform, and we knew what needed to be done to get there. We could not afford to hire more development. We also could not afford to wait to pay the bills hanging over our heads of before making changes. If we wanted something done we had to do what we had always done, which meant doing it on our own.

Beginning in January we made lists of every update we felt our services needed. These items were pulled from conversations and emails with customers from the last five years, and we used the frequency they were requested to make a list of our top priorities. From there, we discussed the logistics of each update and tried to arrange them on a timeline that allowed us to make frequent updates throughout 2017 and beyond. We were no longer thinking about a single overhaul, but rather dozens of tiny updates spread out over time so that no one could ever feel as if the system they loved changed overnight.

We started small. The first few updates we made were not even noticeable to the average consumer, but the upgraded critical elements of our backend that we had been meaning to attend to for some time. Then we turned our vision to our site, our presentation, and even the layout of our help pages. We revisited every single page on our platform and made note of everything we knew could be better. We don’t have a final tally as to changes desired, but we know it to be in the dozens.

Most recently, our team began taking aim at the MyPromos and Profile pages. These elements of Haulix are some of the most important in our system. We don’t know when various elements of our planned changes will go into effect so we won’t detail too much right now, but do know changes will begin to appear in this section of our platform in early July.

It’s unclear if we have learned something new this year or if we just remembered what lead us to success in the first place. Haulix was never the result of hired gun developers coding a system they would never use or need. Haulix was built by members of the music industry for members of the music industry with security, ease of use, and customization in mind. Before last year we had done everything ourselves because we knew we could fulfill our dreams better than anyone could interpret them for us, but for some reason we lost our way. We tried to do something different that removed an element of authenticity from what we do. That might not be the sole cause of our relaunch failure, but it certainly contributed to it.

This year we have learned that we can – and should – do things ourselves. We have always promoted those who take it upon themselves to make a positive change in their lives because we know deep down that is the only true way to succeed. Maybe we forgot that at one point, or perhaps we thought we knew a better, more efficient way. Whatever the case, we know now we were wrong, and thankfully we are able to look back on this past year as a learning experience instead of something that nearly broke us.

Moving forward, every change and update made to Haulix will come through the work and input of the Haulix community. We are going to continue to serve our audience as we always have, making changes that fall in line with their needs, and we hope they continue to growth with us. For the first time in a year we can say the future truly looks bright, and we thank you for joining us on this journey.

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News


Want to save music blogs? Work together.

In case anyone out there is still believing their music blog will change the world allow me to temper your dreams just a bit. As much as we would all like to believe music influencers will always have a role to play – and they may – the hard truth is that the streaming age has quickly taken power away from the majority of music blogs. As services like Apple Music and Spotify continue to extend their editorial efforts and allow artists to share more than just music with fans (tour dates, videos) there are less and less people turning to blogs for insight. After all, why frequent a site that covers a small fraction of the things you enjoy when you can have access to everything you care about all the time – and then some – through a single platform?

Before you completely lose hope and cancel your domain, hear me out. Music blogs are never going to go away completely. There was a time over a decade ago when people thought music magazines would die out because of blogs, yet here we are in 2017 and Alternative Press Magazine is gearing up to take over the same venue that houses the Cleveland Cavalier for its fourth annual awards show. Has everyone publication survived? No, but that would be true even without the streaming age. The vast majority of everything in every field eventually fades away. This is simply a fact of life. You think the Rolling Stones and Aerosmith were the only rock bands of their time? Of course not. They’re simply the ones that outlasted everyone else.

So who will survive the latest evolution of music blogging, and how will those publications change to meet the demands of the future? I cannot tell you specific answers to either question, but over the last ten years there is one common trait I have found in almost every writer who continues to be successful: They seek opportunities to build communities rather than their own personal brand.

What I mean is that the writers and sites who succeed place an emphasis on quality, timely content instead of ego. Their ultimate goal is to provide music fans with the information they need to make the best choices with their time and money. They seek conversation over branding at all costs, and because of this they are able to adapt when the industry demands change.

If you are reading this now and are the proud owner of a music blog I have to assume you know of other music bloggers who run their own sites or who contribute to a site other than yours. What is stopping you from joining forces with your peers and, instead of a dozen people running a dozen blogs, combining your tastes/talents into a single online portal for all things music? The cost of a single site’s hosting fees versus a dozen is an easy decision, as is the idea of having twelve people market a single brand name rather than twelve people who each market a different brand. So, why not work together?

Speaking strictly from personal experience, the biggest factor preventing collaboration and community building amongst the online music writer community is ego. Everyone wants their site or their thing to be the one everyone turns to, not realizing that in five, ten, or twenty years no one will remember the person who launched the site. Think about it. Can you tell me who launched Pitchfork, Stereogum, AV Club, or MetalSucks off the top of your head? Does the fact you can or cannot do that change the quality of the site or the respect you have for those who contribute to it? My guess is no, which should tell you all you need to know about how important it is that your site be the one everyone turns to for information. All that matters is the quality of the content, which is the direct result of the talent behind it, and that remains true regardless of the URL.

Changes will come and go, but there will always be a place for quality music blogging. The path to sustainable success in modern music is built atop collaboration and networking. Writers who want to last need to drop whatever ego they may have left, push brands to the side, and find a path to work together. Combine your talents and resources in order to cover more corners of music better. Your work, your readers, and your career will thank you.

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News

Haulix founder Matt Brown was featured in Substream Magazine issue 53 back in the fall of 2016. We finally got the go ahead to share that feature online. Enjoy!

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Job Board News


The truth about ‘making it’ in the music business today

If every idea or plan I ever heard in every conversation I ever had with an aspiring industry professional or musician the music business would be a vastly different place than it is today. I’m not sure that is for the better or worse – depends on the project – but what I do know of from my time working in the industry and my admittedly puddle-deep exploration through its many ranks has become the stuff of legends to myself and anyone who may have been there in that moment those words were shared. Big bands, small bands, PR professionals and startup masterminds. Name a thing in music you could aspire to become and there are at least 5000 people who tell people they also want to do that thing every day, and that’s likely just in North America alone.

I am certain there are a variety of reasons things didn’t work and a number of people who could be, should be, or would be held responsible if things had gone another route, but in many cases it comes down to your willingness to fight, but in many cases it comes down to your willingness to fight and your ability to evolve. Both sound easier than they really are, but they are absolutely essential traits for anyone hoping to make it in this business.

There is one upside: Everyone is fighting this battle in their own way.

Everyone hoping to do anything in this business wakes up with the prospects of going to war. It doesn’t matter whether it should or shouldn’t be like this because the fact of the matter is it is the way things are at this point in time. The boom of access through technology and the internet happened much faster than the music industry was able to adapt. Even if the industry were able to see the changes the internet would present in advance and had ample time to prepare it’s hard to imagine a world where there are anywhere near enough reliable full-time jobs in the creative area you want to work in to allow everyone a place of there own guaranteed. That’s not how life works and it’s not how music works.

The best you can do is to wake up every day and put action to your dreams. Start today. If you want to write the next song that is going to change the world, it’s probably time to take mastering your instrument and songwriting seriously. If you want to manage the next big band, find a band you give a damn about and do whatever it takes to make sure me and everyone else feels the same way this time next year. If you want to pitch Rolling Stone, Alternative Press, XXL, or anyone else, learn how to form a good pitch and start sending emails. If you want to be a publicist, find an artist you believe in and make the rest of us feel the same through any means necessary. I could go on and on, but I think you get the point.

You’re going to fail, but there’s another upside: Everyone Fails.

Everyone fails a lot, in fact. More bad songs are written every day than future classics, just like more bad press releases are sent than those that make people who receive hundreds of press releases a week actually read what they wrote. It’s not about a single try and it’s not about a single day, week, or month. Building a career of any kind in any field in the music business is an ongoing series of trial and error where you and everyone you know hopes to succeed in some way more often than not. We take our chances and we take our bruises. We complain about the way corporations have devalued music while making billions of the art that musicians create while hoping streaming payouts really do lead to the bright future we were told would come. We claim we found the next best band in the world when we really just heard a good song on the internet. We put our faith in people that turn out to be nothing like we expected and we in turn sometimes surprise ourselves.

Some failures hurt more than others, but that’s okay. You learn to take the good with the bad because you remember that hope only gets you as far as you’re willing to fight in this business and that everyone else has ups and downs too.

Be honest with yourself and others. You cannot do everything. In fact, some things you probably shouldn’t do, and that’s perfectly okay.

To attempt anything is to accept the fact you may fail. Everyone fails, as we mentioned above, but if you find yourself failing again and again without ever finding a sliver of success you may need to take a hard look at your goal and ask yourself whether or not they can be achieved. The hard truth of the matter is that only a very small amount of those who dream and strive to work in music every actually make a career for themselves in this business. If you are not one of them it does not mean you are a failure. You rose above being a failure the moment you decided to try and chase your dreams. You wouldn’t believe how many people never even take the first step towards getting what they want. If things are not working out after a long enough period of time you need to consider the possibility that there may be other fields and areas of expertise where your particular set of skills could be of value. The world needs motivated souls, and you are one. Find a way to make existence a bit better for others and do that thing. Music will always be here, and you will always have it in your life, even if it isn’t what pays the bills.

You are never alone, though it’s going to feel like that sometimes.

When you’re working with others in any capacity you begin to realize your individual performance really does influence their ability to pay their student loans and cover their share of rent in the apartments they more than likely share with anywhere from one to six, seven, or even eight people depending on the metropolis they were forced to move to in order to take their time in this business ‘seriously.’ (You don’t have to do that, by the way. Be the biggest thing you come out of your spot on the map, and don’t forget to thank the internet – and this author – for your success down the line.) You, like them, were once just a kid who really loved a particular band or sound and that somehow turned into a career where you’re now responsible for doing something (or more than likely, many things) in exchange for money. Compared to the way most people approach finding a career in something, that’s crazy! We’re all a little crazy and we many of us deal with the same stresses and bouts of self doubt that you may experience from time to time. We’re strongest when we work together, and that means being open and honest with one another. Recognize that we are all crazy fans deep down inside and we all know of the power music has to impact lives. We are all working toward the same thing, and that is to lift up the art that gives us the ability to wake up every day and fight.

There is power in numbers. Work together.

As much as my individual drive and talent has helped me make a way in this industry, all my greatest accomplishments were the direct result of projects I worked on with people I believed in. Surround yourself with like-minded people who fight for the things they want and understand that real work that lies ahead. This may be the friends you know now or it may be a group of strangers you meet only after you take it upon yourself to start chasing whatever it is you want to do. The bonds you form with these people will last a lifetime, and they will come to mean more than any paycheck possibly could.

Commit.

There is no denying that finding a career in music is often driven by networking, but even the best connections still require commitment. Music is considered one of the easiest industries to get your foot in, but no one ever stops to tell you everyone and their brother currently has a foot in the door of this business. It takes nothing to do the bare necessities required to claim to have a presence in music and that is a beautiful thing. It’s also a litmus test of sorts to separate the truly driven from those who will eventually turn to a more reliable and suitable (and arguably sane) career. If you want to do anything you have to make yourself known, and it’s both as easy and as hard as committing to working towards your goals every single day. To borrow from Nike, “just do it,” and soon things will begin to fall into place.

James Shotwell is the Digital Marketing Coordinator for Haulix. He is also the Film Editor for Substream Magazine and a 10-year veteran of the entertainment business. James has spoken about careers in entertainment and how to achieve them at festivals, conferences, and college campuses across the United States, and he is currently working on his first book on that very topic at this moment. If you like what you have read here, please make it a point to follow him on Twitter. If you have questions about this or anything else related to working in the entertainment business, please email him: james@haulix.com.

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Job Board News


New openings (6/25/17)

Stage Manager/ Assistant Production Manager (Houston Ballet – Houston) 

This position, in partnership with the rest of the Stage Management team, is responsible for calling shows or serving as Assistant Stage Manager on all Houston Ballet productions at home or on tour as assigned. The Stage Management team is responsible for providing proactive support to all resident and visiting artistic staff for all of their studio, A/V, and rehearsal needs. The position will also provide support to the Houston Ballet Academy and Houston Ballet II for their rehearsals and performances. 

Senior Digital Producer, Classical Music (American Public Media – St. Paul, MN) 

Do visions of musical notes and Facebook, mobile and YouTube all fill your head at the same time? For the Senior Digital Producer of Classical Music, they do.

The Sr Digital Producer of Classical Music is responsible for driving growth for the classical properties at American Public Media, specifically focusing on expanding Your Classical.org’s digital reach while also ensuring the operational excellence for Classical MPR. As an expert user of digital tools and platforms, this role will lead the implementation of the content strategy across social, web, newsletters, video and podcasting. This person will bring an analytic mindset to the work, regularly updating project leads about performance and areas for improvement. 

Associate Partnerships Manager, Music (Twitter – LA or NY)

Twitter is changing music, as the fastest and most public way for artists to establish a direct-to-fan relationship. They connect to their audiences directly, through Twitter. Twitter’s Content Partnerships team is looking for a driven, creative and resourceful individual to join us in developing the strategies and best practices that will drive the next generation of music innovation and content on Twitter. How do we launch songs and allow fans to interact with talent? How can Twitter help a VIT (Very Influential Tweeter) better talk to her/his audience? These problems and more are ones that you will tackle, head on.

Marketing Producer, Music Festivals (Townsquare Media – Nashville) 

Townsquare Live Events (TSLE) is seeking an experienced Marketing Producer to join the live events marketing team. The ideal candidate will be an assertive self-starter and an excellent communicator who is a team player and driven to succeed. Experience in the live events and/or music industry is a plus. Artist management and industry relationships are a must.

This position reports to the Marketing Director, Live Events. 

VP, Film Music Creative (NBC Universal – California) 07

The VP, Film Music Creative is a key member of the Creative group of executives in the Film Music department. This self-starter is responsible for a variety of ongoing film/project-related routines as well as certain special projects acting as in-house music supervisor and day-to-day point person on film and direct-to-video projects. 

Legal Director, Music Licensing (Facebook – Menlo Park, CA) 

Facebook seeks an experienced music licensing lawyer with a penchant for teamwork and technology to lead its music licensing efforts within Legal. This position will partner closely with internal business counterparts in driving licensing negotiations, as well as coordinating with product, engineering, operations, finance and legal teams in support of the company’s evolving music licensing needs. In this role, you will be responsible for solving cutting-edge licensing issues on a global scale, with an opportunity to help shape the future of music use on Facebook.

House of Worship Manager (Yamaha – Buena Park, CA) 

Yamaha Corporation of America is looking for a House of Worship Manager.  This position is responsible for growing Yamaha share and stature in the worship community for Yamaha Musical Instrument (MI), Recording and Professional Audio products, and maintaining its stature and relationships.  This role will be the principal marketer and ‘face’ for house of worship (HOW) for all Yamaha product divisions.

Product Manager-Music Creation (iZotope – Cambridge, MA) 

The Product Manager will lead the full lifecycle of all iZotope products focused on music & sound creation. At iZotope, you’ll find an employee-focused work environment with flexible hours, great 401(k) and insurance plans, and a fully-functioning recording studio that you can use after hours!

Associate Director, Music Licensing (Sony – Miami, FL) 

The position of Associate Director, Music Licensing will pitch US Latin frontline and catalog repertoire to advertising agencies, film & TV studios, video game companies, trailer houses and music supervisors. This individual will build, develop and maintain relationships with various contacts in order to secure deals on behalf of US Latin catalog artists.

Manager, Merch Production (WMG – NYC) 

This is a fast paced, high volume position that requires multi-tasking, resourcefulness and problem solving skills. The Manager works closely with internal customers to develop and manage merchandise concepts for tours, e-commerce and retail.  Responsibilities include sourcing merchandise, locating and onboarding new vendors, maintaining vendor relationships and troubleshooting issues. Daily duties include price sourcing for all requested items, securing and delivery of art files, creating purchase orders, managing shipping logistics, tracking orders/shipments and managing the master production schedule.  Duties also include the maintenance of the department calendar, master quote list, manual purchase order list and finessing of work flow systems. Assists the department head with training and mentoring of the Production staff on all systems and processes.

Music Licensing Executive (Spirit Production Music – Los Angeles, CA) 

Spirit Production Music is currently seeking a Music Licensing Executive to join our team in Studio City, CA. At Spirit Production Music, we strive to provide our clients with a wide range of extraordinary music products and services. The Music Licensing Executive maximizes music licensing revenue for Spirit Production Music, as well as music services revenue for Spirit Music Collective, in North America through business-to-business sales.

Sound Engineer (RIA Global LLC – Washington DC) 

Washington DC office of an international radio broadcaster is looking for a Sound Engineer for a brand new state-of-the-art radio facility in the heart of D.C. The facility is still under construction and this is a great opportunity to get in on the ground level. Candidates for this position should have experience in live radio.

Music Coordinator (Amazon Studios – Santa Monica, CA) 

We are seeking a Music Coordinator to join the dynamic music team supporting the Studios Film and TV productions. Amazon Studios are building an effective way to develop commercially viable feature films and episodic series.The Music Coordinator will work closely with the TV Music Executive and be an integral part to the music team. The successful candidate will be highly organized and motivated to create streamlined processes to ensure efficiency. You will be expected to leverage strong communication and interpersonal skills in order to partner effectively across divisions and with external partners.

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. 

Older posts (7+ Days)

Music Curator (Amazon – Seattle)

We are looking for a music curator to help drive customer engagement through the creation and maintenance of playlists and streaming radio stations and related curatorial tasks crucial to the quality of the Amazon Music customer experience in Canada and other territories outside the US.

This position will work closely with the Site Merchandising and Marketing teams on customer-facing initiatives and activities, and with the Product team to ensure that our user experience provides a best-in-class customer value proposition.

The Music Curator will create and support key components of our service offerings.

Director of Urban Programming (iHeartMedia – Detroit Region)

Leads all aspects of radio station’s on-air experience in a leadership and operations role, responsible for talent, content, programming, promotions and online presence. The right person will have incredible vision to lead both winning Detroit Urban brands and continue our dominant position in the market.

Associate Campaign Specialist (Pandora – Denver)

This individual will work with the Local Campaign Specialist and Local Sales team to help support the day-to-day needs of the region’s advertising partners. The right individual will be a key contributor in the Client Services organization and will be responsible for assisting with media planning and campaign execution; drafting media plans, providing advertising creative deadlines, technical specifications, reporting; and tracking and optimizing delivery.

Associate Partnerships Manager, Music (Twitter – NYC)

Your task: nurture relationships, expand Twitter’s footprint and develop best Tweeting practices for high-profile talent and their representatives in the music industry. You should have a strong vision for the broad potential of entertainment & Twitter, while being focused on scalable impact and immediate, tactical opportunities that result in value and growth for Twitter.

The role requires superb partner management skills, proven evangelism chops and an aptitude for driving innovation and facilitating change. You must have direct, hands-on experience in entertainment and an ability to “talk the talk” with traditional entertainment players. You should be a native and expert Twitter user. You should thrive in environments that are uncharted and ever-evolving.

Manager of Music Programming (Vevo – NYC)

We are searching for an organized and detail-oriented Manager of Music Programming to support our Creative Content & Programming team and help to successfully give our audience the best possible music video experience.

The Manager of Music Programming will report to the Director of Music Programming and will be a member of the broader CC&P team. In this fast-paced, multi-faceted position you will hold the keys to various aspects of programming such as playlisting, curation, product development, scheduling, and content creation.

As a member of the CC&P team here at Vevo, you’ll be working alongside super talented individuals that will both inspire you and challenge you to think about music in ways you may have not imagined. We often take time as a team to review new industry trends and advancements, and think critically about various things happening in the world around us that may impact the ways we decide to be more strategic as a team overall. We have a phenomenal team made up of accomplished individuals from all walks of the music and tech worlds, and we’re excited about having you join us.

Are you up to the challenge? Yes you are! If you believe Bono that “music can change the world because it can change people”, then you recognize the power of music. Bring your ability to balance creativity, focus, determination, and teamwork so that, together, we can bring the power of our music video and entertainment platform to the world.

College Marketing Representative – Urban/Pop (Sony – VA)

Sony Music U plays an essential part in the development of Sony Music’s emerging artists and also assists in the roll out of established artists as well. Among the myriad of functions and responsibilities, our College Marketing Reps organize listening events, interact closely with various campus groups, independent record stores, lifestyle shops (skate shops, cafes, barber shops, clothing stores, etc.) and are also very active across social media platforms. We ask our reps to spread awareness for our priority projects via social media, therefore you will be asked to utilize your personal accounts and/or create, build and maintain a “market specific” social handle. (ex. Sony Music U San Diego). This is a part time role that requires a commitment of approximately 20 hours a week. The College Rep position is a great way to learn about the music business, gain marketing experience, and get your foot in the door of one of the world’s leading entertainment companies. We work with ALL Sony companies including but not limited to: Columbia Records, Epic Records, RCA Records, Legacy Recordings, Sony Masterworks, Sony Nashville & Sony Electronics.

Director of Marketing (Hawaii Symphony Orchestra – Honolulu)

The Marketing Director is responsible for planning, supervising, administering, and evaluating programs that meet or exceed attendance and ticket revenue goals for concert events and maximizes the visibility of the organization. They will plan and manage all marketing activities, including, but not limited to, advertising, season subscription campaigns, single ticket sales, and audience research.

Latin Music Programmer (Mood Music – Austin)

Mood Media is seeking a Latin Music Programmer to join our growing National team in Austin, TX or Charlotte, NC. This creative role will conceptualize and manage branded music experiences and programs for national corporate clients and consumer offerings, keep abreast of music trends, and coordinate client relations.  A Music Programmer is responsible for choosing music to capture the essence of a brand, experience design concept or consumer target. Candidate must have a background in creating brand or consumer experiences with Music. As a result, the ideal candidate will need to have a creatively focused background, having worked within media or a creative agency (radio, television, new media, advertising, design). While they must ultimately demonstrate significant creativity in the job, he/she must also demonstrate discipline and a strong corporate acumen, as they will regularly interact with a variety of brands across multiple industries. A Music Programmer for Mood Media must also demonstrate a multi-dimensional relationship with Music, either as a musician, a DJ, a producer or promoter in addition to the required experience.

Team Assistant for Music and Media Licensing (Nickelodeon – NYC)

Provide support to the Music & Media Licensing team supporting Nickelodeon including Nick Jr, Nick @ Nite, NickToons, TeenNick, Nick .Music and Nick Sports.

Responsibilities

  • Administer and track the execution and payment of licenses, secure signatures on license agreements and process payments through the MARKET. Work with third party vendors including obtaining W-9’s and 8Ben’s, and collaborate with Finance and Operations on any payment related issues.  
  • Research time-sensitive payment information in SAP, attend to client groups and vendors regarding payment inquiries, and coordinate payment issues with Accounting, Production Management, Tax Compliance and Accounts Payable.
  • Research copyright information (i.e. record label information, songwriter information, publishing information and film and TV distributors). Track and update programming rights reports and show tracking reports. Assist with end of year accruals, cue sheet reporting and other operational administrative duties as needed.
  • Assist with preparing license requests and ensure licenses are executed and paid in a timely manner.

Marketing Manager (SMG – Tucson, Arizona)

SMG, one of the world’s largest entertainment companies and operator of the Tucson Arena, Convention Center, Music Hall and Leo Rich Theater in Tucson, Arizona is looking for a Marketing Manager. The Marketing Manager will oversee the planning and implementation of a complete marketing campaign for the facility and all events including group sales, sponsorships, advertising, direct mail, promotion, publicity, and social media. This position will also develop and implement an in house agency to act on behalf of the facility.

Manager, Audio Book Studio (New York Public Library)

The Studio Manager oversees all activities of what could be described as an audio book publishing house for the blind and physically handicapped.  The mission of the studio is to record and make available digital recordings for the blind and physically handicapped for   national circulation, especially representing the diverse needs of the diverse communities of New York City.

DWA TV- Music Administrator (NBC Universal – Glendale, CA)

DreamWorks Animation Television’s Music Department is seeking an experienced cue sheet administrator, who has a strong musical background and understanding of original created content, production timelines and grasps the significance of synchronization licenses, publishing splits and PRO information.  

Digital Music Catalog Specialist (Amazon Digital Music – Seattle)

The Digital Music Operations team is responsible for generating content for Amazon’s various digital music services. Our goal is to build technologies, metadata and processes that create distinctive products for our customers and services all over the world.

The Catalog Specialist is responsible for supporting the metadata attributed to digital music and upholding our QA standards and workflows. If you love music and want to be a part of the Digital Music revolution – this is the place to start!

Manager of Music Tours (Gustavus Adophus College – Saint Peter, MN)

The annual teaching assignment will be five courses (5/7 appointment), one of which may be one-month January Term experiential course determined by candidate and appropriate to the candidate’s expertise. The position includes the opportunity to teach in our innovative Public Discourse initiative.

Music Department Manager (Straz Center – Tampa, FL)

The Music Department Manager oversees the daily operations of the Music Department and is responsible for managing all Music Department-related administrative, curricular, communication, and event planning needs. The position will also provide administrative and instructional support for the Conservatory to Go programs and Outreach programs as needed.

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Job Board News


Don’t lose sight of the future

Ten years ago no one could have predicted what the music landscape would look like today. We knew streaming was going to be a game-changer, but that is just one of maybe a thousand changes the industry has undergone in the last decade. In today’s market a single song or day can legitimately turn a nobody into a Billboard charting talent. Likewise, bands that have spent years building a following from the ground up can find themselves hitting a glass ceiling simply because they do not understand how to leverage digital media for their personal gain.

Industry professionals used to joke about never having a moment to catch their breath, both on the business and artist side of music, but today that once humorous remark is not far from the truth. If you’re not working on the next release then you’re expected to be engaging an audience, promoting to reach a new audience, or developing materials for the next big promotional push. It’s a nonstop cycle that in recent years has put more and more focus on the day to day attempts at success instead of considering what it will take to make a career last for months, years, or even decades.

With all the chaos of day to day existence only becoming more complicated over time it seems less and less people are putting serious thought into longterm goals and how to reach them. This is true in many areas of life, but it has special meaning in entertainment. Everyone who pursues a career in this corner of the business world is told from day one that the chances of making it are slim, and when the day comes that a job does present itself many are so thankful for the opportunity that they accept less than they’re worth just to say they are working in their desired field. This may work out okay in the short term, but if all a professional ever thinks about is the job or tasks in front of them how can they ever be prepared for what might come next?

As hard as it may be in an age of constant connectivity the need to unplug and consider the big picture cannot be overstated. The people who have long-lasting careers in music do not achieve such rare success through chance and luck alone. No, those who find a permanent place in this business do so because they are constantly working to make themselves indispensable. They consider the future, prepare for it, and know what to do when it arrives. They appreciate the fleeting nature of any career in this field and keep their skills sharpened just in case the bottom unexpected falls out (and it will).

There are countless tips on how to make short term gains in the music business, but those seeking a sustainable career in this field need more than quick fix solutions. This weekend, take time to unplug and seriously consider what you want to be doing as your time in this field progresses. Not everyone can tour and/or write forever. You are going to continue developing as a human and your role in this industry should as well. Where do you see yourself in five year, or perhaps even ten? What do you need to do now and in the months/years ahead to make sure you achieve that goal? Be specific in your answers and the path to a long-lasting career will show itself through your effort.

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News

What to keep in mind when pitching music writers

As any music writer will tell you, the quality of pitches sent from both aspiring artists and PR professionals often run the gamut from gorgeous to outright embarrassing. Some pitches are creatively designed emails with elegant text and photos, while others are one or two paragraph emails that highlight a few recording details. Some others are little more than a hello and a hastily copy/pasted link, but thankfully those are typically few and far between.

What makes one blogger click a link others might overlook is something we don’t really have time to get into because the possibilities are essentially limitless, but there are ways to hedge your bets. If you keep a few key things in mind when crafting your outreach to the press your chance of getting noticed will be as high as anyone else, leaving it to your music to do the rest.

1. Know who you are talking to

This one may sound obvious, but as a guy named James who has received emails addressed to everyone from Sean, to Beth, David, Matthew, and even Topher, I would argue it’s something too many take for granted. The importance of knowing who you are talking to in a pitch and gearing the conversation towards them cannot be overstated. If I see an email addressed to anyone other than myself I immediately send that message to my trash. It’s not for me, and if it was the person sending it didn’t both to double check the one line where they address me directly, so why give it my time?

You also need to remember that many writers are as younger, meaning they don’t necessarily prefer to be addressed as ‘Mister’ or ‘Miss.’ In fact, I haven’t encountered a single music journalist at any age that people refer to as Mr, Mrs, or Ms _________. Learn the first name of your contact and use it whenever possible. Be personable. It makes you, and your music, come across better.

2. Make sure the person you’re writing covers your style of music

In a decade of writing online I have never been associated with a site that regularly covers dance music or black metal, nor I have written about either topic at length, but every day without fail I receive a number of press releases trying to sell me on the latest talent from each genre. There are things I admittedly spin out of curiosity, but the vast majority of these release go directly to the trash bin. I have enough talent to engage and cover without wasting time on material that fall outside the coverage area of the sites who accept my work. You or your client may be talented, but I simply have no way to help you, so don’t waste your time or mine with an unnecessary pitch.

3. Read the submission guidelines

Most, not all, music blogs have some form of submissions guidelines buried on their site. Do your research before submitting your music to ensure your pitch has the best chance of being considered for coverage.

4. Always keep it simple

Everyone in music is busy. It doesn’t matter what day of the week you reach out, or what time of day your email is read, the person on the receiving end will always have a million tiny tasks awaiting their attention, including several other hopefuls such as yourself. Play into their lack of free time by finding concise and exciting ways to sell yourself. Long emails are only read in full when the recipient has a deeply vested interest in what is being conveyed. That is rarely, if ever, the case with reading new music submissions. Keep it simple and keep it fun. Tell who you are, what you create/represent, and where that art can be found. If you have something new you are trying to bring attention to, highlight that in its own short paragraph, along with any related links/embed codes.

5. Be respectful

Knowing the blogger’s name and the kind of content found on their site is one thing, but you can win over a writer much faster if you also show a true appreciation for their work. Comment on specific articles you enjoyed, or mention topics you know they have covered in the past. Bloggers, like anyone else, love to know their work is actually being enjoyed. Tell them.

6. Provide the blogger with everything the need to create a post in a single email

As noted above, time is of the essence when it comes to music blogging, so any pitch you send should provide the recipient with everything they need to cover your music. Building a relationship is important as well, but when it comes to actually getting featured on a site you can help yourself quite a bit by providing bloggers with any and everything they could need up front. This means providing everything from details behind an LP/EP (studio name, producer), to store links, tour dates, social links, and – most important off all – a proper promotional photo. Writers don’t have time to scour social networks for the most recent professional-looking image of your band. Do the work for them and they will love you all the more for your effort.

7. No one likes spam.

As you build a list of blogger contacts it will be increasingly tempting to blast every single email you find with the same promotional messaging, but believe me when I say doing so will win you no friends. Promotional messaging should only be directed to people who have covered your talent before, as well as those who have experienced any interest in covering that particular artist or release moving forward. Not every site will work for every piece of news and information you develop, so be smart about who receives what and you will have a much easier time maintaining strong relationships with those in the industry.

James Shotwell has over a decade of professional experience in the music industry. He has worked in journalism, marketing, publicity, and tour management. His current title is Digital Marketing Coordinator for Haulix. Bylines include Rolling Stone, Substream Magazine, Alternative Press, Sonicbids, Under The Gun Review, Tuned Up, and PropertyOfZack. You should probably follow him on Twitter.

Categories
Job Board News


New openings (6/19/17)

Music Curator (Amazon – Seattle) 

We are looking for a music curator to help drive customer engagement through the creation and maintenance of playlists and streaming radio stations and related curatorial tasks crucial to the quality of the Amazon Music customer experience in Canada and other territories outside the US.

This position will work closely with the Site Merchandising and Marketing teams on customer-facing initiatives and activities, and with the Product team to ensure that our user experience provides a best-in-class customer value proposition.

The Music Curator will create and support key components of our service offerings. 

Director of Urban Programming (iHeartMedia – Detroit Region) 

Leads all aspects of radio station’s on-air experience in a leadership and operations role, responsible for talent, content, programming, promotions and online presence. The right person will have incredible vision to lead both winning Detroit Urban brands and continue our dominant position in the market.

Associate Campaign Specialist (Pandora – Denver) 

This individual will work with the Local Campaign Specialist and Local Sales team to help support the day-to-day needs of the region’s advertising partners. The right individual will be a key contributor in the Client Services organization and will be responsible for assisting with media planning and campaign execution; drafting media plans, providing advertising creative deadlines, technical specifications, reporting; and tracking and optimizing delivery.

Associate Partnerships Manager, Music (Twitter – NYC) 

Your task: nurture relationships, expand Twitter’s footprint and develop best Tweeting practices for high-profile talent and their representatives in the music industry. You should have a strong vision for the broad potential of entertainment & Twitter, while being focused on scalable impact and immediate, tactical opportunities that result in value and growth for Twitter.

The role requires superb partner management skills, proven evangelism chops and an aptitude for driving innovation and facilitating change. You must have direct, hands-on experience in entertainment and an ability to “talk the talk” with traditional entertainment players. You should be a native and expert Twitter user. You should thrive in environments that are uncharted and ever-evolving.

Manager of Music Programming (Vevo – NYC) 

We are searching for an organized and detail-oriented Manager of Music Programming to support our Creative Content & Programming team and help to successfully give our audience the best possible music video experience.

The Manager of Music Programming will report to the Director of Music Programming and will be a member of the broader CC&P team. In this fast-paced, multi-faceted position you will hold the keys to various aspects of programming such as playlisting, curation, product development, scheduling, and content creation.

As a member of the CC&P team here at Vevo, you’ll be working alongside super talented individuals that will both inspire you and challenge you to think about music in ways you may have not imagined. We often take time as a team to review new industry trends and advancements, and think critically about various things happening in the world around us that may impact the ways we decide to be more strategic as a team overall. We have a phenomenal team made up of accomplished individuals from all walks of the music and tech worlds, and we’re excited about having you join us.

Are you up to the challenge? Yes you are! If you believe Bono that “music can change the world because it can change people”, then you recognize the power of music. Bring your ability to balance creativity, focus, determination, and teamwork so that, together, we can bring the power of our music video and entertainment platform to the world.

College Marketing Representative – Urban/Pop (Sony – VA)

Sony Music U plays an essential part in the development of Sony Music’s emerging artists and also assists in the roll out of established artists as well. Among the myriad of functions and responsibilities, our College Marketing Reps organize listening events, interact closely with various campus groups, independent record stores, lifestyle shops (skate shops, cafes, barber shops, clothing stores, etc.) and are also very active across social media platforms. We ask our reps to spread awareness for our priority projects via social media, therefore you will be asked to utilize your personal accounts and/or create, build and maintain a “market specific” social handle. (ex. Sony Music U San Diego). This is a part time role that requires a commitment of approximately 20 hours a week. The College Rep position is a great way to learn about the music business, gain marketing experience, and get your foot in the door of one of the world’s leading entertainment companies. We work with ALL Sony companies including but not limited to: Columbia Records, Epic Records, RCA Records, Legacy Recordings, Sony Masterworks, Sony Nashville & Sony Electronics.

Director of Marketing (Hawaii Symphony Orchestra – Honolulu) 

The Marketing Director is responsible for planning, supervising, administering, and evaluating programs that meet or exceed attendance and ticket revenue goals for concert events and maximizes the visibility of the organization. They will plan and manage all marketing activities, including, but not limited to, advertising, season subscription campaigns, single ticket sales, and audience research.

Latin Music Programmer (Mood Music – Austin)

Mood Media is seeking a Latin Music Programmer to join our growing National team in Austin, TX or Charlotte, NC. This creative role will conceptualize and manage branded music experiences and programs for national corporate clients and consumer offerings, keep abreast of music trends, and coordinate client relations.  A Music Programmer is responsible for choosing music to capture the essence of a brand, experience design concept or consumer target. Candidate must have a background in creating brand or consumer experiences with Music. As a result, the ideal candidate will need to have a creatively focused background, having worked within media or a creative agency (radio, television, new media, advertising, design). While they must ultimately demonstrate significant creativity in the job, he/she must also demonstrate discipline and a strong corporate acumen, as they will regularly interact with a variety of brands across multiple industries. A Music Programmer for Mood Media must also demonstrate a multi-dimensional relationship with Music, either as a musician, a DJ, a producer or promoter in addition to the required experience.

Team Assistant for Music and Media Licensing (Nickelodeon – NYC) 

Provide support to the Music & Media Licensing team supporting Nickelodeon including Nick Jr, Nick @ Nite, NickToons, TeenNick, Nick .Music and Nick Sports.

Responsibilities

  • Administer and track the execution and payment of licenses, secure signatures on license agreements and process payments through the MARKET. Work with third party vendors including obtaining W-9’s and 8Ben’s, and collaborate with Finance and Operations on any payment related issues.  
  • Research time-sensitive payment information in SAP, attend to client groups and vendors regarding payment inquiries, and coordinate payment issues with Accounting, Production Management, Tax Compliance and Accounts Payable.
  • Research copyright information (i.e. record label information, songwriter information, publishing information and film and TV distributors). Track and update programming rights reports and show tracking reports. Assist with end of year accruals, cue sheet reporting and other operational administrative duties as needed.
  • Assist with preparing license requests and ensure licenses are executed and paid in a timely manner.

Marketing Manager (SMG – Tucson, Arizona) 

SMG, one of the world’s largest entertainment companies and operator of the Tucson Arena, Convention Center, Music Hall and Leo Rich Theater in Tucson, Arizona is looking for a Marketing Manager. The Marketing Manager will oversee the planning and implementation of a complete marketing campaign for the facility and all events including group sales, sponsorships, advertising, direct mail, promotion, publicity, and social media. This position will also develop and implement an in house agency to act on behalf of the facility.

Manager, Audio Book Studio (New York Public Library) 

The Studio Manager oversees all activities of what could be described as an audio book publishing house for the blind and physically handicapped.  The mission of the studio is to record and make available digital recordings for the blind and physically handicapped for   national circulation, especially representing the diverse needs of the diverse communities of New York City.

DWA TV- Music Administrator (NBC Universal – Glendale, CA) 

DreamWorks Animation Television’s Music Department is seeking an experienced cue sheet administrator, who has a strong musical background and understanding of original created content, production timelines and grasps the significance of synchronization licenses, publishing splits and PRO information.  

Digital Music Catalog Specialist (Amazon Digital Music – Seattle) 

The Digital Music Operations team is responsible for generating content for Amazon’s various digital music services. Our goal is to build technologies, metadata and processes that create distinctive products for our customers and services all over the world.

The Catalog Specialist is responsible for supporting the metadata attributed to digital music and upholding our QA standards and workflows. If you love music and want to be a part of the Digital Music revolution – this is the place to start!

Manager of Music Tours (Gustavus Adophus College – Saint Peter, MN) 

The annual teaching assignment will be five courses (5/7 appointment), one of which may be one-month January Term experiential course determined by candidate and appropriate to the candidate’s expertise. The position includes the opportunity to teach in our innovative Public Discourse initiative.

Music Department Manager (Straz Center – Tampa, FL) 

The Music Department Manager oversees the daily operations of the Music Department and is responsible for managing all Music Department-related administrative, curricular, communication, and event planning needs. The position will also provide administrative and instructional support for the Conservatory to Go programs and Outreach programs as needed.

Older posts (7+ Days)

Marketing/Sales Assistant for Music Publisher (Carl Fischer Music – NYC)

Carl Fischer Music is seeking a full-time Marketing/Sales Assistant. This position will assist with all aspects of marketing and sales, including convention coordination, data entry, and administrative tasks. The ideal candidate is intelligent, dynamic and familiar with classical and/or educational music.

Music Librarian (Interlochen Center for the Arts – Interlochen, MI)

Interlochen Center for the Arts is looking to hire a full-time Music Librarian.The Fennell Music Library serves the music program (with dozens of large and small ensembles needs as well as solo repertoire) of two world-renowned programs, Interlochen Arts Camp and Interlochen Arts Academy, and includes extensive collections in band, orchestral, choral, chamber music, jazz, scores, and recordings. This position makes it possible for students, faculty, and staff to access the needed materials for their curriculum in a timely and efficient manner.“Without a proper catalog, a library is nothing more than a building full of books with no map to guide the user to the resources.”Robert L. Bothmann The library staff

  • builds meaningful relationships with faculty, staff, and students.
  • assists patrons in finding information.
  • provides a collection that reflects and anticipates patron’s needs.
  • creates a welcoming atmosphere.

This position works closely with the Music Library Head and other library staff members in order to provide these services to the ICA community.

Digital and Social Media Producer (CBS Radio – Minneapolis)

Looking for an ambitious, motivated producer who has an eye and ear for digital media and understands how to grow an audience online. You live and breathe news as well as country, and rock music. And, you know how to identify the best moments, viral video or news to post to drive social engagement, web traffic and video views. You know exactly what your audience wants on social media and can provide video, photos and snappy copy for all platforms. You’re a go-getter who can work with radio station jocks, producers and staff to offer best practices for posting on social media, and know how to market content for a digital and national audience. You can roll-up your sleeves, write an article, produce a video and can post it all online.

Culture Marketing Manager (Red Bull – Boston)

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.

Coordinator, Tour Marketing (WMG – Burbank, CA)

The successful candidate will be a dynamic, engaging and experienced Coordinator who has the interpersonal chops to create close working relationships across all functional areas to ensure successful tours and marketing campaigns, satisfied clients and achievement of company goals and objectives.

Manager – Live! Artist Relations (Child Fun International – Nashville)

The Manager, Artist Relationships supports furthering ChildFund’s mission within the music and event industry.  The Manager assists in developing strategies for acquiring child sponsors and other monthly donors involving artists, speakers, and other personalities, and cultivating and maintaining ongoing relationships with artists and other influencers within the music industry.

Promotions Manager (Cumulus Media – Appleton, WI)

Cumulus Appleton-Oshkosh, a 5-station cluster, is looking for an experienced Marketing and Promotions Director to coordinate and implement on and off-air promotions and events in order to promote the stations’ image and presence in the marketplace to our primary demographic while maintaining a winning onsite image. This position requires a high degree of organizational skills, attention to detail, time management and a personal disposition that works well with creative co-workers in both programming and sales.

Marketing Assistant (Audio Research Corporation – Plymouth, MN)

We are seeking a Marketing Support Associate, a unique individual who encompasses various skill sets and will report directly to our Director of Marketing. Most importantly, the right candidate should be a very creative and motivated problem solver who enjoys the daily challenges, camaraderie, and entrepreneurial spirit associated with a fast paced, growing business. With a joyful and energetic voice, the successful candidate’s will answer the main phone and redirect calls to appropriate internal personnel throughout the business day. When not managing the phone, the candidate will assist with marketing support working with social media, website CMS, art production files and product images.

Visual & Social Media Manager (TIL Events – Eagle Rock, CA)

Full-time iVisual & Social Media Manager needed in-house for event production and marketing company in Eagle Rock. This is a full-time position including live events on Saturdays. Must have experience in basic graphic design, social media and content creation and management. Must be detail-oriented in a fast-paced environment. Entertainment driven with interest in movies, food and music. Salary DOE + benefits.

Community Engagement Manager (South Dakota Symphony Orchestra – Sioux Falls, SD)

The South Dakota Symphony Orchestra invites applicants for the newly created position of Community Engagement Manager. This person is an innovative, resourceful individual responsible for designing, developing, and implementing the organization’s award-winning community engagement strategies. This collaborative professional works in close partnership with the Executive Director, Music Director, Director of Operations and Education, SDSO musicians, and guest artists to co-create programs to further develop the organization’s ability to serve its unique community. The SDSO Community Engagement Manager is responsible for the comprehensive management of the administrative details that the lead to the effective execution of SDSO community engagement programs; serves as primary point of contact for community partners; and develops effective program evaluation models.

Community Manager (Havas Media – NYC)

Our team is looking for a Community Manager to join our amazing team. We work in an open space area where the mix of creativity and collaboration are the key to our success.

Daily Responsibilities

  • Publish content to channels from an agreed-upon content calendar. On some clients, using a specific CMS (ex: Sprout).
  • Daily monitoring of the brands’ social pages (track conversations, answer questions, and converse with fans in line with the mutually agreed upon CRM response.
  • Engage with Influencers where appropriate (regramming, retweeting, commenting etc).
  • Prepare qualitative community insights to share back to team to inform ongoing content optimization, identify any trends in audience engagement and observations, provide Community Engagement Overview for Monthly reports.
  • Turn data in actionable insights for clients as a junior social analyst (training provided)
  • Provide plan(s) around crisis management, as/if needed.
  • Identify issues that are appropriate for escalation and engagement in accordance with brand-approved protocols and procedures as needed.

Performing Arts Coordinator (Univ. of Wisconsin)

This position reports to the Department Chairs of the Music Department and Theatre & Dance Department and coordinates, manages, facilitates, and supervises the duties necessary for the production of Performing Arts events.  The Performing Arts Coordinator will work closely with Music and Theatre & Dance faculty to accomplish goals set in their academic units.  This 83% renewable Academic Staff position will work full time from August through May each year, with no expectation of employment during June or July.

Music Supervisor (Apple – Santa Clara Valley – CA)

Reporting to the Music Creative Director, the Music Supervisor will understand and love everything music. This person should have amazing organizational skills and can find their way around an intricate music library. Their insight and knowledge of the music world will help define creative concepts, emphasize storylines, emotion, and cultural relevance through their musical selections. This person must be able to seek out quality music that reflects the brand. They contribute to the creative process by collaborating with creatives, producers and composers to come up with iconic, creative music ideas and sound design. Someone who is able to exposes us to a variety of music would be ideal. This person will liaise with in taste-makers, DJs, bands while searching all over the world for new and innovative music.

Categories
News

Do More ‘Weird’ Stuff

Earlier today someone sent me a link to a video of Lil Yachty performing a Simpsons themed rap as part of a new digital short for Jimmy Fallon’s late night show. This was perfect content for me, a lifelong Simpsons fan, as well as something highly sharable that would no doubt get the name Lil Yachty in front of people who might not have heard it otherwise. Here’s the clip in question:

You may or may not enjoy Lil Yachty’s music, but if you’re a fan of The Simpsons there is little doubt in my mind that the opportunity to hear a rap about the citizens of Springfield is something you wouldn’t miss for the world. This is why the video above is such clever marketing: The idea works regardless of how is behind it. Any artist could create this video and, as long as it was done well, there would be an audience of consumers who might not otherwise touch said artist’s music. 

I call content like this ‘weird’ because it’s not what an artist would normally deliver (song, video for song, album, tour dates, etc.). ‘Weird’ content steps outside the normal expectations for artist promotion and shares something wholly original that also speaks to the artist’s life outside music. This type of content helps artists forge stronger connections with fans through common threads of interest that, through clever manipulation, ultimately connect with the music the artist is creating.

Take the video above. What Lil Yachty has really done by creating this clip is to make himself more accessible to an audience of consumers that may or may not already know his name. Yachty himself is an outspoken fan of cartoons, as are many of his fans, so to leverage the longest-running cartoon in the name of personal branding is a smart decision. People who enjoy The Simpsons may also enjoy rap, and if that is the case there is a fairly decent chance they will enjoy what Yachty does as well. If not, at least they have heard it and can tell others about its existence, even if they are just referring to the video above.

The best kind of marketing any artist can hope to achieve is the kind that comes from fans tells non-listeners about the artist without being asked to do so. Fun, ‘weird’ clips like the one in this post encourage sharing without directly asking for artist promotion. 

Think of something you love and find a way to share that passion with your audience. Maybe this means a clever video, or perhaps it’s a blog covering a TV show you cannot stop binging while on tour. Let people know what makes the person behind the music tick and they will care for the music being created more than ever before.

Categories
News


In Life and Business, Build It Yourself

One of the more bittersweet struggles in life and business is the wait between having a great idea and being able to act on it. Once you begin turning your ideas into actions your desire to continue doing so becomes unstoppable. You hunger for the next thought because it might be the one that changes everything, or at least something that pushes you a bit further forward in your creative pursuits.

Expressing yourself through action soon becomes purpose, the thing we all seek, and the wait to produce something original can be absolutely maddening. We’d rather pay people to do the work for us or short cut the traditional methods of release for the sake of self-gratification. We seek short cuts and ways around delays because we just have to get our ideas into the world, which is precisely where everyone goes wrong.

When we outsourced work on a new platform early last year, we thought we were doing it for the right reasons. After years of growth and success we had the means to create an updated system for our clients that met many long time demands. In our minds it was a move for them, not us, and it could happen much quicker with additional help in development.

We knew what people needed because we spent our days engaged with them in a dialogue about our product. You know who didn’t? The team we hired to help us build the site.

This is not a slight against them. The entire team was very talented and they helped us build a beautiful system. If only that system actually worked it would have been a gorgeous product release, but as many users know that is the furthest thing from what happened. The release crashed our system for days, leaving clients and members of the media without access to their music. It was a borderline worst case scenario.

We do not blame the team that we hired for this mistake because we knew it was our rush to get a new product out that ultimately lead us astray. We could have built the platform ourselves, but instead we tried to take a short cut in our personal development by seeking help from people unfamiliar with our mission and focus. We asked people to think like us rather than thinking for ourselves.

In the weeks following the failed launch of the new platform we came to a realization: We need a new plan and we still have to pay off the now largely useless updated platform. After much debated we decided to return to our core product and revisit ever single page and tool one item at a time. We made lists of everything we could change and talked about the things we wish we knew how to build ourselves. Instead of one big update we would make several minor updates throughout the year, each furthering the overall quality of our platform.

Our biggest success has been the product of our team working together. We may not be the biggest team in the world, but we are dedicated to our mission and we stop at nothing to deliver high quality work to our consumers. If something we need can be gained through our own efforts then it us our responsibility to see it through.

It doesn’t matter what it is you want to pursue in life. Whether you want to create, teach, build, or work in middle management you need to do the work involved to find true success. Houses and countries and cell phones and stereos do not happen simply because they are wished for. People just like you and me put their own blood, sweat, and tear into something because they wanted to see it exist. They sought like-minded people, but they never relied on them to do the things they wanted.

Don’t seek a legacy –  build one.

James Shotwell is the Director of Customer Engagement at Haulix. He is also a Managing Editor at Substream Magazine and a ten-year music industry veteran. You should probably follow him on Twitter.

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