Tag: 2013

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Job Board News

Blogger Spotlight: Ashley Osborn (Highlight Magazine)

Welcome to the second Haulix Blogger Spotlight of the week. This time around we are headed to the windy city known as Chicago, Illinois to speak with talented young writer who is working tirelessly to create a new kind of music site that is sure to please those with a nostalgia for the glory days of entertainment magazines. She is not alone in her pursuit, and in the months ahead we plan to feature a number of people working alongside her, just as we have done with multiple sites in the past. If you have a writer you would like to recommend for a future installment of this column, please email james@haulix.com and share your story. You can also contact us via Twitter and Facebook.

Today’s highlighted talent is the co-founder of a digital publication that has taken the idea of a modern webzine to places none of the other sites featured up to this point have dared to explore. She and her team are amongst those leading the online music journalism evolution, and it is a truly pleasure to share her story.

Highlight Magazine is not your typical music blog. They feature similar news coverage and exclusives as any other site, but once a month they also publish a digital magazine offering in-depth reporting and gorgeous pictorials (for free, no less). They cover everything that falls under the category of ‘could one day be on Warped Tour,’ and in a little over have attracted a dedicated online readership built thanks to solid marketing and strong word-of-mouth. Leading the team (along with her two co-founders) is Ashley Osborn, a Chicago native with a passion for music and photography that is second to none. We spoke with ashley about the inspiration for Highlight Magazine, balancing her rising popularity as a photographer with her commitments to the site, where she sees the industry headed, and much more. You can read about her adventures in music below.

If there is one thing to take away from Ashley Osborn’s story it’s that hard work and good networking skills are key to success in the music industry, and that goes for musicians as much as it does members of the press. Talk to people, not at them, and learn about their journeys in the business. You never know where your connections may lead, and even if the go nowhere you’ll at least have a new friend who can relate to your struggle.

Ashley Osborn can be found on Twitter, as well as in the photo pit at major music festivals across the country. Those of you looking for latest music news can find it on Highlight Magazine’s official website. If you would like to see some of Ashley work as a photographer, click here to view her portfolio.

H: For those unaware, please state your name, the site you work for, and your role at said site:

AO: Ashley Osborn, Highlight Magazine, Editor-In-Chief/Co-Founder/Photographer

H: I believe you’re the first blogger based out of Chicago to be highlighted in this feature. What was the first album you fell in love with, and when did you know you wanted to work in the entertainment industry?

AO: I hate being that guy (hehe)! But I’d have to say Fall Out Boy’s Take This To Your Grave. It came out when I was in one of the most awkward stages of my life. A close family friend that used to babysit me (I was 11 at the time) was a scene kid and had me listening to all of this incredible music starting at the age of around… eight. But that album was definitely one that caught on. When I was around 11/12 I began going to shows a lot more with her and by the time I hit 7th & 8th grade I was definitely way into the Warped Tour scene. Never looked back. Started joining street teams for labels and assistant managing some local bands with social media/marketing. I just loved it and I loved that the community was such a family!

H: Being a blogger is about more than just typing, and one of the things you’re probably most known for is photography. Where does your interest in this medium come from?

AO: When I used to go to bigger shows I used to see this local Minneapolis (hometown) photographer, Joe Lemke, and he always intrigued me. I literally ALWAYS had an obsession with awful point and shoot cameras. I’d go to shows and all I ever really cared about was having photos to remember. I’d always snap way too many from the crowd (so weird). And eventually at a Paramore show in late 2009 I talked to Joe and he told me about what he does and that’s when I was like, “Holy shit, I’m going to do that.” After that night I saved up to get my first camera.

H: First camera? What you use now?

AO: I got a Canon Rebel XS in 2010 and then a Canon EOS 7D in 2011, worked with a 5D Mark ll for a while and I just bought a 6D!

H: Back to the site. You’re one of the co-founders of Highlight Magazine. How did you and Cara (the other co-owner) meet?

AO: We actually met at a Bayside / Saves the Day show at House of Blues. We were always in the photo pit together (Cara is an amazing photog who used to shoot for Beyond The Barricade with her co-founder, Jenna) and we never talked. Randomly this night we did and the rest is history!

H: So you meet, and we assume you became friends shortly thereafter, but where did the idea to start a website come from?

AO: I was actually at Chili’s (the best restaurant on earth) with our other co-founder McKenzie (Mackie) Hughes. Her and I had talked about our love for the industry and how I wanted more opportunity to work with (shoot with) artists because I was getting really serious about my career. We basically discussed the state of the industry for hours over endless chips and salsa + diet coke. Mackie and I knew that we wanted to start a magazine that was unlike the rest of the zines out there. One that only focused on positivity and overcoming struggles. One that could help the underdog and spread ideas/lessons across the board. I knew that Cara had interned with Alternative Press and I loved her work so I immediately brought her up. I remember telling her this idea that night and she was in!

H: Unlike most blogs, Highlight Magazine is actually available in magazine form (digital, of course). Can you tell us a bit about the decisions that lead you to create something more than your typical music blog?

AO: A lot of it was the actual magazine part. Something people could read through page by page and hold in their hands. Since we wanted Highlight to be a community we knew this would be fitting (in our minds at the time). I also was sick of all of the same old styles out there and I knew we could create something brand new. I’ll never forget the night Cara sent over the first draft of Highlight at the end of Feb 2012. I actually teared up because it was so amazing and I was so excited. She created it all from SCRATCH.

H: In addition to the digital monthly magazine, Highlight also features daily news updates, exclusives, and the like. How do you decide what content makes the magazine and what is better left on the newsfeed?

AO: Jenn Stookey is our managing editor and Anjel Lopez is a goddess who literally helps with everything. Her and Jenn coordinate all of the online side of things. When publicists come to us with pitches I try to accommodate the best I can – especially with the up and coming acts since that’s what we are about. But I send out more press requests than I can even calculate sometimes. We aim really high. 75% of the emails I get back are still no’s but it’s okay – makes it interesting!

H: How far in advance do you plan the cover articles for Highlight Magazine? *Bonus points if you reveal next cover star*

AO: Anywhere from five months to five days. Things get pretty insane… Nothing is ever set in stone. Somehow September’s cover artist (I can’t say who but I can say they are from Australia) has been planned for about two – three months now!

H: When you’re interested in discovering new music, where do you look?

AO: Honestly? My inbox. I also search around on random spotify playlists a lot!

H: What advice would you offer aspiring new talent hoping to be featured in a future issue of Highlight Magazine?

AO: Please do not Facebook message me. Email me! I read everything – truly. And if I can’t help I forwarded it to Jenn and Anjel! But I can say that you should make sure your band has solid support behind you. That sounds weird. But it’s hard for us to feature really small bands because we aren’t a huge world-wide publication (yet). We need your help with promotion and we need your fans to be excited you are joining our family.

H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?

AO: I know this is a Haulix interview but I love Haulix… When I dabbled in starting my own PR company I even used it! It’s very easy and it let’s me see everything I need use and download to all at once. I also use dropbox (the entire magazine runs via dropbox).

H: Highlight Magazine is currently a free publication. Do you have any plans to monetize your efforts in the foreseeable future?

AO: We made an attempt actually in June to have $1 digital downloads. It’s weird for me to talk about this but here it goes. Highlight averages 18K impressions an issue, when we tried to monetize it we didn’t get near that. It was never our goal to make money. Sure it would be really nice and we do have plans to push it more with advertising. But we want to keep the magazine free because we want to reach new people and continue to build this community we have created. We were founded on those principals and I want to keep those values going.

H: If you could change one thing about the music industry, what would it be?

AO: I’m not exactly sure. I’d have to think about this long and hard. But I will say that Warped Tour this year was sad. When I was home in Minneapolis there was barely anyone there and that’s pretty terrifying considering I grew up around that scene. I guess I hope that this up and coming generation gets converted over to rock and roll instead of electronic and pop music. I may be 21 but if Warped Tour ever ended… I have no idea what I’d do. Just wouldn’t feel like summer.

H: Before we let you go, can you tell us a bit about what you have planned in the months ahead?

AO: In regards to Highlight, the team is ever growing. One of my writers just stepped up to manage our digital marketing. I can’t really say that I’m thankful for the team enough. We’re incredibly small but we are all passionate about the industry and have the same vision. I’m very proud of what we have done. We won’t stop until we get Fall Out Boy, Paramore or One Direction (Cara, Jenn and Anjel really want One Direction – hehe).

In regards to my photo work, it’s been pretty all over the place. I’m just trying to focus on landing a tour that I can afford to take because all I’ve ever wanted to do was document that side of the industry. I just have so many ideas and I want to keep pushing myself in every single way I can. This year I’ve been lucky enough to have done a few short tour runs and it was so nice to get my shoes wet… But I really want a full US or UK/Europe. As of now I’ll just be in Chicago working my boring day job and traveling a bit working on some small projects.

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News

Blogger Spotlight: Jesse Richman (PropertyOfZack)

Another Monday has found its way into existence, and here we are once again with a new Haulix Blogger Spotlight. This feature is the longest running on our still-young blog, and this week it gains one of its lengthier entries to date. If you have someone you would like to nominate for a future installment of this series, including yourself, please do not hesitate to email james@haulix.com and share your story.

PropertyOfZack founder Zack Zarrillo was the very first blogger to be featured in this series, but only a fool would think everything POZ has accomplished in recent years resulted from the efforts of one barely twenty-something with a laptop and a lot of big ideas. In fact, the contributing staff that helps keep POZ atop the alternative news game numbers in the dozens, and amongst them lies one curious soul by the name of Jesse Richman. He may not be the top news writer in digital journalism, but his work on artist features has helped widen the gap between POZ and their closest competitors while simultaneously helping usher in a new wave of talent to alternative scene.

Sometimes you meet influential people in the strangest of places, and other times it’s more a twist of fate. For Jesse Richman and I the latter was definitely the case. SXSW 2013 was fast approaching and before I could log on to book a hotel I learned all rooms in the immediate vicinity of downtown Austin were completely booked. A chance conversation with Zack Zarrillo put me in contact with Jesse, and before long I had found a temporary home with him less than a mile from Austin’s biggest events. We had never met or spoken before arriving, but in the days that followed I was able to watch his masterwork first hand as Jesse prepared and conducted interview after interview with talent from all walks of life. In between press events he would catch bands, usually chosen ahead of time to maximize coverage, and on the off-chance he found himself with a free moment he would begin working on his posts for the following day via phone or laptop. His work ethic is unlike anything I have witnessed elsewhere in the industry, and it’s an honor to share his story here today.

We spoke with Jesse about his life before music, what got him interested in writing in the first place, and where he sees the music industry headed in the years ahead. You can read his thoughts on all this, as well as few details on what PropertyOfZack has in store, below. If you would like to know more about Jesse we highly encourage you to stop by his Twitter, or his personal portfolio site. 

H: For those unaware, please state your name, the site you work for, and your role at said site:

JR: My name is Jesse Richman. I’m a Senior Writer at PropertyOfZack, which I’ve called home since 2010. I also do sporadic work for other sites, and maintain my own music blog as well (generally for more personal writing) at MakeupForTheSilence.com.

H: What was the first album you really connected with? How did you discover it?

JR: Music has been a part of my life since literally before I can remember; when I was a baby, I refused to sleep if there wasn’t a record on the turntable.

That said, the first album that really felt like it was mine was Live’s Mental Jewelry. I remember catching the video for “Operation Spirit (The Tyranny Of Tradition)” on MTV one afternoon and just being blown away by it – visually, lyrically, sonically. When I learned soon after that they were a bunch of 20 year old kids from a town less than two hours away, it became clear they existed specifically for me to find.

H: What inspired you to get into writing in the first place?

JR: It’s just something I’ve always enjoyed, and always had a bit of a knack for. A lot of it was just loving reading, and wanting to make something others would love and learn from too. A handful of good English teachers to encourage me didn’t hurt. That said, I never really had the creative impulse for fiction writing; expository writing, whether journalistic or biographical, has always been more in my wheelhouse.

H: You went to school to study law. What attracted you to the world of entertainment journalism?

JR: I did go to law school, and I actually still practice law full-time – it’s the day job which affords me the opportunity to pursue writing as more than a hobby despite the collapse of the marketplace. As for what attracted me to entertainment journalism, I’ve been a voracious reader of music literature for as long as I’ve been a music listener. I have memories of Study Hall periods spent in the school library, churning through decade-old issues of Rolling Stone. You’d have been hard-pressed to find a day where my backpack (covered with band logos drawn on in White-Out) didn’t have at least one music bio crammed in among the school books. I think it’s just always been in the cards that I would write about music.

H: Your work can usually be found on PropertyOfZack, a site that we have featured before. What is it about the content offered on POZ that separates you from your countless competitors?

JR: in our early days, POZ really distinguished itself with its video content – Live’s, Acoustic sessions, documentary coverage of things like the GK Holiday Fest. Over the last year we’ve made a strong push to expand our written content to match. We’ve introduced Perspective (our features series), weekly Friday Discussions, our retrospective Decade pieces, and now Inside – multi-article deep digs on key players in our scene. We’ve got a really strong core of writers, and we’re giving them the opportunities and the tools to explore their passions. Everybody wins – the site, our writers, and especially the readers.

H: The majority of your features involve interviews. Do you recall your first interview experience as a journalist?

JR: I’m sure I did some interview work for my high school paper that I’ve long forgotten, but I really cut my teeth working for the Arts section of my college paper – I think I sat down with every band on campus at some point.

H: Every writer is guilty of having stock questions they fall back on when times get tough. If you had to guess, which question do you think you’ve asked most often over the course of your career?

JR: I’m endlessly fascinated by the creative process – how songs are written, how bands go about arranging and recording those songs. I love to ask business-related questions, because nobody knows where the music business is headed but everyone’s got their opinion on it. And if all else fails, I ask what’s on the radio in the van/bus, partly because I’m confident enough in my musical knowledge that I can turn any answer into a launching pad for more questions, and partly because the easiest way to crack opena tough interviewee is to get them talking about something they’re passionate about.

H: There are a growing number of people who view what you do as a possible career path for themselves. What advice would you offer those who hope to make a name for themselves in writing these days?

JR: Write, write, write. Read other writers. Talk with other writers – it’s never been easier than it is right now to get in touch with virtually anyone. Debate, test their ideas, make them test yours, listen to feedback. Then, write some more.

H: You’ve racked up quite a list of interviewees over the years. Who is left on your “interview bucket list”?

JR: Anyone who’s made music that makes me feel! I don’t really have a list, but there are definitely some childhood musical heroes I’d love to really get in deep with someday – Ed from Live, Raine from Our Lady Peace, Colin and Mr. C of The Shamen. And if the ghosts of Kurt Cobain or Doug Hopkins of the Gin Blossoms feel like dropping by for a chat, I’m game.

H: What would you say is your ultimate goal as a writer?

JR: To be read. And to have something to say that’s worth reading. I might be putting the cart before the horse there.

H: PropertyOfZack is known for breaking up and coming rock bands. Where do you turn when hoping to discover new music?

JR: My fellow POZ staffers. Our fellow websites, like Under The Gun Review and AbsolutePunk. My friends in the blogosphere. I follow a list of 300+ music-related folks on Twitter – musicians, songwriters, producers, PR folks, journalists. Tumblr has a vibrant, if echo-y, critical community. Podcasts – I subscribe to probably 10 music-related podcasts.

I’ve also built up something of a mental list of must-read music critics – folks who, through their skill and insight, make me think about music in new, exciting, eye-opening ways. Nitsuh Abebe, Maura Johnston, Tom Ewing, Stephen Erlewine, Steven Hyden, Luke O’Neill, Leor Galil, Jason Pettigrew, Annie Zaleski, and many more. Everyone who posts at The Singles Jukebox. Apologies to everyone I’m forgetting. There’s so much more to writing about music well than just discovering new acts.

H: Speaking of music discovery, you probably receive a lot of submissions from young artists vying for a spot on your news feed. What advice can you offer young artists hoping to stand out in your inbox?

JR: Don’t bother. Really. I ignore virtually everything I get sent from publicists (and, sadly, from bands themselves). Write good songs, play good shows, build a buzz. I keep my ear to the ground, and if you’re doing something interesting, odds are it’ll make its way to me.

H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?

JR: We wouldn’t be here doing this interview if we didn’t both think Haulix was the bees knees, right? I want tracks I can stream, and preferably download too – I’m a New Yorker and do a lot of my listening on the subway, where streaming isn’t an option. Haulix is straightforward and intuitive.

H: If you could change one thing about the music industry, what would it be?

JR: I’d find some way to put the money back into it! The last 50 years were a bubble, and that bubble’s burst, but it was a glorious bubble to live in, wasn’t it?

H: You tweet a lot about having big plans for the future. Before we let you go, can you tell us a bit about what you have planned in the months ahead?

JR: I’m really stoked for Riot Fest, both as a writer/interviewer and as a fan who never had the chance to see The Replacements live. CMJ is coming, and I’ve already started making plans for next year’s SXSW. In between all of that, I’m just going to keep writing as much as I can!

Categories
Job Board News

PR Spotlight: Mike Cubillos (Earshot Media)

Welcome to the second installment of the Haulix PR Spotlight. The purpose of this column is to highlight the people who work behind-the-scenes to help your favorite bands gain exposure in the media. Some will be business owners, while others grind away their days for a larger corporation, but the one thing they all share is a drive to succeed that knows no bounds. If you know someone who fits this description that you feel deserves to be highlighted in this column, please email james@haulix.com and share their story with us.

If you are hoping to work in the alternative music realm, you will not get far before hearing the name Mike Cubillos. A publicist for over a decade, Cubillos has built a reputation through his company Earshot Media as one of the most influential publicists in the music industry. In our interview, Mike opens up about his early days in the business, his decision to leave the world of major labels and start Earshot, the problems he sees young artists make, and what advice he has to offer others hoping to have a career in this often tumultuous industry.

On a personal note, I have worked with Mike on a weekly bases since I started in the music industry over half a decade ago, and I cannot begin to think of everything he has taught me in that time. There are some people in life you look to as competition, while others you see only as who you hope to one day become. Mike Cubillos is the latter of those two for myself and many others, and it was honor to work with him on this feature.

As always, if you would like to learn more about Mike and his current projects, be sure to follow Earshot PR on Twitter and Facebook. If you have any additional questions for Mike, please do not hesitate to mention in them in the comments section located at the end of this post.

H: For those unaware, please state your name, the company you work for, and your role at said business:

MC: My name is Mike Cubillos and I own and operate Earshot Media a independent publicity company.

H: We have a lot of ground to cover, but there is not better place to start than the beginning. What was the first album you remember truly connecting with?

MC: I’d have to say the first album I remember connecting with as the Ramones Rocket to Russia. My brother brought home a European import copy and something about the simplicity of the songs and those great melodies drew me in as a kid.

H: Do you recall when you first realized you wanted to work in the entertainment industry? What was the initial inspiration to start down this path?

MC: I initially wanted to get into to TV Production or something on the programming end of the TV business, but in college I did a few internships at record labels since I’d always been a big time music geek. Even as a kid I subscribed to magazines like Rolling Stone and I’d read Billboard at the library whenever I could. When I realized I could parlay my obsession with music into a career, I ran with it.

H: You started Earshot back in 1998, but you had a history in the industry before that point. What was your first job in the industry?

MC: My first real job after interning was working as an assistant in the PR department for a label called Zoo Entertainment which was part of BMG. It was sort of a “mini major” with acts like Tool. Matthew Sweet, Killing Joke, Green Jello, etc. I learned so much from my time at Zoo and I’m really glad I was able to get that in house label experience. I have very fond memories of that job and all of the people I worked with, many of who I still keep in contact with today.

H: Before stepping out on your own you were a member of the Mercury Records team. What lead you to go independent?

MC: I was one of the west coast publicists for Mercury Records and most of the west coast staff was laid off when the label went through a major merger. It was a blessing in disguise because it was the push I needed to go out on my own.

H: Where did the name Earshot come from? Did you have any other names in mind before settling on that one?

MC: I just felt the name had a bit of a ring to it and liked that it had some sort of vague connection to music/listening. Not long after I started a nu-metal band came out with the same name which was a bit of a bummer, ha… but I don’t think they’re around anymore so at least I can say I outlasted them. : ) I had a few other names I was considering but I don’t even recall what they were. If I could go back and pick another name I probably would, but it’s too late now I suppose.

H: As someone who has worked in and deal directly with major labels for a number of years, what do you think about claims they are no longer a necessity in the modern music industry?

MC: I think that major labels definitely still serve a purpose. The marketing push that major labels can give to an artist is invaluable. That said, I think an artist can achieve great success without being on a major. There are a ton of examples out there of indie acts that are proving this to be true.

H: You were pitching bands to publications long before anyone heard of Myspace, and certainly before the term social media was as prominent as it is today. Do you have any nostalgia for those early years of PR, or do you prefer the quicker pace of today’s media?

MC: I definitely do get nostalgic for my early years doing PR. It’s sad that so many great print magazines have gone under. Publications like Meanstreet, Bam, Flipside, etc are sorely missed. Also, the idea that we used to fax press releases and media alerts or send them via snail mail seems so archaic but it wasn’t that long ago that this was the case. There’s no question that social media and the Internet has made a lot of aspects of a publicists job much easier but it’s also brought along a lot of new challenges.

H: As a publicist, what advice would you offer writers hoping to work with your clients?

MC: I would say be professional. A lot of people assume that since it’s the “music business” that some of the general principals of professionalism don’t apply, and that’s far from the case. Remember that no one owes you anything and if you want labels/publicists/managers to trust that you are a legit writer or blog or publication, you need to earn that trust.

H: We would never ask you to give away your secret to success, but what advice would you offer to aspiring publicists hoping to make a career in today’s music industry?

MC: Again I would go back to being professional. Be willing to work hard and prove yourself. Make yourself indispensable to your employers/clients. Read a lot–especially anything related to the music scene/music business. Do your research.

H: Piracy is one of the most discussed topics in the industry today. Do you feel album leaks are preventable? If so, how would you advise an artist to keep their music safe while still getting the word out?

MC: I don’t know that album leaks are 100 percent preventable, but tools like Haulix have become invaluable in helping to control who gets advance music and gauging if the people you sent music to listened to and if so how often. I would advise artist that is concerned about their album leaking to take a precautionary approach to servicing the music out to the media, ie…sending music out to a very targeted list of trusted contacts and outlets rather than mass servicing it to everyone at once.

H: When it comes to working with your clients, how do you prefer to share their music with press? What is it about this method that appeals to you the most?

MC: Again, Haulix has been a godsend in that it’s a secure and fast way to get music out to the people who need it. I like that you can also gauge who downloaded the music once it’s sent and can monitor when they last listened to it.

H: If you could change one thing about the music industry, what would it be?

MC: I wish some people would be a bit more open minded. People seem to have pre-conceived notions of what they think a band is based on the label they’re on or what they look like and sometimes that gets in the way of discovering great new music. I also wish more people were willing to take chances on helping to “break” artists rather than waiting around until someone else helps “break” them before they jump on the bandwagon.

H: Your roster is as eclectic now as ever before. Do you have any plans or releases on the horizon you’d like to share with our readers?

MC: I just hope Earshot can continue to grow. In addition to music, we’ve worked with clothing companies, websites, artists, charitable organizations, tours, events, books etc. and I hope to do more of that in the future.

Categories
News

Blogger Spotlight: Jonathan Barkan (Bloody-Disgusting)

Hello, everyone. Welcome to a new month and a new edition of the Haulix Blogger Spotlight. We have a lot of new content coming your way in August, including new columns that I cannot reveal just yet, so make sure you follow Haulix on Twitter and Facebook to ensure you never miss another update.

So far, all of the writers we have featured in this column have written for publications known primarily for their music coverage. While those writers have keen insight on building a reputation within the music industry, there is something equally worthwhile to be said about those whose music coverage serves as one piece of a much larger online community, and that’s why today’s featured talent is none other than Bloody-Disgusting’s Jonathan Barkan.

Bloody-Disgusting has been the number one online destination for all things related to horror films and the community that supports them since its launch in 2001. While Barkan was not a part of the site at that time, he was a follower, and over the course of several years worked his way to being the Music Editor. Now, with the help of contributors, Barkan leads the Bloody-Disgusting music department with an ear for all things rock and roll. From news, to reviews, song premieres, video exclusives, contests, and beyond, Jonathan and his team have made Bloody-Disgusting just as important to the heavy music community as it is to those who love Jason Vorhees.

We spoke with Jonathan about his rise through the ranks of Bloody-Disgusting, the art that got him interested in this line of work, and a whole lot more in order to complete this spotlight. His knowledge of working as part of a team in the digital realms should be considered indispensable, and his drive to make a name for himself is downright admirable. If you enjoy what he has to say, please make it a point to follow Jonathan and Bloody-Disgusting on Twitter. If you have any additional questions, feel free to add them in the comments section below.

H: For those unaware, please state your name, the site you work for, and your role at said site:

JB: My name is Jonathan Barkan and I am the Music Editor for Bloody-Disgusting.com.

H: Since you work for a site covering multiple areas of entertainment, it seems only right to figure out what got you into the unique position you hold. What was the first album and horror movie you fell in love with, and at what point did you know you wanted to work in entertainment?

JB: The first album that I truly fell in love with was Metallica’s Black Album, which is also the album the spurred me to learn how to play guitar. The first horror movie that I remember clear as day was A Nightmare On Elm St. Part 4. The scene where Krueger bursts through Joey’s waterbed is my first horror movie memory, not to mention my first movie memory! Since then my tastes have obviously changed and evolved but that album and that film hold special places in my heart.

I knew that I wanted to work in entertainment from fairly early on. I was always so entranced by the creativity that went into making a film, recording an album, etc…, and then creating a whole package to go with it. I was the kid that loved reading video game manuals. I was the kid who read through CD booklets. I wanted books with pictures not because they were easier to read but because it was a direct path into the mind of the author, to see what they wanted me to see. The amount of work, love, and passion that goes into a fully realized product is astounding and it always appealed to me to learn more about that in the hopes that I could one day be a part of it.

H: You’re the first person to be featured who writes at a site that isn’t essentially known for its music coverage. How did you come to work at Bloody-Disgusting? If there’s anything more to the story, can you also provide a bit of background on BD’s music coverage (launch, etc)?

JB: So my story of how I came to write at Bloody-Disgusting is a bit amusing. I had been coming to the site pretty much since its launch in 2001 as, by that point in my life, I was a horror hound. So, one day in October 2009 I went to BD and suddenly saw a brand new area: The ‘Music’ section. I immediately sent a PM to the author of one of the articles not realizing that it was Tom Owen, the co-owner of Bloody-Disgusting. I expressed my deep interest in contributing for the site, citing my certificate in Music Production and Engineering as well as my band playing/guitar tech experience as reasons why they should bring me on board. Keep in mind that I had zero blogging experience as well as zero music industry experience. This was all brand new to me.

So, in the beginning I was asked to write 1-2 album reviews per month. Once give that clearance, I got in touch with every record label I could think of to begin getting advance copies of albums for review. But then labels began saying things like, “Hey! On top of a review, how would you like to interview the band?” How could I say no? I started doing video, email, and phone interviews, contests, and more. Within two months I was posting 4-5 articles per day and I was landing opportunities that I’d never before thought possible. Since then, I was elevated to the Editor position and I’ve been going along ever since!

To make it very short, I pestered the hell out of Tom and Brad Miska (the other co-owner) until they took me on. Sometimes nagging CAN work!

H: Though the list of bands that could potentially appear on BD is rather endless, it’s safe to say you tend to focus on all things related to rock and roll. How would you describe the coverage offered by your music department?

JB: I look at bands to see if they challenge conventions of society, the industry, and what is “popular”. At the same time, we obviously love bands that love horror and incorporate it into their theme in some way, shape, or form. It doesn’t have to be through look, such as bands like Slipknot, Motionless In White, Mushroomhead, etc… It can be lyrically, thematically, tonally, and more.

From news to exclusives, premieres to interviews, editorials to contests, rants to lists, the coverage we offer is fairly endless. Horror fans love seeing passion and we want to cultivate that. We wants the readers to know that we love hearing from them, even if their opinion is completely contradictory to our own.

H: Aside from the presence of every horror fan in the world, what is it about your coverage on BD that separates what you do from the numerous music blogs around the world covering essentially the same talent?

JB: I love to think outside of the box. I want the bands to be excited to appear on BD. I want them to think, “This is something different, something I’ve never done before or been asked before! Let me show my love and passion here because it’s not the same thing that I’ve done over and over for days/weeks/months/years!” I want bands to have fun and get creative, which, in turn, shows in the article. Readers can tell when someone is being genuine and they feed off of that.

H: The team at Bloody-Disgusting is spread throughout the country. You live in Michigan, for example, while site creator Brad Miska resides in California. What are the biggest challenges you face in this digital office space, and do you think it’s better or worse than having a physical location you report to daily?

JB: It can be very challenging to maintain constant and open communication. However, we are always working very hard to ensure that we are all on the same page in terms of article scheduling, back-end business, upcoming features, etc…

I would love to know what a physical location for Bloody-Disgusting would be like! I’m guessing we’d have a screening room and watch horror movies constantly. I would definitely gain about 15lbs just from all the popcorn we’d be eating!

H: What do you think of the rising popularity of absurd subgenres throughout the metal community in recent years? Do you think whether you call yourselves “metal” or “subterranean New England metalcore” makes that big of a difference in the grand scheme of things?

JB: In many ways I think it can be very useful for bands to appeal themselves to particular audiences. However, there comes a point when it’s too much and these subgenres can turn off people just as much as they can guide them. The argument between “djent” vs. “prog metal” vs. “tech metal”, for example, can get a bit ridiculous. If someone enjoys music, does it really matter what genre it’s from? Music should be shared, not contained.

H: You have featured a lot of rising heavy acts over the years. Where do you go when you want to discover new music?

JB: I love checking out Reddit as well as hearing about bands via word of mouth from friends. But the best place for me is honestly in the vast amount of press releases I receive. Engaging headlines and well written band descriptions can be just the thing to draw me in and, ultimately, provide coverage.

H: What about when the bands come to you for news coverage? What advice would you offer bands hoping to stand out from the others vying for attention in your inbox or social feeds?

JB: You should absolutely check your spelling and grammar. A poorly written, poorly phrased email is a HUGE turn off.

Also, don’t presume that I’m 100% going to write about you. If you’re a rising band, have humility. Nothing makes me hit the ‘Delete’ button faster than a message from a band stating how I NEED to write about them because they are the biggest thing since sliced bread.

Lastly, show me that you’re into being on Bloody-Disgusting for a reason. Don’t send me a copy-paste email that doesn’t address our readers and their interests in any way. If you’re some band that doesn’t care about horror movies or care about the horror crowd, why even come to me?

H: In the digital age, do you feel there is still a need for physical press kits?

JB: I definitely think there is something to be said about holding something in your hands. I grew up before the internet was even available. I bought cassette tapes. I watched movies on VHS and dealt with tracking on my VCR. I still respect the feeling of being able to see and feel a physical manifestation of an artist’s work.

That being said, the convenience of digital cannot be denied. Throwing an album on my MP3 player and plugging it into my car for long drives is just incredible. So I believe that there is place for both.

H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?

JB: If it’s for a feature consideration, either an album download link via Haulix (which is honestly the service I use the most) or Sendspace would work great. If the label wants my opinion on a band, a simple YouTube link works great. It’s fast, I can load it in HD for good sound, and I don’t have to go through the rigmarole of downloading a file, unzipping it, dropping it into iTunes, deleting the zip file, deleting the folder, blah blah blah. It’s a hassle.

For review, absolutely a download link or a physical CD (which I ultimately rip onto my computer and then put on my MP3 player or play through my sound system).

H: If you could change one thing about the music industry, what would it be?

JB: I would change the antiquated notions that things cannot/should not change. The world is moving at breakneck speed and social media and the internet has dramatically changed the playing field. The music industry has to accept this and find new solutions rather than taking tried and true methods from ten years ago and trying to make them applicable in today’s world. The music industry needs to embrace radical, risky, innovative ideas that shock and wonder people. People will spend money in the right places if they are given the right reason and the right method.

H: Before we let you go, can you tell us a bit about what you have planned in the months ahead?

JB: As of now, just doing what I do! I always try to challenge myself to bring new ideas and new coverage to the site so we’ll just have to see what lightning bolt strikes me next!

Categories
News

Haulix Tips: Setting Up An Exclusive

In recent weeks we have talked a lot about breaking the ice with journalists, and the reaction from all of you has been overwhelming. We want to continue helping you lay the groundwork for a genre takeover, and today we’re outlining one avenue to ensuring your music reaches as many potential new fans as  possible: Setting up exclusives.

This probably will not come as a surprise, but bloggers LOVE exclusives. It’s the only original content aside from opinion pieces they have to get ahead of the competition, and if you play your cards right they may see your music as the latest ‘must hear’ piece of content on the net. 

The first thing you need to know about setting up exclusives is something everyone who succeeds learns early on: Relationships are everything. While bloggers are always open to discovering new music, but using their brand to back a new project is serious business, and most are not likely to jump at an offer from someone they are not familiar with. Before you even consider attempting to setup exclusives, make sure you’ve taken the proper steps to first introduce yourself and your efforts to the publication in question. This can be as simple as an email with a link to your music, or as over-the-top as a physical press kit sent to their home office. Either way, first impressions are everything. Journalists will associate everything you do and offer moving forward with however you first came on their radar, so make sure your introduction is fitting for the brand you’re trying to promote.

Secondly, make sure your requests provide the publication with everything they need in order to create great content. If you offer a song, make sure there is an mp3 and Soundcloud link ready to go. If it’s artwork or other information not available when making the initial offer, outline when the content will be available and provide as much supplementary information as possible. Keep in mind that time is something no journalist has to waste, so doing as much of the legwork as possible ahead of time reads to them as less work required on their part. It doesn’t guarantee they will bite, of course, but it never hurts to be present yourself as prepared as possible.

Finally, always keep in mind that every publication is different and not every piece of content you create will be loved by everyone. Even major artists sometimes struggles to lock in exclusives, so don’t be discouraged if your initial efforts fail. It can take awhile to properly network within the music industry, especially when you’re trying to get new content to people who are metaphorically drowning in unheard music, but with patience, kindness, and just a bit of chivalry you will see doors open in time.

I know some of you may be reading this and thinking, “As much as I love your attempts to help, nothing in the preceding paragraphs is all that description.” If that applies to you, pat yourself on the back because you, my friend, are correct. The reason we kept things vague this week is because there is no one way to setup an exclusive. Every publication is different, and the variety of things they each look for in potential exclusive content is as numerous as the number of sites in existence. Following our guidelines will aide you in getting your foot in the door, but after that point your continued success is on you. Still, in an attempt to be slightly more helpful, we asked a number offer industry peers to send us advice they had for bands hoping to setup exclusives. Here’s what they had to say:

“Be sure your pitch includes all the key information that the website will need in order to run the exclusive including what they’re premiering, when you’d like it to run, what you’re promoting and a bio/fact sheet on your band.” – Jamie Coletta, SideOneDummy Records

“I would highly recommend researching the proper editor (plus contact information) and send them your best pitch that exemplifies what the band has going on and showcases your top accolades.” – Jen Appel, The Catalyst Publicity Group

“Clear subject. Realized intent. Short body. Social links.” – Zack Zarrillo, PropertyOfZack.com

“I prefer to write about and promote my friends. Reach out to me on Twitter, start a conversation about a mutual interest. That’s a good place to start.” – Jacob Tender, Underthegunreview.net

“What I do is this: I approach a publication with an album, telling them that I’m seeking an exclusive with them. I allow them to listen to the album. I tell them they have 24 hours to say pass or take before I move on to the next publication.” – Josh Hammond, Publicist

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