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News

Misfits’ Doyle: “There should be a $10,000 fine” for stealing music

In a new interview, iconic musician Doyle Wolfgang Von Frankenstein laments piracy and complains about being ‘forced’ to participate in fan meet and greets.

Paid meet and greet opportunities have become commonplace in the music business as over the last decade. In many cases, artists have begun offering meet and greets as a way to supplement income lost from the continuing decline of physical music sales. Misfits guitarist and renowned solo artist Doyle Wolfgang Von Frankenstein offers fans a photo and handshake opportunity for $50, and in a new interview he explains how the package came to exist, as well as why he hates it.

In a new interview with The Liquid Conversations podcast, which you can listen to below, Doyle discussed how the music industry has changed during his nearly 40-year career. Amongst other highlights, Doyle noted how his relationship with fan interactions has changed, as well as the impact of streaming on his career.

“The thing that sucks the most about it is that everybody steals music,” he responded to a question about changes in the industry. “You spend thousands and thousands of dollars to make a record, and all of these scumbags are just stealing it. And then they want more, and then you’re a dick because you’re doing a meet-and-greet for fifty fucking bucks to make up for it, which you don’t want to do. [Do] you think I want to meet all these fucking people? I don’t. When I’m done, I just want to take a shower and go to bed.”

Speaking specifically to those who complain about the high cost of meeting him, Doyle responded, “They can kiss my ass. You want to steal shit? If I was making motorcycles and they came and took one, would that be a crime? Why can’t we punish people for stealing songs? There should be a $10,000 fine for that.”

Doyle’s frustrations seem to stem from his distaste for services like Spotify, which he feels undervalues and underpays the artists they rely on for the music to offer consumers. “You make nothing,” he said of his relationship with the streaming giant, “it’s $9 a month [for a subscription], and you can listen to a song 10,000 times if you want.”

He continued, “I can’t do the math, but how much do you think the bands get? It’s like a hundredth, maybe a thousandth of a penny you get. My girlfriend [Arch Enemy singer Alissa White-Gluz] went to [Spotify’s] office, said that shit was insane. I would’ve went fucking mental, I would’ve started breaking everything.”

Doyle goes on to say he believes Metallica’s Lars “was right” to sue Napster at the dawn of the Millennium. “Everybody thought he [Lars] was a dick. He didn’t do it for him. He’s got the fucking money. He did it for fucking jerkoffs like me.”

Categories
Job Board News

NOW HIRING: Publicist (Atom Splitter PR)

Do you have what it takes to become the next great rock and roll publicist?

Atom Splitter PR is looking for a part-time publicist. 15 to 20 hours per week. Strong potential to develop into a full-time position at some point. Can work remotely but Interested parties must live in the metro NYC area (NYC, NJ, Philly) and have a passion for PR, an understanding of the gig, and a desire to grow in the field. Previous experience is preferred but entry level candidates will also be considered. Duties include pitching national and tour coverage and processing and fulfilling requests for a very busy tour and servicing slate.

Our current roster includes Killswitch Engage, Alice Cooper, I Prevail, Attila, Falling in Reverse, Vein, Hatebreed, Trivium, August Burns Red, In This Moment, Bullet for My Valentine, Of Mice & Men, Zeal & Ardor, Demon Hunter, Underoath, Cane Hill, Fearless Records, earMUSIC, Closed Casket Activities, Rise Records, and many more.

Interested parties can email their resume to amy@atomsplitterpr.com.

Looking for additional job opportunities? Our weekly Job Board features dozens of openings from across the United States!

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News

Music conferences you should attend in 2019

Not all music conferences are created equal. Some will change your life, but others are a waste of time.

Music conferences are an increasingly popular way to learn about the industry, network with peers, and gain access to business leaders who may otherwise be unavailable. No two events are the same, which can be a good and bad thing for consumers, but they all promise to help dreamers learn how to make their fantasies a reality.

The truth is that no one can make your dreams a reality other than you. The best any conference can do is offer the chance to learn how to best position yourself for success. Maybe the means attending panels featuring discussions between industry figures you admire or perhaps it means submitting to showcase at a place where movers and shakers in the business may be present, but success itself is still your responsibility.

With this in mind, it’s important that aspiring professionals who want to attend music conferences select the right event to meet their needs and help their career. There are many conferences that offer little to no useful information, as well as many more who gladly take money from artists in exchange for showcase opportunities that have little to no likelihood of being attended by people who can actually boost a career. These events happen all over the country every year and will continue do so because the vast majority of aspiring professionals are so desperate for the keys to success that they will go anywhere and do anything to get ahead.

But that’s not you. The fact you’re reading this now says you’re only interested in making wise investments with your time and finances. You understand there are no shortcuts in this business, and that alone places you in rarified air in your peer group.

We’ve had the opportunity to attend music conferences from coast to coast, and though we have not been to them all, we do know several that have the potential to change your life and career. Don’t miss these events:

SXSW

When: March 11-17
Where: Austin, TX
Details: https://www.sxsw.com/festivals/music/

The largest gathering of dreamers and professionals in the world, SXSW is the go to destination for anyone trying to rise through the ranks of the music industry. There are hundreds of speakers, thousands of performers, and all the parties anyone could hope to attend. The street food is pretty good too.

We believe everyone should attend SXSW at least once in their lives. It’s a chaotic event unlike anything else that isn’t for everyone, but those determined to get their name or music in front of tastemakers can accomplish that on the streets of Austin as long as they have the confidence to step up and say something.

LAUNCH Music Conference

When: April 25-28
Where: Lancaster, PA
Details: http://www.launchmusicconference.com/

LAUNCH is the SXSW of Pennsylvania. In fact, it may be better than SXSW because those in attendance have more access to industry leaders and a better chance of seeing the next big band in music. The event welcomes thousands from around the US for four days of discussions and mentoring, all lead by some of the brightest minds in the music business. At night, the festival takes over the city of Lancaster with hundreds of live performances happening all over the historic downtown area.

Haulix has participated in LAUNCH several times and will return this April to appear on one of the many great panels curated by the event staff. We’d love to meet you, so please come out and say hello!

Music Biz 2019

When: May 5-8
Where: Nashville, TN
Details: https://musicbiz.org/events/music-biz-2019/

Music Biz 2019, powered by the Music Business Association, will return to Music City USA to unite leaders in the commerce, content and creative communities across the globe to discuss the future of the music business and to build relationships that will steer the industry for years to come. Here you can find representatives from the biggest names in music, as well as networking opportunities with peers in a city where anything can happen.

We collaborate with the Music Biz organization throughout the year on webinars and other educational opportunities. Their star power and location sure makes Music Biz an event worth attending, but it’s the fact that they care about making sure everyone gets something from their conference that places them on this list.

East Coast Music Conference (ECMC)

When: May 9-12
Where: Norfolk, VA
Details: https://eastcoastmusicconference.com

For its second year, ECMC is adding more nationally recognized speakers, such as Matt Starr; Tune Core founder, Jeff Price; and documentarian, John Rash; along with 30 other speakers and panelists. Additionally, for the live music showcases, ECMC will be adding several national acts to compliment approximately 75 international, national, and 20-30 local performers. ECMC 2019 is hosted and sponsored by a Who’s Who of innovative local companies, including O’Connor Brewing, Percolator, and Homemadesoul Music. So far, ECMC 2019 has artists booked from four nations including the U.K. and Japan. The growth has been spurred by overwhelmingly positive response of first year attendees and the successes of 2018 artists, such as being added to Warped Tour and other major events, widespread national media coverage, and the signing of licensing and other deals from the conference.

Every conference promises opportunities to get ahead, but ECMC backs their claims up with evidence of success that no one can deny. Also, it’s the only conference on this list to feature Warped Tour founder Kevin Lyman AND rap icon Ice-T in the lineup. If that’s not enough to make you want to attend, we don’t know what to tell you.

CD Baby’s DIY Musician Conference

When: August 16-18
Where: Austin, TX
Details: https://diymusiciancon.com

Don’t let the name fool you. DIY Musician Conference has something to offer artists and aspiring professionals alike. The event itself is young, but the industry talent it attracts is seasoned. You will be face to face with movers and shakers of the industry who are still actively involved in shaping the business of music on a daily basis. You will also rub shoulders with peers who, like you, are ready to take their career to the next level. 

Categories
Editorials News Writing Tips

How to write compelling concert reviews

Reviews are a dime a dozen these days, but a great live review by an engaging author can still make the difference between a tour’s success or failure.

Ah, the concert review. It has been a staple of entertainment journalism longer than almost any other feature, appearing long before recorded music was even thought possible, and it will most likely outlast us all. Why? For starters, the financial risk in seeing virtually any show is much higher than consuming a single song, album, or movie. Most people will risk $10 on a new release, but far fewer people are willing to spend $30 (or in many cases, much more) to see a performance whose quality is uncertain.

Then there’s the YouTube problem. Just last week, I saw Kelly Clarkson tell a crowd of thousands at Van Andel Arena how much she appreciated their attendance by admitting, “I don’t know if I like anyone enough to leave my house. You could have watched this whole thing on YouTube from your couch, but you’re here, and that means something.”

There are thousands of hours of concert videos on YouTube. In the time it takes to read this article there will likely be hundreds, if not thousands more than when you started. A lot of the clips feature muddy sound and poor video quality, but there remains more than enough decent uploads to sustain those unwilling or unable to purchase tickets for themselves. Just look at this video from the latest Panic! At The Disco tour, which is currently making its way across North America:

The clip above may not duplicate the live experience, but for many, it’s good enough.

These reasons, as well as many others, explain why creating quality live reviews is so important in entertainment today. A compelling live review can determine whether or not a ticket is bought, which plays a role in whether or not artists can support themselves and continue to create.

The importance of criticism in regards to concerts is as much about the performers on stage as it is the production, the crowd, and the overall vibe of the event. Journalists can speak to all these elements on a technical level, but what really grabs today’s easily distracted reader is the critic’s own journey. The consumer of your material may never make it to the show in question themselves, and the reasons for that are numerous (schedule, cost, etc.). What they can do, however, is live vicariously through you.

In today’s entertainment writing culture, the key to crafting a great live review lies in learning how to tell a good story — your story. You should consider yourself, your feelings, and everything that goes into a night out on assignment as a vessel for others. Capture as many moments as possible, especially the tiny moments that others in the crowd might miss, and use them to make your story more engaging for the reader. Here are some questions to get you started:

  • What is the weather like?
  • Is it hot or cold inside the venue?
  • Do people look happy to be there?
  • When did the venue staff notice people lining up? (Don’t be afraid to ask!)
  • What are people in the crowd talking about?
  • What are people in the crowd wearing?
  • How much time between sets?
  • Did the performers engage the audience? If so, how?
  • What moments from this show will you remember in six months?
  • What would you change, if anything, to improve the night?
  • How did you feel during the show?
  • Were your expectations met?
  • Where were your expectations?

2019 is shaping up to be a banner year for live entertainment. Legendary acts are returning to the stage for a final run, new artists are trying to fill large venues, and there appear to be more festivals than ever before. Everyone who is anyone is trying to get a piece of consumers’ live entertainment budget. The reality is, only a few will succeed, and critics can play an active role in determining who comes out on top.

Categories
Job Board News

Music Industry Job Board (February 18, 2019)

New openings:

Executive Assistant/Music Industry (Concord Music Group – Los Angeles, CA)

We are currently seeking an Executive Assistant to support the President and VP A&R, Craft Recordings, and work cross-functionally with Finance, Sales, International and Production shared services departments as well as with A&R and Project Managers for all Craft labels. This newly defined role will be responsible for developing, updating and maintaining P&L Budget Planners for all Craft Recordings labels and A&R release scheduling, in addition to maintaining schedules, booking travel, processing expense reports, and coordinating special events.

Junior Composer/Sound Designer (Incredible Technologies – Vernon Hills, IL)

Incredible Technologies is looking for a highly driven Junior Composer/Sound Designer to work alongside our in-house team. This individual is responsible for assisting the audio department as needed. The person in this position will also have the necessary skills to develop into an impactful composer, sound designer, and audio engineer. This position reports to the audio director.

Music Contract Administrator (Netflix – Los Angeles, CA)

Netflix seeks an experienced Music Contract Administrator to help support our expanding slate of Original content (Series, Film, Documentary, Comedy, Unscripted, International and Kids & Family programming). This role will have broad responsibility for managing the tracking, organization, distribution and processing of a high volume of contracts and payments for the Music Team, from signature to distribution, archiving, processing and arranging for payment.

Creative Admin / Project Manager (Live Nation – Chicago, IL)

Live Nation is looking for a highly passionate individual to assist with the everyday operation of the Creative team. The ideal candidate will be responsible for project management, creative research, department management, administrative duties and graphic design of all things related to Live Nation Creative.

Department Assistant, Creative Music and Licensing, Business Affairs and Legal (Viacom – Hollywood, CA)

The Viacom Business Affairs and Legal Department is seeking an exceptional Department Assistant to provide administrative support to the Vice Presidents of Creative Music and Licensing Strategy for Viacom Brands.

Content Editor, Classical Music (TiVo – Ann Arbor, MI)

The Content Editor position is a position for the Classical music content area. In the most general terms, the assistant editor’s job is to ensure the integrity of the music database through research, content creation, editing, and standardization.

Music Coordinator (Fox Broadcasting Company – Los Angeles, CA)

Assist Senior Vice President of Music & Production and Creative Director of Music full capacity. The Coordinator, Music of On-Air Promotion is responsible for overseeing, ingesting, reporting of cue sheets, the procurement and selection of popular and needle drop music, organization and communication with all music production libraries, facilitating music licenses and clearances, developing data for music budgets and reporting of all promo music used for royalty distribution.

Manager, Music Licensing (Audio Network – Los Angeles, CA)

This full-time L.A. based role will be joining an efficient international music licensing company already operating in London, New York, Los Angeles, Munich Paris. The Manager, Music Licensing will work with the current Los Angeles team in selling Audio Network’s library to film and television companies. This is a great position for someone who has experience in music licensing and sales.

Contract Processor (Sound Royalties, LLC – West Palm Beach, FL)

This role will be responsible for gathering and entering data to generate electronic contracts. The Processor will, in conjunction with our inside sales representatives, generate new contracts and review them for completeness and accuracy. Must be able to multi-task in a fast-paced sales environment. The processor must be professional, fair, and have a collaborative approach with all stakeholders.

Coordinator, CMI (Viacom – Hollywood, CA)

The Coordinator, Creative Music + Licensing Strategy will work with Sr. Director, Director + VP to manage the use of music within Viacom content (MTV, VH1, Logo,BET, CMT + Whosay) from a creative licensing POV, working closely with Production, Development, Music Talent Department, Brand Creative, Digital, Social, MML and the Music Services team.

Catalog Operations Coordinator (Downtown Music Publishing – New York)

Our Sync/Sales team is seeking a Catalog Operations Coordinator for its New York office. In this role, you will maintain the integrity of the web-based tool used by the global Sync/Sales team and oversee future ingestion of all audio assets. You will serve as the first point of contact for Downtown clients looking to deliver audio assets, and you will organize and catalog those recordings on the sales site. You will also work with the developer of the sync/sales tool and oversee updates and changes to the site. If you thrive in fast-paced and agile environment, have strong organizational skills, and an interest in the music industry this job is for you. 

XXL Editorial Assistant (Townsquare Media – NYC)

Are you passionate about hip-hop music? Do you have extensive experience in editing and writing? If so, we would like to talk to you! Townsquare Media is looking for their next News Editor in New York City for the top hip-hop music website, XXL Magazine. The ideal candidate has substantial editing and writing experience. This person also has strong relationships within the music industry, with a passion and talent for all things hip-hop. 

Music Licensing Associate (UMPG – Santa Monica, CA)

This position assists with driving revenue through administrative support for the Music Licensing team. Provide Administrative and Operational Support by assisting and processing any client and account executive requests.

Project Manager (Live Nation – Beverly Hills, CA)

Live Nation is seeking a qualified individual for a Project Manager position. This detail oriented position requires excellent organizational skills, professional interaction with management personnel, vendors, clients of all levels, an ability to work efficiently, accurately and effectively under pressure, and ability to complete and prioritize tasks in a timely manner. The ideal candidate will have proven experience in staff supervision and recruitment, and customer service. The ability to communicate with respect and diplomacy across all levels of business is essential to this position. Maintaining knowledge of current ticketing trends in entertainment industry is an essential element to this position.

Music Booking Agency Assistant (Los Angeles Music Talent Agency – Los Angeles, CA)

LA-based music talent agency seeks ambitious and career-oriented person for an entry-level assistant position who is passionate about artist representation.

Publicity Assistant (The Hip Hop Publicist – New York, NY)

A Hip-Hop publicist is a public relations and communications specialist that focuses on cultivating and maintaining the image of a music artist by working alongside music professionals such as a journalist, editors, bloggers, program directors, DJ’s, promoters, and event curators. Our publicists should have well developed and established relationships within the Hip-Hop industry to be considered for this position.

Each candidate should also possess strong public and media relations training and strong communication skills, as well as knowledge of the Internet and other new media formats, through bachelor’s or master’s degree programs in public relations, communication, marketing, business, journalism, advertising, or another related field.

Hip-Hop publicists will also create press releases and speeches for press conferences, interviews, and other important events. A good publicist never clocks out. You are expected to be available at any hour and at a moment’s notice.

Booking Administrator (Live Nation – San Francisco, CA)

We are looking for a highly organized, experienced, motivated individual with dynamic interpersonal skills! This individual will assist Live Nation San Francisco office and liaise between departments in day-to-day tasks, concert booking procedures, venue calendar bookings and managing relationships in the live event industry.

Associate Project Manager (NPR – Washington, DC)

A thriving, mission-driven multimedia organization, NPR produces award-winning news, information, and music programming in partnership with hundreds of independent public radio stations across the nation. The NPR audience values information, creativity, curiosity, and social responsibility – and our employees do too. We are innovators and leaders in diverse fields, from journalism and digital media to IT and development. Every day, our employees and member stations touch the lives of millions worldwide.

The role reports to the Senior Project Manager for Programming.

Administrative Assistant (Republic Records – NYC)

Republic Records is currently seeking a dynamic Administrative Assistant to provide support to the President & COO. The ideal candidate is obsessively detailed, pro-active, has a knack for problem solving and a “can do” attitude. Experience supporting more than one senior executive is ideal, but not required. Customer service mindset, entrepreneurial spirit, polished professional demeanor, and the ability to keep calm under pressure are musts.

Manager, Media Council Membership and Industry Programs (Paley Center for Media – New York, NY)

The Manager, Industry Programs & Media Council Membership will recruit, sell and manage Paley Media Council memberships in New York and Los Angeles and will serve as the primary liaison for Media Council Members and as the internal point of contact for all events. The Paley Media Council is a by invitation only membership community for whom the Industry Programs group produces events. The Manager will create and manage annual Media Council membership recruitment and renewal campaigns. This includes ongoing prospecting for qualified new members and meeting membership budget. Additionally, the Manager will be responsible for audience development for Industry programs and membership sales for the Paley International Council.

Analyst, Copyright Royalties (UMG – Woodland Hills, CA)

UMG is currently seeking an Analyst in its Copyright Royalties Department. The Analyst will, among other things: identify exploitations of assets, research song ownership, verify and assign copyright ownership splits with internal and external parties as required. The position requires focus, diligence, and accuracy, all accomplished in a fast-paced environment. must be agile and adaptable, organized and dependable – showing character and care for the work produced. The role also requires to cultivate effective relationships with label personnel and other third parties.

Associate Coordinator, Editorial Content (Music Choice – NYC)

Write, edit and brainstorm content for our multi-platform products in a range of voices and styles for a variety of projects and formats, including TV, social media and web. Work collaboratively on artist and label marketing initiatives and help to build strong label relationships.

Booking Coordinator (Live Nation – University City, MO)

We are looking for a highly organized, experienced, motivated individual with dynamic interpersonal skills! This individual will support the Live Nation St. Louis office and liaise between departments in day-to-day tasks, concert booking procedures, venue calendar bookings and managing relationships in the live event industry.

Social Coordinator / Assistant (Content Chemics – Santa Monica, CA)

Seeking a full-time SOCIAL COORDINATOR / ASSISTANT to work closely with two talent managers / representatives at the Santa Monica office of Content Chemics. Duties will include design & layout of presentation and event materials, coordinating travel and client entertainment, social and online media management, industry specific research, as well as routine administrative tasks, calendar management, data entry, and reporting. Excellent written and verbal communication a must. Our clients include A-list commercial/feature film/TV directors, music composers and post-production services. General understanding of the film and advertising industries will be helpful.

Manager of the Music City Music Council and Special Projects (Metro Government of Nashville and Davidson County – Nashville, TN)

Reporting to the Director of the Mayor’s Office of Economic and Community Development, the Manager of the Music City Music Council and Special Projects will develop programs to support the growth of Nashville’s key business clusters, particularly the music industry, and manage other projects in the focus areas of the office.

Executive Administrative Assistant (Columbia Artists – New York, NY)

Columbia Artists seeks a career-minded individual, with a passion for the performing arts, to fill an Executive Administrative Assistant position to assist the President & CEO

Concert Program Analyst (ASCAP – NYC)

A Concert Program Analyst credits live concert performances by matching titles on concert programs to those in the ASCAP database, weighting performances based on knowledge of musical genre, instrumentation and style, and entering new title records into the database. Concert Program Analysts also maintain and update works records with newly received information. As a team member, you will help with special projects outside the normal workload, communicate effectively, assist other team members with workload, and identify and recommend process improvements. 

Talent Buyer (Zamora Entertainment Inc – Taylor, MI)

Zamora Entertainment is looking for assistant to our talent buyer. Zamora Entertainment is the largest buyer of Latin Music in the US focusing primarily on Regional Mexican and Tropical music genres. Zamora Entertainment produces over 300 shows a year and operates several venues across the Midwest and East Coast. We believe that every event should be an unforgettable experience.

Social Media Marketing and Advertising Manager (Noise New Media – Nashville, TN)

Job Purpose: To carry out digital marketing and online advertising activities and manage client accounts.

Promotions Producer/Writer (Nexstar Broadcasting – Nashville, TN)

WKRN News 2 Nashville is looking for an enthusiastic, creative, writer/producer/editor to join our promotions and marketing team. Newsroom or broadcast experience is preferred. What we need is a candidate who can compose compelling teases – in a limited amount of words/characters – for daily and nightly news topicals, image campaigns, proof of performance, and anything else we think of to promote the News 2 brand. It all starts with great writing. We also want someone with that special eye and ear to edit the right video, sound and music to tell our stories, get our messages across clearly, and have the viewer looking forward to what’s coming up.

Administrative Assistant (AEG Worldwide – Nashville, TN)

The Administrative Assistant is responsible for supporting their department with general administrative duties.

Acquisition Marketing Manager, Concert Promotion (Ryman Hospitality Properties – Nashville, TN)

The Acquisition Marketing Manager – Concert Promotion is a member of the Acquisition Marketing team specifically responsible for planning and execution of advertising and promotional efforts for OEG concerts and events – including for Ryman Auditorium, the Opry, and occasionally, Ole Red. The work will include working with clients/promoters/artist teams to develop and execute media and third-party promotions and street-level marketing programs to drive ticket sales, create shows’ awareness, and enhance our Company’s brand perception as an excellent concerts’ promoter. This work connects directly with, and supports, Acquisition Marketing’s goals of attracting, acquiring, engaging, and monetizing audiences for the Company’s various brands. This role involves a mix of self-directed and collaborative work, including close alignment with the Director of Concerts and Artist Relations and Programming team as well as operational leadership.

Royalty Coordinator (Tri Star Sports and Entertainment Group – Nashville, TN)

Tri Star Sports & Entertainment is looking for a Royalty Coordinator to join our team in Nashville. The ideal candidate will possess a high-level of organization and resourcefulness to contribute to the growing team. As the Royalty Coordinator, you will report to the Royalty Manager and Director.

Analyst, Global Royalty (UMPG – Franklin, TN)

We are looking for a motivated person to work as part of the Global Royalty team. The Analyst will be responsible for the processing of incoming royalty statements for designated territories. The right candidate will be skilled at processing, gathering, reviewing and presenting royalty data in an organized manner. They should have an eye for detail along with the ability to identify data trends and anomalies. The ability to work timetables and successfully deal with ad hoc requests is essential for this role. This position reports to the Global Royalty Manager.

Music Hall Supervisor (Live Nation – Chicago, IL)

Responsible for assisting daily operations and overall business objectives in the Music Hall.

Categories
Business Advice Editorials Haulix

‘Hustle Harder’ is bad advice. Here’s why:

One of the internet’s most popular phrases, ‘Hustler Harder’ is a recipe for disaster, depression, and feelings of inadequacy.

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

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

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

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

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

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

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

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

Categories
News Podcasts

Inside Music Podcast #149: Demon Hunter (Ryan Clark)

Demon Hunter frontman Ryan Clark discusses music, art, and maintaining fan engagement without exhausting yourself on our latest podcast.

The number of metal bands who existed at the dawn of the millennium that continue to succeed today is smaller with each passing year. Blame it on changing trends or evolving tastes, it seems maintaining a career in the heavier career of music is a tricky proposition that only a select few ever achieve. Demon Hunter is one of the lucky ones, and today we’re going to talk about how they survived while others fell to the wayside.

Long before Patreon became the most popular way to support artists on a monthly basis, Demon Hunter was running a digital fan club. That service is still in existence today, and as Vocalist Ryan Clark explains during our latest podcast, it has played a significant role in keeping the band relevant. Demon Hunter does not tour as often as many of their peers, nor do they release new music on the standard 12-18 month album cycle. The band does what they want, when they want, and their fans support them every step of the way. 

Inside Music has always focused on the business of music and how it impacts the lives of those who commit to making a career in it, but this episode feels special. Clark and his bandmates in Demon Hunter have found a way to break from the norm while maintaining a large following that has backed the group for nearly two decades. He doesn’t reveal all the secrets to that success during our chat, but he offers enough to help others struggling to build a community out of their following get further ahead. Check it out:

https://soundcloud.com/inside-music-podcast/149-demon-hunter-ryan-clark

Prefer video? We’ve got you covered:

Demon Hunter will release two new albums, War and Peace, this March through Solid State Records. You can stream the group’s latest material below:

You can subscribe to Inside Music on iTunes, as well as all major podcast platforms.

Categories
News

Inside Music Podcast #148: Patty Walters (As It Is)

Mental health advocate and beloved vocalist Patty Walters sits down with Haulix to discuss life in the modern music business.

Pop punk isn’t all fun and games. Not every band writes about friendship, pizza, and road trips to summer festivals. The artists who make it big in 2019 take a stance on social issues and advocate for those unable to make their voice heard. Among them, Patty Walters and the other members of As It Is are saying the things that need to be said to make others understand that it is okay to not be okay.

As It Is has been blazing a trail in alternative music all their own for the last several years. Their latest release, The Great Depression, takes aims at many of the issues facing young people today with unflinching honesty and infectious hooks. It’s the kind of music that motivates people to make positive changes in their life.

On this episode of Inside Music, host James Shotwell sits down with Patty Walters of As It Is to discuss mental health, creativity, and the realities of working in music. Due to an issue with our recorder, the audio in this episode has crackles and pops we did not anticipate. Our apologies for the inconvenience.

https://soundcloud.com/inside-music-podcast/148-patty-walters-as-it-is

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Categories
Job Board News

NOW HIRING: Marketing Assistant (Warm Audio)

A chance to launch your career in music marketing is just a click away.

Fast-growing Warm Audio LLC is currently seeking a Marketing Assistant to join their team in the Austin, TX area. The company boasts a small yet efficient team in the pro audio industry that is highly collaborative and genuinely enjoys working with each other. Since they are a start-up, be prepared to be a team player, communicate effectively and be able to adapt to changes as they arise.

The position is heavily focused on marketing and sales. Graphic design experience, such as Adobe Photoshop, is preferred.

Professional Attributes include:

  • Is a detail-oriented and organized self-starter.
  • Can present feedback in an appropriate and helpful manner.
  • Works well independently as well as collaborating with a group.
  • Is engaged, focused and enjoys working hard.
  • Music and pro audio experience a plus.
  • Online marketing strategies a plus.
  • Search engine optimization a plus.

Job Requirements include:

  • 2 – 5 years of marketing experience.
  • Product, sales and business marketing.
  • Brand Ambassador – assisting with branding initiatives and campaigns.
  • Sales Channel Coordinator – assisting sales staff with marketing support and generating detailed sales reports. Providing dealers and distributors with marketing support such as graphics, manuals, videos, etc.
  • Project coordination.
  • Work with Web Developer regarding content updates.
  • Working with and assisting Marketing Director with various tasks.
  • Willing to travel for events and trade shows, if needed.

Think you could be the marketing professional Warm Audio seeks? Click here and apply today!

Categories
News

What musicians should ask themselves before hiring a publicist

Publicists can do a lot for your career, but only if you’re ready to work with them.

Every artist wants to find success in their career, but the path to success is rarely the same. What works for one artist or group may not work for another and vice versa.

For example, some artists get ahead with the help of publicist who uses their connections to land the band press opportunities that offer exposure which aide in the development of an audience. Other artists choose to promote themselves, and in doing so often find a quicker route to connecting with listeners. One way is not better than the other. Both offer success, though how it comes and what comes with may vary greatly.

The vast majority of up and coming talent we engage with mention their desire to find a publicist. Most know what publicists do or at least have some understanding of their role, but very few seem to grasp their role in determining whether or not a publicity campaign will succeed. With that in mind, we put together questions that every artist should ask themselves before investing in PR for their career.

1. Is my career even at a point where I need a publicist?

The idea of having someone in your life who spends a part of their day doing whatever they can to get the word out about your efforts sounds like a smart decision, but unless you have something worthwhile to share with the world you’re going to end up wasting a lot of money. Focus on creating the best album/single/video you possibly can, which I can tell you will likely not be your first release, and then think about bringing in someone to help promote. While many professional publicists will tell a band if they think the band is not ready for such a business relationship, there are a number of those out there who will happily take your money and never look back. It’s not on them to have something worth sharing; it’s on you.

2. Can I financially afford a publicist right now?

This may seem like a rather obvious statement, but the truth is many artists do not fully understand the costs associated with having a publicist. Most PR firms require a minimum commitment of 3-months for any project, regardless of whether it’s an album, video, or single. That means for three months you are expected to pay whatever price you negotiate at the time of signing, and failure to do so will likely result in monetary penalties being issued against your group. Avoid this unnecessary trouble (not to mention looking amateur to industry professionals) and double-check your finances before seeking representation. Set a budget and work to find someone who offers you the most ‘bang for your buck.’

3. What am I hoping to accomplish with this campaign, and do I need a publicist to pull it off?

It’s common sense that artists and bands hoping to promote their new releases turn to publicists to help get the word out, but depending on your situation you may be able to handle marketing perfectly fine on your own. There are a growing number of articles and sites dedicated to empowering independent artists, including the one you’re reading right now, and if you’re willing to put in the work yourself, it’s reasonable to assume you can gain at least a small amount of press on your own. Blogs and smaller publications usually post their contact information online, and by reading up on PR tactics, anyone can craft a pitch letter, so as long as you’re okay with Rolling Stone and Pitchfork not giving you the time of day you may be able to do it on your own.

Furthermore, you need to know what you hope to achieve with a campaign. Getting the word out about something is too vague. Do you want more followers? one-thousand plays in the first twenty-four hours of release? Ten interviews a month? All that and more? Make a list of goals and ask yourself if you possess the knowledge and means to achieve them on your own.

4. Do I have high-quality promotional materials ready to go (masters, photos, etc.)?

Publicists spend their day trying to get the word out about their clients, but that does not mean they’re going to create promotional materials to help get the job done. As the client, it is on you to provide your publicist with everything they need to promote your efforts, and it should go without saying that quality plays a big role in whether or not journalists give you some of their oh-so-rare free time. Before you even consider bringing someone else into your career, make sure you have quality materials you want to be shared with the world. If you turn in mediocre media, the returns will likely be mediocre as well. Publicists work with what they’re given, so be sure you give yours the best material you possibly can.

5. What marketing ideas do I have for the release of my album/music video?

This is probably the most important part of this entire list because it’s the area artists most often overlook. Publicists can make amazing things happen for your career, but without guidance and direction from you, they will have no idea what it is you’re trying to convey with your art. This is why when deciding to bring on a publicist it is imperative that you first come up with your own set of goals and ideas for the release. Publicists want to help you, not do the work for you, and starting the relationship with a wealth of ideas on deck will simplify the promotional efforts on their end. By knowing what you expect, publicists can work with you to craft a campaign that’s designed to accomplish your specific goals, and that will lead to better results down the line.

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