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Photography Spotlight: Connor Feimster

Hello, everyone! We have been making a conscious effort to increase the number of interviews and photo-related posts we feature on our blog, and today we’re given the rare opportunity to deliver on both fronts. We told you last week about a young man who has joined us in our efforts to better educate the future photographers of music, and today you will learn his story.

This blog exists to promote the future of the entertainment industry, and to do that we need input from people like you and your entertainment-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com. We can also be found on Twitter and Facebook.

I have lost count of how many times we’ve said something like this in the past, but there is no one living today with the power to do more for your career in music than you. There may have been a time decades ago when someone with a lot of talent and passion would be given an opportunity to prove themselves in the business simply because they were looking to work and willing to complete tasks for very little pay, but those days are long gone. We’re well beyond the saturation point for music industry employment, and the demand for jobs, as well as unpaid roles like internships, is at an all time high. If you want to stand out from the thousands screaming for attention around the globe, you need to take it upon yourself to get your name in work in front of people with the ability to help you along. Then and only then will you begin to climb the numerous rungs on the ladder to music industry success. You’ll probably fall down a time or two as well, but hey – that’s life.

Connor Feimster is one of countless young people currently trying to navigate the often tricky waters of professional music photography. He’s a frequent contributor to Mind Equals Blown and, as we teased in the introduction, he recently came on board to aide us in further educating others interested in music photography. I didn’t know who Connor was a few months back, but he took it upon himself to make an introduction, and then did so a second time for the sole purpose of potentially appearing on this blog. Drive like that may come across as annoying to some, but as a person who still feels they must fight for any semblance of acceptance/relevance in the music business today I completely understand where Connor is coming from. I’m there too. Some people know my name and sure, I’ve made strong connections with important people, but every day I wake and battle with an internal voice that tells me I am not where I need to be yet. There is still another article to create, another hand to shake, and another email to send. Connor isn’t where he wants to be yet either, but as you will soon learn he’s working incredibly hard to get ahead.

If you would like to learn more about Connor and his ongoing adventures in music, please be sure to follow him, as well as Mind Equals Blown, on Twitter. Additional questions and comments should be left at the end of this post.

H: Hey there, Connor. Thank you for finding time to speak with us about your work. How is the week treating you thus far?

C: Thanks for having me! I just got to shoot Anberlin for the first and last time last night, so my emotions are all over the place. Other than that, I’m working a lot this week and trying to maintain whatever cleanliness I’ve found in my apartment.

H: I’m not really sure what your professional situation is, but I know many people with your career also have jobs on the side for those times when work slows down or they simply need to cover bills. Does the same apply to you? If so, what do you do when not looking at the world through your camera lens?

C: Oh, absolutely. Aside from shooting, I’m also an editor over at Mind Equals Blown, I work in retail at one of the biggest malls in the country, and I’m an actor in Philadelphia. Aside from working, I like to collect and listen to vinyl records, see as many movies as possible, and above all else, I love to nap.

H: You’re one of the first people to approach us about featuring your work on Haulix, and I don’t think you actually expected us to respond. What inspired you to reach out in the first place?

C: I honestly don’t really know! I’ve been using Haulix’s music promotion program ever since my start at MEB last year and only recently discovered the blog and how it showcases various aspects of the music industry and it really struck a chord with me. I initially tweeted as a quasi-joke because I’ve never been interviewed for anything before, but I mentally prepared myself for the possibility of actually interviewing and here we are!

H: The reason I asked that is because I think one of the most important lessons people can learn in music is that those who achieve their goals do so because of their own drive for success. No one is going to come along, pick your work out of the countless others hoping to have your dream job, and carry you off into a long-lasting career out of the blue. The only way to get noticed is to take it upon yourself to make people aware of your work. You did that for us, and now here you are. Kudos.

C: I completely agree, and that was honestly an idea in the back of my head while I was writing that tweet. I kept thinking “well, nobody but me can really do this for me, so why not?” The result is already pretty cool.

H: I’ve made it this far without mentioning what it is you do in music, but we have certainly hinted at it. Why don’t you go ahead and tell people what you do and who you do it for?

C: I’m a music and portrait photographer based out of Philadelphia. I’m currently a mainstay photographer for Mind Equals Blown, but am opening up to more freelance work whenever I get a chance.

H: We’ve featured a handful of photographers before, but not as many as I would admittedly like to have shared up to this point. I’m working on it though, and I’m glad you were willing to participate. Tell me, when do you think you first fell in love with photography?

C: Pinpointing a specific time is excruciating for me to even think about, because photography has always been integrated in my life since my childhood. My mother is a nature photographer and I’ve grown up shooting alongside her. It’s because of her that I shoot with Canon bodies and that I really love shooting landscapes on the side. This whole thing started with her. A given time isn’t quite an appropriate answer; it all stems back to my mom.

H: Before we dive into that a bit more, let’s talk about music. What are the earlier memories you have of music and the role it played in your life during that time?

C: Music has always played an incredibly valuable role in my life, whether I like to own up to it or not. The arts as a whole are what I’m truly about and what I love, but music has always umbrellaed over everything else as an overseer of sorts. I’ve loved to sing forever, I love going to shows, and I love how the production aspect plays out. As a whole, music is just so cool to me. When I was a kid, I was way into soundtracks, top 40 pop, and musical theatre even though I grew up listening to classic rock, Dave Matthews, and folk music. When I was 11, I attended my first concert, which was (I believe) the latest Simon & Garfunkel tour in December of 2003. The entire show was like a dream. I can’t really explain it much more beyond that. By the time I was in high school, I began hitting up smaller club shows, the first being Envy on the Coast’s Lucy Gray release tour with Kaddisfly, Danger Radio, and Powerspace (my then-all-time-favorite band). Since then, I tried to attend as many shows as possible. Nowadays, it’s something that’s purely second nature to me.

H: Let’s get back to photographer. Did someone in your life help nurture your interest from a young age? When did you first get a camera of your own?

C: As I said, my mother was my biggest influence to even pick up a camera. She grew up on a property that has acres and acres of natural, preserved woodlands so every time I would visit my grandparents, I’d see something new and memorable. As a kid, one of my favorite things to have was a disposable camera. It would almost be seen as a waste of money, given that I would fill it up in mere hours, taking photos of anything (and sometimes nothing) just to get it all developed as soon as possible. I got my first camera for Christmas in 2005 and have never looked back. Since my dinky little point-and-shoot days, I’ve upgraded to a Canon Rebel T5i DSLR and am saving to upgrade again.

H: Were you involved with music at all beyond enjoying it as a fan before foraying into the world of music photography? If so, how?

C: The most involvement I had was simply attending shows and doing street team work here and there, whenever I had the chance. I was on Fueled By Ramen’s team back in their neon heyday, that 2007-2008 style. That was the most I could do with whatever limitations I had and I certainly don’t take any of it for granted.

H: My research tells me you’ve attended college in the past. Did you study photography or anything else that aides you in your pursuit of a career today?

C: Indeed, I graduated from Arcadia University in May with a Bachelor of Fine Arts degree in acting. Photography and music, as I’ve said, have played extremely valuable roles in my life, but I’m a theatre artist through and through, which is something not many people know about me outside of my home and schooling life. I’ve taken photography courses throughout high school, but as far as a continued education goes, photography played absolutely no part in it.

H: Looking back, would you recommend that other aspiring music photographers attend college, or at the very least seek out additional education beyond high school? I know many of our younger readers have dreamed of making a living with their photos.

C: There are so many amazing photography programs around Philadelphia alone, so if it’s something you really want to hone in on and fine-tune, I absolutely recommend it. I’ve had friends go through programs and come out completely changed (for the better, of course). As a generality, a continued education after high school should be your decision alone. It’s a shame how frowned upon it is to not have a degree, but some of my closest friends are high-up managers at their respective workplaces and simply have a high school diploma. It’s up to you to decided what you want to do. I personally didn’t like college, but I don’t regret it one bit. My program kept me there because they believed in me. Surround yourself with positive vibes and you can get through anything.

H: You’re a part of the Mind Equals Blown news team, which is one of my favorite content creation groups in music today. When did you first learn of the site, and how much time passed from that point to the day you applied to be a contributor?

C: MEB has been around for a handful of years, but I didn’t really pay much attention to any site other than AbsolutePunk until very recently. I first paid closer attention to the site when I learned that my friends in A Lot Like Birds were really well-received by the team, so they had my respect right away. I connected with one of MEB’s writers through Instagram, of all places, in the summer of 2013 and he put a good word in for me to apply to the team. By September, I was enlisted as a photographer and a staff writer and got to review some great work. Throughout the rest of the year and the first few months of 2014, I was the site’s sole consistent photographer, which was a lot to take on, but the challenge of that has paid off tremendously. I was promoted to editor last month, so my writing is beginning to dwindle, but it’s quite an honor to be in this position. I like where I am on the team right now. It feels right.

H: What can you tell us about the application process? 

C: It wasn’t anything too strenuous; I had to provide my age, favorite bands, any previous publications I wrote for (fact: there were none), and a few samples of my writing. I had actually reviewed my top ten albums released in 2012 on my personal blog, so I just sent them what I had and a couple weeks later, I was a member of the team.

H: Have you contributed to, or otherwise worked for any other sites since joining MEB?

C: I’ve submitted some of my photos to Alternative Press, but there sadly hasn’t been any biting. I also shot for the stars and emailed Rolling Stone, to which they promptly (probably) trashed it. Other than that, I’ve just worked for MEB but am willing to shoot as freelance if people will have me!

H: Do you think it’s important for photographers to find a site to call ‘home,’ or would you be perfectly fine existing as a fully independent photographer in the music world?

C: My ideal goal is to be independent, because it builds a nicer résumé and shows variety. Having a home or a niche is wonderful; it’s what I have now and I’m pretty content. But I’d like to get out there and build up the credits.

H: You wrote a blog for us about a week ago on the topic of your first concert experience as a photographer, so I won’t ask you to talk about that again. I will, however, inquire about the other articles you may write in the future. Any ideas yet?

C: The holidays are upon us at my retail job, so I haven’t quite mapped out much else just yet, but I’d love to touch on etiquette or something focussing on the show rather than the equipment. That’d be cool.

H: What was the last event you covered? Tell us a bit about the experience.

C: I said goodbye to Anberlin last night and I cried. Their lights were incredible and epic, just as I’d expect them to be. They mean a great deal to me and my craft, so I’m glad I didn’t miss out on the show. It was one for the books, for sure.

H: You’ve been in music for a little while now, and I would like to think you have a strong grasp on the state of the business. Do you aspire to be a full time music photographer? If so, how are you currently planning to make that happen in the years to come?

C: You know, it’s hard. It’s very hard to have any job in the arts, whether it be photography, music, or theatre. Doing all three sounds like a nightmare to most, but the challenge is what keeps me going. Upon leaving college, I was cast in my first professional theatre role and that one show took up my entire summer on top of shooting, so it absolutely kept the wick burning under my ass, which I loved. Right now, I’m focusing more on saving my funds to move, so theatre is kind of on the back burner while I put in more hours at the mall. Photography is the one steady thing I can keep consistently doing; I don’t work nights and can plan out shows well in advance. If I could have a solidified, money-making career in the arts, that would be amazing. I don’t want to work in retail forever. I just have to get over that hill and get better at what I do. There is always, always, always room for improvement and anyone who says otherwise is a big, fat liar.

H: What are the biggest hurdles between where you are now as a music professional and the place/role you would like to reach?

C: Getting my priorities in order, for one. Another big one is time. My biggest problem is that I want too much too quickly. My friends and family keep saying “you’re doing too much to not get paid for it” but the fact of the matter is that I love it too much to make that a priority. I feel like things could potentially move faster if I allowed that to happen, but then I would be limited to what I could actually do. Aside from a few promo shoots, I’ve over ever sold my wares once, and that was because I didn’t want a free microphone.

H: If someone reading this is just starting to consider a career in music photography, what advice would you offer them?

C: If you like something, keep doing it. Nine times out of ten, what you want will never just fall into your lap; you have to work for it. For most of the time, it absolutely sucks and you’ll start off by getting little to no recognition, but if you keep at it, it’ll pay off. I’m almost there. Almost.

H: Where is Connor Feimster going to be five years from today, and what will he think of the way he spent his time in 2014?

C: Aside from joking that “next year will be the year of perfect vision”, I hope to have people know my work. The most egotistical thing I want, if you can even call it that, is to be appreciated. By 2019, I would like to eliminate the crutch of retail, complete with a roof over my head with the person I love by my side and maybe my own studio that can work both as an editing station and a practice space for whatever show I’m in. That’s the dream.

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

C: I’d just like to give an extended thanks to anyone who has taken the time to say a kind word about my work and took the time to read all of this. There’s no reason to shoot shows without fan input and appreciation, so for all that and more, I thank you. And thank you, James. This was a wonderful experience.

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Journalism Tips #7 ‘Common Writing Mistakes & How to Avoid Them – PART 2’

Hello and welcome to the seventh installment in our ongoing Journalism Tips series. This specific column is a continuation of a post we debuted last Saturday (which can be found here), but reading that entry is not a pre-requisite to enjoying the words shared below. We are glad you stopped by and hope the following advice will help further your efforts towards building a lasting career in the music business. If you have an idea for this blog, or if you would like to learn more about the digital distribution services we offer, please do not hesitate to email james@haulix.com and share your thoughts. If you prefer social media, feel free to reach out to us on Facebook and Twitter.

The initial response to last week’s post was so overwhelming that contributing writer Joe Ballard actually spent the last few days refining the words and advice shared below to craft a suitable follow-up. His insight will not only make you a better writer, but it will also make you far less of a pain in your future editor’s side, which might get you further in life than your talents as a journalist when all is said and done.

An Introduction:

You know that classic phrase “it’s a dirty job, but someone’s gotta do it”? I feel like that’s how a lot of people think of us editors. After all, part of our job is to clean up writers’ articles and make them shiny and spotless before they get published. However, even the professionals can’t catch all the mistakes 100% of the time, and this is why I’m here today – to show writers and aspiring journalists five of the most common errors I see in music-related articles and how you can successfully avoid them in the future.  

1) Apostrophes in Years

This one is similar to the “that vs. who” mistake in that the incorrect versions are commonly accepted as accurate. Many authors and journalists will typically write a sentence just like this:

Oasis was one of the most popular British rock bands in the 1990’s. (Incorrect)

When it should read as such:

Oasis was one of the most popular British rock bands in the 1990s. (Correct) 

It’s a natural inclination to think there should be an apostrophe in a year, mainly because having a number and a letter right next to each just looks odd to many people. When dealing with apostrophes – and this applies to all words, not just years – ask yourself: what does the apostrophe stand for? That’s how you know there should be no apostrophe in the sentence above – because it can’t stand for anything. But where should it go when you’re abbreviating years?

Some of my favorite songs were recorded back in the 60’s. (Incorrect)

Some of my favorite songs were recorded back in the ‘60s. (Correct)

Many journalists make the mistake of writing the former sentence simply because it looks nicer and, well, you see it more often wherever you look on the Internet, whether it’s social media, forums, or even news outlets. The “apostrophe + s” again does not work because it cannot stand for anything there. By putting it before the 6, you’re showing that it’s standing for, in this case, the missing 19. 

In the end, the trick to dealing with apostrophes in years is similar to the “it’s/its” conundrum; if you’re writing an article and you get tripped up, stop for a moment and ask, “Can the apostrophe stand for something here?” If it can’t, you can safely live without it.

2) Compliment vs. Complement

This mistake seems to appear in music journalism more often than most other places, but fortunately it’s an easy one to rectify. 

Example 1: Few vocalist duos complement each other as well as Emery’s Toby Morrell and Devin Shelton.

Example 2: Oasis paid a lot of compliments to The Beatles throughout their discography.

If you’re a music journalist, 80% of the time you probably mean to use “complement”, which means “to complete” or to “make perfect”. You should only use “compliment” if it’s to express admiration or respect for a band or album. 

3) Who vs. Whom

Whom: the one word every writer desperately wants erased from the English language. Luckily, that’s why we have editors and the solution to the infamous who/whom debacle can be explained in a pretty straightforward way. 

Use “who” when referring to the subject of a sentence. Use “whom” when referring to the object.

Example 1: Mindy White, who once sang vocals in Lydia but now leads the band States…

The “who” in this sentence refers to the subject, which is Real Estate.

Example 2: I wonder whom the Tonight Alive song “The Other Side” was written for.

The “whom” in example 2 refers to the object of the song – in this case, a person.

In music journalism you probably won’t come across many cases where “whom” should be used. However, if you’re still confused about the subject/object issue, here’s a helpful trick: 

If the “who/whom” reference can be answered with “him/her” then you should use whom. If it can be replaced with “he/she” then it will always be who.

Take another look at example 1. You could also put it as “She once sang vocals in Lydia but now leads the band States.”

Likewise, in example 2 you could answer the question by saying “The Other Side was written for him.” 

There are examples of rarer usages in all of these cases, but to explore them all would likely leave you with a migraine. As a professional editor, this two-part series is meant to showcase a few of the most common mistakes I see from both journalists and authors. It is of course my job to find them all and correct them, but if you are or will be pursuing journalism as a career, you will impress all current and future employers by constantly practicing and perfecting your linguistic skills.

Joe Ballard is an editor for MindEqualsBlown. We have not interviewed Joe for our blog just yet, but you can rest assured we will share his story soon.

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Journalism Tips #6 ‘Common Writing Mistakes & How to Avoid Them’

Good afternoon! Thank you for taking a few moments from your busy schedule  to spend with on our blog. We are glad you stopped by and hope the content below will help further your efforts towards building a lasting career in the music business. We love to entertain, but being informative in a way that is easy to understand is always our primary goal. If you have an idea for this blog, or if you would like to learn more about the digital distribution services we offer, please do not hesitate to email james@haulix.com and share your thoughts. If you prefer social media, feel free to reach out to us on Facebook and Twitter.

We have been running this column every Saturday for the better part of two months, but so far we have yet to any multi-part features. That all changes today, as MindEqualBlown editor Joe Ballard shares the first of his two-part series on common errors aspiring writing professionals need to avoid. We have yet to feature Joe in our Blogger Spotlight series, but we have worked with him for a number of years and know him to be one of the brightest minds in alternative music today.

An Introduction:

You know that classic phrase “it’s a dirty job, but someone’s gotta do it”? I feel like that’s how a lot of people think of us editors. After all, part of our job is to clean up writers’ articles and make them shiny and spotless before they get published. However, even the professionals can’t catch all the mistakes 100% of the time, and this is why I’m here today – to show writers and aspiring journalists five of the most common errors I see in music-related articles and how you can successfully avoid them in the future.  

1) That vs. Who

This is the single most common mistake you will see in any publishing format, whether on a website, a national magazine or a bestselling novel. It happens everywhere, both in writing and speech. Luckily, there’s a simple way to differentiate between the two:

“That” is used when referencing a place or an object. “Who” is used when referencing a person.

Example 1: Cities was the album that took Anberlin’s popularity to a whole new level.

Example 2: Dustin Kensrue is the kind of lyricist who writes his words like poetry.

Easy enough, right? However, it becomes complicated when referring to, say, a band name. What is a band, exactly? Should it be referenced as an object or a group of people? Actually, both ways can be correct, depending on the usage. Let’s take a look:

Example 1: Saosin, who reunited with their original vocalist Anthony Green, will be performing at this year’s Skate and Surf Festival.

Example 2: The band that I’m really looking forward to seeing in concert is Tonight Alive.

If you use the band’s name in the sentence, use “who”. If you use the collective noun “band” then it should be “that”. 

2) It’s vs. Its

Another one of the most common mistakes seen in all forms of writing, yet a very simple one to rectify. If you are ever unsure whether to use “it’s” or “its”, speak the sentence out loud. If you can say “it is” and the sentence makes sense, include the apostrophe. If “it is/it was/it has” doesn’t work, then “its” is the word you need.

Example 1: The only thing I dislike about Neon Trees’ album Habits is its short length. 

Example 2: It’s been a long wait for the new Pharrell Williams album. Did it live up to its hype?

3) Past tense vs. Present tense

Tense usage in music articles can be a tricky issue, and some of the rules are likely different according to each individual publication. Here, we’re going to look at a couple of rules that are (or should be) universally accepted by every publication, specifically for album reviews. 

A. When discussing individual songs, always use the present tense.

Example: The opening guitar riffs of “The Ocean” immediately set the tone for what’s to come, showcasing the group’s expanded sound as well as Jenna McDougall’s range as she shows off her lower tones in the verses but reaches sky-high in the bridge.

This applies whether you’re discussing the new Taking Back Sunday song or an Elvis Presley hit. Whether it’s a brand new review or a retro review, always use present tense verbs to explain a song.

B. When discussing the band or the album as a whole, vary the tense as needed but make sure you stay consistent. 

This is where a lot of writers get tripped up, especially when writing retro reviews of albums from previous decades. Let’s use the classic Beatles album Rubber Soul as an example of how you can vary the verb tense within a single paragraph:

I have always loved the song “In My Life”, and the unique sped-up piano at the bridge still gives me chills to this day. The Beatles did a terrific job with the entire album, which still inspires music listeners nearly 50 years after its release.

The same principle largely applies to current albums as well – vary the verb tense as needed, particularly in the intro paragraph – but generally you want to stay in the present tense for the rest of the way. 

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Blogger Spotlight: Alexa Rahmanparast (Mind Equals Blown)

Hello and welcome to the final Blogger Spotlight column of the week. We thank you for sticking with us through the extra-long articles we have been running as of late, and encourage you to take an extra bathroom break before diving into the feature below. 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.

A few weeks back I was scrolling through editorials on music blogs when I came across a voice I had never before encountered. The writer’s name was Alexa Rahmanparast, and her article on the importance of local music/scenes spoke to me in a way few columns had in recent memory. I reached out to the editor of the site which originally ran the column, and a few hours later was contacting Alexa for a feature in this blog.

I know we usually lead into these features with a bit of a teaser on what to expect from the interview, but this time around I thought we would switch it up and share with you an the very article that brought Alexa to our attention. You can read her words, which originally appeared on MindEqualsBlown, below:

As someone who has been to numerous concerts, I’ve seen those “Support Local Music” stickers all over the place. It seems as if the whole world is claiming they support local music, yet when I go to a local show, the room appears almost empty with only a few dedicated fans. On the other hand, if one goes to a show for a more prominent band, there is rarely any room to breathe. So where are all of these people who claim to support the local music scene?

It appears as if this campaign is almost the “cool” thing to follow. Many people claim to show interest in the support of their town’s music scene, but state that their scene is dead without even attending a single local show. What people fail to realize is that many of the more prominent bands that they support all started from the bottom and worked their way to the top, so it can’t be nearly as dead as they believe.

The music at a local level is far purer than music that has been tainted with fame. These musicians are completely free to be their true selves because they have no intervention from labels or, in some cases, managers. It is rumored that A Day to Remember has had issues with Victory Records for this particular reason. Also, people often refer to the musicians they once loved as “sellouts” because, while absolutely frustrating, eventually signed musicians almost always need to commercialize to appeal to every type of fan. On the flip side, local musicians have no one to please but their current fans and usually stick to their unique style.

Small-time bands also tend to show more humility, as the only thing keeping them alive is their local fanbase. However, it goes without saying that not all local musicians are humble people and not all famous musicians have heads the size of Jupiter. Jason Butler from Letlive. is actually one of the nicest people I have met. I met him at the Vans Warped Tour and he was incredibly cooperative and friendly. During the event, it started to rain and despite the fact that he was about to perform, he still went out of his way to go through with our scheduled interview. Yet, surprising things that popular bands do, such as asking for my name or my thoughts on their music, are things almost guaranteed upon meeting some of these local bands. At small shows, bands usually hang back to meet their fans and on some occasions even become close friends with them.

These small-time bands generally have smaller shows than popular artists, so it’s as if their concerts are something special for their small following. It is a completely different experience to go to a local show rather than one for a more famous band. On many occasions, people go to concerts for more prominent bands, such as Sleeping With Sirens or Pierce the Veil, because they have simply heard of these musicians or are hopeful of being future Mrs. Kellin Quinns or Mrs. Oliver Sykes. Yet, if one goes to a local show, such as those of Ocala-based band Wage War, people are most likely there for only the love of the music. This gives their shows a more personal feel.

Local concert-goers eventually start to see many familiar faces. People who frequently attend local shows ultimately build a sense of community and for the most part, these communities are incredibly positive. Sometimes, people meet complete strangers at these events who become some of their closest friends. I actually met my good friend Eric at a Battle of the Bands competition, at the venue Revolution in South Florida. I like to think that these shows give people comfort in knowing that there are similarly-minded people who have experienced many of the same struggles they have, as music is an incredibly emotional experience.

There’s also nothing cooler than seeing a band you have long supported make it in the big leagues. I’ve seen this one band, Shout London, grow from a little seedling into a huge success. I saw the band’s start-up and went to several shows, and eventually they graced the stage at the Orlando Vans Warped Tour venue playing alongside incredibly prominent bands such as Anarbor and Forever the Sickest Kids, who are in a similar genre. It’s such an amazing feeling to see them perform at a high level because it makes me feel like I had a big part in their uprising. I understand that I’m not the reason that they suddenly became popular, but the fact that my presence helped this band start up is an incredibly uplifting feeling.

The support of local music also helps strengthen local economies. It goes without saying that local venues are an important part of the local scene as they are the ones that provide musicians with a place to reach out to their fans. Places like Country, BlueGrass, and Blues, otherwise known as CBGB, helped start up local New York musicians from the ’70s to mid-2000s, making some incredibly famous, such as The Ramones, Blondie, The Talking Heads, and more. Every ticket sold at CBGB helped build the local economy.

It’s not actually all that difficult to become a supporter of the local music scene. Music supporters who would like to get involved should consider checking local venues and their ticket centers. Bands and venues also post a lot of their events online, which is an easier option for most. I’d also recommend supporting local musicians by purchasing their albums, as opposed to illegally downloading them, as they need a way to support themselves and continue to make music a career. Just talking to musicians about their music will help them determine how to stylistically move forward. I’ve had many bands who are starting up contact me for my thoughts on their music through social media sites such as Twitter. Even this kind of support can help a band out more than one could ever imagine. I just hope that one day, as many people show support for the local music scene as they do for the campaign.

We have no doubt Alexa will have a bright future in the music industry, and in the interview below she tells us a little bit about the things that inspire he to continue pursuing her dreams. If you would like to learn more about Alexa we highly recommend following both her and MEB 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, and the publication(s) you work for:

A: My name is Alexa Rahmanparast and I’m a staff writer for Mind Equals Blown.

H: Let’s begin with a bit of personal history. When you think of your earliest memories with music, what comes to mind?

A: I think I first realized that I was really into music the first time I heard Panic! At the Disco’s A Fever You Can’t Sweat Out. I believe that I was in the fifth grade when “I Write Sins Not Tragedies” started playing on the main radio stations back home and it dawned on me that music was more than background noise.

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

A: Coming from the digital day in age I started downloading music on iTunes, but I believe the first physical album that I purchased with my own money was The Seeking’s Yours Forever.

H: Many of the people we work with on these features can pinpoint specific albums and/or formative moments in life that steered them toward a career in entertainment. Do you have anything like this in your past?

A: I think I’ve always known deep down that I wanted to work with music, but I remember the moment I realized it. It’s actually quite random, I was watching the movie “Going the Distance” with my cousin and we were talking about Justin Long’s character, who happens to be an A&R representative for a label. After the movie my cousin mentioned that I would probably be really good at that and it all made sense.

H: What inspires you as a writer?

A: For as long as I remember I’ve been putting pen to paper. As a child I had loads of “poetry” books, so I can’t really say what has inspired me as a writer. It’s just always been that way and I couldn’t imagine my life if things were different.

H: Having a strong interest in music and writing is one thing, but taking the next step and becoming a journalist requires a lot of time and effort. What lead you to dabble in the world of music blogging?

A: I remember having a teacher in High School who told us she never worked a day in her life because she loved it so much. I guess you could say that there’s a lot of time and effort put into music journalism, but if there’s anything I could be writing about it may as well be something I love. I figured music blogging would be an excellent way to get involved in the music scene.

H: You are currently a contributor to Mind Equals Blown, which is a site we have become quite familiar with over the last year. What made MEB the site you chose to work for? Did you write anywhere else before joining the team?

A: Actually one of my best friends has been writing for MEB for a while now and I used to help her out with research and I’d join in on some interviews. She suggested that I should apply for MEB so that I could be involved in the scene while still making connections for the future. This is my first time working for a music publication and so far it’s been a lot of fun.

H: If someone were to ask you what separates the content found on MEB from its competitors, what would you tell them?

A: I think the fact that Mind Equals Blown focuses a lot on editorials, more so than other sites, is awesome. It gives readers a chance to get to know the people who are writing the other kinds of stories.

H: I’ve noticed you have a strong passion for editorials. Do you have any pieces from the last year you’re particularly proud of and would like to share with our readers? Go on, pat yourself on the back a bit!

A: I think it’s rather interesting. I wrote this piece about supporting local music back when I was still on trial to see whether or not I’d officially become a staff writer on the site. It’s the first piece I ever sent in to MEB and I didn’t even think it would get published. I remember hearing back from the editor about that piece and he loved it. Eventually it got published and I got quite a bit of positive feedback, so I guess I could say that I’m pretty proud of that editorial.

H: The reason you came onto our radar was because of a piece I read not long ago on local music scenes. The debate over whether or not bands should focus on building a following regionally has come into the spotlight a lot as of late. Where do you stand on the subject?

A: I’m a huge supporter of building a following regionally. I think the local music scene is where things should start as everything is so much purer. You know the fans are there because they like your music, not because you’re a big name musician playing a show that everyone and their mother is attending. Of course, if a band starts up and suddenly makes it big I say more power to them, but I think they’d be missing out on the experience.

H: Speaking of young bands just starting to find their place in the world, Mind Equals Blown has developed a reputation for exposing new artists to the world. When you want to discover new music, where do you turn?

A: I’ve always been pretty big on finding up and coming musicians. I’m actually the President of the local musician organization at my University, so that’s one way I seek out new talent. I’m also pretty big on finding new musicians through social media sites such as Twitter and Facebook. It goes without saying that MEB is also an excellent place to find new artists.

H: Let’s spin the tables a bit. I know your email gets flooded with requests from artists and groups for exposure on MEB. What advice would you offer to up and comers to help separate themselves from others vying for digital space?

A: I feel like a lot of the bands who have messaged me tried making small talk first so as to not seem like they’re using me. While I think it’s nice when a musician tries to connect with their fans (or future fans) on a personal note, it also feels kind of fake for the most part. If I get a message that says something along the lines of “Hey, what kind of music do you like?” then I’ll probably just ignore it or take months to respond because I’m not looking to make small talk. Just get to the point, we both know why you’re messaging me.

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

A: I’d be totally lying if I said I’ve used anything, really. I still am one of MEB’s newbies, so I haven’t quite learned all of the tricks yet. Normally, I’ve just waited for the albums to come out on iTunes or Spotify and go on from there.

H: Your involvement with MEB has been growing in recent months. What career goals do you currently possess, and how have they changed in the last year?

A: I’ve actually known since I was in my Junior year of High School. For now, I think I’d like to be an A&R representative for a label, but I’m still not sure which one yet. I just think that discovering new talent and granting them an opportunity to make it out there would be so rewarding.

H: What do you think is the biggest problem facing young professionals hoping to enter the music industry today? Do you have any advice to offer?

A: I think a lot of young musicians may not start out with the largest fanbase, so they immediately change their sound to fit what the masses like. It seems like they’re betraying themselves to just make it big and I think that’s a huge mistake. Music is such a pure form of expression, so people shouldn’t lose themselves along the way.

H: What can you tell us about MEB’s plans for 2014?

A: With the new year, we certainly have new things brewing. We’ll certainly have new music to review and our much loved editorials will be as strong as ever.

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

A: Just to make sure to keep your eyes peeled for the interesting new material that both MEB and Haulix will be releasing!

Categories
News

Blogger Spotlight: Tyler Sharp (Mind Equals Blown)

Hello, everyone. Welcome to the second and final Blogger Spotlight feature of the week. We have a special column planned for later this week and thought a two-day celebration of writers would be a good way to kickoff December. If you have a suggestion for a future column on this blog, or if have questions about Haulix and the services we offer, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.

The best websites are only as good as their contributors, and right now in alternative music it is hard to come across a more diverse and talented team than that of Mind Equals Blown. We’ve already told you about the early days of the site, but today we’re going to learn about life in one of the industry’s fastest-growing blogs from the perspective of a contributor who is just starting to find his footing in the music business.

Tyler Sharp is one of the first writers to be featured on this blog that we discovered through our efforts with this very series. We saw Tyler’s name come up when looking at social sharing numbers from recent articles and quickly sought out his work as a writer. When we realized he was part of Mind Equals Blown we knew he had a story to share, and fortunately for us he was kind enough to let us in his journey thus far.

Making a name for yourself in music today is harder than ever, and while writing is definitely a good way to get your foot in the door it can also take years to offer any true returns for your effort. Tyler’s talents have already given him a leg up against his peers, and I have no doubt he’ll continue to succeed in whatever avenues of the business he chooses to pursue in the future. If you would like to informed on everything he has going on, make sure you bookmark and frequent Mind Equals Blown. Additional questions and comments can be left at the end of this post.

H: For the record, please state your name, position, and the site(s) you write for:

TS: Tyler Sharp, News Director, Mind Equals Blown.

H: To who or what do you attribute your interest in music? Writing?

TS: Musically, it was the band Underoath who really peaked my interest and essentially helped mold into the person I am today. They were the first band that introduced me to not only heavy music, but music outside of pop culture. As for writing, I have always been an avid reader. I love telling stories and I believe there is an important story to be told with music – I’m just trying to help write it.

H: When you think of your earliest memories with music, what comes to mind?

TS: Growing up I was always surrounded by the music my parents listened to (Led Zepplin, Stevie Ray Vaughan, Fleetwood Mac, etc.), but I never initially took a liking to music. It wasn’t until I was in the fourth grade sitting in my living room watching Green Day perform their single “American Idiot” on the Grammy’s, that I really began my journey with music. The rest is history, I suppose you could say.

H: An interest in music is fairly common, but a desire to make a career in it is something else entirely. Do you recall the first time you realized the entertainment business was the place for you?

TS: As a matter of fact, I do. I was a Junior in high school, finally realizing that performing in a band for the rest of my life wasn’t exactly the most practical life choice. I had always enjoyed reading reviews of albums and interviews with bands and it just hit me that I could do that. I had never really thought about it before, but it literally hit me like a deer in the headlights one day, and I’ve been working towards my goal of a making a career out of it ever since.

H: You’re currently a resident of Indiana, which is not exactly the first place that comes to mind when people think of the music industry. What can you tell us about your local scene and how you first got your start networking in the business?

TS: I live in the Northwest part of the state, about an hour outside of Chicago. The music scene is somewhat confusing around here. Allow me to explain: Unfortunately, there is a lot of judgement and division. We have the hardcore kids, pop-punk kids, deathcore kids and everyone in between, but it just doesn’t seem like anyone can find a common ground. If your band doesn’t sound a certain way and or you don’t dress a certain way, then you don’t “fit in.” I know this situation isn’t unique to NWI, it’s just extremely disheartening to see so much seclusion in a scene that is supposedly built upon acceptance. Don’t get me wrong, there are some very good-hearted, reputable people here (kids, bands and promoters alike), it’s just discouraging that you have to search for them.

H: Onto your work with MindEqualsBlown. When did you first learn of MEB, and what lead you to apply for a contributor position?

TS: It was around January of last year when I first heard of MEB. At the time, I was operating my own music news-based website, The Scene As We Know It. I realized that while I loved owning a website and having others writing for me, I just wasn’t happy with the situation anymore – it wasn’t what I wanted to do. I felt like TSAWKI had run its course and I had the opportunity to open a new door, so I began searching around for a new website to contribute my efforts to. I first came across MEB in a forum on AbsolutePunk. I checked out the site multiple times before applying, weighing my options. I finally decided that I really liked what they were doing and felt as though I could bring some new opportunities to the table for them – so I applied and am currently coming up on my one year anniversary.

H: There are a lot of sites in existence covering the areas of music MEB is known for. What is it about the content offered by MEB that sets you apart from the competition?

TS: A good portion of our content is editorial based. I’ve noticed a lot of sites out there right now are more concerned about quantity, rather than quality, in regards to content. We try to tackle the major stories and issues in the industry today, but with a more in depth look than other sites may offer. Even our news stories offer not only the story itself, but our opinion and the chance for you to voice yours as well.

H: Like many bloggers, you do not get paid your efforts. Why do it?

TS: It may sound cliche, but I really do just love it. I love working with bands and PR people and setting up exclusives and premieres. I always get this underlying excitement when we break a huge news story or premiere a brand new song for a band. Seeing how much impact I have as a writer on the industry, even if it’s just a little bit here and there, just makes it all worth it.

H: What is the biggest misconception people have about the music industry?

TS: I think a lot of people see the music industry as this idealistic place where everyone plays nice and there’s never any controversy. The music industry is essentially a battle ground and you have fight for everything you can get, because there are a hundred people right behind you reaching for the same goals.

H: In addition to working on MEB, what steps are you taking to further your pursuit of a career in music?

TS: I’m currently attending Purdue University North Central for a degree in Communications. I’m really hoping to make a career out of writing, and I thoroughly believe music is where I’m supposed to be – so we’ll just see where it goes!

H: As someone who writes a lot of news, what is the most comment mistake you see artists make when trying to get the attention of journalists?

TS: Being unsociable. Let’s face it, a generic press-release template that says your band rocks like so-and-so and has shared the stage with so-and-so really doesn’t have much impact on me – and I’m sure I’m not alone. Bands need to get more personable; talk to me about your band, ask about the website, show me that you actually care about getting your name out there. There are too many outfits out there that just assume they deserve all the publicity in the world because they released a somewhat well-produced single, or went on a two week run with one of their “biggest inspirations.” It’s okay to be confident about your band (that’s good), but when you come off as arrogant or conceited, you’ll soon find that you’re not going to get anywhere fast.

H: If you could offer one piece of advice to artists hoping for more exposure on sites, what would it be?

TS: Like I said above, get personable. Talk with people and make connections. Meeting people and making new acquaintances is a huge perk about being involved in music, and I think a lot of people overlook that sometimes. Almost everyone involved in the industry has some sort of online presence, get in contact and open some doors for your band. Sending me a mass message on Facebook telling me to check out your band because you saw that I ‘Like’ this band or that band doesn’t exactly make me want to look into yours. Spark up an actual conversation and see where it goes.

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

TS: To be completely honest, Haulix is the only one I’ve ever used! I really love how all the materials are so easy to access and the new password integration is a very nice addition. It’s simple, straight to the point, and just enjoyable to work with.

H: What is your ultimate career goal?

TS: This is a tough question considering I don’t know exactly where I want to go with my career as of yet. I suppose in a perfect world, after I graduate I’ll find myself working for a large music-based publication, following bands around while they’re on tour and writing feature articles on them. Traveling is something I’ve always wanted to do, and fortunately enough, it seems to go hand-in-hand with music.

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

TS: I would definitely change the divisions between genres and fan bases. I mean, I get that if you’re a Trapped Under Ice fan, you’re not necessarily going to jam the new Black Veil Brides record and actually enjoy or respect it. Nonetheless, that doesn’t mean there has to be this large gap between fan-bases. If you don’t like a certain band or type of music, don’t listen to them; don’t discriminate against a person because of their musical likings.

H: Before we let you go, do you have anything else you would like to share with our readers?

TS: Come talk to me about your band, who knows, maybe you’ll end up on MindEqualsBlown!

Categories
Job Board News

Blogger Spotlight: Jack Appleby (Absolutepunk)

Hello and welcome to another edition of the Haulix Blogger Spotlight. As you may have noticed, we are increasing the amount of content we post here on our blog, including the debut of several new columns. Our hope is that you will continue to join us as we explore the people working behind-the-scenes to bring the music industry to a screen near you every day, and would love to hear any suggestions you have for future features. If you have a recommendation, please email james@haulix.com and share your idea.

We have written in the past that making a career in the music industry today often requires taking on multiple job titles. With that in mind, it is our pleasure to share with you a new interview with Absolutepunk contributor Jack Appleby.

Everyone has to start somewhere, and for Jack Appleby that place was Mind Equals Blown. You may recall his name being mentioned during our previous spotlight with MEB founder Drew Maroon, and the reason for that connection is the major role Appleby played in thrusting the site towards the forefront of digital music coverage. He and Maroon have developed a brand together that continues to grow and evolve daily, and it did not take long for others in the industry to notice his talent. We spoke with Appleby about his time with MEB, the decision to join Absolutepunk, and where he sees his own future in the industry headed. You can read our conversation below.

Jack Appleby is often found discussing new music, promoting the bands he manages, and generally being an amazing person on Twitter. If you want to read his writing, be sure to check out Absolutepunk and the pages of Mind Equal Blown. Jack recently joined the team at Siren Records, so head over to their Facebook and learn what they have planned for the remainder of 2013.

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

JA: I’m Jack Appleby, and I’m over at AbsolutePunk. I organize exclusives, write reviews, cover shows, contribute to social media – a little bit of everything.

H: For lack of a better phrase, you’re a bit of a “Jack of all trades” when it comes to the music industry. When did you first know you wanted to work in music, and where did you first find work (unpaid efforts count too)?

JA: Haha, well – I still don’t have aspirations of making a career of music, but it’s certainly a field I enjoy participating in. I prefer music as a hobby, since it’s damn near impossible to make a good living in the industry. And my first of many unpaid (but completely worthwhile) efforts came via Mind Equals Blown.

H: When we interviewed Drew Maroon from Mind Equals Blown, he said the site really started to take off after you came on board. How did you come to work with Drew, and what can you tell us about the early days of MEB?

JA: Back in college, I was Editor-In-Chief of my university’s newspaper and wanted to apply my skills to music. On a whim, I Googled “music blogs” and came across MEB back in its .blogspot glory. I reached out to Drew, offering to help recruit and train a staff – we teamed up, and MindEqualsBlown.net was born.

Like every music site, MEB grew out of a passion for music and writing (and, you know – wanting to meet our favorite musicians and hear their music first). We wrote reviews, but took a focus on features and in-depth stories even in the early stages – every site had reviews, but no one was approaching happenings in the “scene” (or whatever it’s called) from a serious, journalistic approach. We also emphasized the editing process – all of our pieces ran through the same editing filter as the newspapers I’d worked on. Most reviews and editorials saw multiple edits from multiple editors before publishing, a rarity with most student-based music blogs. None of us were interested in news blurbs and the obvious hits they bring, so we focused on strong content.

H: You’re now a member of the AbsolutePunk staff. At what point did you make the switch, and what attracted you to the world of AbsolutePunk?

JA: As the Managing Editor at MEB, my role revolved around leadership, infrastructure, and editing – I loved running the site, but as I pursued a career in social media, my time for side-projects became increasingly limited. Around the same time my career pursuits became serious, Thomas Nassiff inquired whether I’d be interested in writing at AbsolutePunk, a site I’d always admired. AP.net’s emphasis on community and discussion always fascinated me, and the chance to focus on my own writing again was a huge appeal. It was incredibly tough leaving a site I’d helped create, but in the Fall of 2011, I moved over to AbsolutePunk.

H: Would you say your time at MEB helped prepare you for Absolutepunk? If so, how?

JA: Actually, MEB prepped me more for my career path. I graduated with an interest in business, tech, and social media, but no true “dream job” or specific path in mind. When I finally landed a meeting with Ayzenberg Group (a full-service advertising agency in Pasadena, CA), my time at MEB became the interview’s focus – turned out my content focus and promotional tactics on the site were enough to land me a social media gig. I’ve been at Ayzenberg for two years now, and absolutely love what I do – and I have MEB to thank for that.

H: Like many, you have earned little-to-nothing in return for your efforts at both of these sites. What motivates you to continue dedicating your time day in and day out?

JA: More than anything, I love having the ability to support musicians I believe in. Whether it’s premiering a new song, reviewing a record, or simply tweeting about a band, I love being able to contribute to the music. It seems so few bands know how to expose themselves to the world, and I’m happy to lend a hand in any way possible.

And working with my favorite musicians never loses its luster. I’ve managed to tone down the starstruck effect, but make no mistake – I’m still giddy when I meet a musician I’ve admired for the first time. Over the last year, I’ve interviewed musical idols, helped guide new bands, sat in the studio while favorites as they record – I wouldn’t trade those experiences for anything.

H: Beyond writing, you also recently added another gig to your list of titles. Care to share that role and how it came to be?

JA: Gladly! I’m ecstatic to say I’ve joined the Siren Records team. You likely know the label for Peace’d Out (Vinnie Caruana, Steve Choi of RX Bandits) and their vinyl offerings.

About a year ago, I worked publicity with Donny and James on Silver Snakes’ debut album, one of the early Siren releases. We’d run into each other on occasion and chat music, vinyl, all the things – until one day, they asked me if I’d like to come aboard. It was a pretty easy yes – I’m excited to work with these guys and continue developing the label.

H: Working at a label is a dream shared by many aspiring music industry professionals. If you had to choose, would you continue writing or spearhead label life full time?

JA: I think I’ve struck a healthy balance – I doubt I’d be happy exclusively committing to one role. I love having the ability to work with any band I please on the writing side, and I enjoy having weight and influence on the label side – they give different satisfaction. And again, music’s just a hobby, though one I’m heavily invested in – having the chance to dabble in everything is important to me.

H: Fortunately, you get to do both as long as you’d like, and each offers its own opportunities to expose new talent. Where do you go when you’re seeking out new music?

JA: Friends, the AP.net community, and band buddies are my go-to’s – none of us are shy about passing along new music. If I’m hungry for new stuff, I tend to scour Twitter to see what the rest of the AbsolutePunk staff is playing. I never use algorithm-based sources like Pandora – I’d rather focus on Spotify and Rdio’s “Related Artists” sections, where I’ve found some surprisingly great new bands. I’m lucky enough to have an inbox full of music as well, so there’s always something to check out.

H: Speaking of music discovery, what advice can you offer young artists hoping to stand out in your inbox?

JA: Please do yourself a favor, bands – include a “Recommended If You Like” in your email. And that doesn’t mean say you’re just like Brand New – give honest comparisons that are specific enough to be associated with your sound, yet relevant enough that most writers would know them. It doesn’t trivialize your music – it gives writers a reason to open your email instead of the other hundreds we receive. What’s more, it allows writers to pass music to the appropriate colleague; I’m not a big pop-punk or metal guy, but if you include a RIYL, I know who I can send the music to, even without listening.

Also, offer a stream in your email. Writers don’t have enough hard drive space to download every album sent our way, so send an online stream, with all of your band’s information (name, location, social media links, etc). Or, be smart and send us both a stream link and download link in the same email – give us the opportunity to explore your music however’s best for us.

And please, if you send me a download, have the iTunes info attached to the tracks already. I can’t tell you how much time I’ve lost editing song names and track listing to make an album play as intended.

And no caps. Don’t send me email in all caps. I’ll fight you.

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

JA: Thanks to leak culture, it’s become increasingly difficult for publicists to send advances of albums, making it near impossible to publish reviews before or around a record’s release. Anything that makes a publicist more comfortable sending me music early works for me, and Haulix’s watermarking and secure online player seem to do the trick. Sound quality is incredibly important as well – nothing’s more frustrating than receiving an advance in 128 kbps. Whenever possible, I’ll try to get my hands on the WAV files, though 320 kbps is certainly acceptable and deliverable through Haulix. But more than anything, it’s the multiple methods of listening that wins me over. I operate off of several computers, and love analyzing music in my car – having both stream and download options is a huge win.

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

JA: I’d definitely encourage music fans to rethink how they support their favorite bands. While I’ve got my own theories as to why no one can make a dime in this industry, I’m always baffled by how little music fans contribute to their supposed passion. If a band releases a record you love, go buy it – then go to their show – then buy a shirt – then show your friends – then tweet about it – then do whatever’s next. So many people are happy being passive listeners when it takes such a small effort to help the cause. Seriously, just tweeting about a band accomplishes more than you realize – you could be introducing a band to their next biggest fan.

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

JA: Lots of exciting things happening at Siren Records, though not much I can share at the moment. We’ll definitely have some Peace’d Out news soon, including info about their first full-length. There’s a few projects taking shape that’ll blow your mind, but those will reveal themselves in the next few months – plus, vinyl, vinyl, vinyl.

I’m also managing Culprit, who’s releasing their sophomore EP on August 20 via Easy Killer Records, so make sure you watch for that.

And there’s always new things brewing at AbsolutePunk – it’s sounding like the mythical new design may come sooner than later, but you’ll have to talk to Jason Tate for details. Some damn good music coming this fall as well, so hopefully lots more features, song premieres, and reviews.

Categories
Job Board News

Blogger Spotlight: Drew Maroon (Mind Equals Blown)

A new week has begun, and with it we have another fantastic Blogger Spotlight to share with all of you.

In a time where many music blogs are running as fast as they can to join larger organizations in hopes of monetization, Mind Equals Blown stands apart as a force for independent thought in a cluttered online world. There coverage rests mainly in the alternative world, but they have been known to venture into the realm of pop and beyond whenever their editors deemed talent worthy of their feed. Between news, lists, editorials, and reviews that are more in depth than the efforts of many major publications, MEB has carved a nice niche for themselves on the fringe of modern music blogging that is quickly finding a fervent following. At the head of it all is Drew Maroon, a twenty-something with a love for music than runs deeper than the ocean. We spoke with Drew about his work on MEB, how he came to work in music, and where he sees his efforts headed in the future. You can find his responses following the MEB logo below.

As always, if you enjoy this spotlight piece please make sure you do whatever you can to support the efforts of Drew and the people who make Mind Equals Blown a reality every day. Click here to Follow MEB on Twitter, and click here to Like them on Facebook.

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

DM: My name is Drew Maroon. I’m the founder, owner, editor and whatever else you can think of at Mind Equals Blown.

H: You have had a presence in blogging for a few years. Is Mind Equals Blown your first website? If not, would you please tell us how you got your start in writing?

DM: Yeah, MEB was my first. I started MEB during my freshman year at the University of Florida. I’m a metalhead who essentially has no metalhead friends. I would find all these cool metal bands that I wanted to talk about and my friends wanted nothing to do with it, so I began writing about them online through MEB. Basically, it just snowballed from there. It didn’t really take off until that winter when Jack Appleby (now of Absolute Punk) came on board. He really pushed MEB to the next level.

The site since then has really taken on a life of its own. Our staff is solely to praise for its success. It is a group effort.

H: What initially drove you to have an interest in the music industry? Being in your twenties and having now gone through the ringer of freelance, do you still see this business as a viable career option?

DM: There are all these fantastic bands that go unnoticed for whatever reason. I just wanted to help them get the exposure they deserved. Sometimes a quick blog post is all a band needs to get in front of the right person.

I do see the business as a viable career option, yes. But, you have to love it. I think very few people make a lot of money doing what they love, so it’s a choice. I’ve actually changed my major and I’m pursuing my MBA in hopes of doing something like this for a living.

H: Mind Equals Blown is one of the biggest sites not yet attached to a major company, like SpinMedia. Are you choosing to stay independent on purpose? If so, what drives your DIY ethic?

DM: We are proudly independent at the moment. The site exists because of all of the hard work and dedication of the awesome staffers that MEB has. No one earns a dime (myself included) so everyone who works for MEB does so on a volunteer basis.

To me, that is amazing. These people work so hard to produce something they’re proud of and passionate about. The staff is the absolute heart and soul of this site and it would be nowhere today without them and all their hard work.

H: In terms of content, what is it about MEB that separates your offerings from those of your numerous competitors?

DM: I hope people associate us with in-depth features and editorials. For me, that is where music journalism lies – with the story. Album reviews are great and all, but the real interesting aspect is the story behind the album, you know. Why did the artist change their sound a bit? What influenced them? Most of the time there is a very interesting story just waiting to be written.

That is the direction I’m constantly pushing MEB in and I think we’ve done a great job with our first little step.

H: MEB tends to write longer news articles and in-depth features. With that in mind, how do you feel about the ‘buzzfeed-ification’ of news (ie, move to shorter stories and more lists) online?

DM: Glad to see we are associated with in-depth features! However, people like different things. I don’t mind lists every now-and-again, but I’d always choose a good story over a ‘Top 10 whatever’ list. That isn’t to say they’re not entertaining in their own way. Oftentimes they are very fun! I think lists like that can be a great addition to strong content, but shouldn’t be the main source of content.

H: You cover a variety of talent on your site. How do you go about discovering new bands?

DM: This is where our staff shines brightest. Every staff member has a vast and unique scope of music that influences what they cover and what they write about.

Personally, I like to click through Bandcamp. Bandcamp has a ton of awesome metal music just waiting to be heard.

H: Let’s say the artists come to you. What advice would you offer those hoping to gain your attention via email or other social means?

DM: Good music is always going to rise to the top. If you make great music you will eventually get the exposure you deserve. Other than that, keep it simple. Get straight to the point and link me to somewhere where I can stream your music. Also, if I have to ‘like’ your Facebook page to hear a song, I’m immediately moving on.

I want to help promote your band, that is why the site was started to begin with. Feel free to reach out to us on the @mindequalsblown Twitter, Facebook or individually to staff members.

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

DM: Not to be perceived as being biased, but definitely Haulix. Haulix takes all of the hassle out of receiving new music. It simply combines everything on one page and provides you with promo pictures, bios, videos and whatever else. Since most of the publicists we work with tend to use it, it’s nice to be able to quick switch back to your full catalog of promos you’ve received.

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

DM: To see artists get a bigger return on their music. The scene is driven by touring and merch – that seems so backwards to me. I think the industry is broken as it is, but we are slowly moving into a new age where we can directly support artists we feel rightly deserve it.

Look at Protest the Hero – they did an Indiegogo for their new album and raised the money in less than 24 hours. They then went on to almost triple their original asking amount. This is a band that takes their time between records and, as a result, puts out quality music every time. I was more than happy to drop $50 for their new album.

Maybe someday in the future the industry can get to a happy medium between labels and this ability to directly support a band.

H: You write a lot about having big plans on the horizon. Can you tell us a bit about what MEB has planned for the remainder of 2013?

DM: We are always cooking up a lot of fun stuff over on MEB, some that sees the light of day and a lot that doesn’t. We’re always going to be pushing out more original features and quality content, sticking with what we do best. We’re continuing to grow and evolve. We may be a 5 year old site but I still feel as if we’re just getting started!

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