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Industry Spotlight: Lauren Wise (Midnight Publishing)

Hello, everyone! We are thrilled to learn that you have chosen to spend a few minutes of your day with us. I don’t know if you have been following along this week, but interviews have been a recurring theme in our posts, and the article below is no exception. We are even planning a bonus interview tomorrow!

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 and share your thoughts. We can also be found on Twitter and Facebook.

The vast majority of bloggers and journalists we have featured on this blog were initially contacted by us for the purposes of gauging their interest in participating in collaborative content creation. Today’s creative mind, the one and only Lauren Wise, actually came to us with ideas for collaboration. That was the only sign we needed to know she was the type of hardworking industry vet we aim to highlight in this series, and within a few days of our initial introduction I was crafting questions for Lauren about her extensive industry experience.

Lauren Wise may not be a name you recognize from list of the most influential minds in music, but for over a decade she has been working behind-the-scenes of several major publications nationwide to make sure the articles and reviews people enjoy on a daily basis are not riddled with errors. That’s right, she is a professional editor, and during her time in music she has worked with hundreds of artists, ranging from Alice Cooper and Slayer, to 311 and beyond. She’s also the founder of Midnight Publishing, a consulting company that we’ll dig into a bit more during the interview below.

I’m still getting to know Ms. Wise, but I am already a big fan of her work. The music industry needs people who are willing to take life by the reigns and make things happen regardless of whether or not the rest of the planet is paying attention just yet, and that’s exactly the type of drive for success Ms. Wise exemplifies every single day. 

H: Hello! Thank you for joining us. Before we begin, please introduce yourself to our readers:
LW: Thank you James! Glad to be here. My name is Lauren Wise, and I’ve been a professional writer and editor for 10 years, and have written for local and national publications including LA Weekly, Where magazine, Runway magazine, Boxx magazine, and the Phoenix New Times, where I have worked a heavy metal journalist for more than three years and write a column called Metal Mondays. While I write about other topics such as travel and culture, I have a strong focus on hard rock and heavy metal music. I’ve interviewed more than a 100 artists and bands, including Alice Cooper, Slayer, 311, Phil Anselmo, and Megadeth. Also in the vein of music, I work as the record label liaison for Heavy Metal Television, setting up interviews with the VJs when bands come through town. I also am the founder of Midnight Publishing, an editorial/self-publishing consultation company, where I edit books and help authors market and publish them. 
H: It’s a pleasure to have you with us, Lauren. We have been looking forward to this interview for a while. How has the week been treating you?
LW: Not too badly. Trying to stay cool out in the Arizona desert! 
H: I would like to start by talking a bit about your history with music and writing. Can you recall the first album you ever purchased with your own money?
LW: Actually, the first album I ever purchased was the Beach Boys’ Still Cruisin’. I couldn’t get enough of that song “Kokomo.” I believe I was about nine-years-old. It might not be very metal, but the Beach Boys actually influenced acts like Pink Floyd and Cream. It was only a few years later that I discovered Metallica by rifling through my older brother’s CD collection.
H: How about your first live show? Bonus points if you share an early ‘fan girl’ moment from the event.
LW: My family wasn’t really a concert-going family, so my first show was between two different experiences; I can’t really remember. It was either going to a Finch and Zebrahead hardcore/punk show with some of my skater guy friends at the time. I remember the mohawks and the mosh pit and feeling slightly intimidated, but also fascinated. Or else it was Korn and Limp Bizkit. I was a big fan of those two bands, and that concert definitely opened the door of metal concerts for me. Both would’ve been around the age of 13. Fan girl moment? I hate to admit it, but my girlfriend and I wore red Yankee hats to the show (Fred Durst’s signature look). Funny enough, I interviewed Fred Durst and Wes Borland last year, and I must admit that I felt a little fangirlish remembering how much I enjoyed that first show. 
H: I want to make it clear that your skill and experience with the written word goes far beyond the world of entertainment. You’ve been writing about many things for a number of years, but can you pinpoint the moment in time you first began to consider a career in writing?
LW: I wrote a lot in high school; short stories and poetry and such were published in a few journals. In college I started writing for the ASU campus paper, and then became the op/ed editor at the community college newspaper. It was all for free, but I just wanted to build a portfolio. When I started getting internships at magazines around the age of 19 while studying at the Walter Cronkite School of Journalism – that’s when I realized I ultimately wanted a career as a writer, particularly in the realm of music. 
H: Who did you look up to professionally when you were getting your start?
LW: I was an avid reader as a child… a.k.a. nerdy bookworm. So I looked up to writers who were amazing with descriptive imagery, like Stephen King and the YA author Francesca Lia Block. Early on I knew I wanted to be able to paint a picture with my words to transport the reader to where they wanted to be. I didn’t know anyone who did what I wanted to do, but I looked up to my parents a lot. My father’s work ethic and how people respected him so much in business, and my mother’s creativity and positive mentality. Pretty much I had the mind-set that if I wanted to be a professional writer, it was going to happen. All I had to do was work for it, understand the business aspect, network and hone my craft. 
H: You studied Journalism and Mass Communication in college, which certainly came in handy for the career(s) you would hold later in life. As someone who has established themselves as a full time writer, do you feel a college degree is a necessity for creative types in the modern age?
LW: I don’t. Nowadays, anyone who has the passion to write can voice their opinion online, or pitch unique ideas to a publication. If you are a skilled writer with patience and the mind-set to get your work published, there’s a good chance you’ll reach your goal. A college degree is an asset for sure; I learned a lot about the craft of writing and editing, and I know the internships I had were valuable, but it isn’t a necessity if you know what you want, have something to offer and are willing to work for it. 
H: Where did you ‘cut your teeth’ in the world of writing, and what were some of the first articles you were assigned to write for others?
LW: One of my internships was for a publication called MYFM magazine (Make You Famous Media). It was a unique concept; a magazine that was basically a catalog for a talent company. It featured interviews and coverage of all the models, musicians, dancers, actors, etc. that this company represented. In that magazine, I was able to not only interview the musicians on the roster for the magazine, but since I was integrated into the local music scene I also suggested bands to feature. There was another Arizona magazine, I can’t remember the name of it now, but I had to go skydiving and write an article about it. That was in 2005 I think. My first paid articles were restaurant pieces for Scottsdale Luxury Living Magazine – I couldn’t afford to eat at any of them, but for some reason they thought I was able to present the restaurant and pick the best dishes well. 
H: We hear from a lot of aspiring entertainment writers who would love to make a career out of freelance work. As someone who has been considered a freelance talent for over a decade at this point, what advice would you offer those considering pursuing full time freelance work?
LW: Network. Set yourself a part from the crowd with hard work and dedication. A lot of stuff you write in the beginning, you won’t get paid much for it. But no one goes into writing to get rich, right? Don’t burn bridges, be respectful, and communicate with your peers and superiors. 
H: In addition to being a freelance writer you are also the Head of Editorial at Midnight Publishing. What can you tell us about your role and the day-to-day tasks you must complete?
LW: At any given time I’m working on about six or seven book editing projects, ranging from memoirs to fiction novels to non-fiction books. We provide ghostwriting, book editing, business copy writing/editing, author marketing, and self-publishing consultation. I have a strong passion for writing and editing, and love the fact that I have a wide array of projects that constantly challenge me. Plus, I love being able to help other people project a positive, influential message into the world by way of a book or product. 
H: You’ve had this job for almost six years at this point, so it seems safe to assume you enjoy what you do. How did you initially learn of the position, and what can you tell us about the application process? 
LW: Well, I started Midnight Publishing within a few years of graduating from Journalism school. It was hard surviving as a freelancer, so I decided to start an LLC as an “umbrella” for all of the professional editorial services I could provide. I could pitch myself as a writer and editor for a business web site, with a professional established backdrop. Then I moved onto books. It pretty much just snowballed from there. The key is to continue educating myself to stay on top of the market and ideas. There’s always something else to learn or a skill to sharpen. 
H: Do you ever see a point in the future when you would consider doing freelance writing full time and walking away from your other jobs?
LW: Eventually I would love to be the owner of Midnight Publishing but have a handful of employees take care of the day-to-day operations. As much as I love that company and freelance writing for travel, music, and fashion publications, it would be amazing to focus on it full-time. Because crafting ideas and pitching editors can be a full-time job in itself. 
H: You have written about many topics outside the world of music, but you keep coming back to metal and hard rock. What is it about those areas of music that you cannot resist?
LW: I studied classical piano growing up, and that led me to heavy metal: the intricate compositions, the emotion, the technical skill, the instrumentals.  Heavy metal is a genre that sheds light on the world’s darkness and horrific nature, while understanding that there’s ultimately a positive strength. It’s unforgiving, gritty and dramatic. The song lyrics might be destructive to some, but all you have to do is turn on the news to hear things that are actually happening that are way worse. It may be because, with a dozen moves as a youth, I never felt like I fit in. Or it could be because I defend things that most people might judge or reject. But there’s so much amazing talent, intelligence and influence in rock and metal,as well as people with huge hearts and a ton of charitable activities, and I feel that part of my job is to alter people’s opinions about the genre. 
H: You have accomplished a lot during your time as a professional, so I am curious as to what personal goals are you currently works towards. What drives you each day to work a little harder, and what do you have to achieve from it all?
LW: Well, I’d like to work on publishing some heavy metal articles in larger magazines (Guitar World and Rolling Stone are two goals of mine), but also striving to merge my company Midnight Publishing with my love for music. In the future I’d like to help influential musicians craft and publish their memoirs. 
H: In terms of growth and development, what are the biggest challenges facing you right now?
LW: There just never seems to be enough time for the work – or the concerts. 
H: If you could offer one piece of advice to people considering the pursuit of a career in music, what would it be?
LW: Keep your whiskey intake to a minimum. 
H: When it comes to receiving for review and preview purposes, which digital distribution platforms do you prefer and why?
LW: Haulix is what I utilize the most for the digital album downloads. That’s what several labels use as well. I love the album downloads via Haulix, because it’s convenient and you instantly can listen to the music. But I like getting DVDs for reviews the old-school way; in the  mail. 
H: Piracy is as bad now as it has ever been, and still the debate wages on about how labels and artists should combat those who try to steal their creative works. Do you have any advice to offer on this topic?
LW:  I think it’s important for fans to purchase the music from the bands they love, and to be respectful of that art. Unfortunately it can’t be overlooked that the labels have a hard time letting go of their greedy tendencies. People will get the music they want when they want it, and I think the only thing we can do is let go of the current economic model and embrace the new system, and make sure that your content is able to be crossed on different platforms. 
H: If you could change one thing about the music industry, what would it be?
LW:The fact that a major goal is to commercialize the music. Music never used to be a product; it used to be about the connection between the musician and the fans with no buffer in between. Now we’ve all been brainwashed to think that we need to “own” this music and it’s packaged as such. 
H: Ok, this ran pretty long. I’ll go ahead and let you go, but before I do are there any final thoughts or observations that you would like to share with our readers?
LW: Nope. Just thanks for the interview, and keep lovin’ the music! 
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Industry Spotlight: Amanda Van West (Band Of The Day App)

Hello, everyone. Welcome to the only extended interview we will likely run this week. We love firsts, and today we are excited to traverse new territory through our Industry Spotlight column by discussing the world of apps and how they can help artists gain exposure online with someone working every day to help bands find new fans. If you have any questions about developing as a writer/blogger in music, please do not hesitate email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.

We all love to download apps, but how many apps have you downloaded in the past year that help you better understand or appreciate the vast amount of music available in the world today? There have been many innovations made as far as streaming and being able to instantly connect with your music collection on the go are concerned, but surprisingly very few technological advances in this industry have focused on new music discovery. Big names draw big crowds, of course, but as industry professionals it’s our job to curate the next generation of musical talent, and that begins with constantly being on the hunt for new music.

Enter Band Of The Day. Launched in 2011, this application showcases one new talent every single day, 365 days a year. It’s a collection of artists you may or may not know from all over the world, and unlike many apps that rely on algorithms to figure out what people want this application is curated by living, breathing people like you or I. At the center of it all is Amanda Van West, and in the interview below she shares her journey in music.

I stumbled across the Band Of The Day app a few months back and new right away it was the type of digital offering that warranted attention from our blog. It’s not every day you meet people as passionate about music discovery and promotion as the team behind this application, but just knowing a few still exist gives me hope for the future of this business. If you would like to learn more about Band Of The Day and/or Amanda Van West, please make it a point to download the app and follow Amanda on Twitter. Additional questions and comments can be left at the end of this post.

H: Before we begin, please introduce yourself to our readers by sharing your name and job title:

A: Hello! My name is Amanda Van West and I’m Head of Music for Band of the Day app.

H: Thank you for joining us, Amanda. We have been looking forward to having you take part in this series for some time. I want to talk about your current career, but first want to learn about your history in the business. Tell me, when did you first realize that a career in the music industry was something that appealed to you?

A: Around my junior or senior year of high school, I became obsessed with music and going to concerts. I remember being in class one day, and one of my friends casually mentioned, “You should try and be a music journalist.” It really resonated with me, and music journalism is something I pursued throughout college and graduate school. However, I never actually thought it would lead to a career in the music industry – it was just a fun hobby for me at the time.

H: From what I have found through my research it looks like you originally went to college for Media Studies. Had you gained any experience in the entertainment industry at this point, or were you still finding your footing in that respect?

A: I was still finding my footing at the time. Being a poor college student with very limited funds, I used to hit up local clubs asking if I could interview bands and provide online content for them in exchange for free concert tickets. Then I started hosting the music television program, “Visionz”, for USFtv (University of San Francisco). Between writing for websites and the school newspaper, and hosting Visionz, I found that I really loved exposing bands to a new audience.

H: Before you began working at music companies like the one that employs you now there were several years where you contributed to ThisIsFakeDIY. Was journalism always the area of music that appealed to you the most?

A: I was always drawn to journalism, be it print/web/radio/television, because I found that I was naturally good at interviewing bands and drawing out stories that were a little atypical of what I’d read about in other publications. One of the best compliments I received while interviewing a band member was, “You’re kind of like the female, non-Canadian Nardwuar.” When I interview bands, my goal is to dig deep and not ask questions that have been asked a million times before, so I’m glad that bands caught onto that!

H: Do you remember the first major feature or review you worked on as a music writer? If not, perhaps you can recall an early assignment you were given that presented a challenge?

A: My very first interview was with Johnny Borrell (lead singer of Razorlight) back when I was about 18 or 19 years old. I remember being extremely sweaty and nervous, but luckily he was really nice and I was able to relax a bit during the interview.

H: You returned to school in 2009 to study Broadcast journalism. What inspired you to further pursue your education in this respect?

A: If I’m completely honest, going to grad school was mostly just an excuse to get back to London haha… I had gone to London my junior year of undergrad, for a semester abroad, and fell in love with the city and its incredible music scene. After graduating, I was working in marketing for awhile (back in California) but didn’t like it. I always loved journalism, so studying it further in my favorite city just made sense. I applied, got in, took out a big student loan, and just went for it. I ended up learning a lot during my time at Westminster University, and the experiences I had there have stayed with me to this day.

H: We should mention that you have worked in area of entertainment outside of music. I know you have a producer credit for a short documentary, as well as experience working as a Runner. What initially attracted you to the world of film, and do you have any plans to pursue that interest further in the future? Perhaps combining music and film?

A: I’m just really attracted to the art of storytelling, in many different forms. I’m also a very visual person, and have a deep appreciation for film after studying it for a bit. I could see perhaps doing some sort of music-related documentary sometime in the future, or maybe music supervision on a film, but I don’t have the full-on drive to be a filmmaker.

H: Before we leave your education behind, I do have one more question to ask. Knowing what you do now about the music industry and how it works, would you recommend that people reading this who may be considering pursuit of a music career go to college as well? Is higher education a necessity for success?

A: As much as I loved my time in higher education, I don’t believe it’s entirely necessary for success. Especially if you’re looking to get in the tech/music tech world. I don’t even think my employers noticed that I had an MA degree – what stood out to them, more than my resume, was my experience with extracurricular music journalism and maintaining a music blog even outside of a school assignment. My best advice is to just throw yourself into whatever you’re passionate about, whether or not it’s paid/unpaid or for a school assignment.

H: In 2009 you joined the team at Ustream and aided the company in gaining a wealth of recognition in the press. From what I have been able to gather this was one of your first jobs after you completed your studies in broadcast journalism and I am curious about your experiences with the company. When did you first learn of the job, and what can you tell us about the application process?

A: It’s been awhile, but yes, this was my first job out of college! I think I may have just seen a posting on a local job site? I submitted my application, and then interviewed with my former boss. He was impressed by my music knowledge and journalism background, and I was also a good personality/cultural fit with the team.

H: In 2011 you joined the company you now call home, and you began working on the Band Of The Day App. When did you initially learn of the app’s existence, and what was the hiring process like that landed you the job title you currently hold?

A: I had moved back to my family’s home after a year and a half of grad school in London, and had been applying to anything and everything media/journalism related for at least a couple months. It was really frustrating, because I wasn’t getting anywhere. One day, my mom forwarded me this posting she came across on Craigslist. They were looking for a summer music writing intern. Initially, I snobbily dismissed it by thinking, “I’m NOT gonna do an internship; I have a Master’s degree!” But then I looked up the company, and read through the description, and it just sounded really cool. I decided to take a bold leap, and I tweeted directly at the company, “You can take down your internship posting now” with a link to my LinkedIn profile. Within a few minutes, the CEO (Kiran Bellubbi) messaged me back, saying he was impressed with my background and asked if I could come in for an interview. My “interview” was actually their launch party for the first app, The History of Jazz. I ended up connecting really well with everyone, including slightly inebriated family and friends, and had a proper interview a few days later. They took me on as an unpaid intern at first but, within maybe a week or so, they offered me a contract position. And a week or two after that, I was offered a full-time salaried job with benefits. My first project was writing all of the content for our iPad app, On the Way to Woodstock, which was so much fun. It was like this big multimedia journalistic/academic endeavor, where I got to throw myself completely into research mode on that era. A couple months later, Band of the Day came into fruition, with my co-editor at the time (Tobias Kahn) and I leading the helm on content.

H: For those unaware, what is the Band Of The Day app, and how does it aide in new music discovery?

A: The best way I can describe it is like one of those advent/Christmas calendars, in app form, but with a new band revealed every day instead of a piece of chocolate. And 365 days a year, not just December. Because we just focus on one band per day, and because it’s 100% curated by us, users get to explore genres that they might not otherwise listen to, whether it’s Argentinian post-rock, South Korean electropop, US indie rock, etc.

H: What are some of the things you do as part of your involvement with this app? If possible, please walk us through a typical day at the office:

A: I tend to work in cycles of content, so daily tasks change every week. One week I’ll focus on going through submissions (from users and from bands/record labels/PR blasts), and also seeking out new bands to feature through trawling the music blogs, other music apps, word of mouth recommendations, etc. Once I find bands, I research their contact information and reach out to clear all of the content/licensing for a feature. Then I have to figure out the schedule of bands for the upcoming month, curating bands for maximum variety – for example, if I feature an indie rock band on Monday, I might follow it up with a rapper the next day, jazz after that, etc. Once I have the upcoming month’s schedule figured out, I have to gather all of the assets/content, and create it on our content management system. Then I test it all in the app to make sure it’s working, and work with the programmers to get the content loaded up in the app. Once I have all the upcoming content ready, I schedule posts for our social media channels and work to cross-promote the features with all of the bands. I also go to a lot of festivals and concerts as a way to scout out new bands to feature. Additionally, I book bands for parties we have throughout the year, including SXSW house parties/showcases. This past year, I’ve booked roughly 30 bands for various gigs.

H: Where do you find the bands that are featured? I am sure a number of our readers would be interested in see themselves or their friends’ bands appear on your platform.

A: I’m on a ton of music PR mailing lists, so I’ll listen through those quite often. I also go on a ton of music blogs, use other music discovery apps, go to gigs, get recommendations from friends, from other bands, etc. There’s no one main source.

H: How can we expect to see the app evolve in the months/years ahead?

A: I’d love to collaborate with other tastemakers and have them come on as guest editors for certain days, or maybe even have bigger/well-known bands help pick smaller bands that they’re into. I also see Band of the Day working more with our other app, Applauze, which is an events discovery/ticketing app. So maybe a band that appears in BOTD will have a link to Applauze, where you can easily buy a ticket for their concert.

H: How many people work on the app? Are you currently looking to hire more people?

A: For day-to-day operations/management of the app, it’s pretty much just me now! Our developers will work on new updates from time to time, but for daily content it’s me managing everything. I’m always open to having an awesome intern though 🙂

H: Looking ahead to the future, what are biggest challenges facing Band Of The Day as far as growth and sustainability are concerned?

A: Just keeping the content going, I suppose. We recently hit 1000 bands, and there are a TON more out there, but at some point will we run out? So far that seems way far off, especially looking through the number of submissions in my inbox right now…

H: On a more personal note, what challenges do you see yourself facing in the future from a professional standpoint? Do you have any goals on the horizon you are currently working towards?

A: With my role now, I have to listen to so much new music that sometimes I don’t have time to fully devote my attention to any one band the way that I used to. So I think figuring out how to involve more trusted ears/tastemakers with Band of the Day content is something I’d like to work towards. Another goal is to also introduce Band of the Day relationships to my colleagues at Applauze, so that we can work with them on things like pre-sale tickets, VIP upgrades for concerts, etc.

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

A: The process of licensing digital content for promotional value. All of the bands we feature in Band of the Day need to be cleared via a promo license, for us to be able to legally stream the music worldwide. There are a lot of issues that come up with this, mostly with the major record labels, because of how music rights are handled. There are many times where I’d love to feature a band, but can’t get their content cleared, so then that band misses out on great coverage to a brand-new audience.

H: I think that covers everything. Before I let you go, do you have any final thoughts to share with our readers?

A: Thanks for the interview, Haulix, and for the support of Band of the Day! 🙂 If anyone wants to get in touch, feel free to reach out to @bandoftheday or @amandabomb on Twitter – I read it all! Also, just a reminder that Band of the Day is 100% free to download and is available on iOS, Android, and the web:

Band of the Day on iOS: http://bit.ly/bodappstore
Band of the Day on Android: http://bit.ly/bodandroid
Band of the Day: www.bandofthedayapp.com

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Industry Spotlight: Derek ‘Sknk’ Scancarelli

Hello and welcome to the final industry spotlight of the week. We have been fortunate enough to speak with a number of professionals from across the industry over the last year, but it was not until this particular feature that we were able to speak with someone doing their best to become a professional in the field of video journalism. Their unique perspective on music today and where it’s headed in the near future allowed us to see the business as a whole in a new light, and we hope his words will have the same impact on you. 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.

We talk a lot about the importance of finding and securing internships while still in school, and the person at the center of today’s post would probably tell you it is because of their experience at internships that they became the person they are today. Derek Scancarelli, otherwise known to the digital world as ‘Skank Jones,’ has spent the past half decade preparing for a full time career in music that he continues to pursue today. He always knew journalism was something that fascinated him, but it wasn’t until he spent time at newspapers, labels, and eventually tv stations that he discovered his true passion resided in creating visual stories worth sharing with others. Now, through unpaid writing and occasional freelance work, Derek is finally starting to find traction in the business he has wanted to be a part of the majority of his life. In the interview below he shares how he reached this point, as well as advice for others hoping to find their own path in music.

I met Derek a little over a year ago, and I knew from the first time we interacted that he was going to do big things in the music industry. In the decade I have been working in various areas of this business I have only met a handful of people as driven and focused on success as Derek, nor many who have nearly as much fun working as he seems to when compiling questions or footage for publication. Everyone gets into this business for their own reasons, and I do not claim to know every motivation Derek has, but I know for a fact his heart and mind are in the right place. He’s not here to make money or become famous, though I am sure he would love both. Derek is in this business because music has been his best friend for longer than he can remember. He loves art and loves to help artists share their work with the world, regardless of genre. He might not be a household name at this point, but I am certain he will reach that level of recognition as long as he stays on his current path.

If you would like to learn more about Derek and his adventure in music, please take a few moments to follow him on Twitter. Additional questions and comments can be left at the end of this post.

H: Hello and thanks again for joining us. Please take a few moments and introduce yourself to our readers:

S: My name is Derek Scancarelli, I am a multimedia journalist based out of New York. I tend to specialize in live music and entertainment, but have dabbled in almost everything. Currently, I produce original feature content for Under The Gun Review. I produce videos, photography sets, and conduct countless interviews.

H: I want to address your name right away, and then we can get to everything else. I’m told your real name is Derek, but everyone online seems to refer to you as ‘Skank Jones.’ What is the story behind that moniker, and how did it originate?

S: My last name is Scancarelli. Growing up I didn’t mind being called, “Skank,” it was happening whether I embraced it or not. When I was younger and the rapper Mike Jones released the track “Back Then,” and a bunch of my friends started calling me “Skank Jones.” It sort of stuck.

H: Do you ever see yourself moving away from that name with your writing and video efforts?

S: I’ve branded my logo and photography page based around the name D. SKANK PHOTOGRAPHY. It’s unique and memorable. No, I don’t want my byline in Rolling Stone or any legitimate publication to say “Written by: Skank Jones,” but for now the logo will be slated in all of my video work and appear on my photos. If you looked at any of my Under The Gun Review work, it will always say it was written/produced/etc by Derek Scancarelli.

H: Okay, let’s take a step back and look at your early years with music. When you think about your childhood and the songs that served as your soundtrack, what memories comes to mind? 

S: I bet this is a question that everyone fumbles on. The first records I’ve ever owned were The Monkees and Steppenwolf. Don’t ask me why, but I was born to be wild. When I was young, my father would always rock out with me to bands like Pink Floyd in the car. When I started playing Tony Hawk video games is probably when I fell in love with punk music. THPS2 came out in 2000, I was 9 years old. It had Public Enemy and Anthrax, Swingin Utters, Lagwagon, Bad Religion, Rage Against The Machine. Dave Mirra Freestyle BMX came out that same year. It had Rancid, Sublime, Social Distortion. Those were eye openers. I also remember winning a Blink-182 single sampler at an elementary school carnival. The sampler had two tracks, “All The Small Things” and “M+Ms.”

H: Who was the first artist/group you can recall falling in love with, and how did you originally discover them? Bonus points if you include an early ‘fanboy’ moment.

S: In 2003 my father brought me to see Iron Maiden, Dio, and Motorhead at Jones Beach. That one probably changed my life. I’ve seen almost every NY appearance Maiden has made since. They have such a grandiose level of international success, it baffles me.

My biggest fanboy moment would be in 2006 at Ozzfest in NYC. I ran into some friends who had some ridiculous connection to Ozzy’s manager through a travel agent. An hour later, I went from getting sun poisoned to meeting the Prince of Darkness himself. I put out my right hand and told Ozzy it was an honor to meet him, I’m pretty sure he grabbed my thumb with his left hand and just flopped it around. I look like a complete child I’m cheesing so hard in that photo.

H: Who did you see when you attended your first concert, and what can you remember about the experience? Go on, paint us a word picture:

S: I went to my first concert with my buddy Chris and his uncle. He’s actually an NYPD officer now, am I old or what? It was at a venue in Plainview, NY called The Vanderbilt. It no longer exists, but I’ll never forget that night. We saw Hoobastank, Blindside, and Greenwheel. I was in the 6th grade and had a 103 degree fever, but I insisted on going anyway. Not exactly the most badass first show.

H: You are known more for your work in photo and video than text. When did you first notice your admiration for still images and video camcorders?

S: When I was growing up, I wasn’t infatuated with sports. Sure, I played some hockey, but that was never me. I listened to CDs and watched music videos religiously. Remember M(usic)TV? TRL? Those used to be things.

I’d watch shows like Steven’s Untitled Rock Show on Fuse and Headbangers Ball. The content always had me so interested, and then one day I realized that people get paid to make this stuff. The English language and text will never disappear, but the climate is changing. Sure, writing is a fundamental, the fundamental of journalism, but I have a passion for putting it together visually.

During college, I completed six different internships. Three were at TV stations, one was at a newspaper, one at a radio station, and one at a record label. At the newspaper office, I saw how the company was dying, despite being backed by a major printing company. I realized that the future of journalism isn’t simply in textual content.

At one of the TV stations, a mentor of mine told me that you can no longer be a “cameraman” or an “editor” or an “interviewer” or a “photographer.” He told me that if I wanted to stand out in this industry that I have to be able to do it all. That’s what I’m trying to accomplish here, within reason.

H: I’ve found over the course of this series that many professionals experience a ‘lightbulb’ moment in their youth or teen years that leads them to initially believe the music business is the place for them. Do you have such a memory or experience to share?

S: I don’t know what the exact ‘lightbulb’ moment was for me, but for as long as I can remember it’s all I’ve wanted to do. Contrary to your question, I have a lot of those moments now at 23. I think that with every successful story I write, photo I take, interview I conduct, the next light down the hallway turns on. It’s a long rocky road; but we must celebrate tiny victories. Sometimes it gets defeating and exhausting trying to pave way for yourself and doing all of this.

But every time I sit down to talk with someone that influenced me growing up, I have that ‘lightbulb moment.’ Sitting on the sidewalk and interviewing a Ramone, ‘lightbulb moment’. Jay Mohr telling the suits to fuck off and that we’ll talk for as long as we want, ‘lightbulb moment.’ Seeing an interview you conduct with the Descendents or Scott Ian go viral, ‘lightbulb moment.’

The people that do this as a career do it for the passion. I say it all the time, I could’ve gotten a finance degree and worked on Wall Street like my sister, but man, I’d be one miserable guy. Those little moments remind me why I’m doing what I do.

H: You followed high school with a trip to college. Did you study anything related to the music business?

S: Initially I went into the University at Albany as an intended Marketing major. I graduated with a Communications degree with a double-minor in Business and English. The program was media related, but not music industry related. I dabbled in every realm of media as I’d mentioned previously. I completed an internship at Equal Vision Records and also was an Arts & Entertainment Editor at the Albany Student Press. Ask any touring band if they hit Upstate Concert Hall in Clifton Park, NY and they’ll tell you that Ted Etoll is the go-to guy. I owe him a serious thank you to. He welcomed me into that venue like I was his son, whether it was for Nas or Every Time I Die. The whole staff there is incredible. I also did some promotion for a company called MASS EDMC who put on enormous electronic shows. The guys who run PeepThis were helpful as well. The Capital Region takes care each other. I liked that.

H: As someone still making their way into the business, do you feel college is something everyone should consider when hoping to get into the music industry? 

S: College is necessary to get into any industry. At this point, it’s become standard. Don’t get me wrong, plenty of people have become immensely successful without formal education, but nowadays even college graduates are out of luck when it comes to employment. You don’t need to accrue hundreds of thousands in debt to have an education if you go about it the right way. Once you earn that degree, no one can take it away from you.

H: A little bird told me you may be considering some additional education in the future. Care to talk about that?

S: I don’t think graduate level education is necessary for everyone. I’ve been back and forth on the matter personally. Currently, I have an opportunity to participate in a journalism MA program that is highly competitive and ranks along the monsters such as Columbia and NYU, for a fraction of the cost. In a climate where every person that has the internet thinks they are a journalist, really learning the fundamentals couldn’t hurt.

So, I have a decision to make. As far as for everyone else, it’s a big decision. I finished college a semester early, so I can handle three more semesters. I’d also be walking away with less debt than if I were to buy a Honda Civic.

H: You’ve made the biggest impression on music through your journalistic efforts. When did you first become interested in the news side of the industry?

S: I’m always curious about the “inside scoop.” When it comes to the TMZ aspect of reporting, I’m not a fan. But looking into the history and inside the world of entertainment is exciting. You take these “larger than life” figures and have a conversation with them. Then all of a sudden, you’re not so removed. It brings people closer to the things they’re passionate about. Maybe meeting bands when I was younger made me want to pursue that feeling more and more.

H: You currently produce content for Under The Gun Review. When did you first learn of that site, and what inspired you to apply?

S: When I was in college, I had a friend named Matt Dondiego. He would contribute to the Albany Student Press and write about bands like Basement and Forever Came Calling. When I bumped into him at shows like State Champs, we discussed his other endeavors, one of which was writing for Under The Gun Review.

When I graduated college a semester early, I would randomly contribute back to the school newspaper. I couldn’t wrap my head around not putting out content. I started working at an advertising firm in May 2013 and that is exactly when I started at UTG. I couldn’t keep applying to cover events as an “Alumni Contributor,” that was getting old quick. UTG has allowed me to produce any and all content I’ve brought to the table thus far. They encourage their writers to grow and support me no matter what. I’ll always be grateful for that. Hopefully the friendships I’ve been establishing over the past year will last for many more years to come.

H: What was the application process like? Did you have an interview?

S: When I applied, I’m pretty sure I was browsing the website to see if they were looking for writers, so I sent a resume over. I included a cover page that listed a lot of the photography and interviews that I’d done in the past year up in Albany. I made sure to show my diversity, dropping interviewee names as varied as Hostage Calm, Insane Clown Posse, and Nick Kroll. I mentioned how I’d photographed Gwar and countless other bands. Versatility carries value for me, so I expected that UTG would appreciate it as well. I was welcomed onto the team open arms, there was no high-pressure interview.

H: You do a lot of on camera work. Who was your first on camera segment on, and how did it go? 

S: The first time I ever went on camera, I was interning at a high school sports channel owned by Cablevision called MSG Varsity. When they were training new staff for the studio and control room, I went on camera to do a mock “Sportscenter” type show. I have some great reels. Some footage is serious, some is silly.

The first legitimately released on-camera interview I conducted was with Brandon Boyd of Incubus. The video has over 4,000 views on Youtube, so I’ll take that. I think it went well, although I wish I had better posture and didn’t fix my glasses like a nerd. One guy commented saying, “The interviewer is crap.” That’s always comforting.

I don’t necessarily like being on camera, but I think it sometimes helps the flow of an interview. It also has to do with how prepared or confident I am in talking to the particular artist. I often shoot and conduct these interviews alone, so it isn’t even possible. I don’t see myself being Carson Daly, but it’s fun from time to time to go on camera.

H: You’ve made your name known in the industry, but have you started getting paid for your work yet?

S: I was paid doing production work at MSG Varsity for two consecutive summers. I’ve been credited on television multiple times and of course, printed in countless bylines. Currently, I work full time at an advertising agency, but that isn’t music industry or really journalism related.

A lot of people have heated debates over unpaid internships and freelance work. What I can tell you is that often times you need to look at what you are getting out of an experience rather than what they are getting out of you. Obviously, I won’t be doing unpaid work forever, but my experiences over the past few years through UTG and other outlets has far exceeded the college education that I’ve paid for.

I literally just started contributing to another website, I did my first freelance gig last weekend. It’s a foot in the door and I’m very proud of the content I produced.

H: Do you feel you should be getting paid? It seems many sites and blogs do not pay contributors right now. 

S: Of course I do, but logistically, that isn’t always possible when you’re starting out. I’d have my head up my ass if I didn’t understand that. It depends on whether or not the website is in the proper financial situation to pay you. As far as I know, no one at UTG is paid. If UTG could employ me full time, I would dedicate my 9-5 to it in a heartbeat. Given that the site started in 2009, it isn’t quite at that level yet.

That being said, the time and effort I’ve put into unpaid work has given me valuable life and career experience that I wouldn’t trade for anything. It has gotten me to new levels of exposure I’d never known before. Sure, sometimes it means pinching pennies or sacrificing, but anything worth working for won’t get handed to you.

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

S:Usually I prefer VHS tapes with fuzzy screens. What’s this site called? Haulix? I’ll go with that. All jokes aside, I do prefer Haulix to all of the others. It’s simple, well-formatted and subtly presented. It’s easily to stream and/or download and I know it protects the rights of artists. But getting handed a nice hard copy Compact Disc is nice too. Hey Rey, thanks for Twin Forks!

H: What advice would you offer to other up and comers thinking of pursuing a career in the music business?

S: Get ready to bust your ass. Don’t expect anything handed to you. When I first graduated college, I sat down with a mentor and television executive. I told him that it’d been a little rough trying to find a job. Do you know what he told me? He looked at me and said, “Hey. Stop acting like somebody fucking owes you something.”

It’s harsh – but it’s life. Work hard. Then work harder. Present yourself professionally but don’t be a total stiff either. Learn to make friends. Networking is key. Don’t air out your dirty laundry on public forums, and learn to accept the things you can’t change but do all in your power to change those that you can. But hey, I’m only 22, so I’m still learning. Check back in with me in 20 years.

H: What are your current goals for 2014?

S:As noted earlier, I’m in a bit of a transitional period, so that is contingent on whether or not I commit to further pursuing my education or not. Regardless, I hope to continue producing quality original content and continue to expand my horizons.

H: Thinking a bit more longterm, what are your career goals?

S: I love interviewing, I love entertainment and I love production. It’s pretty hard to find a job that combines all of those things, but at the same time it isn’t. MTV doesn’t play music, Fuse is a small network (and was bought by JLo), but we are in a landscape where all different kinds of companies are ever-expanding and growing. I’d love to be an executive producer on a show producing original content surrounding music. We’ll see. Hopefully if I prove myself one day I’ll have creative control over my own show. But we’ll cross that bridge when we get there.

H: Who is your dream interview, and why are they your choice?

S: As far as musicians go, it may seem like the easy route, but simply the greats: Mick Jagger, Robert Plant, Ozzy Osbourne, Paul McCartney, Elton John, that list could go on forever. Prince would be unreal. Eminem would be incredible.

H: What has your worst interview experience been thus far? You can omit any names as needed.

S: I haven’t had any terrible interview experiences thus far. I’ve had some bands who’ve come off really snobby or acted like they couldn’t care less. But you need to learn not to take that stuff too personally. I’ve also learned to gauge people. One the body language starts changing, they’re probably tired of talking.

H: What do you feel are the biggest challenges you face as a professional right now?

S: Right now, managing time. Working full-time is exhausting and important to pay the bills. My day job drives my dream at night, but that often means I have no time for myself. It’s kind of a Catch 22. The end goal is having a job that you love and enjoy, then at night you can have your personal time. I’ll make that sacrifice now for the end game.

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

S: I don’t think one change would make a significant difference. There was a paradigm shift, and to be honest, I wasn’t involved in the industry before the age of the internet. The best way to deal with an industry that changes constantly is to adapt and move forward, not looking at the past. I wish there was an easy fix to the way the internet has made almost all content free, but at the same time, I utilize that every day. When I interviewed Bert McCracken [The Used], he compared his music being on Spotify to slavery. I don’t know if we are quite there, but I can certainly see where he’s coming from.

H: Well, I think we have reached the end. Do you have any final thoughts or observations you would like to share?

S: I appreciate you reaching out to speak with me. I’m humbled to join the ranks of the many talented individuals you’ve interviewed here. If anyone reading this has every enjoyed or viewed any of my content, then thank you for giving it the time of day. If you haven’t please check some out!

Categories
Job Board News

Industry Spotlight: Rey Roldan (Another Reybee Production) – Part 2

Hello, everyone. If this is your first time visiting our site then please know we are thrilled to have you join us. If you are a regular reader, we’re happy to have you back. We promised on Monday that this week would be jam packed with big features, and we hope to keep that trend going this afternoon with the second half of our interview with Rey Roldan. If you have any questions about the content of the blog, or if you would like more information regarding the distributional services offered by Haulix, please email james@haulix.com and share your thoughts. You can also find us on Twitter and Facebook.

Today we are excited to unveil the second in a two-part interview feature with Rey Roldan, founder of Another Reybee Production (part 1 can be found here). We originally started working on this feature way back in August of 2013, but due to email troubles and scheduling troubles we had to start, stop, start, stop, and start all over again. It’s okay though, because we have finally had a chance to learn the story behind this powerful force in Music PR and are now prepared to present his journey to you.

It would be pretty difficult for you to find anyone working in music today who has not crossed paths with Rey Roldan at one point or another. From working with top 40 acts like Britney Spears and Duran Duran, to helping develop more buzzworthy alternative acts than I could possibly attempt to name here, Rey has spent the better part of the last two decades helping the world’s greatest talent find attention in the public eye. He started in the label world, but it’s when he decided to step out on his own that his career really began to take off.

I have known Rey for over half a decade at this point and can say beyond the shadow of a doubt he is one of the nicest, most professional, and often funniest people you will ever meet in the music industry. Everybody has a Rey Roldan story, and every single one makes him out to be someone you want as your new best friend. The insight he has to share is priceless, and we thank him for taking the time to share it with us.

The first part of this feature dealt mainly with Rey’s life before he started his own company, so this time around we are discussing the life of Another Reybee Production. If you would like to learn more about Rey and his efforts in music PR, please take a moment to follow him on Twitter. Additional questions and comments can be left at the end of this post.

H: Who was your first client?

R: At Reybee, my first clients were this Boston punk band called Lost City Angels and LA’s 50s-girl-group-combined-with-cowpunk Miss Derringer.  I’m still friends with the members of both bands (Lost City Angels are on ‘hiatus’ but occasionally reunite for their legendary St. Valentine’s Day Massacre shows; Liz and Morgan from Miss Derringer had a baby and are hopefully working on new music… They’re so great).

H: You’ve worked with a wide range of names, including everyone from Britney Spears to Ryan Adams (during the ‘Heartbreaker’ years, no less). Have you found any genre of music to be particularly easier to work than another? Do you have any personal preference when it comes to the genres you work?

R: That’s a bit of a tough question because there are elements of each genre that are easier than others, but as a whole, each genre has its sweet spot. For example, we do a lot of industrial/synthpop/electro and I love how dedicated many of those writers are to the “scene”.  There are about 20-25 writers who I know who I can assuredly go to and say, “Hey, [NAME], I have a brand new IAMX album… let’s go!” and it’ll connect.  But on the flipside, working that kind of music to the bigger press outlets is a daunting task because it’s not as viable in the mainstream as a Top 40 act. When it comes to which genre is my favorite, I’d have to say that it’s not exactly a “genre” but I love working bands who are starting out (I would never call these kinds of artists “baby bands” except in a derogatory fashion… “Baby bands” is just so disrespectful of a term). I love being presented with a challenge and working my ass off to help these bands in their trajectory. I love the excitement getting a band their first good “look”… I love getting a band their first positive review, feature, cover, etc. Knowing that I helped a band in their strive to achieve their dream is one of the greatest satisfactions.

H: Without going too in-depth, please walk us through a typical work day: 

R: Coffee… More coffee… and perhaps lunch at some point?  Kidding aside, my mornings are the most hectic.  Like most of us who are constantly jacked into our email, if I wake up in the middle of the night, I check email… mainly in preparation for the morning because I get anywhere between 400 to 1,500 emails overnight.  Some of it is spam, but most of it is work-related, so my first hour or so of work is sifting through emails right away and answer as many of them immediately as I can.  Then it’s pitching pitching pitching via email, phone, IM… and oddly, sometimes text.  I always set a goal for myself every day as to how many interviews I set up, how many reviews I lock in, and how many calls I make.  I’ve learned that setting goals every day makes me far more productive than doing it the standard PR strategy of letting things land where they fall. Publicity is far more effective when you’re proactive.

H: You were active in publicity before the rise of social media. Do you feel the digital age and abundant access to information has made your job as a publicist easier or more difficult? 

R: Technology was a double-edged sword for publicity.  In my early days of my career, I met a lot more journalists face-to-face. We met for lunch, drinks, concerts, even sometimes in the morning commute if we were heading in the same direction. Publicity was 60% social, 40% office. I had a group of friends who were a mix of publicists, journalists, TV bookers, and musicians. We’d hang out all the time (I’d say we were bar and/or concert hopping maybe four or five nights a week). Back then, we all had expense accounts (since I was at major labels, I had a huge one so I was usually Mr. Moneybags).  Since we were all friends, it was easier to get our artists into Rolling Stone, Spin, and all the big mags… and the “friend of a friend” thing came in handy when pitching people who were in our little group but were associated with one of us. Pitching was done either in person, on the phone, through USPS mail, or… the modern day precursor to email, fax. There was answering machines to occasionally tend with but before caller-ID, people picked up their phone whenever it rang.

With technology came the dying out of the “hang outs”. Email slowly crept in and then soon took over and phone calls stopped being de rigueur. And it all became too convenient.  Sending an email was so much more passive than making a phone call or meeting for lunch or a drink. And bosses, knowing that these meetings weren’t that necessary anymore, made us work harder… and longer.  Writers became savvy to avoidance and voicemail and caller-ID prevented many personal connections from happening.

It’s MUCH easier these days to reach a lot more people, but it’s also a lot more impersonal and unfriendly.  I still try to make as many phone calls as I can to establish some sort of personal interaction and keep human contact, but almost 65% of my job now is digital communication. It may be more convenient and perhaps “easier”, but I really do miss that human interaction of the old days. 

H: We ask journalists a lot about what up and coming bands can say to help them when networking for coverage. As a publicist, what advice would you offer writers hoping to work with your clients?

R: Courtesy and respect will get you everywhere… or at least help you get everywhere.  There are so many emails and phone calls I get from writers who feel that the way to get what they want/need is to be demanding or entitled. That doesn’t fly in my book. I don’t care if you’re from the biggest publication or a blog with three readers, I’ll treat you the same way. I’m very karmic. If you barge through my door and demand, I’ll push right back. If you come in with respect and courtesy, I’ll return it in kind. I can’t fulfill every request I get, but if I can, I will.  And please, if you’re going to use a template or a form letter, make sure all the details are correct.  Sure, my name is oddly spelled so I’ll forgive you if you write “Ray” or “Mr. Roland”… but if you’re requesting an interview for “Yellowcard” and you forget to change “All Time Low” in your email, that’s going to send me a different signal than you originally intended.

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

R: Leaks aren’t 100% preventable but there are ways to insuring you stop leaks from coming from you. I’m a big user and supporter of Haulix (and no, I’m not fishing for brownie points because you’re interviewing me). 90% of the writing world is familiar with Haulix and how it’s watermarked with each writer’s info. So that’s a good preventative. Most writers aren’t hip to streams but will deal if that’s the only alternative. But for me, one of the biggest ways I’ve learned to prevent leaks from my own dealings is through firm and honest trust. When I am working a very high-level record, I will connect with the writer first and make sure they are planning on covering it before I send it.  And when I connect with the writer, if I don’t know them already, we establish a trust bond that will tell me if I feel it safe to send to them.  There are bands where I’ll send downloads and streams in my first pitch, but I tailor my list to those people who have exhibited trust to me in the past.  I don’t do big blasts of downloadable music to hundreds of people who I may or may not know… That’s just asking for a leak. 

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

R: As I mentioned above, I’m a firm believer in Haulix. We put a good portion of our clients on Haulix.  And it’s great too because you can run reports and see who has listened to albums and which songs the most to help tailor follow-up calls.  But I also use Dropbox, mostly when a record has already been released and the fear of leaking is over. 

H: Looking towards the future, what are the biggest challenges currently facing your company?

R: I’ll be honest.  Reybee is at a VERY good place right now. Thankfully, I’ve really never had to actively pursue projects and I don’t mean that in an egotistical way. One thing I’ve always maintained is a great relationship with many of our clients both past and present. We get a lot of repeat business (and I hate to call it “business” but there’s a lack for a better term). We’ve worked every Yellowcard record since they came off of hiatus. With the exception of one Bayside record, we’ve been attached to their last handful of records.  We work all of the high-level projects off of Metropolis Records. Chuck Ragan probably will stay with us forever (I hope). Because of our track record working with Chris Carrabba on Twin Forks, we are now working with Dashboard Confessional.  The Architects have been with us forever.  And the great thing is, these bands and their teams recommend us all the time to their friends.  I take pride in being a faithful to bands. It’s a great feeling going to a show and meeting bands who I’ve always been a fan of and have them say, “Wait, YOU’RE Reybee? We need to talk.”  That’s happened countless times and it feels awesome.

H: What are your current career goals, and how have they changed in recent years?

R: I don’t set goals too far into the future.  I set benchmarks to help me get where I want to go.  When I started out in publicity, my goal was to work at a label. When I got to a label, I wanted to build an artist from the ground up. When I did that, I wanted a platinum record.  When I got that, I wanted to run the publicity department… etc… all the way up to running my own company.  And I’m there now.  I’m not one to be too open about my plans because I don’t want other people to see what I’m planning and beat me to the punch… but let’s just say that I have my eyes set on my next step… and if you look at my past record, I’ve achieved pretty much every career goal I had set for myself.  Place your bets now!

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

R: I don’t mean this in a “oooh, he’s asskissing”, but I want the music industry to go back to being about the artist and the album.  I mean, I had a hand in propelling the idea further of a “singles-dominated industry” with my hand at being a teen pop publicist for Britney Spears, Backstreet Boys, etc., but we lost sight of music as art.  There are some really awesome artists who have amazing full “albums” but not many people today have the attention span to listen to albums in full. We forget just how deep some of these wells are that artists dig to write these songs.  I still marvel at intricate musicianship that most people pass over in search of a hook.  I still am amazed at lyrical word play and clever lyrics.  And the industry tends to look for “hits” or whatever “fits” the current hot sound. 

H: Your roster is as eclectic now as ever before. Do you have any plans or releases on the horizon you would like to bring to our attention? 

R: We just signed three amazing artists that I’m floored by. SPEAK and Tinnarose both from Austin and Mustered Courage from Australia. SPEAK is this, for lack of a better genre, rockin’ synthpop band that wanders the line that Passion Pit, Phoenix and Kids of 88 traipsed.  They’re very close to Tegan & Sara, Ra Ra Riot and RAC too, so they’re a band’s band as well which is awesome.  Tinnarose is this brand new band with sublime boy/girl vocals like The Magic Numbers and The New Pornographers but with a rootsy twist.   Mustered Courage is one of Australia’s biggest young bluegrass bands and are huge Down Under but the US isn’t hip to them… yet. They’re making a move toward being a string band for their next chapter but this album we’re going to be working is freakin’ phenomenal. You think you heard where the new generation of bluegrass-infused Americana a la Mumford and Sons and Avett Brothers? Just wait… just wait.

H: I think that covers everything. Before I let you go, are there any final thoughts or observations you care to share?

R: Best way to tackle publicity (or any music industry job) is with humor.  Even when I get the most annoying requests or dealing with the most tyrannical managers, humor can disarm anyone. Plus, life’s too short to be humorless.

Categories
News

Industry Spotlight: Maria Ferrero (Adrenaline PR) – Part 2

Hello, everyone! We are excited to have you with us this afternoon. Today we are bringing back our Spotlight series for a continuation of our interview feature with Adrenaline PR founder Maria Ferrero. If you missed the first installment of interview, please click here to learn about the day-to-day struggles of running one of rock’s most beloved PR companies. If you have any questions about the content of the blog, or if you would like more information regarding the distributional services offered by Haulix, please email james@haulix.com and share your thoughts. You can also find us on Twitter and Facebook.

It may be hard for some of our readers to imagine a time before every song you could ever hope to listen to fit in a device less than half the size of your palm, but in all actuality those days are not that far gone. Before iPods there were portable CD players (with anti-skip protection), and before those we had Walkman cassette players that often doubled as portable AM/FM devices. For a brief period before tapes, we even had portable record players. They were clunky, but they allowed anyone to take their favorite 45s on the go, and it’s in traveling with her very own portable record player that Adrenaline PR CEO Maria Ferrero first fell in love with music.

When we last left off, Maria was telling us about life at Adrenaline PR and what others can do to find their footing in this business. Today we are finishing our coverage of her journey in music with a look at where she got her start, including her role signing the band Testament to Megaforce Records and having songs dedicated to her by Metallica. Her adventure in this business is unlike any we have heard before, and it’s truly been an honor to share it with all of you.

If you would like to learn more about Maria’s efforts in the music world, please make it a point to follow Adrenaline PR on Twitter. Additional questions and comments can be left at the end of this post.

H: The first job in the industry I can find for you is Director of Publicity and A&R at MegaForce records. What can you tell us about how you initially landed that position, and how the industry was different in the 80s compared to today? I’m willing to bet piracy was not a primary concern at the time. 

M: I was visiting a neighbor of mine a friend Gary Dopp in Old Bridge NJ I was 15 he said his neighbors were selling heavy metal records so I knocked on the door and met Jon Z, then bought a Motorhead album on clear vinyl. Then became friends with both Jon and his wife Marsha who had a 9 month old daughter – I started out babysitting, feeding and changing clothes for their child – I was still a kid myself. Then they started promoting concerts I would go, I  always felt comfortable like family with Jon and Marsha Zazula, so I would just hang out – then  they formed  the label (Megaforce), and I started out answering phones and opening mail. I  stayed and grew with the company for 13 years and signed Testament when I was 19, Vio-Lence when I was 21, and a cool NJ band you may remember from ‘Beevis and  Butthead’ called Nudeswirl –  I also brought in Ministry to the management side of Magaforce Records,  called Crazed Management. 

The industry is very different now, and for me its pivot point was  when CD Burners were introduced to the consumer – this was the first mistake and offered fans the opportunity to copy discs and steal music and to me the next step on that train wreck was napster and  other torrent sites. 

We need more  proactivity  to  this  piracy  situation  –  Haulix is a GREAT help to that plight. 

H: People may not realize this now, but MegaForce was one of the pioneering labels of the 80s heavy metal movement. Were you a bonafide metalhead prior to joining the team? 

M: I liked mostly hardcore bands like COC, AF and Cromags, but Sabbath and early Maiden  and  Priest were my heart.  It was my birthday one year and James from Metallica he did a shout out  from the stage and wished me a happy birthday dedicating Metal Militia to me and calling me Metal Maria – it  stuck, that’s for  sure – but I  love all music – Elton John, Janes Addiction , Bjork, Linkin Park  etc..

H: You move from MegaForce to TVT in 1996, and in the process transition to a Product Manager role. May I ask what inspired the change? You ultimately come back to the world of PR, as we all know, so I am curious how you felt about that role at the time.

M: I lost my job at Megaforce – they scaled down and laid everyone but one person off –  who  now owns  the label  actually,  but at the time I was a homeowner and was just recently engaged to be wed, so I was very scared, being unemployed. I was grateful to get the job offer  they were looking for someone to handle  their  difficult  client  – KMFDM-  (not difficult at all by  the way just very decisive) and  asked that Steve Gottleib let me do press too. It was my passion and talent and I did not want to be underutilized. I did get married and had an  unexpected tragedy of my husband passing away after 7 months of  marriage, which opened my eyes tot the fact life just happens, so you should follow your dreams – I always wanted to be  a chef so – I left TVT became a chef. Problem was 9 months later, after Culinary School, my second night at work I was hit by a  truck crossing the street – I recuperated from a broken rib and herniated discs, but the kitchen became a physically painful place for me (too many hours standing and lifting). So I got a job at E-magine Entertainment as PR then left to go to  Metropolis for 2 years then started my own PR firm in 2003. 

H: You leave TVT and have a few years away from the industry, then return to launch Adrenaline PR. What is the origin story behind Adrenaline, including the inspiration for the name?

M: I went to an astrologer and she told me I will work for myself in my home. I said no way, but she insisted that in Feb I start looking for a job because there were financial problems at the company where I  worked. I went away on vacation over xmas to Australia  –  then in mid January I got the  call – money problems – my time at the time company would end in February. I said “Wow” and immediately started Adrenaline – I named the company because of my own personal high energy and passion – It  just seemed to fit.

H: Who was the first artist you worked with as Adrenaline, and how did you initially convince them to sign with you?

M: I called a friend, Debbie  Abono (rip), and I told her I lost my  job… I was worried, but she said I would be fine. She called Gloria Cavalera, who hired me for Soulfly, then From Autumn To  Ashes, Lamb Of God, Zeromancer  and Superjoint Ritual, Dimmu  Borgir –  the  rest is history.

H: What was the hardest part about launching Adrenaline PR?

M: Making a difference for people, clients, employees, my family, myself etc.

H: Natalie will tell us a bit about joining the team, but I am curious to learn about hiring process from your end as well. When did you start to expand the Adrenaline team, and how did you go about finding coworkers?

M:  If someone is genuinely interested – I’ll hire them, or at the very least I will do my best to help them find a job.

H: I noticed in my research that you went to school to pursue a culinary education at one point. Can we expect to one day see a Maria Ferrero restaurant (which I’m currently calling ‘Maria’s’ in my mind)?

M: You never know, but it’s really hard work. 

H: There has been a boom in boutique PR firms over the last several years, but Adrenaline has managed to remain a dominant force in the publicity world. To what do you credit your continued success?

M: Passion, Drive, Accountability, & reliability.

Categories
News

Industry Spotlight: Maria Ferrero (Adrenaline PR) – Part 1

Hello and welcome to the final Industry Spotlight of the week. We have spent the past several months attempting to seek out a fast-growing PR company that would allow us to interview not one, but all of the people involved to gain a complete picture of life in this industry. We finally found that perfect PR company early last month and today we will begin sharing their story. 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.

It may be hard for some of our readers to imagine a time before every song you could ever hope to listen to fit in a device less than half the size of your palm, but in all actuality those days are not that far gone. Before iPods there were portable CD players (with anti-skip protection), and before those we had Walkman cassette players that often doubled as portable AM/FM devices. For a brief period before tapes, we even had portable record players. They were clunky, but they allowed anyone to take their favorite 45s on the go, and it’s in traveling with her very own portable record player that Adrenaline PR CEO Maria Ferrero first fell in love with music.

Since 2003 Maria Ferrero and her team at Adrenaline PR have been helping the best and brightest talent from across the rock landscape share their art with the world, but Maria’s journey as a music professional actually began two decades earlier when she joined the team at MegaForce Records. Since then she has been one of the music world’s go-to publicists for all things heavy, and we could not be more thrilled to share her story with all of you this afternoon.

I have personally Maria for a little over six years, and I cannot begin to count all the lessons she has helped me learn along the way. She probably knows as much, if not more about the world of rock and roll than whoever you could think to name as the smartest person in rock. More importantly, she’s one of the kindest souls you will ever encounter. 

If you would like to learn more about Maria’s efforts in the music world, please make it a point to follow Adrenaline PR on Twitter. Additional questions and comments can be left at the end of this post.

H: Hey there, thank you for joining us. Before we dive in, please take a moment to introduce yourself:

M: Maria Ferrero, CEO of Adrenaline PR and partner in Breaking Bands Management (Exodus, Forrest Day, Shattered Sun), with Chuck Billy and Jon and Marsha Zazula.

H: We like to begin every interview by learning a bit about the life of the people we are speaking with. Tell me, what are your earliest memories of music?

M: Listening to my records on a small portable record player that I would plug into the wall and carry around with me – lots of Elton John 45’s back then – My earliest heavy music memory was walking in Cheryl Briggs bedroom at age 11 and hearing Black Sabbath Paranoid for the first time – LIFE CHANGER!

H: How about the first album you ever purchased with your own money?

M: Motorhead on clear vinyl on Iron Records 1981 but I do remember crying when I made my confirmation in 4th or 5th grade asking my sister to PLEASE buy me the soundtrack to Tommy.

H: Can you recall the first artist or group you obsessed over? Bonus points if you share an early ‘crazy fan’ moment from your life.

M: Elton John and my CRAZY fan moment was 3 years ago, I was leaving a hotel in Hawaii to return to my home in NJ I noticed a whale on the front page of the news paper I picked it up and saw a tiny shot of Elton John – I looked it up and saw that he was performing that night in Hawaii – miraculously obtained a 8th row seat I then texted my friend Kirk Hammett (Metallica) that I’m staying in Hawaii an extra night to see Elton – he said great I will see you there. Then, I asked that Kirk please bring me backstage to meet Elton if possible…So that night at the gig Elton’s tour manager, who apparently knew me from a band we used to manage – brought myself along with Kirk Hammett with his lovely wife Lani, backstage to meet Elton. Well…I immediately took a picture as Elton walked in the room to meet us… The TM said no worries well take pictures later – I realized I WAS BEING FANGIRL, anyway Elton was amazing we were backstage googling heavy metal bands he told Kirk how he loved the Metallica & Lou Reed [project] and that his Cello players love heavy metal too and the TM said – “Elton, you’re going to be late we have to go.” Elton said, “I’m having too much fun.” …He did go on late that night (our fault – too much fun) then a year later there was a photo of Reese Witherspoon who sat a few rows in front of me at the Elton Show in Philly, and low and behold there I was in People Mag with Reese at the Elton show.

My other fan moment was at the Golden Gods one year when Eric Peterson of Testament and his wife were walking to the BLACK CARPET for press opportunities and Eric’s wife said, “Don’t you ever get star struck?” I said, “Only really over Ozzy.” Well – one minute later – Ozzy was standing next to me on the Black Carpet. I could not even move I was petrified. I’ve also met and conversed with Barbara Streisand, Jack Nicholson, Christopher Walken and Tracy Morgan – ALL making me feel that I live a charmed life.

H: They say everyone has a series of moments or experiences in life that steer them towards the careers they ultimately pursue. Are you able to pinpoint any moments in your life that flipped the switched on the ‘publicity’ bulb?

M: Anthrax just had a new singer join. Joe Belladonna – my boss at Crazed Management – said to type a letter to all of the European magazines to ask if they want to do interviews with the guys that we will be coming over to their countries. So I sent the letters, got great responses and Jon Z, Joe Belladonna, and Scott Ian went to Europe and did the press. When they came back from the trip Jon said it all went really well and I am now dubbed the publicist – I did not know what that meant at the time – I was 17 – and now at 48 I realize this is how I cut my teeth in PR.

H: If you could offer one piece of advice to aspiring publicity professionals who may be reading this now, what would it be?

M: NEVER give up and don’t take no for an answer.

H: What are the biggest challenges facing publicists today?

M: Managers not thinking outside the box, people thinking in black and white only, and being distracted by bullsh#*!

H: More specifically, what are the biggest challenges facing Adrenaline PR today? Finding clients? Growth? Recognition? What are the problems you are working to solve at the moment?

M: no problems my friend – and when there are problems – they don’t last that long.

H: Without going too in-depth, please walk us through a typical day at work:

M: Arrive 9:30-10:30, sit in my chair, accommodate requests, answer thousands of emails, facilitate press, have meetings and conference calls to strategize (arguing when necessary). Leave the chair to use the restroom or grab a bite or let my 2 Chinese Shar pei out to relieve themselves. End the day around 6-8 pm.

H: What are your current career goals?

M: Keep it going and growing as long as possible. Success to me is longevity – I learned this from Judas Priest.

H: What is one thing you hope Adrenaline is able to accomplish this year?

M: Take nothing and turn it into something and make a difference for ALL.

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

M: Technology – the way people are stealing music and money right out of the hands of the artists

H: You have been a Haulix client for a while now. What do you like about our service?

M: Private, secure, reliable, watermarks, and analytics.

H: Are there any opening at Adrenaline PR? If so, how should those interested in joining the team go about applying?

M:Just email me – maria@adrenalinepr.com

H: What should artists reading this ask before hiring a publicist?

M: “Are you passionate about our music or about what your job is?”

H: What is the biggest misconception people have about publicity/publicists?

M: That press helps sell music. It’s not that black and white.

H: Aside from paychecks and steady employment, how do you measure you personal level of success at what you do?

M: Making a difference for people is where it begins and ends for me.

This interview will continue on Monday with a brief look at Maria’s early year in music. Stay tuned!

Categories
Job Board News

Industry Spotlight: Stephen Thompson (NPR Music)

Hello and welcome to the first industry spotlight of the week. We are thrilled that you chose to spend a few minutes of your day with us, and hope you will tell your friends to do the same if you enjoy the content found below. Writing this blog brings us a lot of joy and great conversation, but our mission to be the most secure and easy-to-use digital digital distribution tools available on the planet remains. If you would like to learn more about the efforts of this blog, or if you would like a tour of our servicing platform, please do not hesitate to contact james@haulix.com. We can also be found on Twitter and Facebook.

Say what you will about the life of top 40 radio and whether or not it will still exist the way it does today in a decade, but in my opinion NPR – otherwise known as National Public Radio – is eternal. It’s all a matter of public funding, I know, but it deserves to last forever. There is not a day of my life that goes by without at least a few minutes having been spent engaging with their brand, be it through radio or article on the web, and I always come away from that experience feeling like I have done something positive for myself and my world perspective.

When I engage with the music side of NPR, something different occurs within. I see the way the contributing staff writes about the artists and songs they feature, and I challenge myself to one day create content that is as engaging and thought-provoking as what they have presented. I learn as well, of course, but more importantly I recognize that there is still room for personal and professional development in my own life, and that motivates me to work harder with each passing day.

I always wanted to bring my admiration for NPR to this blog, but to be honest I was not sure it would ever happen. The demands of being a member of the NPR news team are numerous, and as a result it can be difficult to find individuals willing, or even able to carve out an hour to work share their story. I knew we hard to try regardless, and after months of back and forth we finally have something substantial to present to all of you.

Stephen Thompson is a writer and editor for NPR music. He also appears on a number of NPR programs, including Pop Culture Happy Hour and All Songs Considered. He has spent the better part of the last decade guiding the music efforts at NPR, and in that time has helped bring many new features and shows to life.

Thompson’s influence on and presence within the entertainment industry extends beyond NPR as well. He is also credited with aiding The Onion in creating The A.V. Club and copy-editing six best-selling comedy books, as well as editing the 2002 book, The Tenacity of the Cockroach: Conversations with Entertainment’s Most Enduring Outsiders.

I had the opportunity to ask Stephen Thompson about all of this and a whole lot more over the last month and am thrilled to present his responses to you in in the interview below. If you would like to learn more about Stephen and his efforts in writing, please take a few moments to follow him, as well as NPR music, on Twitter. Additional questions and comments can be left at the end of this post.

H: For the record, please tell everyone your name, job title, and the company you work for.

ST: I’m Stephen Thompson, and I’m a writer and editor with NPR Music. I also talk on a handful of NPR shows – every week on Pop Culture Happy Hour, more or less every week on Here & Now, and usually once or twice a month on All Songs Considered.

H: Thank you again for participating in this feature. I know you’re a busy person, but before we get your work today I would like to take a look at your career up to this point. When you think back to the formative moments and experiences in life that led you to pursue a career in music journalism, what comes to mind?

ST: The interest first surfaced when I was 12 or 13 and began chronicling the pop charts in spiral-bound notebooks; I’d listen to Casey Kasem and Rick Dees every Sunday and take notes on chart movements and whatnot. I took music very personally and seriously from an early age. I once rode my bicycle into the back of a parked car because I was reading Billboard magazine at the time. I was probably… 15?

Career-wise, the single biggest moment came in October 1992, when I bumped into The Onion’s Dan Vebber – a friend and former colleague from one of the campus daily newspapers at the University of Wisconsin – and he asked me to write record reviews for him. Even in 1992, The Onion was a desirable gig; less than a year later, I was the founding editor of what would eventually become The A.V. Club, which I edited until the end of 2004.

H: Did music always play a large role in your life, or is it something you grew to appreciate with age?

ST: I’d say music and adolescence came as a package deal. Over time, though, I began to discover music beyond the pop charts I’d so eagerly documented. I grew up in Iola, Wis., just outside the reach of the nearest (terrific) college radio station in Stevens Point. So I didn’t really get immersed in great stuff – aside from a few hand-me-down punk records from my sister and uncle – until I came to the University of Wisconsin-Madison and stumbled into a vacuum at the then-dormant student radio station. I became the music director at 19, and that was it for me. I was hooked for life.

H: While we’re still on the topic of your early years, we should touch on your life in writing. Do you recall what initially sparked your interest in journalism? 

ST: I was raised by editors and writers; my parents, Don and Maggie Thompson, co-edited a magazine called Comics Buyer’s Guide until Dad died in 1994. He’d been a newspaperman since long before I was born, and Mom’s involvement in CBG continued until it went out of business early last year. So journalism and writing of one sort or another were always deeply ingrained in the household. Writing in my family goes back many generations: My grandmother was a Hugo Award-nominated science-fiction writer, and that side of the family tree forms a straight line back to the 17th-century American poet Anne Bradstreet. (I can’t write poetry worth a damn.)

So I always felt I’d go into some sort of field relating to writing, and I seized every opportunity to get published. I remember obsessing over the idea of my words getting professionally printed on paper; how thrilled I was when I’d, like, take second place in an essay-writing contest that would get me published in the Appleton Post-Crescent. It’s always been there, basically.

H: What was your first gig in the world of journalism, and how did you go about obtaining that position?

ST: My first real gig was an internship at Joe Jones Publishing, a trade-magazine operation in my hometown. I was brought in to empty wastebaskets and proofread ads, and through an assortment of coincidences – nothing Machiavellian, I swear – I wound up editing their flagship magazine (Camping & RV) after three weeks. At 17, I was simultaneously editing a nationally distributed magazine and working as a stock boy at the local grocery store, the latter a job I’d held for three years. I remember, at the end of that summer between high school and college, Joe Jones saying, “Boy, I wish you’d come to me three years ago! You never would have had to work at the grocery store!” At which point the bitter memories of a thousand $3.35-an-hour urinal-scrubbings came flooding back.

H: While still in school, you helped The Onion launch The A.V. Club, which has since gone on to be one of the most influential voices in entertainment. We read it daily, in fact. Was it an easy sell to editors at the time? If possible, we would love to know the origin story.

ST: As so many worthwhile things do, it happened very gradually – really over a matter of years. As I mentioned earlier, I was brought in to write a few record reviews each week; those ran in the back of the paper alongside other non-comedic odds and ends like concert listings and movie reviews. As The Onion grew in popularity, it became harder and harder to crank out enough decent comedy to fill, say, 48 pages. So there needed to be something else, and I was an ambitious kid – I started there when I was 20 – so I took on every available opportunity. I started compiling the concert listings, assigning more reviews, and generally taking over more and more of the non-comedy parts of the paper. In the summer of 1993, we started formally separating out my stuff under the banner “ENTERTAINMENT” (really rolls off the tongue, doesn’t it?). I edited everything therein except the movie reviews, which were someone else’s baby until a couple years later, when we renamed the section The A.V. Club. 

For the editors at the time – mensches and all-around class acts like Rich Dahm, Dan Vebber, and Scott Dikkers – it was a very easy sell, because it made their jobs so much easier. My section could expand or contract based on page count, which meant theirs didn’t have to. It was quite a bit trickier to convince the comedy writers that it was wise to turn all that stuff over to someone who wasn’t a comedy writer. As I grew into the role and started developing more of a vision and voice for the section – bringing in and training my own people, taking on a more serious tone – it got easier. But there were some early battles.

H: You joined the NPR team in 2006, which was two years after your departure from The A.V. Club. What inspired you to go after the position you now hold, and what can you tell us about the interview process?

ST: It was 17 months between the two jobs. I was burned out after 12 years at The Onion, and had bought stock in the company years earlier. Basically, I had enough money from selling my stock to take eight months off, so I took 17 months off – much of which was spent snacking, taking naps, and waiting for NPR to figure out what to do with me. It also meant moving from Madison, Wis., to the area around Washington, D.C., which was a pretty big deal to me and my family. 

Only about three months after I left The Onion, I met Neda Ulaby, an NPR Arts Desk reporter, while at SXSW. We hit it off and became friends, and a little while later, someone in management happened to ask Neda if she knew of anyone with experience spearheading large and ambitious projects related to music journalism. Truth be told, I wasn’t the right person to run the entire project – I have little patience for meetings, for one thing – but they realized that they wanted me in some capacity. So I went through several rounds of interviews in D.C., one for head of what would become NPR Music, and one for the job I took, which had more to do with editing and production. My job has evolved a lot since then to where I am now; at this point, what I do is split surprisingly evenly among writing, editing, and talking into microphones.

H: Your start at NPR roughly coincides with the initial boom of social media. How has your role at NPR evolved over the last several years as a result of technology?

ST: Well, we spend a lot more time discussing how to promote our content offsite. I used to sit through hours of training for things like search-engine optimization, and now it’s much more nuts-and-bolts: “Can we get this promoted on NPR’s Facebook page?” “Is this headline grabby enough?” Aside from that, I’m careful to cultivate an approachable public persona on Twitter and Facebook. But really, most of the job comes right back to writing, editing, and talking. It’s all communication, and the use of social media only enhances that.

H: In addition to your normal duties at NPR, you have appeared on a number of NPR programs and podcasts. You also helped Bob Boilen launch the Tiny Desk Concerts series. What have you yet to accomplish during your time with NPR that you hope to achieve in the future?

ST: I like the idea of sitting here, typing this, and having no idea what as-yet-unhatched idea will develop into something cool. As much as humanly possible, I try to stay notionally open to new ideas and projects, because you never know where they’ll lead. The Tiny Desk Concerts were hatched six years ago while Bob Boilen and I were commiserating at a concert; we’d never have guessed that that conversation would spawn a signature project for NPR Music. A little less than four years ago, Linda Holmes and I were drinking beer in my living room when we sketched out the entire vision for what would, in a matter of weeks, become Pop Culture Happy Hour. Big ideas can pop up at any time, and I’m hoping to have a few more of those as the years roll on.

H: Beyond this job, do you have any other career aspirations you are currently working towards? Another book, perhaps?

ST: I’m really focused on NPR, honestly. I’m a big believer in attaching yourself to something great – a great idea, great collaborators, a great goal – and then growing along with it. I just want the stuff I do at NPR to get better and better, and in the process reach more and more people. I’m a stubborn incrementalist, and that means playing the long game and pushing yourself to get better every day.

I sometimes joke that I’m waiting to write another book until the publishing industry completes its collapse. If I do crank out another book, it’ll likely be something I put together in collaboration with someone else. I don’t have ambitions to write a novel, and I do my best work when I’m bouncing off other people.

H: Okay, now the question every aspiring music journalist has been waiting for: What advice would you offer someone hoping to break into the music journalism arena in 2014?

ST: Hoo boy. It’s rough out there, in terms of available full-time jobs, but I’ll give the advice I give everyone in any creative profession: Don’t wait to do the thing you want to do. Don’t ask to do the thing; don’t wait to be asked to do the thing. Just start doing what you want to do. Seek out vacuums, step into roles, pursue internships, work hard, make yourself easy to reach, and be as easy to deal with as humanly possible. You can never have enough friends, you can never do enough favors, you can never be there for enough people – that’s career advice and life advice rolled into one, because a good support network can be a literal and figurative lifesaver. You won’t encounter opportunities by hiding from the world, so engage and connect and communicate. Be interesting, be funny, be fun. Put yourself out there, on social media and beyond. Find your voice by writing constantly. If no one wants to publish you, publish yourself; these days, it doesn’t cost a thing except time.

H: Do you have interns at NPR? If so, what can you tell our readers about the application process and any potential openings?

ST: We have three waves of interns each year. I don’t know much about the application process – I don’t pick ‘em – but it involves sifting through stacks of hundreds of resumes. Beyond the advice above, I’d encourage applicants to demonstrate writing chops, the ability to function in a fast-paced workplace, and a low-drama personality. Pursuing internships is like pursuing any job: You need to make your skills and attributes plainly visible, and you need to communicate clearly and approachably. And experience counts, even at the very beginning of your career. 

H: NPR has long been a tastemaker in the world of music. Where do you turn when looking to discover new talent, and what advice would you offer bands hoping to one day find their way onto an NPR broadcast?

ST: To answer your first question, I listen to friends’ recommendations, and I spend a lot of time sifting through the figurative and literal stacks of CDs, downloads, and press releases that cross my desk. Every year before SXSW, I plow through songs by about 1,500 different artists, panning for gems and discoveries. I listen to Song Of The Day podcasts put together by NPR member stations, skim music magazines and blogs, try to stay conversant in what’s attracting people’s attention, and look for great obscurities wherever I can find them.

As for finding a way onto NPR broadcasts, my best advice is: Figure out your narrative. What’s your story? Even interviews with great bands are pretty boring if there’s no story being told; your story can’t just be, “My friends and I got together and started a band, and now we’re really good.” If you’re trying to get booked for a Tiny Desk Concert, all you have to do is have the stars align and be great in such a way that someone on staff will pound the table for you and your music. But to get booked on an NPR newsmagazine, it really, really helps to have a hook – a story that sets you apart.

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

ST: I’d like to see a far more robust middle class in the music industry. It feels to me like you have a few high earners on one end and a huge throng of low earners on the other – people who make so little money that they’re either desperately poor or they come from families who can afford to support them. Music, and by extension the music industry, would benefit greatly from an easier path to a stable living for people who are good at it, regardless of family support or willingness to live out of a broken-down van for 10 years. 

H: Beyond steady employment and financial compensation, how do you measure success at your craft?

ST: Steady employment and financial compensation are important! I spend a certain amount of time poring over web metrics and podcast downloads and Twitter followers and iTunes charts; I can be a number-grubber with the best of them, I won’t lie. But the real measurements are far more circumstantial, and they come in the form of word of mouth trickling back to me. A nice letter from someone thanking me for something I worked on means way, way more than an uptick on a spreadsheet, in all seriousness. I like feeling like the stuff I do matters to someone – who wouldn’t? – so kind words from strangers are by far my favorite metric.

H: I know you’re a busy man so I will make the last one relatively easy. What can we expect from your team at NPR in 2014? 

ST: It’s hard to see the forest for the trees in terms of grand ambitions; it often feels like the answer is, “More of the same, but better!” But then I think about it for a few minutes, and it’s like: Oh! We just launched this incredible R&B stream, and it’s so cool. Our Microphone Check people have been doing amazing interviews that are enhancing some wonderfully smart hip-hop coverage. Our videographers and photographers have been experimenting with amazing visuals, from hilarious GIFs to high-definition concert videos that look like DVD footage you’d pay $20 for. In classical music, in jazz, on All Songs Considered, on Alt.Latino… every subdivision of NPR Music is trying new things that make me proud to be involved, however tangentially, in what it’s doing.

H: Okay, we’ve reached the end. Do you have any final thoughts or observations you would like to share with our readers?

ST: I guess the last piece of advice I’d give, for someone just starting out or struggling along the way, is to find your tribe. Everything I’ve ever accomplished, I’ve done with the aid of brilliant collaborators – people I count among my friends, people I respect, people I want to emulate, people who make me better. Don’t go it alone unless you absolutely have to, because success is almost always a team effort, and everyone you meet has something to teach you. Life is people.

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Industry Spotlight: Shan Dan Horan

Hello and welcome to the only Industry Spotlight we will run all week! We have been working on this feature since the middle of January and could not be more thrilled with the final results. If you have any interest in pursuing a career in digital media within the music business, consider the interview below a must read. 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.

We have featured a number of professionals in this series who have been lucky enough to work for the same company since college. These people have the type of career longevity we all hope to find in this crazy industry, but positions like theirs are admittedly few and far between. Most young people making their way through the ranks these days have several jobs, sometimes simultaneously, before settling into anything longterm. The person at the center of today’s feature, Shan Dan Horan, exemplifies this lifestyle perfectly, and fortunately for us he was willing to share his knowledge with our community.

Shan Dan Horan was always interested in the technical side of the business, but when he graduated college he had no intentions of pursuing a career in the music industry. He moved to Chicago and focused solely on postproduction work, which lead to him being part of major advertising campaigns for people like Barack Obama and companies like McDonalds. He was happy, and by all accounts quite successful. Along the way however, he realized his love for music and working in the industry was greater than he previously realized and over time he took steps towards re-entering the wild and crazy world known as the music business. He now works in media production for Century Media Records and freelances with several other labels. He’s living out his dreams, and below he tells us how it all came together.

If you would like to know more about Shan Dan Horan, take a few moments out of your day and follow him on Twitter. Additional questions and comments can be left at the end of this post.

H: For the record, please state your name, job title(s), and the companies you work for/with:

S: My name is Shan Dan Horan (Shannon Daniel Horan). I head up the media production department for Century Media Records and freelance for a ton of other labels doing everything from social networking to A&R.

H: We have a lot of ground to cover, but I like to begin by learning a bit about your history with music. When you think of formative moments/experiences in life that lead you toward a career in the industry, what comes to mind?

S: I had always played music, being it in a band or through school curriculum. So that played a huge part. When I turned 18, it was time to decide what to do with my life. I could either keep touring as a musician, pick some ultra-boring topic to go to conventional college for (if I could afford it), or do nothing and become that 75 year old man working a drive thru down the line. So with some luck and hard work I ended up attending The Conservatory of Recording Arts and Sciences for post-production and music business. That was another huge moment that pushed me even further into the music industry. 

H: What was the first album you purchased with your own money? What format?

S: I was growing up right at the moment CDs started becoming the new media format. First cd I ever purchased was “RATT’s greatest hits” It was pretty ridiculous. 

H: I know we touched on formative moments above, but do you have any records or artists that you believe pushed you to pursue career paths in entertainment?

S: No specific record or artist had an impact on my career path. While I idolized certain musicians and loved music, I just never identified with being a rock star. I ended up being focused strictly on the technical and production side of the industry. 

H: When you were young, where did you turn when you wanted to discover new music?

S: Before the internet era, your one source for new music was either shows or compilation albums. I remember these cheap “Punk-O-Rama” albums at the local underground cd store. For four dollars, you could get a cd with fifteen songs on it. It was killer marketing tool to expose kids to additional releases/bands. 

H: We should say that you were not always pursuing a career in music, at least not directly. If my research is correct, you originally went to school for media production, which lead to some of your first work experience outside of school. When did music come into the picture?

S:  Towards the end of college I decided I wanted to get away from the music industry and pursue strictly post production. So I moved to Chicago to work at a postproduction facility called Bosco Productions. So for a while I worked strictly on TV and radio advertisement. I worked on campaign ads for Barack Obama, commercials for McDonalds, Kellogg’s, basically a ton of huge corporate entities. After a while though, I started missing the music industry and decided it was time to get back. 

H: In 2011 you joined the team at Century Media Records. How did you learn about the position and what can you tell us about the interview process?

S: At that point, I was doing a ton of media projects for bands from different labels and it grabbed the attention of Century Media and a new imprint they had decided to start up. The interview process was fairly quick and easy. I flew out, talked to the President (Don Robertson) for maybe ten minutes they loved my work, and then I flew back to Arizona. Later I was offered a fulltime position and decided to take it.

H: Century Media is not the only label you work with at the moment. What can you tell us about your other roles and how they came together?

S: I work with my friends at Standby Records as well, creating content, running social networks, doing A&R, amongst many other roles. As well as run a successful production facility that creates content (music videos, commercials, and lyric videos) for labels like Nuclear Blast, Warner, Fearless, Earache, to name a few. 

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

S: Every single day is different. One day I will be editing quietly in my office. Another day I will be at a studio filming, or on a set making a music video. It’s extremely sporadic, but anyone that works in the music industry is well versed in the art of chaos.

H: Outside of life in the music industry, you have been known to do some outreach work mentoring aspiring musicians. When did you begin doing this, and what inspired you to share your skills with young minds?

S: I grew up in a household that was focused on helping people. My dad and mom work for the VA rehabilitating wounded veterans suffering from PTSD or brain injuries sustained from primarily IEDS (improvised explosives). As well a sister that’s an RN. Growing up in a household like that, you learn the importance of educating and lending a helping hand. 

I’ve spoken in front of schools, on panels, in books. Let alone the amount of interns and young professionals I have mentored. When I can’t continue my craft I hope that one day they will.

H: Staying on the topic of helping aspiring industry professionals, what advice would you offer someone hoping to have a career in the music business (other than artists)?

S: Work hard, and never grow the expectation that you are entitled to win. If you know what you want to do with your life, do it! Don’t wait for permission or someone to make it happen for you, just do it. “Ready, Fire, Aim” 

H: Do you have interns? If so, what do you look for in new recruits? I’m sure many of our readers would be interested in working with you in the future.

S: I do have interns! Many of which have gone on to win awards, and done big things. It makes me super proud. What I look for, is someone with the mentality that nothing is beneath them. Someone that loves the craft, as opposed to the image surrounding it. I mean you have interns that help you peel gaff tape off the floor, and interns that take selfies with talent instead. 

H: Let’s turn the focus to bands. I know a lot of artists contact you regularly in hopes of being considered for a record deal. What advice would you offer young talent to help themselves stand out from the competition?

S: Still to date, I have returned every single one of their emails. I’ll listen to their music and give them free advice. It’s something I feel honored to be asked to do. 

What every band should realize is, they are entering the music business. It’s a “business” so money is the primary driving force behind it. The one thing I get allot from bands are “Just give us a chance, we are going to blow up” In reality, this band has no catalog, no merch, mediocre internet stats, and hasn’t toured out of their hometown. As a label, it would be a risky move investing in a band like this with no track record. When being a “rock star” starts to suck and becomes a job instead of a fantasy, it tends to crush fresh bands. 

So the best advice I have for bands is, get fans, start making money, work your butt of generating buzz (and not just internet buzz), and treat your band like a business. If you start making money, a label will love to multiply that on a grander scale.

H: What’s one mistake you see a lot of young artists make?

S: The mistake of expecting someone to come along and make their dreams come true. Bands nowadays want to skip the touring, buzz generating, work stage of their evolution. They expect to be picked up by a label and instantaneously have their faces in magazines and on huge tours across the world without working for it. While they wait for something like this to happen, they often just break up because it never comes along. Why would anyone want to push your band if you don’t do it yourself? 

H: Unlike many of the professionals we have featured up to this point, you had a successful career in other areas of media before coming to music. Now that you’ve been engrained in this industry for the better part of a decade, do you see yourself leaving the business to pursue other interests anytime in the foreseeable future?

S: With the onset of YouTube monetization and the amount of money original video content is creating for labels and bands, I feel as if, I can’t leave at this point. While labels debate about how to make money as physical sales decline, I feel strongly this is one of those solutions that need to be developed. So for the foreseeable future, I will be focused on that middle ground between music and video.

H: As a follow-up, what career goals do you have at this point in life? How have they changed since you first found work in music?

S: My only goal in life is to be successful and never stop learning. It’s been the same goal I had since enrolling in college a decade ago. Never being content and always adapting.

H: A number of the labels you have been involved with use Haulix for their promotional distribution efforts. What is it about the services offered by Haulix that keeps you coming back?

S: Haulix is amazing. My favorite feature on Haulix is the ability to show how many publications have accessed your content. So for future releases, I can see what artist has developed the most industry buzz before the initial release date. 

H: There has been a lot of talk online about whether or not it’s important in the modern music industry for bands to build a following in the local/regional scene. Some believe the age of the internet has created easer avenues for success, while others feel a career built on social networks is no career at all. As someone who has worked with finding and signing a variety of bands, what insight can you offer?

S: I feel with the internet era came an era of “fabricated hype”. Bands “cultivating” millions of plays to only end up selling ten albums once they got a record contract. It was interesting to see. With Facebook buckling down on band exposure, effectively limiting a bands post to 9% of their entire following (unless you pay for it) it made their social media clout useless. 

The only stats I take seriously for a band anymore are their Youtube plays. Youtube is ruthless in its punishment for fabricated plays. I mean look what happened to RCA and Sony/BMG.

H: That is pretty much everything I wanted to cover. Before I let you go, would you care to share any final thoughts or observations with our readers? 

S: Nope, you were extremely thorough hahaha. Thanks again for including me!

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