Hello, everyone. Today we are continuing our efforts to advise current and future musicians by sharing a guest post from our friends at Behind The Curtains Media focusing on the importance of understanding the ins and outs of music publicity. The person behind this feature has spent years in a band themselves, and it’s because of the lessons learned through those experiences that we are able to share this information today. If you have any questions about the content of the blog, or if you would like more information regarding the distributional services offered by Haulix, please email james@haulix.com and share your thoughts. You can also find us on Twitter and Facebook.
Since 2006 I’ve been on the artists’ side of the publicity world. I’ve worked with amazing publicists such as Raybee, Stunt Crew, The Cornerstone Agency, Big Picture Media and The Catalyst Publicity Group, to name a few. My job at the time felt like nothing other than reading up on features and occasionally doing interviews (which even then I needed numerous reminders). Thinking back and being in the position I’m currently in, I feel we were all spoiled brats and never truly understood the work that was being done behind the curtains.
It wasn’t until the 2012 Warped Tour that I became very active on the band side of publicity. I wanted to make sure we were making the most of the service while also making our publicist’s job easier by organizing and assigning the daily interviews to members of the band. Each day, I would go down to the press tent, take a look at the 3 or 4 interviews we had, shoot the outlet a text confirmation and chat with Warped Tour Press Coordinator, Bethany Watson. She really opened my eyes about the world of publicity and I remember her saying, “You have 3 or 4 interviews today out of that list of 40 outlets that are going to be here. Why don’t you publicize yourself and just talk to all of them and who knows, maybe they’ll interview you or feature you.” That really motivated me by bringing a whole new challenge to the table. From that point forth I would come in, take a snap shot of the daily press sheet, respectfully approach all the outlets in between their scheduled interviews and some days I would land 10+ interviews with outlets that I wasn’t even scheduled for, not to mention I had the contact sheet available to follow up with anyone I spoke to.
At this point I wasn’t even remotely close to thinking about being a publicist, I was just trying to do as much as I possible to get my band, The Venetia Fair, to the next level. In keeping in touch with these outlets and becoming personal friends with a lot of them, they were often happy to assist with getting my band and even bands on my label (SwitchBitch Records) some extra exposure and features.
In August 2011 my amazing friend and publicist Chrissy Borsellino did some solo publicity work for my label (prior to her joining Catalyst). She introduced me to some new outlets, taught me how to write up proper press releases and basically gave me a general understanding of how to do the work on my own. Even at this point I had no interest in doing publicity, but I didn’t want to rely on her for favors all the time, so I took on publicity for SBR artists.
When Chrissy joined The Catalyst Publicity Group we used them for all of The Venetia Fair releases until the day came where being an independent band and not having any funds caught up to us. Unfortunately it happened at the worst possible time, right when SwitchBitch Records was to release The Venetia Fair’s ‘Every Sick, Disgusting Thought We’ve Got In Our Brain’. Being that this was my label’s first vinyl release and it was for my own band, it was a blessing in disguise in that it was yet again another motivational pivot point that really lit a flame under my ass in that I needed the release to be huge!
At that I had so much support from friends at outlets. Christian from Absolute Punk taught me how to intro my emails, Dave from HellHound Music taught me various ways to write up press releases, Matt of Under the Gun would literally get on the phone and not hang up until I knew the ins and outs of everything. Would you believe between that from exclusives on the vinyl to reviews to interviews to contests I landed 88 features from 8/1/13-9/20/13 to the point where I stopped keeping track after 9/20. Eighty-fucking-eight! Don’t believe me? Shoot me an email and I’ll send you all the links. I was told that the average from professional publicists was about 8-15 posts per month. The excitement that that brought me was/is hands down the nerdiest thing in the world.
A problem I ran into was that I was running campaigns as a SwitchBitch Records in-house publicity company which was fine for this particular vinyl release however even though SBR released TVF’s vinyl, it was important that TVF as a band was/is labeled as an “independent” artist in order to keep potential larger opportunities available. That said, in future TVF campaigns, outlets would inaccurately post TVF as an SBR artist, which is not their fault at all, but would cause confusion and require me sending a follow up email requesting the edit. Hence the birth of Behind The Curtains Media!
Avoiding confusion was one of many reasons for launching Behind The Curtains Media. A main reason to be honest is I really love the fact that it keeps me in touch with friends at media outlets. I know that sounds really stupid, but if you ask any outlet that has posted or done anything with us, they will tell you that not only do I respond, but I probably am a little too curious as to how they’re all doing and being sure they are all doing well. I know, lame right? But I really do care about them all and am extremely appreciative for everything they do. You have no idea! Aside from that I like the freedom to pick and choose artists that I think are good people, creative musicians and deserve some assistance in obtaining some visibility.
The last and final key to Behind The Curtains Media was getting our SBR general manager/coordinator Hanna Yando on board. She is just about to graduate with her degree in Public Relations and I can’t stress enough how smart, hard working and easy to get along with this girl is. If she weren’t on the team, I honestly don’t think I could have been able to have the courage to take the last few and major steps needed to lead up to the launch of the firm. The combination of my first hand connections to outlets and her 4 years of school training truly allow us to pull off some amazing stuff.
Big thanks to everyone for all the love and support and giving me a fun project to work on while driving around the country with my stupid band!
Happy new year! Welcome to the first Blogger Spotlight of 2014. We have been quietly planning many new features and columns for the months ahead and are beyond excited to begin rolling them out this afternoon. If you have any questions about the content of this blog, or if you would like to learn more about the services offered by Haulix, please email james@haulix.com. We can also be found on Twitter and Facebook.
There are a million ways to find a career in the music industry, but almost every professional you encounter will tell you their business life began in their local scene. For some, this meant booking bands in their basement or barn, keeping an eye out for cops while letting their friends play for anyone who cared to listen. Others, like the person featured in today’s post, took the far more traditional route of being in a band themselves and gained early exposure to the inner working of a life in entertainment.
Justin Proper may have never had a song on the radio, and if you ask him today he’s more than likely to shy away from details, but for a few short years he was a midwest rock guitarist with dreams of a life on stage. He played in bands when not in school, some that could even be called nu-metal (it was the early-2000s, after all), and woke each morning with the goal of further progressing his already stunning guitar prowess.
As Justin grew older however, his interest in music began to change. The world of bands became less appealing and the world of film grew far more alluring. He put down the guitar and picked up a camera, but knew deep down he could never leave his passion for music behind. He found a writing opportunity with a new entertainment outlet started by someone on his college campus, and before long was writing reviews for music and music-related dvds on a regular basis. Six years later he still calls that place home, and today he shares his life in music with the the Haulix community.
If you would like to learn more about Justin and his efforts in both writing and film, we highly recommend visiting Under The Gun Review on a regular basis. You can also follow Justin’s life and sardonic commentary on existence via Twitter. Additional questions and comments can be left at the end of this post.
H: For the record, please state your name, job title, and the publication(s) you have written for:
J: My name is Justin Proper and I am a Senior Staff Writer for Under The Gun Review.
H: You’re a bit of an oddity for our blog. You are currently known more for your work in film than music, but from what I understand rock and roll has always played a large role in your life. When you think of your earliest memories with music, what comes to mind?
J: My earliest memory of music actually comes from one of those vague childhood memories that was so long ago it almost seems like a dream. Growing up my parents split so I spent a lot of time with my grandparents while my mom worked. When my grandpa would come home from work he would always play his harmonica for me and I soon grew to love music, especially classic blues and rock and roll. I actually inherited that harmonica after his death and learned to play.
H: Every person we interview has a band or album, sometimes 2, that helped guide their formative years towards a life in entertainment. What are influences for you, and when did you encounter them in life?
J: Very early on in my life (circa 1993) my mother took me to a Garth Brooks concert, which I loved. I became very obsessed with that unique rock/country style that Brooks brought to the table and I would listen to his albums that my mom owned as often as I could. Soon thereafter my father exposed me to 90’s alternative and grunge (which was his favorite genre at the time) and I soon could not get enough of his Beck and Nirvana cd’s. Ever since then I have been in to more alternative rock which led to a massive love for metal. Bands like The Deftones and Slayer ruled most of my high school years until I discovered grindcore senior year, specifically See You Next Tuesday and their album Parasite. Ever since then grindcore has been my favorite genre of music.
H: Do you remember the first album you purchased with your own money? Do you still own it today?
J: The first album I bought with my allowance was 311’s self titled album. I cleaned the house and did yard work for a month to get that album. I even still remember going to the store with my father so he could buy it for me, as it was explicit and I was in the 3rd grade. I also still remember how pissed my mom was after she read the lyrics. The cd no longer works, but I still have it packed away with my childhood possessions. Hopefully I will never lose that disc that looks like the planet Mars.
H: Before you ever got into writing you were heavily involved in your local music scene. Did you play in bands? Please tell us a bit about your life before entertainment writing.
J: Starting around the 7th grade I decided to learn guitar. I may not have been any good at first, but that did not stop my friends and I from forming a band and playing the high school talent show. After that the members may have changed but I was always in a band as a guitarist/vocalist. For a while one of my bands was even serious enough to hire an audio tech to record a demo. Looking back now it was just a pipe dream but the confidence gained far outweighed the potential embarrassment. One of my bands even played a local music festival which featured some well known local talent. It was easily one of the most fun times in my life. Eventually, though, high school ended and I went to college with more of a focus on film than anything else.
H: We mentioned it above, but it’s fair to say film has played a large role in life for you as well. What is your favorite movie and why?
J: My favorite film is Nicolas Winding-Refn’s masterpiece Valhalla Rising. It is an arthouse film that focuses on a viking warrior that ends up traveling with a group of Christian crusaders as they seek a new land to spread their religion to. It stars Mads Mikkelsen and he does not say a single word the entire movie. The way Winding-Refn was able to tell such an epic tale with so few words still amazes me. It is also one of the most gorgeous films I have watched. It is set in Scandinavia and features the mountainous coast. Every single shot in that film has a certain raw beauty to it that is hard to describe. The cinematography becomes a character itself. I know it is not a movie most people would enjoy, but for film nerds like myself it is a wet dream.
H: Onto your work with UTG. You are one of the longest-running contributors to Under The Gun Review. What initially attracted you to apply for a position on the team?
J: I have always believed that the key to success in life is experience. I was working on my degree in television production but I was writing scripts in my spare time. I knew that if I wanted to be any good at writing I needed to do as much of it as possible. I happened to know the owner of the site so I asked him if I could do some freelance work for him. That eventually led to a full time position at the site and the rest, as they say, is history.
H: What was the first big feature you worked on?
J: The first feature I worked on was actually film related as well as music. I wrote a review for a Van Morrison DVD. In fact, the first handful of things I did for the site was reviews for concert DVD’s for bands ranging from .moneen. to Gorgoroth (which started my black metal obsession). This was all when the site was only two months old. It does not get much more ground floor than that.
H: The site you work for has undergone many changes since formation, including the addition of film and comedy coverage. As someone who has had a front row seat to the evolution of UTG, what would you say inspires its direction?
J: The best way to explain the changes to UTG over the years is to not think of it as a website but as a person. Much in the same way that most of us are not the person we were half a decade ago the website now is not the same site it once was. It started with a singular focus of music and eventually it grew up and started experimenting with other forms of entertainment and writing. After a while the music reviews became more natural so we started doing interviews. Then when those became commonplace for us it was time to add more features and branch out to new areas like comedy and film.
H: If you were asked to describe UTG to someone who had never visited the site before, what would you say?
J: If I was asked to describe UTG to someone who had not been to the site before I would say that it is an entertainment news and review site with a focus on original content. It is like a magazine like Rolling Stone, not just reviews, not just news, but editorials, columns, and original features. Only instead of getting one issue a month you can check it every single day and see new things every time.
H: Though you write about all forms of entertainment, I know from your writing that you are a metal head at heart. Do you have any special/memorable experiences through UTG in the world metal you can share with us?
J: One of the most memorable experiences involving metal i had as a result of working for UTG was meeting Dave Peters of Throwdown. We interviewed him while Throwdown was on tour with Bury Your Dead in 2009. For the few years leading up to that interview I had been obsessed with the band. Their music and straight edge message had a huge impact in my life when my friends had started to become burnouts. Peters even signed my vinyl copy of Haymaker. He is one of the nicest and down to earth guys I have met to this day.
H: You have written a number of reviews in your time with UTG. When it comes to receiving music for review consideration, which services do you prefer and why?
J: We have been using Haulix since the early days of the site and I still find myself taken back by how smoothly it works. Other services have come and gone, but Haulix has remained and I have to believe that is because they work for their clients as well as they do for journalists. The player is smooth, the email design is simple-yet-elegant (as elegant as email can be), and in all the years I have used it there has not been a single day the service was completely down. Now I told you all my feelings in an interview for your company blog. Is that bad?
H: New bands are probably filling your inbox as we speak with pitches and requests for coverage. What advice would you offer young artists to help themselves stand out from the competition online?
J: My advice to new bands would be to get as much exposure as you possibly can and stay professional and friendly. If you are out there more then more people will notice you. Being a great band helps, but I have seen bands I considered awful rise to small fame because they were everywhere anyways. Above everything though, you do not want to be the guys (or girls) that people remember because they were assholes. You are far more likely to gain favors and asked to join tours if people like being around you off the stage as well as on.
H: There has been a lot of talk recently about whether or not it is still important to have a ‘local presence’ as an artist when you can just as easily become famous online with the right marketing tricks. Where do you stand in this debate?
J: Being part of a local scene is one of the most important parts of music in my opinion. Other musicians are your family and if you isolate yourself from your family they are not going to throw you any bone. Aside from that the comradery amongst the local scene is not like anything I ever ever witnessed before. These people would go to jail for each other in a heartbeat and are always there to support other musicians when they fall on hard times. Just a few days ago I was at a New Years Eve party for a local music scene and it was easily the most fun I have had at a party in years. Why would you intentionally miss out on something so amazing?
H: 2014 will have started by the time this runs on the blog. What goals do you have for the new year?
J: In the new year I hope to write more reviews than I did last year and branch out by writing more editorials. These goals will help me develop my voice as a writer which is something I still do not think I have found.
H: Thinking a bit farther out, what type of career goals do you have at this point?
J: Other than finding my voice as a writer a huge career goal is to get a quote on a film poster or in it’s trailer. This has been a dream of mine ever since I started to take my film reviews seriously and I really feel that it is attainable with enough effort.
H: Okay, I think that just about covers everything. Do you have any final thoughts you would like to share before I let you go?
J: Just because a film is bad does not mean you cannot enjoy it and keep it metal. Have a great 2014.
Hello and welcome to the final blog post of 2013. Having just updated you on everything Haulix-related last Friday, we thought we’d skip the pleasantries of reflection on months long past and instead forge ahead with another new interview for you to enjoy. If you have any questions about the content of this blog, or if you would like to learn more about the services we offer, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
Since 2006, The Blue Walrus has been a thriving online hub for passionate music fans worldwide who wanted to discover the latest and greatest sounds. It’s the brainchild of editor Tim Dickinson, who also happens to run the news/culture magazine The Descrier, and in today’s piece we learn how he grew the site from a small UK music portal to an influential international success.
It’s hard to describe the type of music featured on The Blue Walrus, but the term ‘diverse’ comes to mind. There seems to be no barrier to entry as far as genre is concerned, and in my opinion it’s that constant state of open-mindedness towards new ideas of all varieties that has positioned Dickinson and his team as some of the brightest minds in blogging today.
If you would like to learn more about Tim Dickinson, we highly recommend you bookmark and frequent The Blue Walrus. Additional questions and comments can be left at the end of this post.
H: Let’s start with the basics. What is your name, job title, and the name of the publication(s) you write for:
T: Hi! I’m Tim Dickinson, editor of UK music blog The Blue Walrus and news/culture magazine The Descrier.
H: Everyone comes to a life in music their own way. When you think of your earliest memories with music, what comes to mind?
T: It’s a little difficult to think of the first time, but I do remember long car rides to France with my parents when I was little listening to a mixture of Paul Simon and led Zeppelin – which certainly had an impact on my tastes. I also trained as a jazz drummer throughout school, so there are a fair amount of blues and jazz influences in there.
H: Can you recall the first album you purchased with your own money? Is it still a part of your musical collection?
T: After getting through various “Now…” compilations on tape, the first album and CD I bought was Blur – Blur back in 1997.
H: From what I’ve read you first got into blogging back in 2006. What motivated to begin writing about music online?
T: I’ve always been somewhat of a web geek, having run a website about music production whilst in school, and when blogs started appearing in the early 2000s I thought it would be a good way to share my passion for new music and making mixtapes with people outside of my group of friends.
H: The name of your site is quite peculiar. What can you tell us about its origin story?
T: It’s not much of an “origin story”, but more a running joke about skipping class and lazily spending days on the beaches near Edinburgh, basking in the sunshine like a walrus.
H: So you launch in 2006. What was the content on TBW like at the time, and how has it evolved into what the site offers now?
T: I would hope my writing has improved and I think I’ve found my voice over the years, but the content was in a similar vein back then too – music from new bands just starting to make a name for themselves. Jamie T and The Noisettes were two of the earliest acts I wrote about if I remember rightly.
H: When you launched did you have any plans to bring on additional contributors? If not, when did you realize the time was right to take that step, and how did you proceed to find new team members?
T: When it started out it was just a way for me to share my mixtapes and talk to the world about the bands and artists that I was excited about – I had no grandiose ideas for anything more than that to be honest. We’ve had a rotating roster of other contributors for the last four or five years, but all of them have just asked to write for us – I’ve never really gone looking.
H: What size is your team now?
T: It changes every few months, but at the moment the team is myself, Jacinta, and Francisco
H: How would you describe the ideal Blue Walrus team member?
T: They need to have a passion for discovering new music, go to a lot of gigs, and be open to almost anything as long as it sounds good.
H: As your the site has evolved so has your role. What has been the biggest challenge transitioning from sole write to editor been?
T: I still do a fair amount of writing on the site, but the other authors are free to cover what they want, when they want – I just tend to clean-up their articles a little and change some styling. It’s not a huge change.
H: What is the current goal or The Blue Walrus, and how has that mission changed over time (if at all)?
T: The mission, as it always has been, is give smaller bands and acts a platform to get their music heard, and to give an alternative source of new music for fans outside of traditional media.
H: When it comes to discovering new music to feature on your site, where do you turn?
T: We are sent a huge amount of music these days in the post and via email, but a large number of the acts we feature tend to come as tips from friends, supporting bands we see at gigs, as well as spending time scouring SoundCloud and Bandcamp.
H: What advice would you offer musicians hoping to one day make an appearance on your site?
T: I wrote an article about this last year, and things haven’t changed much – essentially bands should take time to think whether their sound is the sort of thing we look for, and if so keep the blurb short and sweet with links to stream/download their tracks.
H: When reviewing music, which distribution services do you prefer?
T: I’m happy to receive promos on vinyl, CD, as a link to a zip-file of mp3s, or streams on Soundcloud or Bandcamp. As long as I can hear the music without jumping through umpteen hoops I’m pretty platform agnostic.
H: I’ve noticed a few advertisements on The Blue Walrus. Do you have any plans to further monetize your efforts in the future?
T: The ads pay for hosting and a few beers each month, but that’s about it. I do it because I love finding out about new artists – money isn’t really a motivator.
H: When it comes to marketing your brand and the content found on your site, which methods have you found work most effectively? Worst?
T: I don’t really go in for marketing the site – it is a pet project that I love, and we get a decent amount of traffic, but I’d prefer to spend my time looking for new bands than trying to sell the site to people.
H: What is your ultimate career goal?
T: I’m committed to making The Descrier a viable alternative to traditional newspapers for finding the stories behind the headlines. We launched it as a bootstrapped startup last summer and it’s gone from strength to strength, breaking frontpage news around the globe, but we have a long way to go. On the music-related front, the site works with some of the best music blogs in the UK for the music section, so I hope to make people more aware of the role of music blogs in discovering new music.
H: If you could change one thing about the music industry, what would it be?
T: I’d make it more transparent, so people know where their money is going. The deals with streaming services like Spotify leave a lot to be desired for artists, but the actual details of the deals are not released, so no-one outside of a few executives know the real revenue breakdowns.
H: Okay, I think that just about covers everything. Do you have any additional thoughts you’d like to share with our readers before I let you go?
T: I think that about covers it – thanks for the interview! Just a quick note to say that if you are looking for some names to watch for 2014, then alongside the BBC Sound of 2014 list, there is the alternative Blog Sound of 2014 list which is also excellent – and made up of some fantastic blogs.
Hello everyone and welcome to a very special edition of the Haulix Artist Spotlight series. We have been working so hard on developing content for the holiday break we found ourselves with more content than days remaining before the new year and figured it was better to offer an extra feature than keep you waiting for fresh features. If you have any questions about the content of this blog, or if you would like to learn more about the secure media distribution services offered by Haulix, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
We debuted a number of new features in recent weeks, and though we love them all I would be lying if I said I did not have a close to connection to our artist series. I have spent a number of years helping develop bands, as has every professional who has contributed to our Advice series, but I am a firm believer there is no better way to learn than from those who have gone ahead of you. This column connects dream chasers with those who have successfully made a career in music work, and today’s spotlighted talent is someone artists of every genre can learn from.
Hailing from the great state of Texas, Larry g(EE) is someone that we in the business refer to as a lifer. Music has played a role in Larry’s life from an early age, and as soon as he was old enough to get on stage he knew he wanted to spend as long as possible under those hot white lights. He has been in a number of bands over the years, but none that have reached the heights of the funk laden outfit that now bears his name. We spoke with Larry about what it takes to create a sustainable career without the aide of a label, and fortunately for us he was kind enough to shed some light on the subject. You can read his story below.
If you would like to stay up-to-date with Larry and his band, we highly recommend following him on Twitter. Additional questions and comments can be left at the end of this post.
H: Hey there! I’m excited to finally have the chance to make this interview happen. To begin, would you please tell me your name and what you do for a living?
L: Larry g(EE) / Singer-songwriter
H: When you think of your earliest memories with music, what is the first thing that comes to mind?
L: Listening to my uncles vinyls. Everyone from The Beatles, Shuggie Otis, Michael Jackson, and Earth, Wind, and Fire.
H: Was music always a big part of your life growing up?
L: Definitely we had a home studio in my parents house that my father built himself. Session players who played with the likes of Elvis Presley and Marvin Gaye came through on the regular. I was just a baby at the time, but I was always sitting in on almost every session.
H: Before you were a musician you were a fan. What was the first album you purchased with your own money?
L: New Edition “Heartbreak album”
H: Okay, onto your life in the business. Your current band is not the only one you have been a part of over the year. What can you tell us about your first band?
L: Around 2005 I started a band with a couple of friends called Odis. It was a rock band with some pop elements. After 5 years of some local buzz and touring we basically hit the wall. I think my intentions were in the wrong place at that time. I wanted to be famous on TV and the radio. I didn’t have enough respect for the music.
H: Your current efforts tend to fall under the genres of pop and soul, which differs from groups you have worked with in the past. Where did you find the sound of Larry g(EE)?
L: It happened six months after the break up of the band. As cliche’ as this sounds I found the sound during a summer in Brooklyn, NY. Just walking around that city (NYC in general) was such an inspiration to me. I would walk aimlessly not knowing where I was going listening to Mark Ronson’s “Version” and the rest is history.
H: You started performing in the music industry before the rise of social media. Would you say promotion is easier or more difficult now than it was in the past? Do you ever have a sense of nostalgia for the days before Facebook?
L: I love social media so I would have to have to say it is so much more easier.
H: You create a lot of your music with musician and producer Beau Bedford. How did the two of you first meet?
L: During my time with my old band Odis, he was playing in another band at the time. We would also talk in passing how cool it would be one day collaborate. I’m so glad we did.
H: While on the topic of band members, how did you go about finding the other members of your group?
L: Most if not all of the band members came way of Beau Bedford. He is also a producer and works with most of the members in the band on their separate projects. Its really been a labor love as I consider everyone family.
H: You only have one EP out at the moment, which is currently available on iTunes, but as records tend to do it has also been made available online by music pirates. Some say piracy can help independent artists by exposing their music to people who may have otherwise not given it a chance. What do you think?
L: I am totally okay with it. Until the music industry figures out how to handle the whole ‘illegal downloads", I don’t have any problems with it.
H: You’ve managed to become a full time musician without having a major record deal, which is something I know many of the artists reading our blog hope to do one day accomplish in their own careers. What advice would you offer aspiring artists about becoming self-sustaining in the modern music industry?
L: Obviously consistently working on your craft is a given, but they have to be able to run their “career” in order to catch anyone’s attention in the industry. It’s important for artist’s to understand the importance of brand awareness. They need to ask questions to themselves everyday like “What is my story?, Who is my audience?, and how do I build a buzz on my own?”. Labels, managers, booking agents, and publicists aren’t going to come to you if you don’t have anything to show. They want to see an artist that is self-sufficient and fully focused.
H: We should note that just because you’re a successful independent artists does not mean you have everything figured out. What would you say is the biggest misconception people have what you do for a living?
L: That I’m actually signed to label already.
H: You were fortunate enough to appear on Jimmy Kimmel’s late night show earlier this year. Did that appearance make any measurable impact on your career?
L: I would definitely say yes. It’s opened up a lot of doors that would have never opened up for us had we not appeared on the show. It also introduced to a larger audience that would have taken years for us to get in front of. I can’t thank the people at OurStage.com for that amazing opportunity.
H: I’ve heard rumors that you have new material on the way, are those true? If so, what can you tell us about your efforts and when we may be able to hear them?
L: Beau and I have been writing and recording since our appearance on Kimmel. We’ve also opened our creative space and started writing with some amazing songwriters and producers. We don’t have a timetable on releasing new material however we’re pretty confident 2014 is going to present even more great opportunities to do so on a bigger stage.
H: If you could change one thing about the music industry, what would it be?
L: That is a great question which I don’t have an answer for.
H: At this point in life, what is your ultimate career goal?
L: To continue making good music that is timeless and eventually help other starving artists make their dreams come true.
H: I think that covers everything. Before I let you go, do you have any additional remarks?
L: This whole music thing is all about the journey so I would just encourage anyone in the struggle as an independent artist to remember that it’s not a race but a marathon and at the end of the day, your only competition is yourself.
Hello and welcome to the final update of the week here on the official blog of Haulix. We hope you all had a wonderful holiday season. Our team spent the last few days scattered across the country with family and friends, but we also dedicated a good amount of time to keeping things moving at HQ. In this post we’ll take a look back at everything we’ve done and give you a few hints at what lies ahead in January 2014.
Starting with the product end of things, the arrival of Santa did not stop our team for rolling out a new update to our promotional distribution system. Press contacts have long been encouraged to leave feedback on the promos they are sent and thanks to our latest update managing those messages is now easier than ever before. When clients log in to view promo feedback they can identify which comments they have already read by selecting the checkbox next to the corresponding messages. Checked messages will then appear crossed out, but will not be removed. You can view an example of this below:
***Promo feedback can only be viewed the respective Haulix client. Press contacts cannot see each other’s feedback.***
Santa may not have had an impact on our dev team, but he did make an impression on the blog. In addition to releasing two new Blogger Spotlights, as well as a timely Advice column, we issued our very first (and very brief) holiday message to readers. You can find links to every post this week below:
Looking ahead to next week there is plenty we hope to accomplish before ringing in the new year. For starters, we have two additional label spotlight we plan to run, as well as the second installment of our new artist spotlight series. Who knows, we may even find time to squeeze some additional advice. Be sure to follow Haulix on Twitter and Facebook to ensure you never miss another update.
That’s all for this week. Have a fun and safe weekend. We’ll see you on Monday.
Hello, everyone! Welcome to the third installment of our ongoing series on YouTube optimization. This will be the last installment in this series before 2014 and also one of the final Advice columns of the year. If you have any questions regarding the content of this article, or if you have a topic you would like to see address in the coming weeks, please email james@haulix.com and share your thoughts.
If you have been following this optimization series since its launch earlier this month then you’ll hopefully remember our coverage on metadata and the importance of profile design. This week we’re continuing our efforts to better your presence by taking a look at the importance of longterm care for your content, and why keeping tabs on the latest YouTube updates may help boost your streaming revenue.
One of the many reasons technology is so exciting is the ability for it to evolve in leaps and bounds over relatively short periods of time. YouTube, for example, has changed greatly from its original design. Videos uploaded in 2006 or 2007 now look like home movies shot on VHS in comparison to the slick HD clips of today. As an example, here is the official video for From First To Last’s 2004 hit, “Ride The Wings Of Pestilence,” which was uploaded in 2006.
A little rough, right? The clip has received nearly 2 million views since launch, which is 2 million people – fans new and old – who found this to be the highest quality version of this clip available online. They may still enjoy the song and video in its current state, but the likelihood of sharing low quality material like this is relatively low.
Now look at this video from Rise Records’ Crown The Empire, which was created when the band was still unsigned:
You don’t need me writing at length to understand the quality of the above video is exponentially better than the previous clip, even if you do not enjoy the song quite as much. A big part of this is due to when the clips were uploaded and the type of files YouTube was capable of hosting at that time. Things were simpler when that From Fist To Last clip went live, and as a result of the person in control of the account that posted the clip not maintaining its presence a beloved single is beginning to show its age.
Whether you’re a new artist on the scene, or an independent talent a decade into your career, it is incredibly important that you dedicate time to regularly update and maintain the videos you have posted online. YouTube is now the number one method of music discovery for the teen market and it is winning over more adult demographics with each passing year. Regardless of your sound video is going to play a major role in raising awareness for your music and brand if you hope to make it in the current music industry. This not only means you need to put extra effort into your video content, but you also need to maintain your presence on the video market as new technology and updates becomes available. Like songs available to stream online, you never when someone will come across your video and/or how familiar they will be with your music beforehand. Every video you post could very likely serve as a first impression for though sands of people, if not millions over time.
Another reason to care about the quality your video library is how it may or may not impact your income. YouTube offers a number of ways to monetize through its site, whether allowing advertisements or adding purchase links, and more opportunities are being added on a regular basis. Regular maintenance of your video library will allow for you take full advantage of these opportunities as they become available, as well as offer you the ability to update the quality of your hosted clips as new capabilities are added. As we mentioned above, sharing is key to success in the video market, and maintaining a library of high quality clips will go a long way towards encouraging social engagement.
Music videos do not have the same characteristics as most viral videos, but many do possess the potential for high virility if marketed correctly. Music videos, like great songs, are something people will share with friends and family for years to come. When future generations study the music of the past, videos will play a large role in understanding not only the song, but the culture that inspired it. That is, after all, what music videos represent. Whether or not you want to admit there is no denying the influence Miley Cyrus has had on pop culture in 2013, and a large reason for that impact is owed to her music videos. “We Can’t Stop” presented the reinvented Miley to the world, and within days the clip racked up tens of millions of plays. “Wrecking Ball,” which followed a few short months later, did even more impressive numbers while featuring a far more naked Cyrus. Some of us laughed at the clip, others found their new pop idol, but regardless of where you stand the song changed how you viewed the world. For days, if not weeks after you and friends joked about Miley, her twerking, and all the teens online tryingtocopy their newfound heroine. Her album, Bangerz, did none of that, and almost soon as it hit shelves it was no longer part of the conversation. That’s not a slight against Miley, but simply listening to her ‘wild new style’ is not enough to generate the type of headlines made from singing the same material while straddling construction equipment in the nude. The album may (probably) be forgotten, but the videos live on for as long as sites like YouTube exists, and they will continue to be a topic of conversation every time someone talks about culture in 2013 until the end of time. The same goes for your content, and you should not take that knowledge for granted.
We cannot tell you how to make videos that will go viral, but we can tell you that high quality footage goes a long way toward winning over increasingly distracted young minds. By regularly maintaining and updating your video library you are positioning your content to be received by viewers worldwide in the way that represents you best. Do not underestimate the power of first impressions.
Hello and welcome to the first-ever Artist Spotlight on the Haulix Blog. We know we usually focus on musicians in our ‘Advice’ series, but in an attempt to further investigate just how big the impact of leaks are on the industry we thought it would be best to speak directly to artists and learn about their experiences. If you know an artist that would be a great fit for this column, or if you have any questions related to the services offered by Haulix, please do not hesitate to email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
You never know where you’re going to end up in life, and you certainly have no idea where the people you went to high school will find themselves five or ten years down the line. I know I never pictured myself working full time in the industry, even though it’s what I wanted more than anything, and I certainly never thought I would find myself interacting with anyone from my rural midwestern town in a professional setting if I did. Life has a funny way of catching you off guard though, and in today’s post I’m going to introduce you to someone I have personally known for almost half my life.
Josh Marunde, otherwise known as ‘Chachi,’ is the drummer for Michigan based rock outfit Pop Evil. He hails from a small town surrounded by cornfields with little-to-no outlets for creative young people outside the classroom, but thanks to a relentless drive to succeed and unmatched passion for music he has built a career for himself that currently finds his talents topping the active rock charts nationwide. It’s a position any aspiring musician hopes to one day find themselves in, and lucky for us Josh was kind enough to share some insight on how he traversed the often turbulent terrain of the music industry to reach his dreams.
If it was not clear from the paragraphs above I grew up in the same town as Josh, and to be completely honest we also attended the same college. Our professional paths never really crossed until after graduation, but we have been friends for years. When we thought about launching a series highlighting the artists who have used Haulix in the past I knew Josh had to be included, and I am honored he’s allowed us to share his story on this blog.
If you want to stay connected to Josh and learn more about life in the world of rock and roll, make sure you follow him (and the band) on Twitter. Additional questions and comments can be left at the end of this post.
H: Hey there, thanks again for doing this. Before we begin, please tell everyone your name, position, and the band you’re currently involved with:
J: thanks so much for your time and this opportunity. My name is Joshua “Chachi” Marunde, or Chachi Riot. I’m the drummer of Michigan-based rock band Pop Evil.
H: Welcome! You’re helping us usher in a new twist to our industry spotlight series with this interview, but we still need to cover the basics. When you think of your earliest memories with music, what comes to mind?
J: Some of earliest memories of music are riding around in the car with my mom and brother and playing “who sings it” as we seeked through stations of all genres. I love that game. It was always a race to see who the the artist first. I also remember starting band back in 6th grade, where I picked up the alto saxophone. Good times, haha.
H: Was music always a passion, or was it something you came into a bit later in life?
J: Growing up, sports were my true focus. I was always a very big fan of music and an avid listener, but, I always saw myself more on the business-side of the industry, less of a performer.
H: Do you remember the first album you purchased with your own money? Do you still own it today?
J: Most of my early CD purchases were through my mom’s “club” where you could get deals like “Buy 5, get 10 free” I don’t remember my FIRST. Fuel’s “something like human” was an early buy, and the first record I ever REALLY got into was probably Boyz II Men or Slaughter. My mom and I are eclectic listers, haha.
H: Like many musicians, the band you’re currently touring the world with is not the same group that gave you a start in music. What can you tell us about your first band and how it came together?
J: The first band I was ever in was called Vetis, and later Saraph. We were 4 best friends just making noise and having fun. I “managed”, booked, and promotes us shamelessly. It was an amazing experience and is a big reason I am where I am today. Without that band and those friends, I would have never started drumming back in ’05, or re-started in ’08.
H: Everyone’s first band eventually fizzles, but if my research is correct Pop Evil was not exactly your second outing either. When did you first meet the band, and how long was it before you became a member?
J: I met Pop Evil through my networking and booking of my original* band, Saraph. I knew they were the biggest band out of Grand Rapids area (where we were based) so, whatever they were doing, we needed to learn. I began making calls, sending emails, opening for the band, and soon became friends with a few members. I worked hard and wouldn’t take no for an answer. Network. Network. Network.
H: Speaking of when you found your current gig, what can you tell us about the auditioning process? Pop Evil was already an established band by the time you joined the group.
J: Pop Evil signed to Universal/Republic in ’09. So when they called me to “try out” I was already pretty excited and nervous. But, the anxiety didn’t end there. The story goes like this: Dave called me around 1am on a Sunday night, asking if I was interested in playing for PE. The obvious answer being yes, we moved on. “Have you ever played live to a click and tracks?” “Yes” I lied. “Do you know many of our songs?” “Yeah, they’re all over the radio” – I had HEARD 3-4 and didn’t know any of them. “Ok, get on the train, 7am Tuesday morning to Chicago.” That was it. I had about 30hrs notice. Haha. Terrified. But I made it work.
H: It must have been difficult for you to choose between sticking the bands you helped build and taking the opportunity to join a group more established. What ultimately made up your mind?
J: Saraph was doing really well and had exciting things on the horizon, however, after a year of serious touring, our singer decided that the tour life wasn’t for him. He needed a little normalcy and we cooled it. We cooled it WAY down. I openly expressed that I would pursue looking for another band so I could pursue my dream of drumming, PE called about 3months later.
H: Okay, I think we have a good grip on your history. Let’s talk about life as an artist. You released your first album with the group, ‘Onyx,’ in the first half of 2013. What was it like to work on such a big release, and how difficult was it adjusting to the promotional schedule of a signed band versus what you’d experienced with previous groups?
J: Although I was with the band, performing, during the release of WoA (war of angels), I didn’t write or track the record. Onyx was my first go. The process was intimidating and fast paced. The band had just had the success of 4 charted singles and now had to do better. Take the next step. I needed to make myself and the band better, and quickly. The process involved a lot of support, learning, growth and seems to be paying off. This job comes with some responsibilities you look forward to less than others, but ultimately, it’s pretty awesome. We’re very lucky and very thankful.
H: If I recall correctly, your album beat the odds and made it to release day without any major leaks. To whom or what do you attribute this success?
J: Leaks of singles and records are a major fear and factor in today’s industry. Thanks to amazing businesses like Haulix, our album was kept safe and sound. Well played by eOne for choosing Haulix and much thanks to both parties for protecting our art.
H: The argument about the impact leaks have on artists has waged for years. As someone in a band whose only beginning to find national success, what can you tell us about the impact of piracy on your efforts?
J: piracy and leaks are a major game changer today. As a new artist, we need every download/purchase we can get. If someone steals a song or album and that bring them to a show, that’s great. But, multiply that by the thousands. The lost sales translate to the label as a poor selling artist, risking the band’s support and career. Traceable sales are very important. Plus, if you’re willing to spend $5 on a latte, why can’t you buy a song or a whole album for <$10?? BUY MUSIC. SUPPORT YOUR FAVORITE ARTISTS/BANDS.
H: What would you say is the biggest misconception people have about life as a chart-topping, constantly touring artist?
J: A huge misconception today is that if you have a #1 song, you’re rich. I assure you, that is NOT the case. Money is being spent and earned and lots of investing happens, and very little trickles into the hands of the artists. It’s like a baby business. You have to spend money to make money. We have to work hard to keep our heads above water.
H: Speaking of your time on the road, Pop Evil has a long history of packing as many tour dates as possible into each year. Do you happen to know the final count for shows played in 2013? Any specific dates stand out in your mind?
J: Pop Evil is definitely known for our tour schedule. We pack in a serious amount of your dates. I don’t know the EXACT number but I know we’ve stayed above 250 for the past few years. 2011 was like 265 shows. Combine that with drive days and we were home** about 50 days that year. I think 2013 was about 200-220 show dates. Grinding.
H: You’re wrapping up your 2013 touring efforts later this month. What is the first thing you plan to do when you get home, and just how long do you off?
J: we finished up 2013 tour in the next 10 days, giving me about 16 consecutive days off. When I’m home, I’ll be smooching on my better half, cuddling my puppy, cooking a lot, hitting up crossfit boxes, and visiting family. Maybe find time to get tattooed, go out for NYE and write for my side-project.
H: Looking forward to the new year, what can you tell us about Pop Evil’s plans for 2014?
J: for 2014, I feel some big things coming. We kick the year off with Stone Sour and hopefully our 2nd, consecutive #1 single. Additionally, I’d like to tour Europe, stay hungry, and keep working hard to get better.
H: If you could change one thing about the music industry, what would it be?
J: if I could change one thing about the music industry, I think it would be to make everyone more open to diversity. Radio station programming, tour packages, etc. I’d love to see more diverse landscapes and mix it up! Spread the love.
H: In addition to playing drums for PE, you’ve also been known to dabble in other areas of the entertainment business. What is your current career goal?
J: I’m very active in the industry in various ways and facets. Eventually, post-crazy touring, I’d love to become a professor. To give back and teach some of the knowledge and experience I’ve gained. Here’s hoping!
H: I think that just about covers everything. Do you have any final thoughts you would like to share with our readers?
J: I’d like to thank everyone at Haulix for this opportunity. I truly appreciate your support and everything the company does for the industry. With that said, to all the readers out there, DREAM IMPOSSIBLE. Work hard and anything is possible.
Hello, everyone! Welcome to the first and only Publicity Spotlight of the week. We have been working on putting this piece together for the better part of the last month and are incredibly excited to finally share the results with all of you.
As a friendly reminder, we are always looking for suggestions for future blog content. Whether you know a writer who should be interviewed, a site that deserves a mention, or if you have a question you need answered, please do not hesitate to email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
We have mentioned this before, but the music industry is actually a much smaller community on professionals than many may believe. Everyone knows everyone, regardless of genre or label associations, and to be perfectly honest that general sense of friendliness everyone has towards one another is one of the best parts of life in the business. Today’s spotlight happens to feature someone I feel fortunate to call a friend, and her drive to help artists succeed is only surpassed by her admiration for music.
Kelly Walsh is a publicist for Prosthetic Records, one of the best heavy labels in existence today, and she’s certainly a ‘need to know’ name in the world of rock journalism. She represents some of the greatest bands in the business today, and the reason she’s been entrusted with the continued success of their public relations is due to her own relentless determination to succeed. From her early days as an intern with Century Media Records, to where she finds herself now, Kelly has poured every ounce of herself into helping others chase their dreams of having a successful career in music and through doing so has built a strong reputation for her skills in the business world.
If you have ever had the slightest interest in life at an independent label, or what it’s like to work publicity for some of the heaviest bands on the planet, make sure you pay careful attention to what Kelly shares in the conversation below. If you want to learn more about her efforts at Prosthetic and beyond, be sure to follow her on Twitter (as well as the label). Additional questions and comments can be left at the end of this post.
H: Please state your name, job title, and the company you currently work for:
K: My name is Kelly Walsh and I’m the publicist for Prosthetic Records. I also run the internship program here & do all of the label’s social media.
H: When you think of your earliest memories with music, what comes to mind?
K: My earliest memories would have to be listening non-stop to Jackson 5 “ABC” and Disney soundtracks. I didn’t grow up around a lot of music and my parents weren’t huge music fans, so my options for the home stereo were limited.
H: Every industry professional has a moment in life where they realize their interest in music is more than a simple passion or hobby, but rather something they want to make a career out of if at all possible. If you had to guess, when was that moment for you?
K: For me, it wasn’t so much a single moment as much as the combination of my discovery of music. I didn’t actually start listening to music as more than just background noise until early high school. I got introduced to heavier artists (AFI, Linkin Park, Scary Kids Scaring Kids) and started from there but I was obsessed with lyrics and finding out their meanings. I had journals upon journals of song lyrics that I’d transcribed and scribbled notes over. I’m a huge reader, so being able to combining words and music intrigued me.
It wasn’t until mid-way through college that I actually thought I could translate that into a career. I won a meet & greet/ private listening session with Apocalyptica and getting to see a glimpse of the behind-the-scenes work that went on made me realize that was where I belonged.
H: You attended college, but if my research is correct you did not focus on anything industry-related at the time. Is that correct?
K: Far from it, I actually went to school for Forensic Science and wanted to become a medical examiner. Unfortunately, I was born with hand tremors and due to those – it put a full stop to that plan. After that I spent a year studying English Literature & Shakespeare in London,UK and trying to figure out what to do with my life. Since my visa expired after a year, I decided to move to Hollywood, CA (I’m originally from Upstate New York) and attended Musicians Institute for a brief period.
H: What was your first ‘gig’ in the music industry (unpaid work counts)? Can you tell us a bit about how it came together?
K: My first “gig” in the industry was being an intern for Century Media Records. From street teaming and being at a bunch of shows, I’d met a few staff members and they had suggested that I apply for the internship. After interviewing, I was hired and I spent 6 months interning there mostly helping out with marketing and street teams. My hard work paid off and a job for a marketing assistant opened up which I applied for and was lucky enough to get hired! During my time at Century Media, I ended up taking over the internship program and restructuring it, running the street teams, and working with local promoters, venues and street teamers to promote upcoming tours.
H: What advice would you offer aspiring industry professionals hoping to get their start in the business today?
K: Work hard, ask why & network! If you’re truly passionate about something, don’t be afraid to show it. I learned the most from my internship by going above and beyond with the tasks that I was given and I always tried to ask “why” I was doing something so that I understood its purpose rather than just blindly completing a task. Networking is key! Keeping in touch with people and building relationships opens so many doors!
H: You currently find yourself at Prosthetic Records. What initially attracted you to Prosthetic, and what was the interview process like?
K: Due to budget cuts, my position got terminated at Century Media and the next morning one of my bosses, the phenomenal Steve Joh, contacted me and asked me if I wanted to do publicity. He told me that Prosthetic was hiring and he had already spoken to them about me and they wanted me to come in for an interview. The label fit me perfectly as I was a fan of some of their past roster (Lamb of God, Gojira, All That Remains) and a huge fan of some of their newer bands ( Skeletonwitch, Holy Grail). I loved that they represented a variety of genres and also that they were a smaller company. The next day I headed to their office for an interview and got hired on the spot.
H: Without going too in-depth, what does a normal day look like for you?
K: Normal, what’s that? Just kidding. I’m obsessed with making lists – they help me stay so organized. I start off my day coming up with a list of things that need to be done for each part of my job (i.e. – what needs to be posted on social media, what tasks do I have for the interns today, what interviews are due today, etc). I spend the rest of my day sending out press releases, pitches, doing tour press and the likes. Towards the end of the day/ when I get home, I spend hours reading news sites, reviews, magazines to find new ideas and keep up with what’s going on.
H: What is one of the biggest misconceptions people have about life in the music industry?
K: The most irritating misconception is the “suit wearing, desk job, 9-5”er category you get huddled into. I definitely don’t wear a suit and while I may spend the day in an office, my job doesn’t end at 5. I guess it’s the conception that everyone at the label lacks creativity and are just interested in sales – which is so far from the case. I never stop working, my email is on my phone and I’m constantly checking it – I try and go out to local shows as often as I can to see new bands and I’m always looking for new opportunities for my bands whether it be music related or something they’re personally interested in.
H: How do you measure your success at your job?
K: Exposure would come to mind first. My goal is to increase awareness and make sure in addition to hitting the regular markets, I’m constantly trying to find alternative methods and increase my outreach.
H: When it comes to promotional distribution, which services do you prefer and why?
K: Definitely Haulix. It’s simple, fast and secure. Also, the customer service is incredible, I’m able to get a response usually the same day and they always go above and beyond.
H: As someone who works first hand with unreleased music on a regular basis, do you believe album leaks can be prevented?
K: For the most part, yes. Especially with using the watermark service that Haulix provides – it’s easy to catch a leak source and stop it.
H: At this point in life, what is your ultimate career goal?
K: I love doing publicity/marketing and I’m so glad that I ended up here. I would love to continue doing publicity/marketing and also delve into management. Non-music related, I’d also like to get my funeral directors license at some point and do that on the side.
H: If you could change one thing about the music industry, what would it be?
K: I’d get rid of illegal downloading. Nowadays with the variety of streaming services, I don’t see the need. If you’re that cheap and won’t buy an album that you claim to love, at least stream it so the band can earn some sort of revenue for their hard work.
H: I think we’ve covered just about everything at this point. Do you have anything you would like to add before I let you go?
K: I just want to say a big thank you to my bands for being so incredibly amazing to work with!
Also, we’ve got a lot of huge releases coming out next year including a new album from our hardcore quartet TRAP THEM and the first original material from legendary guitarist MARTY FRIEDMAN in over four years! So make sure to stay tuned to www.prostheticrecords.com for details J
Hello, everyone! We told you this month would be littered with new ideas, and this afternoon we’re beyond excited to present another brand new column for your reading pleasure. The past few months our blog has mainly focused on the journalists and publicists who directly engage with Haulix on a regular basis, but what about all the artists whose releases are shared on our service? Starting today, they too have their own place to call home on the Haulix blog. From interviews to advice columns, artists are going to play an increasingly large role in our content moving forward, and we’re always open to new suggestions. If you have an idea for a future column or article, please do not hesitate to email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
Josh “Chachi” Marunde has been playing the drums for a long time, but it wasn’t until earlier this year he was announced as an official member of chart-topping eOne rock act Pop Evil. Since then, Josh and his bandmates have been touring the world in support of their latest album, Onyx, and when their final tour date wraps later this month they will have performed well over 100 shows during the course of 2013. With a schedule like that it is easy to understand how personal health and fitness could be overlooked in light of other priorities, but Josh has made a commitment to do whatever he can to keep himself in shape while out on the road. We asked him how he keeps it together when he never knows what challenges he’ll face the next day, and fortunately for us he was kind enough to provide an in-depth blog about staying fit on tour. You can read his thoughts and advice below.
I like to think I am a fan of all genres of music, but there is something about great rock and roll that simply takes the cake. Pop Evil are an incredible band making great music for the right reasons and we’re beyond thankful that they were willing to help us launch our artist-lead advice series. If you want to find out more about their touring efforts, make sure visit their official website. Any questions and/or comments can be left at the end of this post.
It’s not the 60’s anymore. People, more than ever, are making a conscious effort to get healthy, stay healthy, and live longer, fuller lives. I’m embrace and advocate this movement. Being healthy and feeling great is imperative to my attitude, my life longevity and my day-to-day performance. But, new places everyday, expensive day passes to gyms; little to no buyout (or money of any kind), pizza everywhere and fast food seems to be the cheapest option for food. So, how do I stay healthy on the road? It’s no secret that it takes a discipline and commitment. A daily routine or outline is difficult to establish so I recommend a “workout buddy” to help keep each other on track. Making optimal health my goal, I’m not concerned with huge muscles or becoming the next Sly Stallone (though that’s also achievable). I focus on feeling my best and taking care of my body to achieve maximum performance and avoid injury. Let’s face it, playing 5-7 days a week, 250+ shows a year is tough on the body. So, here are some simple tips I follow to help take care of my body.
Diet – this is the most important factor. What you put in your body is going to directly affect the output. I stick to clean eating practices, eating lots of fresh produce, put fruit on the rider, and avoid fast food at all costs. For cheap, healthy options, try oatmeal, eggs, and bananas. No worries about the cooking process, you can purchase a multi-purpose skillet from a Wal-Mart for about $20. Drink lots of water, tea, or low sugar sports drinks. Avoid soda. Easier said than done, but even beer is a healthier option – especially craft brews and aged wines.
Active Stretching – So important. So simple. So often overlooked. Static stretching (google it) is a thing of the past. Nowadays, to warm up, you activate your muscles to prepare them for what you’ll be putting them through later that day/night. Deep, properly executed squats, arm circles, jumping jacks, inch-worm walkouts, “good-mornings”, trunk twists and lunges are some of my favorites. I do mine first thing, while sipping my coffee and again before show time.
Exercise – Without a gym, without weights, without anything other than your own body, you can get and stay in GREAT shape. Practice HIIT (High Intensity Interval Training) methods, completing various exercises in a row with very little to no breaks. This will optimize fat burning, is low-risk of injury, and is easy to do with no weights. If weights are an option, even in the slightest, be efficient and use kettlebells and a jump rope. Hands down, two of the most effective tools available, even at a gym. A sample workout circuit might look something like this:
3RFT (rounds for time – as fast as possible while executed correctly)
The internet is an amazing place of reference for bodyweight workouts, movements, stretching, and more. I personally follow CrossFit, religiously. But, that’s a discussion for another blog post, haha. I hope this finds you well, and encourages you to take care of your body, out on the road. Have fun with it, feel great, and use all the extra energy to melt faces across the nation.
Hello, everyone. Welcome to the second and final Blogger Spotlight column of the week! We thought about holding this piece until closer to Christmas, but after learning the full story behind the site in question we simply could not wait to share it. If you have a recommendation for a site or writer you feel would be a great addition to this series, please email james@haulix.com and share your thoughts.
It’s hard to turn on the news these days without seeing something about the city of Detroit flashing on the scrolling ticker. Between corrupt politicians and ever-mounting debt the place once known as Motor City USA has undoubtedly seen far better days. Still, amidst the abandoned buildings and empty lots resides a growing coalition of young minds dedicated to seeing their city thrive once more, and today we’re telling one like-minded group’s story.
A theme that runs throughout every single interview we have featured up to this point is a universal desire to share great music with the world. Each of the writers and professionals highlighted started their career with that goal in mind, and over time each has found success in their own way through pursuing that same dream. It’s as if the only way to make it in music is to be as selfless as possible, doing whatever you can to help the people around you to succeed. People notice when others act this way, and it doesn’t take six months of interviews to understand being liked can get you places in life. Today’s writer shares this same passion, but their efforts to give back goes beyond anything we have highlighted up to this point.
Motor City Ragers is a collective of writers from the greater Detroit area who know their beloved city is overdue for an evolution. They believe in Detroit’s power to rise to prominence once more, and each day they do their part to promote the area’s future by sharing the talent that thrives within the city limits with the rest of the world. From music news and reviews, to sports and beyond, the finest Detroit has to offer can be found on the pages of Motor City Ragers alongside the likes of every pop culture influencer you can name, and in the paragraphs below you’ll learn how it all came to be.
If you would like stay up to date with everything going on in the world of Motor City Ragers, make sure you bookmark and frequent their website. Additional questions and comments can added at the end of this post.
H: For the record, please tell us your name, job title, and the publication(s) you currently write for:
N: Hello Haulix readers! Before I get to the questions, I have to say thank you to Haulix and James for giving us this opportunity. We’ve spent a lot of time and effort building our brand from the ground-up over the last few years, and we truly appreciate and cherish every chance we get to share our story with new audiences.
With that being said, my name is Nick Camilleri, and I’m one of the founders of MCR (Motor City Ragers). I really can’t give you a more specific job title because MCR isn’t just a blog or publication. MCR is one brand with many different elements. Not only do we run a blog that focuses on the Detroit music scene, but we also have a CD duplication and screen printing business, we manage artists, we’re working on our own independent record label with in-house distribution and publishing, we’ll be launching a clothing line in the near future, and we also have our own nonprofit organization among many other things. As one of the founders, I’m responsible for bringing our overall vision to fruition.
H: When we first interacted you informed me that you’re just one of the site’s founders. Can you share with us the origin story behind Motor City Ragers?
N: MCR has been years in the making. It all started with a group of high school friends looking to escape the banality of the suburbs. After we got our driver’s licenses, Detroit became our escape. We would visit the city almost every weekend – whether to attend a sporting event, a show, to go out to eat, or simply to walk around and explore. We fell in love with a side of Detroit that was never portrayed in the news and media.
After high school, we all went our separate ways for college. Even though we attended different universities, we all stayed in-state so we could be close to home. During semester and holiday breaks, we would all get back together and go blow off steam in Detroit. A long and rough week of exams was always followed up by a couple of nights of extreme partying in the city, and it was perfect because one of our other founders was attending Wayne State at the time and lived right on campus so we always had a place to crash at.
It wasn’t until my senior year at the University of Michigan that I truly became inspired to get involved in the city’s revitalization efforts. During my last semester in Ann Arbor, I took a course on Detroit that was taught by professor Scott Kurashige. Not only did this class give me a better and more complete understanding of the city’s history and all of the different factors and variables that lead to its downfall, but it also exposed me to the various groups and organizations that were spearheading the city’s modern grassroots revival, such as the Heidelberg Project and Detroit Summer to name a few. Before I enrolled in this class, my only focus was getting my degree and applying to law school. After I completed the course, the only thing on my mind was getting involved on the ground. But how would be determined in the months following graduation.
After receiving my bachelor’s degree in the spring of 2010, I reached out to my friends from high school to see if they were interested in getting involved at the grassroots with me. After everyone was on board, we embarked on an extensive brainstorming mission to figure out what exactly we were going to do. At the same time, we were still going out a lot in the city and meeting and networking with people who were already active on the scene. This was all going on in the months following the release of Kid Cudi’s Man on the Moon II album. Kid Cudi was a huge inspiration for us and his music was always on the playlist for our brainstorming sessions. In fact, it was his usage of the word “rager” that inspired our name. After a night of heavy drinking in Detroit, we looked each other in the eyes and said “we’re the Motor City Ragers.”
Even though we all had different ideas to start, we all came together over our shared passion for music and its power to unite people of all races and creeds. We just didn’t have a plug into the local music scene. That all changed when we met Detroit artist CrackKillz at a house party in Midtown. After talking for a bit about each other’s visions, we exchanged numbers, and a couple of weeks later, CrackKillz called me and asked if MCR would be interested in sponsoring his next mixtape. Even though we didn’t have a business plan or structure in place at the time, I told him yes without any hesitation.
It was through our involvement with CrackKillz that we became aware of all of the musical and artistic talent in the city. I felt like we needed to help bring attention and exposure to these talented and starving artists, so we started the MCR blog. Then a couple of months after we launched the blog, we realized that there was a high demand for CD duplication and screen printing, so we purchased the necessary equipment to be able to offer those services as well. The rest is history.
H: What initially attracted you to the idea of blogging? Was MCR your first ‘professional’ writing effort?
N: MCR was indeed my first professional writing effort. I really had no intentions of blogging until I became exposed to all of the good music getting overlooked in Detroit. At first I was hesitant because I didn’t have any previous experience running a blog, but with time and patience, I was able to teach myself.
H: Let’s talk a bit about your history. When you think about your earliest memories with music, what comes to mind?
N: Oh man so many of my earliest memories are music-related. One of my most vivid memories is when I went to a night club in Greece for the first time at the age of 12 and everyone inside was jumping up and down in a trance to “6th Gate” by D-Devils as if they were possessed. That definitely left a lasting impression on me. Another memorable experience that comes to mind is when I tried to buy Jay Z’s Hard Knock Life album on my own when I was 10. The cashier at FYE asked for my ID and I immediately dropped the CD and ran out of the store like a fool. Or how about when I went to a System of a Down concert at Joe Louis in 10th grade and got trampled in the mosh pit. It hurts just to think about that experience.
H: Detroit has produced some legendary artists and groups over the years. Were you involved in your local music scene growing up?
N: I really didn’t get involved in the Detroit music scene until after I finished college and met CrackKillz. Since then, I have been able to build relationships with a number of local artists, including Adam Reverie, Sheefy McFly, Maz Michigan, and Jae Retch to name a few.
H: You cover a variety of content on Motor City Ragers. How would you describe the type of artists and music people can find on your site?
N: Even though we cover the Detroit hip hop scene extensively, our blog is open to all genres of music, especially if the artists/bands are from Detroit.
H: You talk about a lot of things other than music as well. Can you tell our readers a bit about those efforts?
N: Aside from music, we like to bring attention to anything that sheds a positive light on the city, such as volunteer outings and various fundraising efforts.
H: Your site has been gaining quite a bit of notoriety. At this point, what goals are you hoping to accomplish through your efforts with MCR?
N: MCR is an arts-based movement dedicated to making change a reality in Detroit. Through our efforts, we want Detroit to become known throughout the world as the Arsenal of Creativity, which is a twist on the Arsenal of Democracy motto of the city’s historic past. At a time in history when the arts are being taken for granted, we want to show the world why the arts matter. Here, they are revitalizing an entire city.
H: You’re probably the first site we’ve spoken with that has its own scholarship. What can you tell us about the ‘Motor City Pride’ scholarship program?
N: Even before MCR started, we were committed to giving back. We understood how the future of Detroit depends on the youth of today. The city needs a larger and more solid tax base to be able to provide its citizens with the municipal services they need. It is much easier to attract the younger generation to Detroit than the older generation that, for the most part, is stuck in the past. Through the Motor City Pride Scholarship, we’re trying to encourage high school seniors to pursue higher education in Detroit. In other words, to give Detroit a chance. By attending college in the city, students will be able to observe firsthand all of the positive changes that are occurring on the ground, which could then inspire them to get involved, start their own business/organization, and even purchase property in the city after they finish their education. Detroit certainly inspired us, so we know it can have the same effect on others. You just have to see it for yourself.
The Motor City Pride Scholarship is given out every year to two students at the start of the fall semester. The scholarship covers the recipients’ cost of books for their first semester of studies at an institution of higher education in Detroit.
H: Is it safe to say promoting and improving the future Detroit is always a focus of MCR?
N: Honestly, that’s the main focus of MCR.
H: I noticed there is very little, if any, real advertising on the site. Have you taken any steps to monetize your content? If not, do you plan to?
N: We’ve definitely thought about monetizing our content in the past, but truthfully, it’s not a major priority of ours at the moment. Maybe one day we’ll add advertisements to the site, but we’re pleased with the way it is right now.
H: When it comes to discovering new music for the site, where do you turn?
N: Most of the music we post on the site comes from direct email submissions. However, there have been instances in which we used Twitter to discover new music.
H: What advice would you offer to an artist hoping to appear on MCR in the future?
N: Just send us an email with a brief description and a link to your music. We may not get to it right away, but I can promise you that we’ll listen to it and post it on the site when we have a chance.
H: There is a growing number of sites offering content similar to what can be found on MCR. What do you think it is about your approach to writing and content creation that sets your efforts apart from the competition?
N: I don’t think our approach to writing and content creation is what separates us from the competition. It’s our responsiveness to email submissions, and more importantly, our efforts on the ground that distinguishes us from the rest.
H: If you could change one thing about the music industry, what would it be?
N: Wow I have so many gripes with the music industry. From bloggers who don’t check all of their emails, to mainstream radio stations that ruin good songs by playing them 20 times a day, while making terrible songs lots of money by again, overplaying them as if no other music exists. In addition, I’m getting really tired of the “fake it until you make it” demeanor that is prevalent in so many aspiring hip hop artists today. Just be honest and give the people something that they can actually relate to. However, if I had to choose one, it would have to deal with the artists who are in this industry solely for monetary gain. Music is an art. If money is the main reason you become an artist, and not your passion and love for the art itself, then you’re in the wrong industry, and the quality of your work tends to prove that.
H: What is your ultimate career goal?
N: To make a difference. This may not sound like a career goal, but my life and career goals are one and the same.
H: I think we’ve covered just about everything. Do you have anything else you’d like to share with our readers before we let you go?
N: Definitely! First, our close friends at the Heidelberg Project have been under a barrage of arson attacks over the past year. In just 6 months, the world-renowned outdoor art exhibit has been targeted eight times, losing five of its most prominent art installations to arson. To combat the senseless threats, the Heidelberg Project has launched a crowdfunding campaign in hopes of raising enough money to implement a security system on the premises. With a small donation today, you can help secure this Detroit legacy from future perils. Help make a difference and keep this cultural icon safe. For you. For the community. For history.
Also, if you’re a hip hop fan in the Detroit area, we’d like to invite you to the 10th edition of Maz Michigan’s Motor Club showcase, which will be held on December 23rd at the 4731 Gallery (4731 Grand River). The event will feature live performances by some of the state’s hottest emcees, including Chavis Chandler, FowL, Jay John Henry, Sigidy, Manny Diesel, Gino The Ghost, and many more.
Lastly, I’d like to bring attention to our brother Adam Reverie’s latest project, Father Son Brother Friend. If you like honest rhymes and dope beats, then he’s your guy. You’ll get hooked as soon as you hit the play button. I promise.
Thank you Haulix and James for the great interview!
