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Blogger Spotlight: Jonathan K Dick (Steel For Brains)

Greetings! We know how hectic life can be these days, so please know we are grateful that you have chosen to spend a few minutes of your precious time browsing our blog. The article you find yourself staring at now is one of our favorites in recent memory, and if you give it a read we bet you’ll feel the same as well. Jonathan K. Dick is a crazy talented person, and it is an honor to share his story with you today.

You know how a lot of people take musicians and/or athletes and put them on pedestals as if their talent somehow makes them a great human being? Though I don’t think I do it intentionally, the same could often be said for how I view many of the writers whose work I read on a regular basis. As someone who has spent the better part of a decade trying to make writing their full-time career, I’ve often found myself completely enamored by the writing of a peer who I perceive to be more successful than myself. I don’t even mean successful in terms of career or financial gain as much as I do their ability to string together thoughts and observations. That’s what impresses me. The craftsmen and women who, whether they know it or not, challenge the writing side of music as a whole to create better content. Those people have become my heroes, and today we share one of their journeys in music with you.

Jonathan K. Dick is freelance writer, English professor, and all-round hardworking guy who loves music the way some people claim to love dessert. He’s only been in the writing game for about two years at this point, but he’s already made a huge impression on the worlds of hard rock and metal, including having created features for publications such Invisible Oranges, Noisey, and the like. He also runs Steel For Brains, a blog filled with interviews, editorials, and even a burgeoning podcast we at Haulix absolutely adore. I could go on and on, but hopefully you get the idea that Jonathan is someone who is doing everything in his power to have and retain a place in the world of music journalism. I don’t know how he found time to speak with us about his experience up this point, but over the weekend he did just that, and you can read highlights from our exchange below.

H: Hey there, Jonathan. How are you today? I’ve never been to Alabama in January. Is it cold there?

J: I’m doing well! It’s cold for Alabama, yeah, but I imagine it’d be Jet Ski weather if this was Canada.

H: Don’t worry, this interview will be a bit more personal than that introduction. I’d like to start with your personal history. Tell me, was music a big part of your life since childhood?

J: Oh yeah. Both my mom and dad were always singing around the house when I was growing up. It was pretty much a given that my siblings and I had to join the church choir. My mom played the piano and despite me begging her, she didn’t let me take guitar lessons. I got piano instead which I hated at the time, but after fifteen years of lessons I managed to develop as a pretty skilled player. Aside from that, like I said, we were all in choir and choral competition. I took vocal lessons throughout my teen years and did the competition thing for a while. So yeah, there was always some kind of music playing pretty much nonstop around the house – usually of a gospel or soul variety and occasionally some Creedence if my dad was feeling edgy.

H: Did you have anyone in your life, be it a family member or friend, who helped introduce you to the world of music beyond what was popular on the radio at the time (rock/metal/etc)? If so, who?

J: When I think about people who influenced me early on with music, it’s always my dad and this guy who worked at a CD store where I used to hang out. My dad was and is very religious, so it was a healthy dose of gospel music from anyone like Mahalia Jackson or the Gaither Vocal Band. I always dug it just because I loved the vocal harmonies and upbeat tempos. We used to go on hunting trips a lot, and the camp where we hunted was about three hours from where we lived. I loved the drive more than the the actual hunting experience because it meant we’d listen to the oldies station, and my dad would spend the entirety of three hours telling me about every single artist that came on. Frankie Valli, the Righteous Brothers, Patsy Cline, Roy Acuff, you name it. I loved it because none of my friends had ever heard of these people, so I felt cool and my dad probably felt like I was going to be normal so long as we kept the station there. As soon as I was able to drive I pretty much became a barnacle at the CD Warehouse that was a few minutes away from where I grew up. This guy Tony worked there, and literally every time I came in the store he’d be playing something that I’d end up buying before I left. It was nuts. He exposed me to stuff like Belle and Sebastian, Pavement, The Replacements, and a ton of others just by me pretty much latching onto the register counter and asking questions and trying to pretend like I knew what the hell I was talking about. It’s weird because I immediately heard these similarities between the stuff that my dad was listening to and what I was hearing in my first taste of indie rock. Tie in the fact that I was also sneaking my older brother’s Alice in Chains and Pearl Jam tapes into my room, and it was pretty much a cocktail of any kind of music I could get my hands on.

H: Do you remember the first album you purchased with your own money? How about the first concert you attended?

J: Green Day’s Dookie. I wore that CD out. I still laugh at the hidden track which I think was about masturbating or something I would’ve totally thought was crazy extreme at twelve. After that it was Columbia House 15 CDs for 1 cent tragedies that ruled my album buying days for a while. My first concert was the Grateful Dead, and while that sounds cool as hell, I was eleven and scared out of my mind because my older sister used me as her alibi to go with her older boyfriend who my parents didn’t like and probably would have been horrified to learn was a “Deadhead.” But I don’t count that show. I certainly wasn’t a fan at the time, and I didn’t want to go. I just remember the whole place smelled like sweaty feet and burnt tires, which I would later discover was weed mingled with body odor. My first willing attendance to a concert was a Matchbox 20 show when I was sixteen. It was cool. They played a cover of Cyndi Lauper’s “Time After Time” which was pretty rad.

H: Research tells me you either are, or at one point were, an English Professor. Before you reached that point in life you obviously needed to attend some type of higher education. What college did you attend? Did you study anything other than English?

J: Yeah. I teach 8th grade English during the day every day of the workweek, and then two nights a week I teach college English and literature to freshmen at one of the local community colleges. I initially wanted to be a lawyer and had that all lined up, but I ended up substitute teaching a 6th grade classroom while I was in college and my fate was pretty much sealed. I loved it and still do. I received my BA in English from the University of Alabama at Birmingham, but I also studied theatre and microwaveable foods/expiration dates. I went on to get two graduate degrees for whatever damn reason – one in Secondary Education with a focus on curriculum development and the other in English with a focus in creative writing.

H: When you were in school, was the end goal always to become a professor, or did you try a bunch of different avenues before landing on the career you now lead?

J: Like high school? In high school I wanted to be asleep or listening to music. My parents were both self-educated and had grown up in poverty, made a life for themselves, and received graduate degrees, so they placed enormous value on me having that same opportunity. My mom taught school and was a school administrator for 37 years, so I basically thought that anything remotely close to teaching was utterly repugnant. I saw the students she dealt with and, worse yet, their parents. So no. It definitely wasn’t a goal – haha. I’ve had some kind of job since I was fifteen. My first job was in furniture restoration with this old retired Navy colonel who was batshit insane. I just took the job so I could save up enough money to buy Jncos, Airwalks, and some free shameful memories. He’d been an evangelist for a while after retiring from the military so it was pretty much me, three vats of various types of acid, a pressure washer, a lot of old rich people furniture, and him yelling like a lunatic about various biblical prophecies. I thought about getting into acting for a while, but I didn’t want to be the next Clint Howard, so I basically stuck with what I loved which was reading and arguing about what I was reading to other nerds. I figured out quick that I had a penchant for talking to people, and when I ended up teaching for the first time it felt like I’d been doing it all along.

H: This is always a hot button topic, so I am curious to read your thoughts. As someone who has established themselves as an influential voice in the music business, do you feel attending college is something all aspiring industry professionals should do?

J: No. The Internet has changed the game in a lot of ways just in terms of what value we place on education versus experience. That doesn’t mean that college or furthering one’s education is pointless, though. Not by a long shot. The reason this is a “hot button topic” is because of something that’s been around a hell of a lot longer than the Internet – laziness. Regardless of someone’s degrees or abilities, the difference between just being educated and actual learning is backbone. If you want something you have to work your ass off and then work a little more after that and then work to make sure that other people can share in the joy of what you’ve accomplished because then they’re encouraged to have the same kind of attitude. It sounds idealistic, but for all the terminology we like to throw at people’s choice to go or not to go to school, it boils down to the principle of hard work. Aspiring music industry professional should aspire to work harder and focus less on archaic notions of qualifiers. Guarantee you that any editor worth her/his salt is looking for the same thing: someone who knows their own shit, is willing to learn more shit, and ready to endure all kinds of shit for writing what people may not like to read. It’s great because someone who has a good work ethic will inevitably grow as a writer. It takes practice. It takes focus. It takes resilience. Will a degree give you more angles? It’s possible but not guaranteed. I’ve not had one editor ask for my resume or my transcripts (thank Christ for the last one). They want to see the work you have that no one else does. That’s all that matters.

H: In 2010 you were a recipient of the Thomas H. Brown nonfiction award. Can you tell us a bit about the work you were awarded for? 

J: I received that award as a result of a short story I wrote about the death of my grandfather. I was eleven at the time, and he and I had been very close. One of the things that always stuck with me about the aftermath of his death was the enormous amount of food that people brought over to my grandmother’s house for what seemed like weeks. Never mind the fact that the food wavered between casserole and gelatin consistency, it was just odd to me even then that here we were being provided with sustenance and nourishment and life essentially, someone we loved was doing the same to the Earth in being buried. I dunno. It sounds weird now that I’m typing it out, but it’s still fascinating – that whole tradition of bringing over food to mourn. Makes sense I guess that the story is titled “Death Food.”

H: I know you have mentioned working on a new book, also nonfiction, but that it likely won’t be finished anytime soon. Can you give us a progress update on ‘The Ecology Of Sound’?

J: The book started out as nonfiction, but last year I felt it pulling me in another direction that was fairly new which was science fiction. I’m obsessed with the power of sound and the impact it has on learning, relationships, and even our history as human beings. Without delving too much into it, I’ve finished the first of what will be three volumes and am currently shopping the story in the hopes that people aren’t tired of lasers and robots. I’m kidding. There aren’t lasers or robots. Maybe robots.

H: Let’s get to your site: Steel For Brains. What is the ‘Marvel Origin Story’ of your site, and what can you tell us about the inspiration behind its name?

J: In February of 2012 my daughter who wasn’t quite two at the time was hospitalized for viral pneumonia in both lungs. She spent eleven nights in the hospital, five of which were in the intensive care unit. I stayed with her every night in the hospital, barely slept, barely ate, and basically just worried myself into nothingness. The only thing that brought me any kind of comfort whatsoever was Opeth’s discography. I’ve been a fan of the band for years, of course, but it was pretty random. I just decided to go through their discography back and forth until I felt like I had control over something. Metal’s always been like that for me more so than any other kind of music. It’s a stop gap, and I think in some way I wanted to talk about that with the people who made it. Add to that the fact that my ten-year marriage was ending alongside one of the worst bouts with depression I’ve ever had, and it was either going to be me calling it a day or me doing something meaningful that would benefit me and hopefully others as well. Around June of that same year I’d finalized the divorce and moved into a one-bedroom rat’s nest that had been turned into an apartment. My first night there I spent $50 on getting my Internet set up, $50 on groceries, and then about an hour trying not to think about how I would have money to make it the rest of the month. That’s when I sat down, entered the only info I could think of to set up an account, and started emailing bands. I had no idea how anything worked, who you emailed, what a Tumblr was, or if I had a snowball’s chance. I’d had a Facebook account at one time but other than that was completely in the dark about what social media entailed, much less how a person was supposed to get in touch with a band to talk to them about a site featuring absolutely nothing but digital tumbleweeds at the time. Not to be crass, but I found that I had greater success and less stress by simply saying to myself “Fuck it” and going for it. I think I sent out maybe fifty emails that first evening? I was hitting up new bands I was really getting into, and older, classic big name bands who I was sure would just talk to whoever the hell sent them an email because they were nice guys and not busy. Joseph Rowland from Pallbearer was the first email response I got, and I immediately called my mom because I was so stupid excited. She was just disappointed the band was called Pallbearer because it seemed “so sad to call themselves that.” Everything else after was just building rapport and keeping an even keel with regards to not becoming some jaded old fart who hates everything and everyone because he’s done everything and everyone. I still get excited. Big band or small band or whatever. It’ll always be an honor and a privilege for me to do because this music has done so much for me.

H: You do a number of interviews on your site. Would you say that is your favorite type of content to create? Do you have a favorite conversation or two we could promote when we run this interview?

J: It is and as evidenced by my responses in this interview, it’s likely due to the fact that I like to run my mouth. Favorite conversation? You know, this has come up a few times recently, and it’s hard to think of what would be my favorite. That said, I always come back to this interview I did with Attila Csihar. Easily one of my favorite vocalists in any genre and also one of the kindest people I’ve ever had the opportunity to interview. The other would probably be this interview with Tom G Warrior. Both were intense just from the standpoint of who these guys are, but they were also incredibly honest and sincere with me and with themselves as individuals more importantly. That’s always refreshing and increasingly rare.

H: As someone who seeks out longform music writing, I have been reading Steel For Brains so long it’s hard to recall the first time I heard about it. Have you done anything specific to market or otherwise spread the word about your site? I know a lot of aspiring writers who could use some help promoting their work.

J: I have to be honest and say that I don’t know the first thing about marketing. I promoted a few posts early on with Facebook, but then I just thought you know, this is stupid. Stop worrying about how many people are reading it and focus on providing engaging content that’s honest and simple. That’s the kind of thing that sells itself, so I haven’t really thought a whole lot about marketing. I’ve had a lot of people tell me this or that about how to market, and I think the one thing I’ve figured out as the common denominator for any kind of marketing success is genuine interaction. I stopped looking at likes, retweets, followers, favorites, etc., a while back because it doesn’t matter and focusing on it is masturbatory at best and self-destructive at worst. Social media has given nearly infinite avenues of opportunity for interaction but the factor of being genuine is still thankfully a human one. The whole cynical and jaded windbag angle is so played out, you know? Getting noticed in a field where everyone is doing all they can to be noticed isn’t some ancient, unbreakable cipher. As soon as I stopped worrying about how people would find out about SfB, people started finding out about it. It wasn’t magic. It was just a shift in focus from things that didn’t matter to the only thing that does in this context: the music. That’s honestly it.

H: The site also boasts a podcast, which I hope with every bit of my soul I can one day appear on. Could you tell our readers a little bit about that show and what its format entails?

J: The podcast was something I’d always wanted to do. I love Mike Hill’s (of Tombs) podcast on Everything Went Black Media, and I wanted something similar just to give readers another avenue of engagement with the site. I know absolutely nothing about podcasting aside from clicking “Record,” and I’d already established a good relationship with Erik Highter who was writing for Last Rites and Pop Matters at the time. Erik is a tech madman with that stuff, and he knows his shit when it comes to a wide array of music, so it was a good fit. We’re still kind of figuring the format out, and I honestly like it that way because it keeps things loose, and we’re not worked up over plugging this or that. We’ve had guests like Luc Lemay from Gorguts, Mike Scheidt of YOB, and I try to make it a point to have other metal writers on the show as well like Kim Kelly, Gary Suarez, and Adrien Begrand. I love having other writers on because it’s like a sharpening stone. It’s a necessary abrasion to keep you thinking and to make you challenge your own critical perspectives. That kind of thing is invaluable, and I think it gives the podcast an edge where we’re not just floating along our own ideas or opinions. And I’d love to have you and your soul bits on. Consider this your official invitation.

H: Before we move on, would you please tell us a bit about your goals for SFB? You started the site so you could have a hub for conversations and music discussion, but I have to wonder if there is anything else fueling your continuing efforts in music writing.

J: I think the goal has largely stayed the same for me. I want to challenge myself. Whether that’s with getting the impossible interview or with maturing as a writer and a critic it’s all related to the kind of self-awareness I have to keep in check daily. There are bucket list artists I’d love to interview, of course, and I get stoked as hell when those opportunities come around, but the end of this for me is just growing as an individual by talking to other people and hearing about their experiences. For me, music is simply that. It’s a vehicle for a universal conversation we’re all capable of having if we’re willing to do the work it takes to make that happen.

H: I wanted to touch on your work for other publications as well, especially considering the large number of sites and magazines who have featured your work. When did you first begin writing freelance?

J: I started writing freelance in 2013 when Fred Pessaro asked me if I’d be interested in doing something for Invisible Oranges. He was with them at the time but is now Editor-in-Chief at Noisey. I did a couple of interview features there before Fred moved on to Noisey which led to me writing for them as well. Pretty much everything else has been a result of reputation and/or me pestering the hell out of editors. Usually that last one. But I owe a lot to Fred for that first big opportunity. It’s cool because it goes back to that thing where even at the “highest” level music outlets, the people behind the scenes are just other music nerds who’ve worked their asses off just like you.

H: Have you been approached to join any site or magazine’s staff full time yet? If not, is that something you hope to find?

J: I’ve had a couple of offers recently, but at this point there hasn’t been anything lucrative enough to put me in a position where I could quit my teaching job. Of course that’s an issue as well. I love teaching, and it’d be very difficult for me to leave that behind. For me, the source of this wasn’t for me to make money. That doesn’t mean I’m not grateful or deeply appreciative for the paying opportunities I have now. Far from it. I’m a divorced dad of three kids who teaches for a living, so I’m not delusional about my own financial needs. I just know where this came from for me, and I make sure to keep that in check regarding my own motivations. That said, I’m allowed that privilege because I have a full time job and can afford to pick and choose. Not everyone has that and it sucks. I have the utmost respect for people who freelance for a living. If you want to learn how to write, how to pitch, and how to survive in general in the music writing cesspool, those are the people you need to latch onto and learn from.

H: If you could offer one piece of advice to people reading this who may be considering the pursuit of a career in music writing, what would you tell them?

J: I’ve only been in this for two years so I’m not sure how much advice I can offer without sounding like a prick. I think the most important thing I’ve learned is to ease up on myself. Nothing is so pressing that I have to upend my own sanity to get it done. If that’s the case I didn’t prepare adequately, and that’s on me. I’d encourage anyone to pursue their love of music writing over a career in it. I know that seems glib, but it’s the truth. This work is hard, and it’s unforgiving, and it’s thankless a lot of the time, so if you’re hoping to land that big interview or the article in whatever magazine just to have the reassurance that you’re a swell person then you might want to pick up that political science degree after all and maybe do something else. Do it because you love it and do you it because you know it. If you have those two things then you can hear “NO” a hundred times and it won’t matter. You’ll get there, and it’ll be amazing because you did it on your own and without compromising.

H: More and more people are asking whether or not there is still a place for music critics and/or album reviews in a time where social media has given virtually everyone a voice. How do you feel about this?

J: I think any music critic or person for that matter who spends an inordinate amount of time worrying about their relevance in today’s culture of immediacy has pretty much already answered their own question. Everyone’s always had a voice. Not everyone has had the means to pipeline that voice to a wide audience, and the Internet changed that. The gaping maw of armchair criticism has been around a hell of a lot longer than this tiny microcosm of pop culture that pretends to have the market cornered on critical perspective. I think it’s hilarious and also unsettling that the idea of more people having a voice is somehow a threat to what’s long been a white man’s racket. Get over it. Write better, work harder, and celebrate the fact that logic dictates more voices equals a more multi-faceted perspective and Christ is that ever needed.

H: Without giving it too much thought, where do you see yourself in five years time? I know forward thinking isn’t a universal trait in the music business, but given your body of work and continued drive for success I have to imagine such planning has crossed your mind at least once or twice.

J: I don’t have the first clue, man – haha. I used to spend a great deal of my time worrying about the future because of my personal health issues, but that only created obstacles for what I wanted to do in the present which is just to be a good dad to my kids, to be a supportive partner, and to challenge the way I think, write, and react to things on a daily basis.

H: Let’s speak a little more short term. Do you have any goals or ambitions for your writing in 2015 that you care to share with us?

J: Aside from having my first novel published, I’m working with my dad on writing his memoirs. He’s an amazing human being, and I’m humbled to have the opportunity to share his incredible story with people. I’ve had an interview feature in mind since I first started SfB that I’ve been working on to the point of obsession, so hopefully that’ll gain some traction this year. Besides those things, SfB will be featuring more writing, guest spots, and critical perspectives from women this year. I’ve not done nearly enough in that regard and it bothers me because I can’t possibly expect to offer multiple perspectives for readers if it’s just a boys club hee-hawing over their favorite metal records. Who knows what else could happen?

H: Right now, what are the biggest obstacles standing between you and the aforementioned goals?

J: My biggest obstacle is myself. Period. Time management is crucial, and that’s a hard skill to master and even harder to stay consistent with when there are so many roles to fill. It’s just a matter of prioritizing and knowing what things are subject to compromise and those things that are immovable.

H: I think that is all I have for right now. Before I let you go, are there any final thoughts or comments you would like to share with our readers?

J: Never give up, never give up, never give up, never give up. Be unashamedly passionate and listen as much to your honest critics as you do the people who offer up constant praise. You’re never above shit but never below the possibilities you create for yourself if you’re just willing to work your ass off and ignore the distractions.

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Industry Spotlight: Gary Suarez

Hello and welcome to a very special edition of our Industry Spotlight series. We usually reserve Friday afternoon for our company update, but we have been creating so much great content as of late that we could not resist the urge to share something extra special (and extra long) with you before the week let out.  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 and share your thoughts. We can also be found on Twitter and Facebook.

I have a confession to make: Dragging my feet when it comes to transcribing interviews running over thirty minutes in length is a skill I have essentially mastered over the last six years of my writing career. It’s not the kind of thing anyone should be proud of, and truth be told there is a small part of me that hates the rest of me for making this professional shortcoming public information. Still, it needed to be said before getting too deep into today’s feature because it’s an article that should have run several weeks ago.

Gary Suarez is one of the most entertaining and insightful music critics working today. He’s the kind of guy that knows a little bit about everything this business has to offer, which makes him the perfect person to highlight in our ongoing Industry Spotlight series. For more than a decade Gary has been writing about the best, worst, and most unique music the world has to offer. He’s also become a prominent figure in the world of social media, critiquing various aspects of the entertainment business in creative 140-character bursts. Today, in a rare interview, he tells us how it all came together.

I had the good fortune of speaking with Gary about his professional life a little over a month ago. My plan at the time was to run our conversation the following week, but as we began to chat the minutes quickly added up, and by the time I reached for the stop button I noticed that we were closer to hitting the hour mark than almost any interview I had done for this blog up to that point. I told myself the best way to get through the transcription challenge I had set for myself was to work on it right away, but that ultimately did not happen. Instead, I procrastinated like a fool and the amount of work I had to do continued to pile up until I had no choice except to dedicate a weekend to transcription. That occurred just a few days ago, and now I am finally able to share with you one of my favorite conversations to date.

If you would like to learn more about Gary and his ongoing efforts in entertainment, do yourself a favor and make it a point to follow him on Twitter. Additional questions and comments can be left at the end of this post.

H: Hey there! To help us get started, please introduce yourself to our readers:

GS: Sure. My name is Gary Suarez, and I am a freelance music journalist.

H: That’s a good answer.

GS: Do you need me to tell you about the publications I write for?

H: Don’t worry, we’ll probably get there.

GS: Ah, okay. I don’t meant to rush you or anything, I’m just used to being on the other side of this conversation.

H: Completely understandable. That’s kind of how these tend to go. No one knows what to do because they’re usually the person responsible for asking questions, not answering them.

GS: Yea, you’re one of the few people who have actually asked me to talk at length about what I do.

H: Well I feel fortunate that you said yes. We’re talking on Monday right now, so let’s start there. What are Mondays like for you?

GS: Mondays are good because I usually have something to do. I either have a deadline from the weekend, or something new that I was asked to do over the weekend, so by 10AM things are in full swing. I also spend a lot of time on Twitter, talking to people and learning what it is that people are talking about. I think that’s important because you’re not just part of a conversation, which is a big thing in itself, but by having those conversations you may be able to figure out a new story or a new angle for a story that you never considered before.

H: I couldn’t agree more. Before we get any further with your current situation, I want to get a feel for your history with this business. When you think of your earliest memories involving music, what comes to mind?

GS: For me, it’s very much home listening. It’s going through my parents’ record collections and discovering music through that. Going through vinyl and seeing a cover that looked interesting, or a band name that I recognized. It’s the kind of thing where I could go through time and time again, and different things would stick out. My mother’s side was a lot of folk records, like early Bob Dylan. My father’s side is a bit more classic rock, like The Rolling Stones and Led Zeppelin. And then there is a lot in the middle there, like Elton John records, just a lot of 60s and 70s rock and folk that was a big part of my youth.

The other part of my youth is radio listening, which is basically pop radio and whatever rap music made it through to the radio. That was the flip side to listening to my parents’ collection.

H: Can you pinpoint a moment in your youth when music became more than a hobby for you?

GS: I think for me there is a point where you can that a band is ‘yours.’ People talk about their ‘parent’s bands’ as bands they discovered through their parents, but there’s always a point in someone’s life where there is a band or artist that belongs to them. For me, that was Nirvana. They came along at a pretty critical point in my adolescents, it connects with me, it was the sound of right then, and it became my thing. I think that is one of those moments you cannot force on someone, it just has to happen, and everyone has that moment. Everyone has heard something for the first time and adopted it as their own, and for me that was absolutely Nirvana.

H: Was it Nevermind?

GS: It was Nevermind, and it quickly became Bleach too. Basically, when you find out something like this means something to you, and then you discover they made something before that thing that means so much, you get that other record as well. Listening to those two side by side was pretty important to me.

H: You know, Nirvana is one of a few bands I find a lot of writers referencing as a group who were influential on their lives.

GS: It’s strange because now, at this point in my life, Nirvana’s music does not mean a ton to me. It’s not what I care about now, and while I was happy to know the surviving member plays a show in Brooklyn it was one of those things where I later realized I did not really care all that much. There was a period of time, however, a very significant amount of time in my youth where it meant the world to me. I can imagine there is a 12 year old version of me who would be really annoyed to learn they were inducted into something as uncool as the Rock And Roll Hall of Fame.

H: I think every music writer has a younger version of themselves that is frustrated with things that are happening in music today.

GS: Haha, yea.

H: Did you go to school for journalism or music? When did journalism come into the picture?

GS: It’s really interesting because I have always identified – even at a young age – as a writer. Not necessarily about music, because I was really into creative writing as well, but I was always interested in writing. I went to school for marketing. If anyone out there is reading this and looking for career advice, don’t go to school for journalism if you want to be a music writer. Actually, don’t become a music writer at all, but if that is absolutely what you want to do then go to school for something like marketing because that provides you with a skill set that will allow you to be successful in this business. You will be able to not only find an audience, but also speak to them.

H: Did you actually write for any school papers, or did you somehow maneuver your way right into music writing?

GS: When I was in college I started writing for a number of zines and e-zines. They were all kind of short lived, but they provided me the opportunity to write about music I was really interested in and that was helpful. Then in 2000 or 2001 I started writing for a site called Brainwashed. That site, which is still around today, is one of the best music sites on the net. It’s basically what Pitchfork originally model itself on. That team was very much a fan of what Brainwashed were doing, and Pitchfork followed suit early on. I think it’s one of the reasons Pitchfork has endured, to be honest. They cover the popular pop records, but they also have people writing about really dense, experimental, avant garde records.

So, Brainwashed was my first real opportunity to write about music you wouldn’t see in the pages of Rolling Stone or Spin. These were bands who had niche audiences, and I considered myself one of those who was ‘cool enough’ to understand it. I hope my sarcasm comes through here, but it really was fun, and it’s around this time my focus in writing started to move away from fiction or poetry. I felt more empowered when writing about music, and over time that became my medium. I still write about other things, but the core of what I do is music and entertainment writing.

H: Do you recall the first piece you wrote for Brainwashed?

GS: It’s hard to say, but it was probably something on Warped Records because at the time I was writing for them I was also hosting a college radio show. I would split the two-hour show into two parts, and the first part was industrial music. The second part was more experimental and intended to cater to that crowd. It was one in the morning so I could play anything I wanted. So yea, the first things I wrote for Brainwashed were some of those odd, off-kilter records. You couldn’t really dance to it, you could maybe nod your head to it, but something about it was very appealing to me.

From there, I wrote for them for a number of year and went through a number of changes in my life. I wrote about everything from Japanese noise to Jamaican dance hall, 70s noise, and a bunch of things in between. I covered this gamut and I think it was that effort that made me something of a generalist, as opposed to a specialist, when it comes to music writing. A lot of people in this business focus on a specific area, so you have rock writers, rap writers, and so on. A generalist, however, is something I never expected to become. I was kind of a snob when I started, but over time I turned into someone who could appreciate music he thoughts was good regardless of whether or not other people thought it was good.

H: I think that is turning point every professional writer faces at some point. It’s kind of a weird thing though, because it forces you to realize and accept that you too have changed over time. You’re not the same person anymore.

GS: And the thing is that you’ll get criticism from those who have read you. People will complain that you’ve changed. I wrote for MetalSucks for quite a few years, and then in late 2012 I decided that I wanted to expand my writing and nurture that generalist sense that I had. When I stopped writing for it, however, I was lumped into this group of metal writers who had decided to start writing about rap. That was funny to me because rap had originally been such a big part of my life, but at that time I had no outlet for the things I had to say. Now that I did, people thought I was just another metal writer who jumped over to rap. It was surprising to me.

H: I get that. Any time we do advice columns for young writers I try to mention that learning to write many different genres is key.

GS: I think that’s true. What I will say to add on to that point is that I don’t believe there is any harm in specializing, especially at the start. If there is a genre or area of music you feel confident speaking about then that is great place to start. I wouldn’t say that those who have never listened to country should start a country site and start reviewing records right away. There is a value to being able to do that at one point, but specializing early on can really help you get a start in writing. It has real value.

H: How long were you writing before you started to make money as a writer?

GS: Let me preface that by saying that if you’re doing this for the money then you’re an idiot. This is not about money, it’s about passion. If you want to make money at this, you don’t write, you build one of these giant websites and recruit people to write for you. That’s where the money is, not in the writing. I won’t put any particular sites on blast for what they do and don’t pay, but I will say that doing this for the money is ridiculous. You need a day job, or a side job, or you really need to hustle. You need to really commit to the freelance lifestyle and accept the challenges that come with that, be it living with four people in a tiny apartment or moving back home for another decade while eating ramen to make it work. A life in writing is not a glamorous one, even if you’re writing about something as cool as music.

To get back to your original question, I think that when you first you should be less concerned with what site is going to pay as you are with what site is going to offer you the best exposure. I don’t mean that in the abstract sense either, if you choose to invest your time in a site that has good reach and no budget that’s a good way to build up your clips while refining your writing. I think that those who are actively seeking paid gigs right out the gate you’re attempting to compete with those who have been doing this for a while and have built up reputations in the business.

Anyways…So I’ve been writing for about fifteen years at this point, and I think I started getting paid about 2/3 of the way through that. It felt good, and it was good for the ego, but again you need to have a day job or side job so that you’re not constantly stressing about paying the bills and/or filling the fridge.

H: What are some of the side jobs you have had while pursuing writing?

GS: For me, I think the best thing you can do is get into office work. Find a job that is a salaried position ideally, and something that is tied into your degree or your interests. Something that can give you health coverage is best. Freelancers are responsible for their own health care coverage, and it can be expensive.

Otherwise, I know a lot of people who work in bars or do aggressive temp work. I think there is a lot of reliability to office work. It’s something you can fall back on if things dry up, or if the rates your being paid begin to change and no longer cover bills. It can carry you until you’re able to do those things you’re passionate about.

H: What career goals do you have at this point? Is there a book in your future? Do you want to keep writing articles? What do you see on the horizon?

GS: It’s interesting because I had a really great 2013 in terms of writing. I got into outlets that I had been reading for years, but never got into. I also got into a few places I read when I was younger, but had never been published in. It was a very encouraging experience. My definition for success now has less to do with outlets, though I definitely want to keep writing for these publications, but I want to focus on what I’m writing. I want to make sure I’m writing about things that are interesting, and that the reviews I write have more to say then whether or not something is good. So for me, it’s a lot more about personal goals and what I hope to achieve as a writer. A book is not something I’m particularly interested in, though people have told me I should consider it. To be honest, I like the instant gratification that comes with publishing content online. You can write an article and boom – it’s out in the world. It triggers that part of the brain that recognizes satisfaction far faster than a book would.

H: I get that instant gratification thing, and I think it is something that has spoiled many young writers.

GS: The problem, for me, is that I think that rush of dopamine we get from posting content is in many ways a cheap high. Many people are writing carelessly, or falling into traps like ‘listicles’ that encourage bad habits and don’t necessarily make for good reading, but do provide instant gratification for the content creator.

H: I think you’re making a great point. I’ve been working on piecing together my own portfolio and I’ve noticed how drastically the number of listicles have increased in my own output over the last few years. It kind of comes across as lazy, at least to me.

GS: There are legitimate reasons for it, as well as business reasons. If you’re running a place like Buzzfeed then you’re writing for an audience and that is what you’re going to provide. What I find discouraging is when you see people with talent, or people who have shown promise as writers funnel themselves into that kind of content because it’s where the $25 is. I don’t hate anyone for going after that $25, but if you’re trying to make it as a professional writer you’re selling yourself short and dumbing down your content.

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

GS: I would probably burn it all down, but I guess that is more than one thing. If I could do one thing it would be…I’ll liken it to this: If you want to buy a gun in this country there is a waiting period. If there was a way to do it I would impose a waiting period on writers for reviews. Make ‘em wait a few days or even a week before releasing their snap judgments. It’s never going to happen and it’s completely impossible to implement, but imagine what would happen to reviews if writers were forced to sit with a record for a week before publishing a single thing. I think we would get a lot more thoughtful responses, and we would do the music and the artists behind them more of a service than we do. Snap judgments and rushing to be first for a dopamine fix is not only bad for us, but also for the artists who spend countless hours and money to produce their work. We’re not being good partners in these scenarios. I’m not saying we have to be positive, in fact I think we should be more critical, but we should spend more time with music before creating content.

H: I only have two questions left for you. First off, what is the biggest challenge you face as a professional in music right now?

GS: I think it’s coming up with workable ideas. There are so many outlets that exist, and as a freelancer I am compelled to write for as many as possible on a regular basis, which means generating ideas. There are some editors who are good about saying they have something that would work for you, and that definitely happens, but pitching is still an important part of the process. You basically have to convince someone a subject is worth writing about, and some days I honestly don’t have a clue. Other times, like this past weekend, I was behind the wheel of a car talking to my fiancé when I started working out a pitch idea that randomly popped into my head.

H: We always end these conversations the same way. before we let you go, do you have any final thoughts or observations to share with our readers?

GS: One thing I wanted to stress that I talked about earlier is engagement on social media.

Social media, especially Twitter, is where your peers are. It’s where the editors you want to pitch are. It’s where the artists you want to write about are. And in many cases it’s where you can find the fans of the artists you want to write about. It’s all happening on social media, and even if you’re not the kind of person who likes tweeting or sharing images it’s important that you be on platforms like Twitter. Observe the industry and learn from it. That’s where the market is right now. By observing and participating in conversations on social media you can discover new opportunities that may have never come your way otherwise. Some of the best opportunities I have had in the past 18 months have come from interacting with writers, editors, and musicians though Twitter.

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Blogger Spotlight: Luke O’Neil

Hello everyone and welcome to the final Blogger Spotlight of the week. We told you we hoped to feature more freelance talent in the new year, and the person at the center of today’s post is without a doubt one of the best yet. If you have any questions regarding the content of this blog, or if you would like to learn more information about the services offered by Haulix, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.

The world of freelance can be a strange and difficult place. Your are your own boss, to an extent, and the responsibility of managing the various assignments thrown your way falls entirely on your shoulders. Who gets what, which style to write in, and when everything is due is entirely up to you. Some thrive in this environment because it allows them to create a schedule that works best with their creativity, while others struggle to stay afloat because no one is around to hold them accountable.

Luke O’Neil is one of the most driven and professional freelance writers we have come across in the seventh months since this series began. He has written for pretty much every publication worth bragging about, including The Village Voice and Alternative Press. We fell in love with his work through a recent feature he wrote on the supposed return of emo, which you can read an excerpt from below:

‘It’s been about 30 years since the advent of emo, and while the genre has experienced a variety of well-covered changes over the decades, one thing has remained constant: No one seems to ever agree on how to define it. In part that’s because it casts such a wide net — Touché Amoré don’t sound anything like Turnover, for example, who sound nothing like Dowsing or Captain We’re Sinking or Lemuria and on and on, and yet most anyone would call them all emo bands. Unfortunately, talking about emo forces a sort of musical existential crisis: In order to champion it, you have to admit that it even exists in the first place.’

Click here to read the original article.

We could not be more thrilled to feature Luke’s journey on our blog this afternoon. He’s the kind of professional this industry needs more of, and in the interview below he offers some insight on how you too can take your career in writing to the next level.

If you would like to learn more about Luke’s work, please make it a point to bookmark and frequent his website. You can also find him on Twitter. Additional questions and comments can be left at the end of this post.

H: For the record, please tell us your job title and a few publications that recently featured your work:

L: I’ma freelance journalist and blogger. I contribute regularly to the Boston Globe, Bullett magazine and MTV. This year I’ve had pieces in Esquire, Slate, The New Republic, Vice, the LA Times, Dazed, the Village Voice and a bunch of others.

H: Thank you again for taking the time to do this. We like to learn a little about each individual’s history with music before diving in to what they do today. When you think of formative moments and experiences that lead you toward a career in music writing, what comes to mind?

L: I have a vague sense of wanting to be a music journalist from when I was a kid. It seemed like the coolest job in the world, to be able to see music all the time. Be careful what you dream of, I suppose. I wrote a few things for my high school newspaper, and people liked them, and I thought, hmm, I could get used to this. Then I started going to shows in Providence and Boston as I got a little older and I was hooked. I ran my college radio station, and that sort of got me more invested. I went to work for Conde Nast in New York after college, then came back to Boston to go to grad school to study creative writing. Don’t do that. Then I got a job as the music editor at the Dig, and I was basically doomed from then on.

H: Was music always a big part of your life, or was it something you grew to appreciate in your teen/adult years?

L: I used to meticulously craft mixtapes, including covers I would spend way too much time on, for my friends in high school. I would spend as much time as possible going to see shows. I was basically that one music dork, minus the being that much of a dork part.

H: Do you remember the first band you were infatuated with? How did you discover them?

L: I don’t remember specifically, no. It’s been about twenty years. It was probably Nirvana. My earliest memory of completely being blown away by music, however, was coming home from school every day to watch the MTV countdown and being so psyched for “Welcome to the Jungle” to come on. And also “Express Yourself” by Madonna, but I think that was exciting in a different sort of way. From Nirvana it went on to Alice In Chains and Dinosaur Jr – I had a few older friends who were pretty tuned into all that stuff. I remember them taking me to my first real concert, which was Lollapalooza 93. Rage Against the Machine opened the day, and that sort of twisted me around. Actually, now that I think about it, I think it was Juliana Hatfield who first got me. I remember having the “Hey Babe” cassette and just listening to that non-stop.

H: We have only had the opportunity to speak with a few freelance writers before you, so let’s jump ahead a bit in hopes of covering as much ground as possible. What initially attracted you to the world of writing?

L: I liked the idea of being able to share my opinion and have people give a shit about it for some reason. Also it wasn’t a real job.

H: Did you study journalism in school? What can you tell us about your earliest experiences in this career field.

L: I took a few classes, but mostly I studied literature, and then creative writing. I wanted to write short stories, and I did for a while, and occasionally still do, but it was a lot easier to get paid for music writing stuff, so I swerved more into that career lane. This was the early 2000s. Little did I know how fragmented everything would end up becoming.

H: I read in one of your articles that you had at least one ‘typical’ office job before stepping into the world of freelance work. What can you tell us about your professional life before freelance writing came along?

L: I did a few internships in politics type stuff when I was younger. I worked summers on a construction site in college, which was one of the main motivating factors and teaching me that a real job was not for me. I was an editorial assistant for a while in New York. Then, my last office job was working in the Dig offices, probably about 8 years ago. In between I’d work in restaurants when freelancing was slow, but I’m fortunate to make my living writing now. I am a very punctual person when it comes to my writing work, never miss a deadline, always on time for interviews etc, but the idea of having to show up somewhere every day at a specific time, and sit there all day just because someone expects you to be sitting there when they look over does not work for me. My theory is that if someone is getting their work done, why the fuck does it matter where they’re doing it from? People like to call meetings though, it makes them feel like they’re in control.

H: What was the first publication to offer you an opportunity as a freelance contributor, and how did that role come to be?

L: I guess it was the Dig. It was a great opportunity, as I didn’t really know shit at the time. I think I was 24 or so. Will always be thankful for that job, as I wouldn’t be anywhere without them. I had a friend who was writing for them, and she passed me along to the editor at the time, J Bennett, and we hit it off pretty instantly. He’s my friend still, and helped me out a lot in the early days. Another former Dig editor, Joe Keohane, who’s now an editor at Esquire, has been a huge help as well, and I’ve been writing a lot for him lately. That’s how it works basically. You just stick around long enough that your more competent friends climb editorial ladders and wait for them to need something.

H: Do you remember the first article you submitted as a freelance writer?

L: I don’t, but it was definitely a piece of shit.

H: After your first freelance piece was published, how did you go about securing additional opportunities? Did publications begin coming to you? Tell us a bit about getting your name out there.

L: It’s different now. Just in the past ten years, as everyone knows ,things have changed drastically. The thing I tell people who are younger now is that half the job is pitching and corresponding with editors. Grab one’s attention with something they haven’t thought of before, don’t just pitch the same stuff everyone else is.

Here are a couple things I’ve written about being a freelancer that might be helpful, and might be discouraging.

http://www.esquire.com/blogs/news/we-broke-the-internet

http://blogs.villagevoice.com/music/2013/02/advice_for_aspiring_music_writers.php
http://blogs.villagevoice.com/music/2013/05/quit_your_media_job_today.php

http://www.newrepublic.com/article/115389/writers-should-work-free

http://www.putthatshitonthelist.com/2013/03/interview-magazine-doesnt-even-pay.html

H: Without going too in-depth, would you please run us through a typical day at work?

L: I wake up, get online, see what’s happened in the world, and begin pitching ideas based on the day’s news. That’s broken up by some phone interviews in the day, and having to go out at night to a show, or to a bar. It doesn’t really sound like work, but it’s not as easy as it looks.

H: How do you measure success at your job? What is a ‘good day’ like for you?

L: When I post something that I’m proud of, that I worked hard on, and that actually contributes something to our understanding of the world. This is harder than it looks.

H: As someone who has spent over a decade writing about music, what is the one piece of advice you would offer young bloggers/journalists hoping to find a career in entertainment?

L: Look at what all your peers are saying and say the opposite.

H: Given the number of high-profile sites you write for, I assume your inbox is flooded with requests from bands and artists hoping for feature consideration. Do you have any words of advice to offer unsigned and small label acts to help separate themselves from the competition?

L: I wrote something about this recently http://bullettmedia.com/article/30-harsh-truths-for-bands-who-want-to-get-music-press-coverage/

H: As someone who watches young artists and their promotional efforts, what is one common mistake you see groups make when attempting to market themselves?

L: Be a story. Don’t just be a band. There are a million bands. People like me want stories. Either that or write an undeniably genius song. But that second one isn’t quite so easy is it?

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

L: Fewer bands, fewer music writers.

H: When it comes to receiving music for review and feature consideration, what digital distribution platforms do you prefer and why?

L: Personally I only want links to streams now. I have to listen to way too much new music every day to be downloading everything. Every music writer has different preferences though, so don’t just take it from me. Do not, however, send physical CDs. No one wants this.

H: Piracy is as much a hot button item now as it was a decade ago. Do you think we will ever see a day when music piracy comes to an end?

L: No, I think the genie is out of the bottle there. I don’t pirate music ,but then again I’ve had the fortune to not have to. People don’t need to listen to as much music as they do. It’s like a form of hoarding the way some people act. Enjoy the song you’re listening to today.

H: I think that covers everything. Before I let you go, are there any final thoughts or observations you would like to share with our readers?

L: Leave me alone.

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Freelance Spotlight: Carolyn Vallejo

Hello and welcome to another installment of our Blogger Spotlight series. We missed all of you during our day off yesterday and thought it best to make up for our absence with a bonus piece of content to help kickoff the weekend. 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@gmail.com and share your thoughts. We can also be found on Twitter and Facebook.

We have spent the majority of the last six months talking to the people who created or currently lead the most influential music sites on the web. As we head into 2014 we want to continue these efforts while also expanding our reach to include others who have dedicated to their lives and talent to the pursuit of a career in the music industry, including freelance writers.

The life of a freelance writer is one we cover far too rarely on this blog, but in the months ahead we hope to share more stories from this side of the writing world in order to provide a more complete picture of life on the journalism side of entertainment. Today we’re diving into this effort with a feature on Boston resident Carolyn Vallejo, who has contributed to publications like Alter The Press!, Performer Magazine, and Big Cheese Magazine. You can read her story below.

If you would like to learn more about Carolyn, we highly recommend following her on Twitter and bookmarking her digital portfolio. Additional questions and comments can be left at the end of this post.

H: Hello! Thanks for taking the time to be a part of this feature. Would you please tell everyone your name, what you do, and the publication(s) you work with?

C: Hey James! My name is Carolyn Vallejo and I’m a music journalist. I work mostly with Alter the Press! but have freelanced for a bunch of music publications including Performer Magazine and Big Cheese Magazine. I’m also the editor of a financial journal in downtown Boston.

H: A life in music is not one every person would choose for themselves. When you think of your earliest memories with music, what comes to mind?

C: My mom says that when I was 3 my favorite song was “Woman in Chains” by Tears for Fears – kind of a sophisticated choice for a toddler. I remember being obsessed with the Beatles’ “Magical Mystery Tour.” As an adult you can see how trippy and drugged-out the album is, but there’s definitely a childlike imagination to it all. I also grew up listening to my brother drumming in the house day and night and, later on, mixing electronic music. I hijacked my mom’s 12-string when I was younger, too. So it’s pretty much been everywhere since I was born.

H: Some of the people we have spoken with mention a specific moment/album/event that steered their life towards a career in music. Do you have anything like that in your history?

C: Having grown up with so much music around me, I don’t think it’s something I consciously decided to do one day. Having a career in music is more of something I feel I need to do, because it makes me happy. So there wasn’t really a specific event, but there have been certain people who have come in and out of my life who remind me that it’s actually possible to have this type of career and lifestyle.

When I was in college I changed my major from journalism to advertising at one point because I felt like it was naïve of me to pursue a career in music journalism, and that I wasn’t being realistic. But eventually I was introduced to people in Boston’s music scene who reminded me that that was the worst idea I ever had, and that a career in music isn’t a pipe dream. Those people definitely steered me back on track.

H: As a writer, who or what inspires you?

C: People are my biggest inspiration. You can stop any random person on the street and they will have an incredible story to tell, they just might not have ever been asked. As a writer you can tell those stories, and that’s something I think is crucial to the human condition. We’re so quick to judge or to not make any effort to know someone. But a writer can help you show what’s really going on inside a person. I think that’s why I love music so much, because it’s another outlet for a person to show the world who they are.

H: You’re a bit of a unique case for this blog. You have a site or two your work with primarily, but you also work as a freelance contributor. When did you first begin your career in writing, and what was your first ‘gig’? (unpaid work counts)

C: I’ve technically been freelancing since I was about 14 or 15, writing for local papers and websites. But my first legitimate job working in music journalism was writing for Big Cheese Magazine while I was abroad in London during college. My second day on the job they sent me out to a warehouse to interview Sum 41. I wanted to puke I was so nervous, but then I gained my footing and confidence and started writing some awesome features that I’m still really proud of. That was an unreal experience.

H: You first came on our radar through your efforts with Alter The Press. When did you join the ATP team, and what can you tell us about the application process?

C: I had followed Alter The Press for sometime, but in the summer of 2012 they Tweeted that they were looking for new writers. I sent in some of my work, and ATP editor Emma Garland dug it. In addition to sending in clips, Emma asked about what bands I love and what labels I follow. She’s based in the UK so everything was done online. I’d say about 90% of my freelancing gigs have actually started from Twitter connections, strangely enough.

H: There are a number of sites offering featuring the same artists highlighted on ATP. What lead you to apply at this publication over one of its competitors?

C: When you’re freelancing you totally can’t be picky, but ATP is part of a community that wants to support bands, not bring them down through scathing reviews just to get readership. ATP definitely finds a balance between objective music journalism and that need to support musicians.

I also have a great relationship with its founder Jon Ableson. He backs me up when things get hairy and trusts me as a writer. Having the support of an editor is super important and has kept me loyal to ATP.

H: As a professional you’ve managed to find a number of gigs outside the world of music, yet you continue to make strides in this field as well. What keeps you invested in music journalism?

C: In a way, it’s those gigs outside the world of music that keep me invested in music journalism. My “day job” is working as the managing editor of a financial journal. It’s taught me so much and I love the job, but writing about finance and law all day really reminds me why I love music journalism so much. It’s so important to do what you love. Of course, you have to pay the bills, but it’s worth the extra effort and time to pursue your passion.

H: There seems to be new writers and blogs popping up almost every day of the week. If you could speak to them, what advice would you offer aspiring journalists and bloggers to help them get started with a career in the entertainment industry?

C: MAKE YOUR OWN WEBSITE. For the love of God, reserve a domain name, learn basic HTML and get your portfolio online. I can’t tell you how many times I’ve spoken with an editor trying to get a gig and telling them, “here’s my resume and a couple clips, but just go to my website – everything you need to see about what I’m about is right there.”

Also, be honest with yourself about what you’re writing. My worst album reviews are the ones where I focused too much on how I wished the album would sound and what I wanted the band to be. But I’ve never regretted a piece in which I was honest about an album or a band member, even if it was a controversial review. Most likely you’re entering the industry because you love music, and of course it’s great to get support from the musicians you cover. But you’d be doing a disservice to yourself by kissing up to a band for the sake of readership or being liked.

H: You’ve written a number of album reviews in 2013. What do you look for when reviewing an album?

C: The best albums of all-time can be seen as cohesive, singular pieces of artwork, from front to back. One song isn’t complete without the ones that come before and after it. So I definitely look for that cohesiveness in any record I listen to.

I also try to put the album in context, not only in terms of the trajectory of a musician’s career, but in terms of what was going on in an artist’s life while they were writing. The first album I reviewed for ATP was The Early November’s sort of comeback record “In Currents.” I did a lot of research on why the band ever took a break, how they felt about aging and marriage and getting back together. All of that really came through in the record, which helps an album sound cohesive and, in turn, helps a review sound cohesive.

H: While we’re on the topic of reviews, we might as well touch on distribution. Which services do you prefer press/labels/bands to use when sending you music and why?

C: I always prefer press to send albums you can download, not just stream. When you’re preparing for an album review or to interview an artist, you want to listen to their work throughout the day in different settings, not just while you’re at your computer. So being able to download a record, whether it be from Haulix or Soundcloud or a file emailed to you directly, is what works best for me. When I was working in London the record companies would send albums to the office, and bands would mail their demos in. I wish labels would bring that back!

H: When it comes to discovering new music, where do you turn to find bands and artists you may have otherwise never heard?

C: Talking to friends about what they’re listening is always a great way to check out new bands. You can’t be lazy when it comes to finding new music. Music publications and bands and labels are always Tweeting about what they’re listening to, so I always keep my eye on that, and I make sure to get to shows early to catch opening acts I’m unfamiliar with. If a restaurant or a record store is playing something I like, I’ll go up to the manager and ask what it is. That’s actually how I’ve found a lot of my favorite music. I’ll always look for the speakers when I enter a store so I can SoungHound what they’re playing if I like it. That app rules.

H: Without getting too specific, could you tell us a little about an average day in the life of a freelance writer?

C: Unless you’re insanely lucky, freelancers, at least when they start out, need a day job. So that means every day I go back and forth between a financial journal at an office and my music journalism. Between tasks I’ll be scouring Twitter for music news or sneaking out on my lunch break to do a phone interview with a band (I actually did that the other day to interview Frank Iero). It’s a lot of crafty scheduling and can get exhausting, especially when you get home from a long day at the office and then start writing a feature. But it’s worth it.

H: What is your ultimate career goal?

C: Realistically, I want to be able to financially sustain myself with my music writing. I don’t think I have a singular goal, more like a bunch of milestones I want to hit. There are big music publications I would like to write for, and I’m planning a move out west where there are more opportunities to write about the entertainment business. I guess my biggest goal for my music journalism career would be to keep it going for as long as possible.

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

C: I think there can be a lot of negative energy in the industry that we could all do without. Whether it be feuds between bands, feuds between music publications or what have you, it’s frustrating to know that the music community can be so close-knit and supportive just as much as it can be hateful within itself.

One thing that I think is already beginning to change is the status of women in the industry. I think the idea of being surprised that there’s a girl in a band or a female manager is finally starting to get old. But there’s obviously a long way to go, and I can’t wait for the day when I walk in to do an interview and I’m not self-conscious about whether the band will take me seriously or not because I’m a girl.

H: 2013 is quickly coming to a close. Do you have any goals for 2014 you can share with us at this time?

C: I’m starting the process of moving out west where there is more of an opportunity to keep writing – I’m stoked to check out the local music over there. Other than that, I want to start mixing my own music. I’ve also set a new year’s resolution to conquer Boston’s rap scene before I leave!

H: I think that covers everything. Before I let you go, would you like to add anything else?

C: Just to say thank you for the support! It was fun being on the other side of an interview for once.

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