This may be the only Haulix company update of the year that falls on a holiday, and to be honest we haven’t the slightest clue how to make the most of the occasion. We do love Halloween however, and we love music that sounds inspired by the holiday even more. Take Harley Poe, for example. Hailing from Indiana with music that could double as the song version of your favorite horror film, this folk punk outfit offer unique thrills and chills that make it possible to enjoy Halloween all year long. Check it out:
Each and every Friday we like to take a brief break from our regularly scheduled programming to update and reflect on everything happening at Haulix HQ. We are far more than a music blog, as many of you already know, and posts like this give us an opportunity to share more our efforts with all of you.
WE HAVE A DEV UPDATE!
Last week was the first in over a month to not end with some kind of major development update, and it looks like that will remain the case for the foreseeable future as our team of creative minds continue to churn out releases that improve the Haulix experience for clients and members of the media alike. This week, our development team released a Promo Grouping feature that allows for clients to better organize and assign their team efforts. Here’s how it works:
Continuing our recent string of platform updates, we are pleased to announce Promo Grouping — a feature that will simplify your organizational efforts. This tool is one we have received many requests for, and we think you’ll find implementing it to be incredibly easy:
Sign into your Haulix account. On the Dashboard you will see your current promos listed at the bottom of the screen.
To begin creating Groups, first click the ‘Promos’ tab at the top of the page. When the new page loads, click the ‘Groups’ button at the top of the page. A new window will open and ask you to name your new group. Enter the desired title and click ‘Create.’ Another window will ask you to confirm the information. Agree and your new group will appear on the left rail of the ‘Promos’ page.
Once the Groups have been created, it’s time to organize your promos. Using the list of promos on the left rail, drag and drop each promo name underneath the group you want it assigned to. If you would like to organize the order in which the groups appear, use the arrows next to each group title to move them up or down the list.
You can also assign your new promos to a group as they are made. When editing a promo, click the ‘Groups’ dropdown list on the promo screen and select the group you wish to assign that particular promo to:
The Groups created on these pages and the promo order set in place will immediately be reflected on your Dashboard and Invitation screens.
Deleting a group is as easy as creating one. Return to the ‘Promos’ screen, click ‘Groups,’ then click the red ‘X’ next to the Group you wish to remove. Deleting a group will not delete the promos contained within that group.
Please note: Promo groups cannot be added or deleted by Sub-Administrators. Only Master Account holders are able to create and organize promo groups.
On the promotional side of things, our very own James Shotwell appeared on the 100 Words or Less Podcast. He spoke of Haulix and our plans for the future, as well as his own life experiences. Click here to check it out.
Our own podcast, Inside Music, is taking the week off. We will be back next Thursday with a brand new episode and plan to continue delivering new content every week in November. Fun fact: James turns 27 this month. He’s the youngest on our staff, but soon we won’t even be able to call him young! Where does the time go.
In case you missed anything this week, here is a rundown of our latest content:
That’s all the updates we have for you this week. Have a safe and absolutely insane Halloween. We’re taking tomorrow off from posting new content, but will return Sunday with a new Job Board update. Thank you for your continued support and readership.
Hello, everyone. Welcome to the latest installment of our ongoing Journalism Tips series. This column is dedicated to helping the next generation of music blogging professionals advance their career, and for this particular article we have decided to highlight the work that must be done in the days, weeks, and months immediately following college graduation.
This blog exists to promote the future of the entertainment industry, and to do that we need input from people like you and your entertainment-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com. We can also be found on Twitter and Facebook.
The vast majority of music bloggers get their start in the industry while in college, and it’s not hard to understand why. College allows young minds the time and space they need to explore the various paths open to them in life in order to find a career field that is best suited to their skill set. For those that believe music writing is their calling, that same time allotted for self-discovery can be used to create content. As time goes on, the student makes more and more time for blogging because they realize it’s a far faster way to connect with the music business than whatever access can be achieved through homework or long hours spent studying. This is not a bad thing necessarily, but it does set a precedent for that person’s ability to create timely content in large quantities that is almost impossible to maintain in a post-graduation world. Once the freedom of being a full time student has become a thing of the past, every single music blogger begins their own unique journey through what I like to call ‘the patience test,’ and today I’m going to explain what you can do to navigate these often troublesome waters.
Here is something no music writer currently in college wants to hear: You will probably not have a paying job waiting for you in the music business, let alone in music writing, when you graduate. The odds are immensely stacked against you, which has been the case for every person who has ever attempted to enter the entertainment business without family ties, and the sooner you are able to face that reality the better off you will be. The problem is, most do not seem to grasp this concept, and once their final internship comes to a close they are faced with the difficult decision of how to support themselves while continuing to pursue a dream that shows no signs of providing income in the immediate future. For some, this is a breaking point. I’ve come to believe that those who give up at this point in their journey were never all that dedicated in the first place however, so for the sake of moving forward let’s just assume everyone reading this now will not let a silly thing like their first post-college setback make them abandon the dream they’ve kept for years. Good? Good.
When you find yourself on the other side of the college experience with a degree in hand and a growing blog following online it’s important to understand that there is no way for you to continue posting with the same frequency you maintained in college unless you sacrifice the pursuit of a real world job. That is not an option for most people, and I am going to wager the same can be said for you. We all need to work in order to make a living and support ourselves, whether that be covering basic needs or paying off all that wonderful student loan debt you acquired over the last few years. Whatever the case, the first thing you need to focus on is finding work. The ideal situation would be something that keeps your nights and weekends free while putting you in front of a computer with little supervision during the week days. These jobs exist in every town and city nationwide, but whether or not there are openings that apply to you is something only further research will reveal. At the very least, you should try and find something that allows you to take time off whenever its needed for coverage or additional ‘dream job’ related events. Can you take off for Warped Tour? What about NAMM? Think about the demands of the industry you want to be in and consider them when seeking jobs in other fields. If you want to keep pursuing music, you will have to make time to do that, and grasping everything that continuing those efforts entails is key to properly preparing for your next move.
Once you find a job, be it full time or part, you will need to outline your new work schedule and see how your week shapes up. Some jobs will have rotating schedules, which makes planning far more difficult, but most will be the same or close to it from week to week. If seeing this schedule causes you to stress about your ability to pursue the music industry then try and take a little pride in the fact that your drive for music continues in spite of the less than ideal situations you find yourself in while trying to reach your goal. Most don’t have that kind of drive about anything in life because they never had the opportunity to find what really speaks to them. You have, and though it’s not coming your way as fast as you would probably prefer you are taking the steps necessary to be the person you hope to become. That’s more important than almost anything else in life as far as I’m concerned, and if you can remember how fortunate you are to possess such self-awareness then you can also find the strength to push ahead and begin your new – hopefully temporary – role outside of music.
I spent two years after my initial college experience trying to find a job in music, and in all the time in between those two moments I was working jobs I’d rather not admit to having worked. The tasks asked of me were never all that difficult, but they were also not at all fulfilling in any way. I simply showed up, did my part, cashed my check, paid bills, and then went back and did it all again. I could support myself and buy whatever I wanted to, but I wasn’t doing anything that I felt held any kind of significance in the world. Anyone could do what I was doing, and the only time that was not true were the moments I made an effort to create content for my music blog. Time was rarely my friend, as I was able to find full time employment that required long hours, but anytime I sat down with a blank word document it felt like every other task I had to complete to get to that point was worth it. I had a platform and a voice and it was being put to use. I was saying things I wanted to say that reflected the way I truly felt and it was making an impact on artists and music fans alike. My efforts were not as constant as they were in college, but in some ways they were more rewarding because of the release I felt being able to focus on something I loved.
Making time to write was not easy for me, and it probably will not be easy for you. Once you begin a new job you will have a new world of things to think about and focus on, which in turn will pull you further away from music. If you want to remain connected it’s almost entirely up to you to make an effort to stay an active part of the industry at large. I cannot tell exactly you how to do that, but I can say that making it a point to write and create every single day is incredibly important. As Brian Clark once wrote:
“Write. Write more. Write even more. Write even more than that. Write when you don’t want to. Write when you do. Write when you have something to say. Write when you don’t. Write every day. Keep writing.”
There are going to be a lot of days when you wake up and want nothing more than to relax until the workplace beckons for you, but those who choose to live that way never reach their full potential, let alone achieve their dreams. To make your dreams a reality you must make sacrifices, and that begins with setting aside time every single day for content creation. Be it a feature or a news post, create something everyday that can be posted in the immediate future. This keeps your name out there and gives people a reason to check your site every day, but it also strengthens your abilities as a creative person. When that dream gig does come your way, the skills you refined during this time will be very important.
Speaking of your dream gig, never stop looking for opportunities to get your foot into the industry you desire. The hunt for jobs is tiresome and often leaves people feeling defeated, but unless you’re constantly on the prowl for opening good opportunities will pass you by. Check job boards regularly, join sites like LinkedIn, and ask everyone you network with to keep you in mind should they learn of any new positions within the industry. Skills are only second to connections in this business, and if you have both you might as well be unstoppable.
I decided to call this period in life the patience test because that is the one thing every writer needs to keep in mind when going through this period in life: Patience. Rome wasn’t built in a day, and unless your resume goes viral for some random reason your career in music will also take a while to take shape. That’s just the way things are in music writing today, and truth be told the competition will likely on grow more cutthroat in the years to come. The best thing you can do right now to ensure you have a more successful future is continue to write, every day, without fail. I know it doesn’t seem like much, but as time goes on that commitment is harder to keep, and you will find it necessary to make various sacrifices in order to continue making time for creativity. If you slip, that’s okay, but you must get back into your routine as soon as possible. When the industry does call they will expect you to be informed, skilled, and ready to begin working immediately. Getting into the habit of writing every day, whether you feel like it or not, will aide you in prepare for when that day arrives, There will be no question of if you can do something, only how soon they want it to be accomplished.
The length of the patience test is different for everyone, but with constant dedication to your craft the industry should begin paying attention to what you have to say a lot sooner than most. Remember: It’s not about the destination as much as it is the journey. Work hard and stay focused, but don’t keep yourself from enjoying all the good that comes with each level of personal growth. Take in the sights and sounds at the bottom, so you can reflect on them as you rise to the top. I know it feels like it will take forever to get there, if you ever reach those heights at all, but trust me when I say that good things do indeed come to those who work hard and remain patient. You can do this. I believe in you.
Hello, everyone! We typically fill this blog with advice and insight on modern music industry, but this afternoon we have an internal announcement we’d like to share instead. We have been receiving requests for a grouping feature since at least 2012, and today we’re rolling out a new tool for clients that does just that. Don’t worry – we’ll have more info on life in the business for you soon.
This blog exists to promote the future of the entertainment industry, and to do that we need input from people like you and your entertainment-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com. We can also be found on Twitter and Facebook.
New Feature – Promo Groups
Greetings!
Continuing our recent string of platform updates, we are pleased to announce Promo Grouping — a feature that will simplify your organizational efforts. This tool is one we have received many requests for, and we think you’ll find implementing it to be incredibly easy:
Sign into your Haulix account. On the Dashboard you will see your current promos listed at the bottom of the screen.
To begin creating Groups, first click the ‘Promos’ tab at the top of the page. When the new page loads, click the ‘Groups’ button at the top of the page. A new window will open and ask you to name your new group. Enter the desired title and click ‘Create.’ Another window will ask you to confirm the information. Agree and your new group will appear on the left rail of the ‘Promos’ page.
Once the Groups have been created, it’s time to organize your promos. Using the list of promos on the left rail, drag and drop each promo name underneath the group you want it assigned to. If you would like to organize the order in which the groups appear, use the arrows next to each group title to move them up or down the list.
You can also assign your new promos to a group as they are made. When editing a promo, click the ‘Groups’ dropdown list on the promo screen and select the group you wish to assign that particular promo to:
The Groups created on these pages and the promo order set in place will immediately be reflected on your Dashboard and Invitation screens.
Deleting a group is as easy as creating one. Return to the ‘Promos’ screen, click ‘Groups,’ then click the red ‘X’ next to the Group you wish to remove. Deleting a group will not delete the promos contained within that group.
Please note: Promo groups cannot be added or deleted by Sub-Administrators. Only Master Account holders are able to create and organize promo groups.
This blog exists to promote the future of the entertainment industry, and to do that we need input from people like you and your entertainment-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com. We can also be found on Twitter and Facebook.
A lot of the people we have featured on our show and through this blog have been incredibly outspoken members of the modern music industry. Whether they be artists, bloggers, publicists, or something else entirely, the vast majority of industry professionals working today rarely shy away from an opportunity to promote themselves. I’m the exact same way, as are most the the people I associate with, but one person who tends to stay a bit more in the shadows than most is Modern Vinyl founder Chris Lantinen. Today, he steps into the light and indulges James in a little music business conversation.
You may remember when we featured Chris and his work on our blog back in 2013. What you may not know is the fact that interview was the first he ever did that used his full name. For Chris, writing about music and running his site are not attempts at fame or any kind of celebrity status. For him, writing is a passion that allows him a platform to speak his mind on the the various things that interest him. Modern Vinyl has become much more than that in the years since it launched, but Chris’ views on why he does what he does and what he wants to do moving forward have remained largely the same. He’s one of the most down to Earth people I have ever known, and it was a pleasure to have him as a guest on this week’s show.
If you would like to learn more about Chris and his ongoing efforts, please make it a point to follow him on Twitter.
Hello, everyone! We have been waiting to released this interview for a few days, but transcriptions sometimes take longer than expected. We finished today and thought it best to go ahead and push it out right away. Double post Tuesday, anyone?
This blog exists to promote the future of the entertainment industry, and to do that we need input from people like you and your entertainment-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com. We can also be found on Twitter and Facebook.
It’s been a while since we featured an up and coming industry talent who is somehow managing to juggle multiple high profile projects while maintaining an impressive GPA. Emily Hakes hails from the thriving city of Philadelphia with a passion for music that has been developing since her early teens. The world probably should have known she would be an industry lifer when her first show was Van’s Warped Tour 2007, but here we are seven years later and she’s just now starting to get the notoriety she deserves. From her work at Bad Timing and Lame-O records, to her fast developing skills as a publicist, Emily is quickly ascending to the heights of young music professionals everyone aspires to reach.
Last week, I was able to connect with Emily over the phone for a half hour conversation about her life and experiences up to this point. I knew next to nothing about her going in, aside from the various project I knew her to be connected with, and walked away feeling as if I made a very important new friend. There is absolutely no doubt in my mind that Emily will be able to accomplish anything she sets her mind to in this industry, and I am incredibly excited to see her achieve her various goals in the years to come.
If you would like to learn more about Emily’s adventures in the industry, make sure you follow her on Twitter. Additional questions and comments can be left at the end of this post.
H: Hello, Emily. How are you this afternoon?
E: I’m doing well. Just started my day a few hours ago. So far, so good.
H: I know we’ve tried to schedule this a couple time now, so I am happy we finally able to connect. How is the weather in Philadelphia today?
E: It’s actually great today. It’s been bad this week. It’s been rainy and humid a lot, but today it’s sunny.
H: To be honest, I’m fairly excited about this interview. We have covered the people you work with in the past, but you’re someone who has been making moves in this industry under the radar for a while at this point and I think it’s high time you get credit for all you do. Tell me, when do you think you first fell in love with music?
E: I think I started listening to music of my choosing around 14 or 15. I started with a few records I got from a friend’s older sibling that I listened to a lot, as well as Paramore and Fall Out Boy type stuff because I was young. The records that stuck with me were Motion City Soundtrack, Brand New, and Death Cab For Cutie, who are still some of my favorite bands today. I would say I got my start in pop punk music, but those bands carried my interest over to other things.
H: Falling for music is something most people do at one point or another in life, but taking that passion and attempting to transition it into a career is fare more rare. I don’t want to jump too far ahead in your story, but can you recall a time when you first started considering the possibilities of a career in entertainment?
E: It’s kind of a funny story. I go to Drexel University now, but before that I was in high school. I went to a college fair and they had pamphlets for the Music Industry program at Drexel, which happened to have a summer program with it. That was something I had never heard of before. I loved music, but I lived in the suburbs and had never considered it as something people did for a living. Reading that set me on the path to pursue the industry.
H: Interesting. We usually do some basic music history questions and I’m realizing now we skipped right over them. Let’s fit one in: Do you remember the first concert you attended?
E: I think my first concert was Warped Tour 2007. I don’t think I went to any events before that with my parents, and if I did I do not remember them. I saw All Time Low, Hawthorne Heights, and a few others. I don’t know that there was a band I really wanted to see. My friend was going and there were a few bands I knew who were there. I wasn’t completely into the world of punk yet, so it was something I did mostly just because I thought it would be fun. It was definitely a weird first concert.
H: You mentioned Drexel University. You’re still enrolled now, correct? I believe you’ve only got a short while left to go.
E: I’m in my senior year now. I graduate in March.
H: As someone who has already accomplished a lot in their young career, would you encourage aspiring industry professionals to attend college?
E: I’ve got a weird relationship with that kind of question. I know that I probably wouldn’t be doing a lot of the things I’m doing today without going to this school, but it’s not necessarily because of the program. It’s more the people I met here and the environment we’re in. I wouldn’t necessarily recommend going to school for something like this due to the cost of higher education, but at the same time – if you’re in the suburbs and need a way into the city it’s not a bad way to go. So I don’t hate the idea of going to college, but I wouldn’t necessarily recommend it for everyone. It’s more about the relationships.
H: Okay, so you enter school and then about a year ago two big things happen: You have an internship with SideOneDummy and you launch your own label, Lame-O Records, with Eric Osman. Which came first?
E: Technically, SideOne came first. Lame-O was started by Eric, who is one of my best friends, and he started it on his own to help Modern Baseball put out their album. When he was doing this, I was giving him advice and helping, but I wasn’t technically working at Lame-O because it wasn’t really a business. Then right before I left for LA to do the SideOne internship he asked me to really be a part of it. I said yes, entered the partnership, went to LA, and then when i came back I really dug deep into the Lame-O stuff.
H: Let’s start there. What inspired you to apply for SideOneDummy?
E: That is one of my favorite record labels. It’s one of the first labels that I knew of because they had The Gaslight Anthem, and they continue to be one of my favorite bands. I wanted to know more about the label and people who put it out, so I dug into their artists and discovered people like Chuck Ragan, Fake Problems, and so on. They were one of the first labels I connected with like that, and from then on I kept up with them. For a while I was going to work with Zack on Bad Timing’s first release, but then I saw S1D put up something and I decided to apply. When they called, I talked to Zack and he supported me. He put me in contact with Jamie Coletta, who is amazing, and things came together from there.
H: What do you think was the biggest lesson you learned while doing your internship?
E: I learned a lot. Jamie is incredibly good at her job, and she taught me the basics of how things are done. On top of that, she taught me one of the most important things that I needed to know about email, and that is that it is your job to follow-up with people. There’s nothing wrong with sending a couple of emails, people get it, and that’s something she taught me.
H: Do you have any advice for others thinking of starting a label?
E: It’s a stupid and cliche answer, but you just have to do it. Everyone has reservations when it comes to starting something new, but it’s important that you get past that and just do it. It’s not as hard as it seems, and you will understand that once you just do it. Everything I have been a part of, both Lame-O and Bad Timing, came from people just doing something they wanted to do.
Whatever you think your idea is, trust that it is a good one and try it.
H: I want to fit in a little discussion about the other label you work with, Bad Timing Records. They’re a bit newer than Lame-O, and right now they have a lot of stuff going on. How did you initially get involved with the label?
E: Zack went to school with me. I kind of mentioned it earlier, but before the SideOneDummy internship I had spoken to him about working for Bad Timing. I was going to do that until S1D came along, and then when I got back they told me their horror stories from trying to pack their first release. We talked and that’s where things started. As the business grew I began taking on more things.
H: Is working with Bad Timing that different than Lame-O?
E: I think it’s pretty different. It’s similar in that they’re both starting up and we encounter similar issues at times, but Thomas and Zack have more industry experience and know a bit more about the music business. Lame-O is a bit more relaxed, and we are figuring things out as we go along. I do similar jobs for both, even though I do have more control at Lame-O. We both have a lot of ambition.
H: After all you have accomplished, what are your current career goals?
E: I still want to do a lot. On a professional level, I want to have another big record with Lame-O to help make us a powerhouse. I want us to be a real label and not the kind of local thing it is now. I’m also really focusing on trying to make PR my career, as Lame-O doesn’t pay me anything. I’m hoping to get involved with agencies after graduation, and overall I want to improve at everything I do. I think I still have a long way to go.
H: Out of curiosity, do you have any free time left? It seems that between two labels and school you keep fairly busy.
E: I have more now than I did before. The last few years I was also working a food service job in addition to the labels, so that was pretty crazy. I make just enough, or close to enough now through our efforts to cover my rent and needs.
H: Do you still believe music is the industry you want to work in for the foreseeable future?
E: Yea, that’s definitely the goal. I like working in it. I know some people get worn out in the music industry, but that hasn’t happened to me. If anything, I listen to more music now and get more excited than ever before. I haven’t gotten jaded yet or anything, but then again I’m still young.
H: I know we’ve talked a bit about advice already, but I’d like to tap into your well of knowledge once more. Do you have any additional insight to offer aspiring music professionals about making their way in this industry?
E: To get started, go somewhere cool. Go where something is happening and start to make friends. Don’t make it about business up front, just network and meet people who are doing cool things. Develop ideas, work together, and act on the best material. There’s not much more to it.
H: That’s all I have for right now. Before I let you go, are there any final thoughts or ideas that you would like to share with our readers?
E: Bad Timing just released a new 7” with Kevin Devine, which I think is really awesome. They also have a Knuckle Puck EP, which is doing incredibly well. Lame-O doesn’t have anything this month, so nothing for that. On the PR side, I’ve been working with a band called Hurry and they’re great. Everyone should check that out.
Hey there, everyone! Today is one of those magical days where we woke with plans to do one thing, but life quickly let us know we were meant to do something else altogether. Isn’t it exciting when those moments arise? The piece you’re about to read is based on events that happened this week, but truth be told they occur all the time. Whether you’re big or small, this one will help you when the unexpected occurs.
This blog exists to promote the future of the entertainment industry, and to do that we need input from people like you and your entertainment-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com. We can also be found on Twitter and Facebook.
You know that saying about the best laid plans of mice and men and how they often go awry? The same can be said for the promotion of major label and indie artists. We can give you all the information you need to get started with your marketing efforts, and you in turn can do everything in your power to use those newly developed skills to build your brand, but sooner or later something will go wrong and your big reveal will be spoiled several hours, or even days, before its planned release. When that day comes, and regardless of how many smart people you surround yourself with it will eventually occur, the best thing you can possibly do is roll with it. Scramble to make a new plan, yes, but in the digital age it is impossible to put your metaphorical cat back in its bag. Once it’s free it’s free, and people are going to see to it your cat remains free even if you try to say otherwise.
This week, the popular hard rock group known as Bring Me The Horizon were set to reveal a new single titled “Drown.” The song, which is the first new material to be released by the band in well over a year, has been promoted throughout the month of October. Word broke on Monday of this week that the song would be released on Tuesday afternoon, but due to a miscommunication with the band’s label the video for the track was released shortly afternoon midnight on Tuesday morning. It’s unclear who discovered the clip first, but fans quickly began sharing the video online. When that information was brought to the band’s attention, they reacted by promoting the video across social networks along with a message that read, “Since our label are still struggling with the concept of AM & PM, #DROWN is here early.”
If this is where the story came to an end, this reaction would be a good example of what industry professionals should do when unwanted reveals arise. Unfortunately, Bring Me The Horizon’s label tried to cover their blunder by setting the video as ‘private’ so that it would not be available on YouTube. This occurred at a time AFTER the band promoted the video to their social network of well over a million fans, who in turn began sharing the video throughout their various social networks. Music blogs even posted articles about the video, complete with embeds. When the label moved the video to private, every single one of those links and embeds went dead. All the promotional efforts made by fans to help their favorite band promote a single that suffered early release went up in smoke almost as fast as it came into existence, and the chances of them repeating that share later in the day are extremely low.
Some fans reacted to the removal by taking matters into their own hands. Within thirty minutes of the video being pulled there were numerous links to pirated copies of the clip, as well as audio rips of the song itself, making their way across the internet. The quality was much lower than the actual release, but until the label decides to post the video a second time it’s the only version of the song curious fans will discover online. They might not be looking for pirated materials when they google the track later today, but if pirated materials are the only result that actually has content then it may be where they turn to engage with the material. This not only pulls focus away from the artist and release, it offers an inferior version of the musician’s product on a platform that gives nothing back to the people who created the song in the first place.
Beyond the immediate issues caused by the label’s attempts to hide their reveal, they have also severely hindered their ability to properly promote the song later in the day. By acting as if nothing happened they are only doing a disservice to themselves and the diehard BMTH fans who did their best to help the band they love. Sites won’t run the video twice, just like how people who promoted the clip as soon as it went live will not be sharing the visuals a second time. There are exceptions to these norms, of course, but they’re rare.
You only get one shot at a release for anything, be it music, news, or something else altogether. If anything goes wrong with that release, the hard truth is that it’s far too late for you to do anything about it without hindering the ability of you and your fans to promote that release. Unless the mistake is something so major it would be a detriment to your career if pushed to the public, do your best to roll with whatever surprises life decides to throw your way. It will be frustrating and at times even maddening, but the internet does not bother itself with second chances. You have to make the best of the situation you find yourself in, and make a focused effort to do everything in your power to make the next release better.
Greetings, everyone! We are thrilled that you were able to find time in your busy schedule to browse our blog. We typically run podcasts on Thursday, but ‘Inside Music’ is taking a break this week. Instead of letting the day pass by without an update, we decided to share a guest piece from our dear friend Andrew Jones of Checkered Owl.
This blog exists to promote the future of the entertainment industry, and to do that we need input from people like you and your entertainment-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com. We can also be found on Twitter and Facebook.
A lot of digital ink is spilled everyday on the “future of music”. Streaming vs. downloads, could Google+ ever matter, will EDM eat itself, can crowd funding last…etc. Quite frankly, I am a big fan of these discussions and I think there should be at least one person on every artist’s team who cares about, and participates in them. However, when we talk tech, engagement, and future; we often miss the one of the most critical pieces of the puzzle.
Making friends with other artists.
We all want to be in a community. Your fans want to be a part of a community. Real fans don’t just want to like a band’s music, they want to hang out with the band, to know their friends, their influences, what they are listening to. If you can invite them into some of that, by showing support for another artist, your fans will fall in deeper love with both. We all want to be a part of something larger; and feeling welcomed into a friendship between two rad bands fits that bill. It gives us a circle of belonging.
I can give a thousand examples, but here is one. When I was in Jr. High, I came across a band by the name of Five Iron Frenzy. It was my first exposure to Ska, and I immediately became a huge fan. As I dug up everything I could on the band I saw that they often toured with a new band called The W’s. So I grabbed their record as well, cool stuff, silly neo-swing that met me right where my little grade 8 head was at. Much to my delight, there was a hidden track (oh the forgotten joy of secret songs) called “Five Iron Frenzy”! Instantly I was a much greater fan of both bands. They were my favourites. Why? Because they liked each other and in some small way, I became a part of that relationship.
But why would I say this is the future of music? Isn’t wearing another band’s t-shirt a pretty old concept? Yes. But in an increasingly crowded noisy world, music fans get tired of self-promotional noise; however as soon as you say “You guys gotta check out ________, we played a show with them last night and they KILLED IT!” people’s ears will perk up.
Bands that support bands WILL shine out in this overly crowded market. People want to know what to listen to next, point them towards your friends, you’ll both be richer for it, and I guarantee it’ll stand out more than merely another post about yourself.
This post was written by Andrew Jones, editor of Checkered Owl. It originally ran on his blog, but we loved it so much we felt it deserved to shared once more on ours. If you like his work and want to read more of his writing, or if you want to be super cool and offer him full time industry employment, reach out and connect with him on Twitter.
Hello, everyone! We are bringing back our popular Artist Spotlight series this afternoon for a one of a kind look at the world of death metal. I know not every person who stumbles across this post will love metal, but I think there is something within the content of this interview that can help any artist on the rise.
This blog exists to promote the future of the entertainment industry, and to do that we need input from people like you and your entertainment-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com. We can also be found on Twitter and Facebook.
The economics of the modern music industry have made it increasingly difficult for artists of all sizes to find labels willing to take a risk on releasing new music. Even the most seasoned professionals often struggle to lock down the money needed to create an album without agreeing to a longterm contract that hinders their ability to profit in the future. Some struggle so long that they eventually give in and sign away the future of their career, while others find a way to make DIY work for them. This is a story about the latter.
For the better part of the last thirty years, the name Obituary has been synonymous with the North American death metal movement. Founded as Executioner in 1984, the group released a number of influential albums before going on hiatus in 1997. They returned in 2003 with a renewed passion for pushing the envelope, and in the years since have delivered numerous hard-hitting releases. Their latest, Inked In Blood, was funded through Kickstarter in late 2013 and produced entirely be the band. Relapse Records is releasing the album October 27, and earlier today we had the opportunity to speak with guitarist Kenny Andrews about the album creation process.
This interview is a unique one, and that’s not only due to the fact we are talking about the death metal genre. Kenny is the newest member of Obituary, having joined in 2012, and his perspective on life in music is one that can be hard to find in the business today. He’s very much a newcomer to the world of death metal, yet the band that he appears in is often regarded as one of the genre’s greatest acts (of all time). In the interview below he talks about joining a band with such a notable legacy, as well as his first experience with the group in the studio. We even talk about touring.
If you would like to learn more about Kenny’s adventures in Obituary, make sure you follow the band on Twitter. Additional questions and comments can be left at the end of this post.
H: Hello, Kenny. How are you doing today?
K: I’m great! Thanks for asking.
H: Where are you speaking from?
K: I’m calling from Orlando, Florida right now. We’re supposed to get a cold front that will drop the temperature to the low 80s (laughs), but it’s hard to complain.
H: Oh, nice. It’s not that warm here.
J: You’re from Boston, right? I’m from the Cape. Hyannis, to be specific. I moved down here in the early 1980s.
H: The reason we’re speaking today is because Obituary’s ninth studio album, Inked In Blood, hits stores later this month through our friends at Relapse Records. I know it has been a few years since Obituary last put out an album, so how does it feel to be on the verge of sharing this project with fans?
K: We’re all really excited about it, man. I’m the newest member here, but I’ve known them for many years. Being a part of the group now and being on the verge of putting out this record is pretty crazy, but also very, very exciting.
H: There are a few things I want to cover today, but let’s stick with the new album for now. When did you begin work on this record? I know you launched a Kickstarter to fund its creation in 2013, but my guess is that the songs themselves have been in development a little bit longer.
K: We had some rough demos at that point. The guys definitely had the music down, but we were still learning how to put everything together. Then I had to leave for a guitar tech gig, which delayed us a bit, but we got back on track not long after that. We launched the Kickstarter in August 2013, and that project gave us everything we needed to record and create the record. It was a slow process at first, but thanks to our fans everything worked out.
H: How does the band prefer to write?
K: Trevor has the riffs, and Donald is the one whom he jams. They get together and figure out songs, then John adds lyrics. Me being the new guy, I kind of came in after the songs were created and contributed a few solos. That’s my contribution to this record.
H: I mentioned the Kickstarter a minute ago and I’d like to talk about it again. When you launched the campaign, Obituary was without a label. Did you initially plan to release the album yourselves?
K: That’s a question for John and Donald more than me, but I do think that is what they had in mind initially. Their relationship with their previous label, Candlelight, was a total train wreck. When they left, I think they wanted to take control into their own hands and do an album on their own terms. Kickstarter provided a way to make that happen, but when you start discussing distribution and things like that there were a lot more questions to answer. Relapse provided a solution, and so far our partnership has been great.
H: I follow.
K: Yea, the Kickstarter was created so that we could fund the creation of the album. Getting it to our fans was a completely different obstacle, and luckily the team at Relapse were willing to work with us to find a solution.
H: Speaking of Kickstarter, I noticed on your various social media channels that you have been working on fulfilling the rewards. How’s that going?
K: Oh yea. I think we had over 900 people support us, and once again we’re doing a DIY approach to filling those rewards. It has taken a little longer than we expected, but it’s all good. We knew everyone we hungry for this material, and now we are on the verge of being able to share it with them.
H: Inked In Blood is your first album with Obituary. I know you’ve been friendly with the members for a long time, but what was it like entering the studio to actually record this project? How did it feel to step into the ring with them, so to say.
K: It was incredibly surreal. I’ve known all the members for a while, Donald especially, but when it came time for Obituary and I did those first few tours I really began to understand the impact they have had on the metal scene. We traveled to Europe for a festival of some kind, and there were so many people there, each singing along to songs I didn’t realize were staples in the scene. It was overwhelming. Just being able to do that was incredible, but then you add the studio element and it becomes even wilder. I was very nervous to participate, partially because I never thought I would have an opportunity like this, but it worked out and it’s been great.
I was not a death metal guy for a long time in life. I get it now. The guys I play with are the coolest people ever. We have never had a problem in all the time I’ve known them.
H: I noticed that the band is credited as the producer for this record. What made you decide to handle production on your own this time around?
K: Yea, they definitely used an outside producer for Frozen In Time. They have produced their own music in the past however, and I think they thought the best way to remain unique was to handle everything ourselves. A lot of the new metal stuff, even though it sounds great, all sounds kind of the same. Everyone is using the same tools to produce their record, but part of what makes Obituary great is the group’s sound, and by handling production ourselves we can ensure we create the record we want. They know how it should sound. It’s their baby. If we delivered a super polished record it wouldn’t sound like Obituary, you know?
H: Definitely. It probably helps that you have your own studio as well. Can you tell us about that?
K: Yea, we have a small studio on John Tardy’s property. We run pro tools and have a pretty great setup. We record and rehearse in that space. It gives us the freedom to enter the space and relax. We’re not in someone else’s studio, paying thousands per song or session to make music. We have the freedom to do whatever we want at a pace that works for us. If we don’t feel like we can create on a particular day, we don’t. That may be why it took us a little longer to get this record out, but we just want to cover our bases and make sure we produce the best record we possibly can. Its been five years since our last record and we wanted to be sure it was as good as it could be.
H: I want to touch on your tour plans before we run out of time. The album drops on October 27 and the very next day you set off on tour with Carcass, correct?
K: Yes, it’s going to be a very exciting week. We’re doing a show this Saturday in Tampa, then next friday we fly to Mexico City to perform at a major festival. The following Monday we fly to Tucson, the album drops on Tuesday, and on Wednesday the tour begins.
H: Have you been on the road a lot this year?
K: We did a metal cruise earlier this year, a few small runs, and series of festivals over in Europe. There’s a lot more in our future.
H: You have a large body of work to choose from when picking a set list. How many new songs can fans expect to hear on this tour?
K: I’m not sure. We have three new songs we have been playing live since summer, so we’ll do those, but we will also incorporate some other tracks as well. We’re direct support, so we only have 45-minutes to work with and a lot of material to try and highlight.
H: Great. Well I know you have a number of interviews this week, so I will not keep you much longer. Before we go however, I do want to ask you about your longevity in music. Part of what we do is focused on inspiring future industry leaders, and I was wondering if you had any advice to offer musicians about creating a career in music today?
K: I’ll be 46 in November. I’ve been playing since I was 12 and this is all I ever wanted to do. As far as making it happen, obviously things happened a bit later for me, but it happened nonetheless. The key for young musicians is to keep on playing. When learning an instrument, there is no end. You also do not want to be narrow minded. It’s such a gamble to try and land a deal with a specific type of band. Be open. If you love music and your instrument then you will love any promising opportunities that come your way. You can make a name for yourself, but you have to do it right. Take your time, learn your instrument, and no matter what – stick with it. Have fun. I’ve been at this for a long time, but I still feel like a sixteen year old metalhead. You know why? Because I have a blast playing music. Keep an open mind and try to have a good time.
H: Thank you again for taking the time to talk to me, Ken. The new record is great and I wish you all the luck in the world with your support efforts.
Hello and welcome to the beginning of a brand new work week. We have spent the past several days trying to develop the best content we could possibly image and this afternoon we begin sharing our favorite ideas with all of you. This particular article takes aim at the latest social networking trend and what, if anything, it has to offer the music community.
This blog exists to promote the future of the music industry, and to do that we need input from people like you and your music-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com. We can also be found on Twitter and Facebook.
This morning my mother called me and asked if I had an invite to Ello. The platform, which rose to popularity in recent weeks, is the latest social media craze. It’s invite only, but only in the sense that if you know no one else on the planet you will have a hard time receiving an invite. Artists and companies alike are trying to decide how to approach the system, if at all, and we thought now would be the perfect time to take a deeper look at what this new site does (and does not) have to offer the music industry.
If you have somehow missed the countless headlines and constantly trending topics that flooded Twitter and Facebook over the last seven days, Ello is the world’s latest trendy social media network. The site promotes itself as everything Facebook is not, which means no advertisements, no rules about what your screen name can be, and an invite only platform. It’s also in beta, with the promise of ‘bigger and better’ things to come in the future. Whether or not there will be a community present when that time comes however, has yet to be decided.
Ello is picking up users at an alarmingly high rate, but as it is still in beta there are not a lot features. You can create a profile and connect with people, but beyond sharing updates and images there seems to be nothing else to offer. This will change in the weeks and months to come, but the company has already made it known that they plan to generate income by charging for certain ‘premium’ features. Here is a list of the upcoming features the company has already announced:
I highlighted the one feature the will likely apply the most to musicians. It’s unlikely that this feature will be something the company charges a premium for, but again – that information has not been made public at this point.
As an artist trying to market yourself online, it can be very tempting to hop on the latest social media trend in hopes of making a greater impression online. The first question you need to ask yourself before doing so is how joining a new network will allow you to better connect with fans both new and old. Facebook has a timeline of your entire career, Twitter allows for direct engagement and quick news updates, Instagram captures images from the stage and studio, but what does a site like Ello provide that its competition does not? At this point, the answer seems to be (at best) its minimal design and lack of advertisements.
Speaking of advertisements, artists choosing to approach Ello need to keep in mind that the company is known for its lack of corporate marketing and any profile existing solely to promote is likely not going to be received well. Netflix, for example, launched a profile less than two weeks ago and quickly became the laughing stock of social networks after posting an update directing people to Facebook.
It is possible to promote your work without trying to sell your fans on something, but that skill is another discussion entirely. If you are having success promoting yourself online in 2014 it’s because you have found a way to connect with your fans that does not come across as advertising. If you can capture that feeling again on Ello, it could lead to additional success online. But again – is it anything you are unable to achieve on the networks you currently use?
Artists also need to consider the way news feeds work on Ello. Unlike Facebook, users are able to separate the profiles they follow into two groups, ‘Friends’ and ‘Noise,’ which are then separated into separate feeds on each users’ homepage. Some users may choose to allow their most beloved artists a space in their friends feed, but it seems safe to assume most forward thinking consumer will separate people and brands/bands in a much more straightforward manner. This means even if you do have great posts, they might not be seen because your content is in a feed rarely viewed.
Last, but certainly not least, Ello needs to solve its privacy issues before it will be able to sustain a large user base. Right now, all profiles are public, which means everything anyone shares on the platform can be seen by anyone with a working knowledge of the internet. This may not seem like a big deal for a company with very little user data and next to no content for the time being, but if Ello wants people to feel safe sharing their lives through their service a privacy system will need to be implemented. Without it, users will look for somewhere else to share their latest updates.
While I do believe Ello offers a nice change of pace from the often overwhelming look of a crowded Facebook newsfeed, the platform has yet to develop any unique traits that can help artists further their connection with fans online. In time, that may change, but as it stands right now there is nothing users can do on Ello than cannot be done on another, far more popular, social network. In fact, the list of things Ello cannot do is far longer than the list of things that make it unique, which only further hinders its potential for longterm growth.
There is something to be said for being an early adopter, and if Ello proves to be a sustainable social networking platform in the months to come there could be a nice benefit to having a great profile already developed, but right now it’s simply too early to tell. If you cannot fight the urge to signup, by all means create an account and reserve your screen name. Keep in mind however, that doing so means one more network you need to update regularly. Facebook and Twitter may be frustrating at times, but right now there is no evidence to indicate that they are going to suddenly become irrelevant anytime soon.
A lot has been written about the supposed dire state of the music industry, but truth be told there are a number of successful and growing companies, including record labels, that are thriving in 2014. In this column we bring together every job opening we can find from the companies responsible for building the future of the business and present them to you, our reader, in hopes of aiding you on your journey to join the global music industry professional family.
Each Sunday we scour the internet for the latest and greatest job postings throughout the music industry. You can help us better serve our community by sending any job openings you find or have to james@haulix.com. Be sure to include the name of the company hiring, a detailed description of the position being offered, a desired start date, contact information, and any additional supplemental information you feel may be needed.
Job summary: This successful sponsorship sales professional will be responsible for creating and selling branded, high-impact music marketing programs across our music properties. Responsibilities include: create, package and sell solution-based music marketing programs for Live Nation amphitheater, club, promotional and digital properties and assets, meet or exceed revenue and key account goals, building, refining, updating and maintaining a pipeline of prospects, and more.
JOb summary: FiXT, a growing Midwest-USA-based, internationally known record label, online music & merch store, artist services, and publishing company, with extensive list of FIlm/TV/Video Game Placements is seeking a motivated and talented full-time Label A&R / Distribution Manager specializing in Alternative/Rock/Metal and Electronic/EDM genres. FiXT is a forward thinking independent label with emphasis on direct-to-fan sales and embraces streaming revenue models such as Spotify, YouTube Content ID and more. The FiXT label roster includes world-renowned artists Celldweller and Blue Stahli. The ideal candidate for this position will be motivated to become an active part of the team to accelerate company growth, contribute to the continued expansion of the company and client roster, be extremely organized, and should be capable of multitasking and handling multiple deadlines simultaneously. Candidate should have 3-5+ years of experience in a related field with a portfolio of proven accomplishments and a strong work ethic.
Job summary: Feld Entertainment is looking for a creative, driven, enthusiastic promoter to join our team and help spread the word about The Greatest Show On Earth, Disney On Ice, Disney Live, Feld Motor Sports, and Marvel Universe Live! We currently have an opening for an Event Marketing & Sales Manager based in the Northeast Region (Boston). Plan and execute comprehensive marketing, PR, and promotional campaigns for Ringling Bros. and Barnum & Bailey, Disney On Ice, Disney Live!, Feld Motor Sports, and Marvel Universe Live productions in Northeast US markets to maximize revenue and ticket sales. Bottom line, the job is to sell out shows and have fun doing it!
Job summary: Responsible for daily management of the digital marketing team and genre-specific oversight of digital marketing strategy. Director also manages a roster of high-profile artists online, including content development and management, grassroots community building and marketing, the Atlantic “artist.com network,” tastemaker sites, and genre-related digital marketing lifestyle outlets. The Director of Digital Marketing is focused on the creation and building of Atlantic’s artist communities as they serve as the core of the direct-to-consumer initiatives and future product development, and guiding their direct reports in executing the digital strategy for the label.
Job summary: We are seeking a gear-crazed musician to curate and manage listings on the site, contribute to our growing content wing, and help turn Reverb into the most trusted, knowledgable and extensive gear resource on the internet.This is a great role for anyone interested in the world of online startups and what goes into building a world-class website. This is an incredible opportunity for anyone who loves music gear and technology, and wants to combine the two in a meaningful and cutting-edge way.An ideal candidate for this role will apply with an already robust knowledge of the music gear world across many different categories, brands, and eras.
Job summary: As a Marketing manager, you are a fully dedicated business leader, shaping the future of one of our many Google products. Whether you’re on a consumer product (like Gmail, Search, Maps, Chrome, Android) or a business product (AdWords, AdSense, DoubleClick, Analytics), you take part in a complete marketing experience as you lead every facet of the product’s journey. From determining positioning, naming, competitive analysis, feature prioritization and external communications, you help shape the voice of the product and help it grow a loyal consumer base. This means you work with a cross-functional team across sales, corporate communications, legal, webmasters, product development, engineering and more. The role enables you to shape the product development process, organize product launches from beginning to end and form future marketing strategy.
Job summary: Music & Arts is the largest music lesson provider in the country. We’re looking for passionate music lesson instructors in the metro DC and Philidelphia market! We believe that private lessons are the building blocks to a lifelong relationship with music. Our strong commitment to music education is fundamental to our business, and we work hard to find instructors who are experts in their instrument.
Job summary: In this managerial role, day-to-day responsibilities include supervising the editorial staff, scheduling content, maintaining an editorial calendar, monitoring real-time content performance, and analyzing traffic patterns and trends to identify actionable insights. In addition to these daily responsibilities, the Managing Editor will collaborate with integrated marketing teams to ideate and execute advertiser campaigns, including custom content and sponsored programs, and will be accountable for quality assurance across the site.
Job summary: Partner with business analysts, project masters, scrum masters and developers in requirements gathering, design and implementations. Directly responsible for analyzing and translating business, information and technical requirements into an architectural blueprint. Solutions are expected to achieve business objectives and expected to take an active part in the delivery process. Actively participate in all phases of the Software Development Life Cycle: requirements analysis, development, testing, and implementation.
Job summary: SpinMedia is the web’s fastest growing entertainment publisher reaching more than 150M monthly pop culture, music and entertainment enthusiasts worldwide. Its influential and authentic brands afford brand advertisers unique access to impassioned and engaged audiences through a blend of professional editorial, expert opinion, user contributions, and customized marketing solutions. We are looking to bring on a highly organized, resourceful and energetic Managing Editor who will be essential to the core operation of the site. This position will be located at our Headquarters in our NYC office.
Job summary: We are currently seeking a Manager, Participations Support to join the Financial Contract Reporting & Administration team. The Manager, Participations Support is responsible for managing the day-to-day operations of the support team that is responsible for the accumulation of negative cost, interest calculations, cash forecasting and special projects. The Manager reviews the work of the team as well as some participation statements prepared by the reporting teams to ensure accuracy and conformity with legal agreements. Additionally, the Manager will be responsible for process improvements and support of the transition efforts with Sylvester (WB’s state-of-the-art participations system). A key component to success at the Manager level is team building, training, staff development, and empowerment. The Manager is accountable for all aspects of team function.
Job summary: The Marketing team at Provident Label Group develops marketing campaigns for brand exposure for our roster that includes industry leading artists. We help fans find great experiences with their favorite artists. We’re a team of great people who have a lot of fun and embrace innovation while working hard. We are looking for a project coordinator who has a special blend of skills… a highly organized multitasker who enjoys building and fostering professional relationships.
Job summary: Under the broad direction of the Dean of Admissions, the Associate Dean of Admissions Marketing and Recruitingdevelops strategies to support the Dean’s enrollment vision. Oversees ROI on all recruitment marketing campaigns. Responsible for theAdmissions digital marketing strategy through leverage of technologies including (but not limited to) Marketo and Salesforce. Overseesdirect mail list segmentation to generate highly effective response rate for our various summer, undergraduate, and graduate programs.Ability to think strategically and monitor/adjust tactical implementation. An entrepreneurial, results-oriented outlook.
Job summary: We are looking for a senior-level individual contributor that is excited by the prospect of managing the marketing communications for Bose Lifecycle consumer headphone launches through the global launch process. Your fluency in the languages of consumer product marketing/program management and creative marketing communications experience will provide a rich and diverse set of experiences to draw upon. Key to your success will be your ability to create and execute marketing plans, demonstrate experience with the latest marketing (including social marketing) techniques, and write/orally communicate with global cross-functional colleagues and senior executives, particularly those in Global MarComm. Experience in consumer product packaging is desired as is an ability to understand and advocate for our customers’ needs, and think critically when confronted with unforeseen challenges. Demonstrated strength in the following areas required: project management, influence, collaboration and an understanding of how to push the limits of our marketing communications while staying true to the Bose values.
Job summary: The Product Marketing Manager will help promote adoption and drive usage of Rednote’s mobile music applications and new B2B services for partners. This person will manage and curate the company’s digital music library and content offerings. Specifically, defining, presenting and updating the best musical categories, moods, genres, artists and themes for massive consumption by different consumer segments. The person will work with the music labels and publishers on reporting usage, related royalties and updating content as new music is released. The role will also be responsible for all aspects of social media and related marketing programs.
Job summary: This position will be responsible for managing the introduction of Music Services as part of the Partner Operations team within Customer Care. This includes full ownership of the beta process for assigned Partner programs. As a manager you will be in touch with multiple (Global) departments within Sonos, Sonos Partners and end-users. You will be responsible for ensuring a sound feedback loop of customer feedback into the Sonos organization and ensure readiness of Music Services before the official release to the market.
Job summary: The primary responsibility of this position is to drive significant growth in revenue for the company’s Live Events division by managing the marketing and promotional efforts for live events across the country, with a particular focus on the Lifestyle and Music-related events. This position will take on a project management role, coordinating the marketing, advertising and promotional efforts for America on Tap (60+ events nationally), and to-be-identified music-related events. This role will also work closely with Townsquare’s radio and digital properties across the country, as well as selecting and executing promotional campaigns on non-owned media as appropriate.
Job summary: The Music division of Nielsen Entertainment is looking for a Sr. Manager of Business Development & Client Solutions, based in New York, to develop new business with independent record labels and assigned client verticals. The right candidate will have a proven and successful track record of strategic and consultative selling.
Job Summary: Freelance assignment, onsite in Cupertino, CA. 3 month contract, no relocation offered.This is an outward facing operations role responsible for technical account management of content provider relationships. Ownership of processes by which content flows into the App Store.
Job summary: The Marketing Campaign Operations Manager plays a very key role in our marketing operations department. The Manager will be responsible for overseeing the daily administration and upkeep of marketing campaign related data and vendor feed files. This individual will advise on, support and implement new or changing marketing campaign files which leverage the marketing related IT database systems and processes. The Manager will also have primary responsibility for maintaining marketing data quality, which will include routine campaign data and feed file reporting & analysis as well as participation in any data quality improvement efforts. Applicants should have hands on experience with data queries, SQL, Integrated Marketing software and Marketing Automation.
Job summary: We are looking for a killer Day-to-Day Manager who also believes that music can change the world. You should be a ”Go Getter” who lives, breaths, and loves Electronic Music. We need that rare person who is a hardworking team player who is both organized AND an ”out-of-the-box” thinker. You should have the passion, knowledge, independence, and network to execute and accomplish complex projects on our artists’ behalf.
