There are a lot of reasons to disregards your critics, but one applies to almost everyone in any creative pursuit.
Everyone wants to be successful in their pursuits, but there’s always a catch. The problem with finding success in the arts, especially at an early age, is that it establishes a standard that might not align with your goals. Maybe you dream of writing pop music, but your metal band takes off first. Perhaps you want to be known as a musician, but all your friends consider you a great promoter.
Breaking from the standard sounds easy enough. After all, most of us were told at some point in our adolescence that we should always strive to be ourselves. But something changes when success enters the picture. Once people like you or appreciate you for something, the risk of doing anything else can trigger fears and anxieties, you never knew you possessed.
Before you let the fear of rejection stop you from pursuing something I want you to consider death, which will inevitably come for us all. We have lost some great people in recent years, including legendary musicians such as Prince and David Bowie, but how often do you find yourself thinking — or more importantly, talking — about them in your daily life? The world may have mourned them when they passed, but how long did that last? Two days? A week?
Information is now exchanged at speeds never before witnessed by the human race, and a lot of that is owed to the rise of social media. We consume news and opinions at a rate that is almost hard to wrap your head around, and all signs point to that speed rising as technology continues to advance. If the best of all-time is only given 48-hours of attention when they pass, how long will people talk about you?
The answer, for both you and I, is probably not long at all. Our family and friends will care, of course, but their opinions probably aren’t the ones you’re worried about when considering a new endeavor.
As for the haters, those anonymous people whose opinions haunts your every ambition, they will be forgotten just as fast as the rest of us.
If we accept that we and everyone who knows us will be forgotten almost as soon as they have died, then why give a damn what people think about you now? Their opinion of you is meaningless in the grand scheme of things, but how you feel about yourself and the things you pursue will last as long as you have air in your lungs.
All we have is now. Lose yourself in the moment. Take a chance on yourself because you may never have the opportunity to do so again. Squeeze the juice out of life until your last breath.
Sharing music has never been easier, but reaching people in positions of influence is harder than ever before.
Despite reports that claim otherwise, music criticism is alive and well. There are more musicians than ever making and releasing more music than ever at a rate never anticipated, which is why people continue to turn to influencers and people they view as having authority for help with new music discovery. Most people do not have the time to constantly listen to artists they don’t know, but many are willing to listen to those that do. That is why influencers continue to matter, and it is why they will always have a role in music.
But there is a problem. The increased competition for attention has made reaching tastemakers in positions of influence difficult. For every new artist that receive a bit of recognition, there are dozens whose emails and DMs go unanswered. Having a great song doesn’t matter unless you can make people care about it, and sadly, most artists are incapable of accomplishing that task.
In the latest episode of Music Biz 101, our ongoing web series, host James Shotwell breaks down four tricks for engaging with tastemakers every artist needs to know. These tips are easy to follow, and they can be applied in every genre of music, but you will still need great music as well. Success in the music business today requires both business and creative skills. One without the other may get you far, but it won’t build a lasting career.
The world needs people who can write about music with style and grace. You do not need to have the sharpest wit or the best economy of words, and you definitely do not have to know everything about every artist working today. As long as you have a perspective on the music you hear that can easily be expressed, not to mention a desire to share that perspective, then you more than qualify for the job.
Writing about music is not glamorous. The likelihood of anyone making a career in music writing has always been slim, perhaps even less likely than becoming the next great musician, and the number of opportunities for full-time employment are shrinking more with each passing year. Most writers quit within the first five years if not sooner. Those who don’t either find success or develop the skills needed to convince themselves someone, anyone, gives a damn about what they have to say.
In fact, the only reason that anyone should even try writing about music is because the act itself interests them. If you’re curious about how your opinions will be received, or if you want to know if you have what it takes to grab a stranger’s attention, then writing about music is a good place to start. All financial shortcomings aside, you’ll rarely have more freedom or opportunity to explore the many colorful personalities that popular this planet than you do when writing about music. It’s a chance to explore life in the shoes of rock stars and nobodies alike, not to mention those of the people who support them. It’s an opportunity to see all the world has to offer and to understand the price of becoming more than what you are now.
Best of all, it’s free (at least at first).
If you’ve made it this far and you still want to write, then congratulations. You may actually have what it takes to do something worthwhile in music writing. The only way to know for sure is to create.
In the simplest terms, that’s all you need to get started. You need to create. Find something you’re passionate about — a song, an artist, an album, a tour, a concert, a label, a trend — and get every thought you have about that thing out of your head and onto the page. It doesn’t have to be pretty or witty or even coherent. Just get your thoughts in front of you and take stock of what you have to offer. Review your words, correct your grammar, and slowly begin piecing everything together in a way that forms a clear thought.
Writing, in this instance, is not unlike sculpting something out of stone or clay. Your thoughts are the giant block you start with, and with each edit you begin to form something meaningful. You may make mistakes, but everyone does. What matters is how you respond to mistakes, and whether or not you allow yourself to give in to that little voice in the back of your mind that claims you’ll never create something as great as the vision you have in your head.
And that, my friends, is the challenge all young and veteran writers must face each day. We all must decide to ignore the voice telling us our work isn’t worthwhile and press on, writing more and continuously searching for exciting stories we wish to tell. The kicker is that no one vanquishes that voice for good. It will be there each and every morning, regardless of what happened the day before. It is the greatest foe of any writer, and the only person capable of making it stop — even for a moment – is the writer.
If you can do all that, if you can write about what interests you and ignore the negative voice in your head, then you can worry about the basics of navigating the music business. That, surprisingly, is the easy part of this whole process.
Step 1: Start a blog. Don’t worry about buying a URL or setting up a visually engaging site. Find somewhere you can post your work and make it your own. Tumblr, for example, is a great free option.
Step 2: Write often. Reviews, stories, etc. Write whatever you want, find where your interests lie, and then write about them further still.
Step 3: Once you have a body of work there are three ways to move forward. You can either begin pitching content ideas to Editors, launch a proper blog of your own, or join forces with other young writers. Figure out what works best for you and chase it with all you have in you.
Step 4: Make friends with publicists, labels, and bands. Email links to the talent you cover, as well as their representatives. Pitch coverage ideas by sharing proof of similar work you have done in the past. Ask people what they need or want from the media and help them achieve it (without being dishonest in your work). Make yourself known as a person who delivers, and work will soon follow.
Step 5: Promote your work. Share it on social media, yes, but don’t stop with a single post. Look for forums, subreddits, and other areas where your content may be appreciated. Search the subject of your work online and send links to your content to other people expressing interest in that same subject. Be aggressive, but also be kind. Don’t force your work on the world.
Step 6. Write more. Network more.
Step 7: Repeat.
The hardest part of writing about music is getting started. If you can do that, which you can, progress and recognition will soon follow.
We are now more than one full week into the new year, and there is a decent chance some of you reading this have already failed to stay true to your new year’s resolution. If so, do not fret. Millions make resolutions on or around January 1 that they are unable to maintain for a variety of reasons, and countless more never even try to make a change in their lives. The fact you recognize your desire to be better than you are today is the first step towards achieving meaningful change, and with a little hard work and dedication we believe you can accomplish practically anything. That may sound a bit too altruistic for some, but our experience has proven this to be true, especially in the world of entertainment.
As writers, we should each be striving to improve our skills with each passing day. We should be hunting for stories and other creative challenges that take us out of our comfort zone and force us to approach our audience from new or unfamiliar angles that, in time, will give us a greatest perspective on the world of music. Desiring this and doing this are two very different things, and we have found that the hardest part for most writers is finding place to start. So, with this in mind, we have come up with three creative challenges that will better your ability to not only discuss music, but appreciate it as well.
Spend more time with music released by independent artists
Everyone trying to quote/unquote ‘make it’ in the world of music has a dream of landing a job that finds them covering the biggest releases and having their words positive reactions used in future marketing materials. After all, how cool would it be to have your words printed on a sticker that was stuck to the next album from your favorite band? It would be awesome, that’s how cool it would be.
That said, if you want to further establish yourself as a unique voice in the world of music criticism in 2016 we advise that you stray from the Billboard charts and spend more time seeking out the next big thing. A&R used to be a job that one or more people held at essentially every record label, but in the age of social media most A&R work is done by the influential voices that drive internet discussion. You no doubt receive dozens of pitches from aspiring musicians every week, so take advantage of that fact and use your inbox as a source for new music discovery. Find something great and write about it. Not just once, but every chance you get until you’re sick of discussing that band. Use whatever knowledge you have regarding how to break artists in the modern day and apply it to your coverage of that artist. Interview them, list their best work, cover their tours, and most importantly, share how their art makes you feel. If you can help even one person to discover a new talent they love, others will follow.
Choose an upcoming release to know nothing about
Many artists rely on singles to sell albums because they don’t believe the record as a whole would be considered quite as good as one really catchy song. This is why most artists release the best song off their record first, as they believe many in the press won’t give their new album a second thought unless they’re hooked by some earlier marketing materials. While this may be true for some, it’s kind of a shame that artists today don’t believe people will care about their albums if the singles don’t dominate conversation and radio play for weeks, or even months on end.
This year, choose one release you know you will be interested in and do everything in your power to avoid its promotional cycle. Skip the singles, the cover art, and any interview that aims to build hype for the release until the entire album has been made available for your consumption. Then, and only then, give the record a listen. Allow yourself to become fully emerged in that artist’s world of sound without any preconceived notions of what it will sound like or how it will make you feel. Let the art speak for itself, and then share that experience with those around you.
Read one music critic you disagree with regularly
We struggle with this challenge more than probably any other task in this feature. It’s not that we don’t enjoy reading, as we very much do, but it takes a lot for us to sit and read something we don’t necessarily agree with and accept it as valid criticism. That fact is probably true for anyone in life, but there is an added degree of necessity to do so when it is comes to being a great critic. After all, your goal as a music writer is to sell people on music they may or may not be interested in. Sure, some readers will be fans of the artists you’re covering, but hopefully there are also many who are newcomers or who are otherwise new to that particular artist. Your job as a critic is to express your opinion in such a way that it influences buying or listening habits. The same can be said for your competition, which is why it’s important that you know their work and understand what gives it meaning to those who read it.
You don’t have to be sold on something you don’t enjoy when reading the work of a critic with opinions different than your own, but you should be able to understand the good and bad qualities of their writing. Furthermore, you should be able to deconstruct their work, compare it to your own, and see what, if any similarities there may be. Perhaps you disagree on certain artists, but you both tend to use the same phrasing when describing something you enjoy, or maybe you both use far too many adjectives in your work. Whatever the case, there is more to learn about yourself and the industry at large from enjoying the work of your peers than there is in the comments section of your last article. You become a better writer by reading the work of other writers. Never forget this fact.
James Shotwell is the Marketing Coordinator for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder of Antique Records. Feel free to tell him you love or hate the article above by connecting with him onTwitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.
The following post was submitted to Haulix by Michael Giegerich, a universally respected hip-hop critic whose origins in music began in the world of punk and alternative rock. We asked Michael if he would shed some light on his transition between genres, and fortunately for us he was more than willing to share his adventures here on our blog. Enjoy.
One of my fondest childhood memories goes something like this: riding shotgun in my dad’s car on a sunny afternoon in 2005, Mike Jones’ “Back Then” was coursing through the speakers. The track was inescapable on Atlanta’s 95.5 The Beat and MTV alike, but at this moment, how many times I’d previously heard the single didn’t matter. Maybe it was due to the contagious levels of confidence in Jones’ flow, or maybe it was the blustering, record-scratching beat, but one thing was certain: I wasn’t just casually enjoying “Back Then” – it made me feel alive.
An average kid from the suburbs, I spent the bulk of my teenage years invested in metal and hardcore music, dragging my mom to shows and spending every last cent to my name on edgy band tees. Eventually, armed with nothing but a Tumblr blog and an audio recorder at the age of 15, I converted this passion into words – a lot of words, in fact. Over the next four years, I poured my heart and soul into covering the bands whose stages I dove from and CDs I wore thin; in tandem, my writing skills and industry relationships grew.
As the story goes, though, my love for the genres I once valued so highly began to wither upon my sophomore year in college; a natural conclusion to a phase that some may say lived past its shelf-life. Coincidentally, a severe bout of depression almost stole my life soon after, and in the process, my love for music and writing was robbed entirely. The next six months found me spiraling downward as I searched for anything that would make me feel whole again; changing majors, scenery, and medication, all routes that proved fruitless. I eventually smashed into rock bottom after it became clear nothing could break my fall, but in those depths, some much needed self-reflection led to finding the common denominator of happiness in my life: hip-hop.
I had actively kept up with more than a handful of rappers for years, sure. Hell, I even reviewed my fair share of rap records and was more knowledgeable on the genre than most in my social circle. Yet, for the first time, I consciously realized the pure, unadulterated joy it gave me. Whether it involved getting buck to Rae Sremmurd’s pop-infused Atlanta trap at my university’s spring concert or throwing back lukewarm beers to Danny Brown’s unmistakable squaw in my dorm room – much like that sunny afternoon in 2005 – the weight on my shoulders dissipated. Upon this realization, I slowly but surely picked up writing again while devoting myself to understanding as much as humanly possible about the music that had given me so much. I began examining hip-hop projects with a fine-toothed comb, reading every feature related to the genre I could find, and most importantly, reminding myself everyday of how fortunate I was to receive this chance at redemption.
Seven months later, it’s almost overwhelming to see how much has changed. My mind is sharper than ever, my appreciation for hip-hop is expanding exponentially, and recently, I conducted what is undeniably the most notable interview of my career to date. In truth, though, I’m not satisfied just yet. As hip-hop once pushed me to find inner peace, the inescapable work ethic of the genre now pushes me to perfect my writing skills and not lose sight of the promising road ahead. There’s a long way to go, but throughout the journey, one simple fact will remain constant: hip-hop saved my life.
So here’s to you, hip-hop. Here’s to you and whatever the future may bring.
It’s funny how our experiences in life slowly steer us toward the careers we eventually seek. I’m sure most of you can remember a time in your youth when you sat in the back of your parents’ car on a summer day and sang along with whatever was playing on the radio. Metallica, Spin Doctors, Britney Spears, it did not matter who came on next as long as you could sing along (or at least pretend to), preferably at the top of your lungs. That’s an experience almost every child goes through, and it’s something most parents reflect on later as a ‘golden memory’ of their children. For some children, however, it’s something more. They do not know it at the time, of course, and neither do their parents, but for a select few those first car ride sing-a-longs are laying the foundation for a career in music that will likely impact thousands, if not millions over time.
Todd Kunsman remembers those car rides, and from a very young age he knew he wanted to be involved in the world of music. Unfortunately, due to college, work, internships, and the tasks of every day life in between he found making time to do so incredibly difficult. Anything worth doing is worth doing to the best of your abilities, after all, and realizing this Todd waited to begin his journey in the world of music criticism until he had finished school and found time in his demanding schedule for a new project. When that day came, he bought the domain OhSoFreshMusic, and in no time began developing a following passionate about new artist discovery.
Today, OhSoFreshMusic is a hub for people who want to know about the latest trends in music. Through timely news, engaging editorials, interviews, and an ever-expanding collection of unique features Todd has managed to carve a unique niche in the world of music discovery that stands apart from the rest of the blogging world in all the right ways. You can read any article on OhSoFreshMusic and feel the passion the creator of that content had for their subject. If that is not the sign of a truly great zine, I do not know what is.
We spoke with Todd earlier this month about everything he experienced while starting his site, and he was kind enough to offer an in-depth look at everything he went through to get where he is today. If you would like to learn more about Todd and his efforts in music criticism, please take a few moments to follow OhSoFreshMusic on Twitter. Additional questions and comments can be left at the end of this post.
H: Before we begin, please tell everyone your full name, job title, and the site you’re here to discuss:
T: My name is Todd Kunsman and I am the founder, editor, and social media person for Oh So Fresh! Music blog.
H: Thanks for joining us, Todd. I’m a fan of your site, but must admit I have never learned the story behind its name. Would you please tell us the origin story of ‘Oh So Fresh,” and when the site came into existence?
T: I’ve actually wanted to start something music related for a long time, but with College, interning, and working, there really wasn’t much time. However, back in 2010 a few months after graduating college I decided it was time. And to be honest, the name was something that first came to mind and the domain was available so I snagged it. I just had in mind that I wanted a place to find fresh new music and post about fresh faces that might not be getting notice.
H: Now let’s take a step back and learn a thing or two about you. When you think about your earliest memories with music, what comes to mind first?
T: Probably singing in the car as a young kid to all sorts of different music. My parents listen to a whole mix of stuff, so I’d be jamming out to MC Hammer then Spin Doctors. Pretty embarrassing now that I think about it haha.
H: Who is the first musician you can remember obsessing over, and how did you originally discover them? Feel free to share any early fan-boy moments you’re able to remember.
T: Man, I would say Bradley Nowell of Sublime. A friend had showed me some of their music back in in middle school because his older brother was a fan and I instantly became addicted to them. I know almost all the lyrics of Sublime’s catalog just because of the constant replays. I’m still a big fan today, especially of Brad.
H: On what format was the first album (or single) you bought with your own money?
T: Hmm, I know was fairly young and it was probably Will Smith’s Big Willie Style, who didn’t have that album in the mid/late 90s?
H: Do you remember your first concert experience? Go on, paint us a word picture:
T: I’m quite sure my parents dragged me to some Hall & Oates concert at a local music festival in my town. Not really my type of music, but those guys know how to put on a good show.
H: Let’s turn our focus to writing. Can you pinpoint any specific moments in life when you realized your abilities in writing could be put to good use in the world of music criticism?
T: I took a journalism elective in College and surprisingly enjoyed it, which then lead to my communications minor. Since music was always a big part of my life, writing gave me a way to talk about the music I love. From there I just kept pursuing different outlets where I could write about music.
H: Who or what inspires you as a writer?
T: Good music. Every time I hear a song that just catches my attention, the writing just flows easier. It basically gives me more thoughts and passion in the writing when music clicks with me.
H: How would you describe the content offered on your site to someone who may have never visited your blog before reading this article?
T: I think the site description says it best: “The freshest music posted on a daily basis. We share some of the best tunes before the mainstream even knows about it.” But, I would also say if indie. hip hop, electronic, and EDM are genres you enjoy, then you’ll find what you are looking for at Oh So Fresh. There is the occasional interview and feature as well to mix it up.
H: There are a number of sites covering similar areas of entertainment. What is it about the content offered on OSF that separates you from the competition?
T: I think that we don’t always rush to post the latest track as soon as it comes out. Some blogs really compete with each other to be the “first” sharing a tune. Granted, that can get you more traffic, but I like to listen to a song a few times before sharing. So while a song might of just come out, we might write about 3 hours later or maybe a day later. The music we share are songs that we indeed really like and aren’t just posted for the sake of seeming cool or to be the first ones.
H: Out of curiosity, how large is the writing team at your site?
T: It’s varied over the years, currently it’s 5 other writers and at one point I had 7. Typically they write a few times a week, but I post multiple times a day.
H: Are you currently looking for additional team members? If so, what should those interested in contributing to your site do to apply?
T: Sure, I can always use writers or people interested in marketing. All you have to do is email me (osfeditor@gmail.com), tell me a bit about yourself, music you love or currently enjoying, and a bit of your experience. Simple as that!
H: When you were first starting off, who were some of the first labels/publicists to give you a chance and/or take you seriously in the music industry?
T: There were very limited interest from labels at first, but PR people were there from day one. The one I recall really reaching out first was the Planetary Group, who still send me things today via email and to my home. Really nice group of people right there.
H: What advice would you offer to someone reading this now who may be considering pursuing a career in the world of music journalism/criticism?
T: Just go for it. It’s a crowded market, but it doesn’t mean you shouldn’t give it a go. If you are really passionate about it reach out to bloggers or others in the industry. Sure some will ignore you, but others are also willing to share some knowledge if they sense your passion and enthusiasm.
H: You have featured a number of up and coming artists on your blog, in addition to national headliners. Where do you turn when hoping to discover new music, and what should indie artist looking to appear on your site do to get your attention?
T: There are a ton of places I discover new music. One being my email, I get sent 150+ a day and while plenty are not my style, there are always a few gems in there. Soundcloud has been a big one too because it plays similar songs to something you just listened to or the artist shares tracks of other artists they like. And I occasionally find some great material from other writers out there.
An artist can grab my attention by an original email, not some mundane robot-like paragraph. it’s more personable and you can get a better sense of the passion they have for their craft.
H: When it comes to receiving music for review/feature consideration, which digital distribution services do you prefer and why?
T: I like Soundcloud, Bandcamp, and Audiomack. They all have clean designs and are easy to embed when we create posts, which is perfect for blogs.
H: How many articles do you write in a week?
T: I tend to write 4 a day, and maybe like 2-3 during the weekends. Typically it will be between 20-25 a week.
H: What are your current career goals?
T: Currently I’ve been interesting in doing more freelance/consulting work in the music/entertainment industries. Whether it’s social media, marketing, blogging, design, or A&R related things. Trying to get as much experience as I can.
H: What are your goals for the site, and how have those goals changed since launch?
T: I would love to keep seeing the site grow. I’ve had my ups and downs with it (almost quit back in Summer), but I’m glad I stuck with it because I would miss writing and interacting with the music industry. Before it was just a place for me to share music and my friends to check out, now I have more of an audience so I keep them in mind as well.
H: If you could change one thing about the music industry today, what would it be?
T: I’d say some labels pushing generic sounds out there for a quick buck. It’s no wonder there is a decline in album sales (Besides the Internet causing that as well) and that many artists are getting their music out there without a label. Look at Macklemore winning Grammys as an independent artist. I think a lot of labels need to rethink their strategies and many are starting to realize that.
H: Who is one artist you think is severely underrated?
T: That’s a tough one because there are a few I could name, but I’ll go with Jhameel on this one. He’s grown tremendously since he first reached out to me back in 2010, but deserves so much more attention. He’s a singer, songwriter, multi-instrumentalist, choreographer, and a generally interesting artist. Think Michael Jackson meets Prince meets modern pop.
H: What can we expect from your site in the remaining months of 2014?
T: We’ve rolled out a new feature to get College radio stations involved with our site. We just started it so hopefully more will get on board in the next few months and this potentially could be a great feature. Otherwise, great content will continue and hopefully pushing more great artists to the readers.
H: Okay, I think that covers everything. Before we go our separate ways, do you have any finals thoughts or observations that you would like to share with our readers? The floor is yours:
T: If you are thinking about starting a music blog, just do it. If it’s on your mind go for it because many bloggers are friendly and willing to help with questions you might have. I’ve learned a lot along the way, made plenty of connections, and realized this can be a great resume booster. I’d like to thank anyone who visits the site daily or even if it’s only one time, I’m still surprised people actually have such an interest in my site. I also want to thank anyone who has written or is writing currently because they enjoy the site and love music as much as I do. We all have busy schedules but they still make time to work on posts and emails. Also, I’ll be launching a lifestyle and culture site in late Spring called THVT GOOD, check it out!
Hello and welcome to a brand new week of music industry advice and insight on the official blog of Haulix. We have been preparing all month for the days ahead, and could not be more excited to finally share the content we have in store with all of you. From interview to advice, everything you love about this blog will be making an appearance in the very near future. 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.
There are many types of music critics in this world. Some people love to hear themselves talk, others feel they have a mission to prove one genre is better than all the rest, and still others critique for the sake of finding the best music anywhere in the world. Genre does not matter. Age does not matter. If they have an audience, these critics want to know why. They dedicate themselves to the pursuit of the most memorable, catchy, infectious, and downright unforgettable audio offerings ever created. They are a rare breed of writer, and we are fortunate enough to have one of their brightest minds with us today.
For the better part of the last three years Daniel Gallegos has served as founder, editor, and sometimes photographer of The Dread Music Review. The goal of these efforts has not been to preach about one genre of music, or to say one group is better than the other, but to show the world all music is awesome and worth hearing. Through music reviews, live coverage, editorials, and little bit of everything in between, Daniel explores the wide reaching world of music so casual listeners can enjoy the latest greatest offerings from around the globe. His mission is one we applaud, and we are honored to have him take part in this series.
If you would like to learn more about Daniel Gallegos and the efforts of The Dread Music Review, please take time today to follow the site on Facebook. additional questions and comments can be left at the end of this post.
H: Please tell everyone your full name, job title, and the site you’re going to discuss with us today:
D:Hey James! My name is Daniel Gallegos, owner, writer, and sometimes photographer for the DreadMusicReview.com.
H: Thank you for taking the time to speak with us, Daniel. I’m excited to learn about your journey in this business. Tell me, has music always played a major role in your life?
D: My father always told us ‘Music is the voice of the universe’, He was very musically talented and ensured music was always a part of our lives growing up.
H: Who was the first artist you can remember obsessing over, and how did you initially discover them?
D: I believe it was 1985 or maybe 1986, RunDMC broke the music barrier by covering Aerosmith’s ‘Walk This Way’ which came up randomly on MTV. I ended up not only learning every single song by RunDMC, but also Aerosmith, and began to understand how diverse the world of music really was.
H: Do you remember the first concert you attended? Go on, tell us a little about that experience:
D: The first memorable concert i went to was the Rolling Stones Steel Wheels Tour, in Los Angeles at the Los Angeles Memorial Coliseum. We had flown from Albuquerque to LA just to see the Stones play. It was a fast unplanned weekend trip my dad put together in just a few days, because he wanted me to see one of his favorite bands while they were still touring. The Stones played 3 shows in 3 nights, we were there for two of them, i believe this was back in 1989. I actually spent that Halloween on the beach with my ears still ringing from the concerts.
H: We’re mainly here to discuss your working in writing, so it’s only fair we dive into your history there as well. Can you pinpoint any formative moments or experiences you had growing up that may have steered you towards a life of music criticism?
D: I have always had a love for music, I have found that while most my friends growing up stuck with listening to one genre, or style of music, i always wanted to hear, and experience more. I was the kid always flipping through the stations, looking for the songs that felt right, and sounded perfect.
H: Where did you get your first taste of writing professionally?
D: in 2008, I was photographing events for the now defunct ArizonaReview, taking photos for Nubia Calvillo’s articles. We actually sat down after one event, looking over my images and discussing how we wanted to place them in a way that told their own story along with hers. I sat down and wrote out what i saw, and how it made me feel. from that point on, writing about shows just became an obsession.
H: Onto the site. Would you please tell us the origin story behind Dread Music Review? You are, after all, known by many as ‘Mr. Dread.’
D: I spent a very long time wrestling with the decision to make my own site. Running a website is hard work, and takes a degree of dedication that is incredibly amazing to maintain. I had spent months looking for companies i would like to write for, but i couldn’t seem to find anything that seemed to resonate with the non-biased form i had grown to love in the ArizonaReview. I discussed making my own site with some writers, photographers, PR agencies and labels and decided to push forward with the idea of launching a site, with the goal of not just sticking with one genre of music, and to be open to all forms of musical expression. While brainstorming ideas, one of my phone ringtones went off, it was a sound-clip from “The Princess Bride”, so i looked at that movie for inspiration, and went forward with the Dread Music Review name.
H: We should address the nickname. When did you first begin using the pseudonym Mr. Dread?
D: That credit goes to my daughter, Bonnie, after discussing the name I had chosen for the site, she began calling me “Mr. Dread” and it just stuck, so i integrated it into the DMR.
H: What were your initial goals when DMR launched, and how have they changed or evolved in the years since?
D: The goal of the DMR has always been the same: we want to share with the the world all music. The goal isn’t to preach about one genre of music, or to say one group is better than the other, its to show the world all music is awesome and worth hearing.
H: How would you describe the content offered by DMR to people who have never visited the site?
D: I would have to tell them that we are lovers of all forms of music, and share all that we can, and if they check out our site, they will more than likely find something that will be interesting to them.
H: The competition in the field of digital music journalism has ballooned in recent years. What do you feel sets DMR apart from the rest of the sites vying for clicks?
D: I do my best to find local writers and photographers for events. I have found that if you invest in local people to go to shows and events and to take photos and write reviews, they bring their own cities/colleges and areas with them to the site.
H: Looking at the site now, I notice that you have pretty much no advertising whatsoever. Have you attempted to monetize that site at all? If not, do you have plans to do so in the future?
D: I have wrangled with the idea of selling advertisements, and even using resources like Google ads, or other pay per click ad banner companies. But, so many sites already have all the same advertisements and banners and “click here"s and pop-ups. I have found that ads distract from the content. I want DMR readers to read about music, and events and check out artists, not wrestle with ads. As much as i would love to see the DMR make money via ads, i would rather have a clutter and ad free environment for our readers. In the future, i would like to be able to offer concert and event tickets, and even work in advertisements for our DreadMerchStore, but at the moment it just seems like a bad idea.
H: Besides traffic and continued access to press materials, how do you measure the success of your efforts with DMR?
D: I went to a show in Phoenix, Az, a local band was on stage, and they actually told the crowd about the awesome interview their drummer had given to the DreadMusicReview. The pride in the knowing that band recognized the DMR onstage and was excited about being featured in it has been the standard of how i measure the DMR’s success. we dont do it to be "successful”, we do it to help the artists get out there and become just a little bit more well known.
H: What advice would you offer to up and coming writers who are currently considering a career in music joualism/criticism?
D: Keep at it. Set some goals and don’t stop until you reach them, then make some more and keep that train rolling. Always follow up, even if it is days or weeks later, keep communication going; Your career and that of the artists you feature are dependent on how well you communicate with those in your industry.
H: When it comes to receiving music for review/feature consideration, which distribution platforms do you prefer and why?
D: I have found Haulix to be an absolute godsend! I get an email from a band or PR agency with a Haulix link to content from the band and everything i need is right there at my disposal. I sometimes get links to soundcloud, or other music sharing sites or even just youtube, but being able to have everything bundled up and readily available saves so much time.
H: Beyond continuing to develop DMR, what career goals have you set for yourself?
D: I plan on expanding the Dread family, i have recently started a new project, the DreadMovieReview, still in its infancy and beta stage, along with a band merch site to offer products to artists to sell to their fans at wholesale prices.
H: Is there any area of the music industry you have yet to dabble in that interests you? On the flip side, are you active in any areas we may not have discussed in this interview?
D: Eventually, i would like to move into the PR aspect of the music industry, there are so many awesome PR agents out there that have taught me so much, and some that go above and beyond, like Tom George from Fixit, or Mike from Earshot, they are always there for whatever us writers need. I would love to learn as much as i can from their side of the industry.
H: If you could change one thing about the music business, what would it be?
D: I would like to see less festivals and more intimate events. But there is such a demand for festivals, it would be along time coming to see that kind of change.
H: There are a number of young artists reading this who hope to one day be featured on sites such as yours. What advice would you offer them on advancing their careers in the modern music landscape?
D: Get yourself out there, submit your music and bios to every site you find, and network as much as you can, the friend you meet today could be the person hyping your record to all his friends tomorrow! Also, invest in a good PR agency. They will help you reach as many potential fans as you can.
H: Looking ahead to the rest of 2014, are there any major changes or evolutions coming to DMR? Tell us what lies on the horizon.
D: I am planning on bringing live concert streams to the DMR in June, hopefully streaming EDM festivals as well. My goal is to have the DMR be the place to go to for up to date information on new and current artists.
H: Okay, I think that covers everything. Before I let you go, do you have any final thoughts or observations you would like to share with our readers? The floor is yours:
D: The best thing i can say is always move forward. Plan ahead and you will come out ahead.
