Video is playing an increasingly important role in music discovery, which means you could be one clip away from stardom.
Like it or not, creating great video content is key to succeeding in music today. The digital generation has embraced visual media far more than their parents, in part because of how easy it is to access, and that trend is likely not going to change. Video is everywhere. You can watch countless hours of visual entertainment for free with just a few clicks anywhere on the planet, with thousands of additional hours of content being uploaded every day.
YouTube consistently ranks as one of the top places to discover talent, which means a great music video could be your key to breaking away from the competition. But how much do videos cost? Indie Mogul may have the answer.
In a new video shared to their YouTube channel, the team at Indie Mogul sat down with a music video producer who has worked with a variety of talent to examine the cost behind three recent viral videos. The producer explains how the videos were made, how much time they required, how many people were likely involved, and sheds light on the cost associated with each clip.
The big takeaway is that cost does not equal quality. No one can guarantee a music video will perform well, nor can any amount of money spent. Successful music videos require a great talent, a great song, and a great team of people working together to create something that has an intangible quality of uniqueness. The clip, for lack of a better phrase, needs to captivate viewers.
Watch the full video from Indie Mogul below. If you want more video content related to life in the music business, head over to our YouTube channel and subscribe today.
Finally, a streaming service solely focused on music videos has debuted in the United States.
The internationally popular music videostreaming app XITE has made its official debut in the United States today, March 12. The free service, which is now available on a number of major platforms, arrives with a catalog including all three major labels — Universal Music Group, Sony Music Entertainment and Warner Music Group — as well as indie labels and distributors like Beggars, EMPIRE, PIAS and Armada.
Already available in Europe, Canada, and the Middle East, XITE is a Netherlands based company that launched in 2008. The 24/7 music video streaming app has been quietly rolling out on Comcast X1 Infinity, Apple TV and Amazon Fire TV over the past few days and weeks, with Roku availability coming soon and mobile and tablet availability scheduled for arrival the second half of the year. The official launch happens on the same day as the start of SXSW Music 2019 where the company will be participating in numerous events, including panel and mentor sessions.
XITE differentiates itself from other video streaming platforms by focusing solely on music videos and exclusive performances. The service allows users to favorite and skip videos; create new stations and playlists by genre, era or style of video; and adapts to users’ preferences based on watching and liking history. There are also dozens of XITE curated playlists to enjoy as well, some of which are highlighted in a video released to celebrate the platform’s launch in the United States.
“Music videos continue to dominate overall music streaming, and we see an enormous opportunity to bring a beautifully designed, pure-play music video service to the U.S.,” said co-CEO/co-founder Cees Honig in a statement. “We’re excited to give U.S. music fans a new way to enjoy music videos, the way we have for millions around the world.”
XITE is currently free to use, but a premium service is planned for later in 2019. Details of the premium service and pricing have not been revealed.
U.S. GM Shelly Powell added, “XITE is all about giving fans the best possible way to experience music videos — on the biggest (or smallest) screen in the house — whether they’re leaning back and enjoying a playlist created by our expert curators or making their own personalized channel.”
Not long ago a friend of mine wrote an article on the legacy of a now defunct rock band called Scary Kids Scaring Kids. Reading their post brought to mind some of the amazing videos the band created, which lead to me wanting to see those clips again. After multiple searches, some including the term ‘HD,’ the best version of their videos I could find was this:
A little rough, right? And this is a music video that received a lot of recognition when it was released. Can you imagine how rough non-signature videos are being treated in the digital age? I continued searching the internet for a higher quality version of the video, but eventually realized my only option was to skip the clip altogether or settle for the video above. I settled, and I’ve been kicking myself a little bit ever since.
Call me crazy, but in an age where essentially every song ever recorded can be downloaded in less than fifty key strokes I can think of no reason for the history of music videos to be so poorly preserved online. YouTube is now the number one method of music discovery, and more importantly there is money to be generated from viewers having access to your entire video catalog. Streaming is a growing part of every label’s revenue stream, and to not take full advantage of that feels like a missed opportunity. Labels lose out on potential income, artists miss an opportunity to have their music introduced to potential new followers in the best quality possible, and fans miss out on the ability to experience these clips the way they were meant to be enjoyed.
Ever since the age of social media every company seems to have found a new level of respect for how people view their image, so why do so many artists and labels allow themselves to be so poorly represented in the video marketplace? Whether the videos are never uploaded in the first place, or if they were uploaded years ago and never updated as the capabilities of YouTube evolved, there are countless examples of poor respect for video content in music industry. One excuse may be that studies today show the lifespan of new videos decreasing rapidly, but I do not believe that rule should be applied to clips involving music. People connect with music in a way that is completely different from every other form of art, and even though the way you’re receiving the audio may originate from a video the connection being made is still just as strong as if the song were coming from your stereo. People use music to set the mood, keep them company, motivate them, lift their spirits, and a million other reasons in between that keeps them coming back to the same artists and tracks over and over again for years.
Music videos do not have the same characteristics as most viral videos, but many do possess the potential for high virility if marketed correctly. Music videos, like great songs, are something people will share with friends and family for years to come. When future generations study the music of the past, videos will play a large role in understanding not only the song, but the culture that inspired it. That is, after all, what music videos represent. Whether or not you want to admit there is no denying the influence Miley Cyrus has had on pop culture in 2013, and a large reason for that impact is owed to her music videos. “We Can’t Stop” presented the reinvented Miley to the world, and within days the clip racked up tens of millions of plays. “Wrecking Ball,” which followed a few short months later, did even more impressive numbers while featuring a far more naked Cyrus. Some of us laughed at the clip, others found their new pop idol, but regardless of where you stand the song changed how you viewed the world. For days, if not weeks after you and friends joked about Miley, her twerking, and all the teens online tryingtocopy their newfound heroine. Her album, Bangerz, did none of that, and almost soon as it hit shelves it was no longer part of the conversation. That’s not a slight against Miley, but simply listening to her ‘wild new style’ is not enough to generate the type of headlines made from singing the same material whilestraddling construction equipment in the nude. The album may (probably) be forgotten, but the videos live on for as long as sites like YouTube exists, and they will continue to be a topic of conversation every time someone talks about culture in 2013 until the end of time.
In an effort to be completely honest I feel I must admit to be a child of a generation who grew up with shows like MTV’s Total Request Live dominating their after school activities. As someone growing up in a small Midwest town, videos were my window to the world, and I believe they can still serve that purpose for millions of people today. Yes this includes videos currently being released, but without preserving and taking the time to appreciate the visual content of the past we’re missing out on a big part of our shared cultural history that deserves far more respect than it has ever been given. Remember when fans of rap started wearing their pants backwards in the early 90s? Music videos taught them that. The “Thriller” dance you see people perform at weddings? Music videos taught them that as well. Twerking? Well, you get the point.
We live in an age where the history of almost everything is available within a few clicks, and as we continue to move forward technology will only grow more advanced, with video content leading the way we engage with the world around us. Labels and artists taking the responsibility into their own hands to upload and maintain older video content is going to be key to preserving the history of music, and it would be a shame to see the countless music videos that once entertained millions lost in the digital shuffle.
With the digital age giving us that ability to explore the world of music from the comfort of our own home there is no longer any denying the importance of strong visuals. Having great videos and photos can make the difference between someone clicking on your band or someone else, and the ability to become great at crafting strong visual accompaniments to your music is entirely within your means. It takes time to refine your talent, of course, but with a little hard work you can begin separating yourself from the throngs of aspiring full time musicians with slick visuals that help take your career to the next level.
Today, we are excited to share a guest piece from My Body Sings Electric, which is one band that knows all too well the power of having strong visuals. We have been blown away by their work, both in the studio and through the videos they release, so we felt they were the perfect people to speak to the growing importance of a imagery as it relates to a career in this industry. You can read their thoughts below.
As a musician, it’s a struggle to grab anyone’s attention long enough to listen to a three minute song. We’ve all become so attached to the tiny screens in our pocket that we’re always distracted. We prefer to tap around the apps on our devices while listening to music at home or at a show rather than truly immersing ourselves in the experience, and it’s making it more difficult for musicians to build their fanbase.
Today’s music industry is an economy based on attention rather than dollars. Nobody buys your $8 albums but everyone has a brand new $900 computer in their hand — go figure.
Bands used to compete for shelf space at the local record store, but now they battle against Buzzfeed’s mind poison, Facebook posts from grandma and the potential for partial nudity on Snapchat.
In the last 30 years, humanity’s preferred communication method has shifted away from listening and speaking to almost entirely communicating via visual media.For musicians, it means the very fruits of our creative endeavors exist in a medium that is going the way of the dodo. Soon our ears will have evolved into direct ports for our brain computers.
So you’re in a band? Good for you, but let me tell you something: nobody cares, especially not me. Nothing is cool.
It’s not because I’m an asshole (I am), it’s because I’m your average, everyday, run-of-the-mill, lizard-brained, idiot human being. I’m primitive, I don’t think for myself, and I have access to billions of photos and videos at my fingertips. How the hell are we supposed to get anywhere in the music business if it’s so hard to win anyone’s attention?
Here is my best advice – as a fully-grown manbaby who has wasted his entire adult life and all of the boundless potential that exists in the richest country in the world in order to drive around in a shitty van with his buddies: you need a stellar visual element involved with everything that you do.
Song Teasers & Lyric Videos
Time to release a new song? Use YouTube over Soundcloud. Create a series of teaser videos with photos from the band to build the excitement. Then, release your music using a photo slideshow or a lyric video. Keep it simple, but keep it visual.
Music Videos
You don’t need to break the bank. You have an iPhone that captures 4K video and iMovie is $5.00. Think of something that is simple to shoot, but has a big impact from a visual standpoint. Colors and movement are the keys to a good video. And remember, if you go setup in a field and pretend to play a live show, there is no hope for you or your stupid band.
Snapchat / Vine / Instagram
It’s no secret that Facebook pages are turning into flaming hot piles of garbage and Twitter is imploding under the weight of its own incompetency. The masses (not just the kids) are moving toward more visual platforms. Use them, and get good at them. There are kids who sing 6 second covers on Vine who make more money than your parents.
Live Shows
During your live shows, it’s your job to create something more visually interesting than whatever your fans can find on their phones. The reason EDM is so popular right now is partially due to the insane light displays, but you don’t need that kind of budget. You can think of a simple, but effective way to incorporate lights into your performances.
If lights are beyond your means, you can start with the basics. Make sure you are moving! You are the most important visual element in your show, so shake your money maker.
Lastly, make sure your group looks the part. If your bassist insists on wearing Jnco’s and a weed leaf t-shirt to your indie shows it’s time to find some other mouth-breathing high school dropout string plucker to fill his or her place.
Brandon Whalen sings for My Body Sings Electric, owns a cat, and works as a freelance marketing consultant to fund his impoverished lifestyle as a musician.
We have written at length about Snapchat and the way its ability to instantaneously share messages that will self-destruct moments later can be leveraged by artists to grow their fan base, but like all good companies with a heart for music the social application is still finding new ways to help artists engage with their followers. Good on them.
This week, Snapchat unveiled plans to begin working with musicians from all walks of life to help expose their talent to the world through the platform’s recently-launched ‘Discovery’ effort. The first group to be featured is Goldroom, who will release four music videos on Snapchat, each made with the company’s involvement and shot in a way that takes advantage of how people hold their phones. This means the videos will not be shot like classic TV shows or movies using widescreen framing, but instead each clip will make use of vertical, or ‘portrait’ format. You know, like all those live videos on YouTube you hate to watch because you can only see 1/10 of what is going on.
If that name Goldroom rings a bell, it may be due to the fact Snapchat collaborated with the same band nearly two years ago in order to rollout the company’s ‘stories’ feature. Here’s a quick refresher:
The first clip for this campaign, “Embrace,” will be released next Tuesday, May 26, followed by another clip each day through Friday.
Josh Deutsch, CEO and co-founder of Downtown Records speaks highly of the partnership saying:
“Snapchat is a powerful content distribution platform and we are excited to partner and share these beautifully shot videos, designed mobile first, with fans around the world. As music discovery has become more fragmented, the Snap Channel takeover is an innovative way for us to introduce Goldroom to a young, engaged audience.”
The New York Timeswrote at length about Snapchat’s decision to dive into the world of music videos earlier this week, and in their article there is some discussion about what this move, as well as the launch of the company’s ‘discover’ tool back in January, may mean for the future of content consumption:
In January, Snapchat introduced its Discover feature, offering bite-size content from major media partners like Warner Music, Vice and ESPN. Peter Hamby, a CNN correspondent, announced last month that he wasjoining Snapchat in a journalistic capacity, and even the television star Sofía Vergara recently said she would do a reality show on the platform.
All of that, analysts say, suggests that Snapchat has landed on a formula that it believes can help media companies capture the attention of fickle young viewers.
“We’re living in a world where consumers feel they can get online content anytime, anyplace,” said Richard Greenfield, a media analyst at BTIG Research, “but what Snapchat has done is create urgency with content that only lasts 24 hours.”
Snapchat, based in Venice, Calif., has become one of the hottest technology companies, raising more than half a billion dollars and last valued by its investors at more than $15 billion.
We have been talking a lot at HQ about the decision to premiere videos via Snapchat, and I think the one question we all have is how exactly the company plans to scale this tool in a way that will have a meaningful impact. If everyone can upload a music video, then the platform will be just as crowded as ever. At the same time, if Snapchat only allows this features to be used by artists directly collaborating with the platform the question becomes whether or not the company will be open to all types of artists or only those that play well with their brand/image. An artist like Goldroom is buzzworthy enough to make the company seem like it cares about developing talent, but whether or not they will continue to work with mid-level artists remains to be seen.
Like anyone working in music today, we welcome any business that wants to put time, money, and effort into promoting great talent. That said, we also want to see the focus of those companies remain with developing acts, and so far Snapchat hasn’t been all that transparent with their plans moving forward. A tool like this could easily become something embraced by artists on the same level as 5 Seconds Of Summer or Nicki Minaj, but can we say the same about someone like The Wonder Years? Only time will tell.
Hey there, everyone! Thank you so much for carving a little time out of your busy schedule to spend a few minutes browsing our blog. This post is actually a guest piece, developed and written by Chris Jahnle from Kill/Hurt Records. It’s about how one band on his label, Ivory Deville, found great success and exposure by leveraging their live show in a unique way. It’s a simple idea, but the results were far greater than even we could have anticipated. If you’re in a band, please consider this article a ‘must read’ in the days ahead.
This site 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 onTwitter and Facebook.
My name is Chris Jahnle and I run Kill/Hurt Records, an independent record label based in Los Angeles, CA. I’ve been in the music industry for 10 years as a musician, audio engineer, and working for record labels of all sizes. My main area of expertise is digital marketing and web development. I worked at Interscope Records and the Collective in that capacity before starting Kill/Hurt and my own web development/digital marketing company.
At Kill/Hurt we work with a number of artists, but I’m here today to discuss Ivory Deville in particular. The band is a non-traditional 5-piece blues-rock honky-tonk party machine that has a stellar live presence and consists of:
Johnny Elkins: Lead Vocals/Guitar
Tia Simone: Vocals
Laura Marion: Vocals
Wolf: Bass
Ryan Wykert – Drums
I came across these guys about a year ago and thought they were phenomenal – their live performance knocked me out of my shoes. Pretty soon we had their debut full-length record on our hands and the unique challenge of translating the essence of Ivory Deville arose. As with all album campaigns focusing on new artists, the biggest hurdle is separating the band from the noise. We knew we wanted to have a side conversation with those interested and bring them into Ivory Deville’s world.
After a more traditional PR campaign coupled with email marketing outreach and digital marketing, we had some great momentum going for the new record, but needed something to take us into the new year full speed ahead. Since the band is made up of naturally visual artists, from their clothes to their on-stage facial expressions, really cultivating that full experience was the perfect call. We had some great press photos, but Dave Bell and Jake Cotler, Ivory’s management team, had the excellent idea of putting together a 1-day shoot and have the band come perform 4 songs off the album in a full-on stage production that showcased the band’s excellent live performance capabilities, their unique style, and of course their amazing facial expressions and dance moves!
The way the videos setup the band was perfect, especially as they were heading into their first month-long residency. The live videos were an excellent tool to promote the record as well as their actual live shows. By the end of their residency, we are continuing to build momentum and the band is stepping up to some bigger shows as a result. We still have the last video; so I think that will come in handy as we’re building buzz online and selling tickets. What worked so well about these videos was the band being the perfect fit for it and their management team’s deep knowledge of the band’s identity. Figuring out the best way to have that side conversation and doing it in a way that expands the band’s artistic presentation is the real takeaway. Then it becomes creative and it’s no longer “marketing” – it’s an extension of the band’s world.
Hey there, everyone. Thanks for taking a few moments out of your busy schedule to browse the Haulix blog. The post you’re about to enjoy was created by friend and longtime contributor Andrew Jones, founder of The Checkered Owl. If you enjoy what you read, please make it a point to support Andrew and his ongoing efforts when time allows.
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.
As you may be aware, Facebook has decided to make a major play for the online video market and it has the potential to shake things up considerably. They have certainly given MUCH more priority to their video than external links, but does that make much of an impact? Can they defeat the mighty YouTube? As this heats up I decided to run some simple tests to see how things shake out. There is no 1 simple way to test engagement so I tried a number of things with different pages (of varying sizes and engagement), after describing the tests, I’ll share some conclusions:
TEST 1 – Lyric Video:
First I posted this video on YouTube, I spread the word through all the usual ways: tweets, e-mail blast, facebook posts, etc. The FB post alone ended up being exposed to almost 2,500 people, however the video sits on YouTube with just under 200 views…not massive by any stretch.
Next I posted the same video on Facebook (keep in mind we have already shared this once before), The post reached a little over 1500 people. This is where Facebook’s data gets a little confusing, the stat they love to show is that the video received approx. 600 views. HOWEVER this is just anyone who saw some tiny part of your video (and includes as far as I can tell, silent auto-play), the drop off rate is REALLY high, as in only 139 people watched after 30 seconds. I would guess those are around the same 90 people who actually clicked to watch and heard the audio. Compare that to the 80% of people who were still engaged long after 30 seconds on YouTube.
TL;DR: Facebook video views look good, but are inflated.
TEST 2 – Live Perfomance Video:
New Page. I posted a fairly simple 2 angle video of live song, didn’t post on YouTube, kept it exclusive. Was happy to discover I could embed the FB post in wordpress, less impressed to discover I couldn’t use the embed code in Mailchimp. So the sharing options were pretty much limited to FB, website and places you could post a straight link like Reddit (as compared to YouTube that you can embed ANYWHERE). 30 shares and 7000 organic reach later, I’m ready to confirm FB is favouring their native video in people’s newsfeeds.
So let’s dig in and check out what percentage is jus un-clicked auto-play. Of the 3,500 views Facebook reports, 900 or so appear to be actual engagement (sticking for longer than 30 seconds), but the drop off rates are still really high compared to YouTube videos. To compare, a similar video by the same band on YouTube has about 400 views with an Audience retention of 80% at 0:30
TL;DR: Facebook does spread videos far and wide, but be wary of the stats
Test #3 – Full Music Video
New artist again. I recently directed a music video for a brand new artist with a fairly limited fan base (approx 1000 FB fans at the time of launch). The artist is still developing their channels, so sharing was pretty much limited to FB, however people really got behind the video. Over 200 shares later, the post had an organic reach of over 30,000 and has brought in a lot of new facebook fans. The views on YouTube are a little north of 3000 with an audience retention of over 90% at the 0:30 mark.
TL;DR: We are safe to say YouTube videos can still be effective on Facebook and elsewhere
CONCLUSIONS
After these and a few other small experiments, I can safely say…we don’t yet know how this will play out. Facebook is certainly ranking their content higher and make it SEEM like they are getting tons more views (see their recent 1 billion views stat), however the majority of these are scrolled by auto-plays. They have some new features coming to their video pages soon (featured videos, playlists, etc.) that may change things, but for now the posts are still very time-sensitive and nothing that is likely to suddenly get new attention in 6 months (which YouTube videos do regularly).
You can’t ignore FB video. It’s coming aggressively, but at this point…I’d lead with your best stuff on YouTube, and post little fan engagement teasers on FB
This post was written by Andrew Jones, editor of Checkered Owl. It originally ran on his blog, but we loved it so much we felt it deserved to shared once more on ours. If you like his work and want to read more of his writing, or if you want to be super cool and offer him full time industry employment, reach out and connect with him on Twitter.
Hello and welcome to the final industry spotlight of the week. We have been fortunate enough to speak with a number of professionals from across the industry over the last year, but it was not until this particular feature that we were able to speak with someone doing their best to become a professional in the field of video journalism. Their unique perspective on music today and where it’s headed in the near future allowed us to see the business as a whole in a new light, and we hope his words will have the same impact on you. If you have any questions regarding the content of this blog, or if you would like to learn more information about the services offered by Haulix, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
We talk a lot about the importance of finding and securing internships while still in school, and the person at the center of today’s post would probably tell you it is because of their experience at internships that they became the person they are today. Derek Scancarelli, otherwise known to the digital world as ‘Skank Jones,’ has spent the past half decade preparing for a full time career in music that he continues to pursue today. He always knew journalism was something that fascinated him, but it wasn’t until he spent time at newspapers, labels, and eventually tv stations that he discovered his true passion resided in creating visual stories worth sharing with others. Now, through unpaid writing and occasional freelance work, Derek is finally starting to find traction in the business he has wanted to be a part of the majority of his life. In the interview below he shares how he reached this point, as well as advice for others hoping to find their own path in music.
I met Derek a little over a year ago, and I knew from the first time we interacted that he was going to do big things in the music industry. In the decade I have been working in various areas of this business I have only met a handful of people as driven and focused on success as Derek, nor many who have nearly as much fun working as he seems to when compiling questions or footage for publication. Everyone gets into this business for their own reasons, and I do not claim to know every motivation Derek has, but I know for a fact his heart and mind are in the right place. He’s not here to make money or become famous, though I am sure he would love both. Derek is in this business because music has been his best friend for longer than he can remember. He loves art and loves to help artists share their work with the world, regardless of genre. He might not be a household name at this point, but I am certain he will reach that level of recognition as long as he stays on his current path.
If you would like to learn more about Derek and his adventure in music, please take a few moments to follow him on Twitter. Additional questions and comments can be left at the end of this post.
H: Hello and thanks again for joining us. Please take a few moments and introduce yourself to our readers:
S: My name is Derek Scancarelli, I am a multimedia journalist based out of New York. I tend to specialize in live music and entertainment, but have dabbled in almost everything. Currently, I produce original feature content for Under The Gun Review. I produce videos, photography sets, and conduct countless interviews.
H: I want to address your name right away, and then we can get to everything else. I’m told your real name is Derek, but everyone online seems to refer to you as ‘Skank Jones.’ What is the story behind that moniker, and how did it originate?
S: My last name is Scancarelli. Growing up I didn’t mind being called, “Skank,” it was happening whether I embraced it or not. When I was younger and the rapper Mike Jones released the track “Back Then,” and a bunch of my friends started calling me “Skank Jones.” It sort of stuck.
H: Do you ever see yourself moving away from that name with your writing and video efforts?
S: I’ve branded my logo and photography page based around the name D. SKANK PHOTOGRAPHY. It’s unique and memorable. No, I don’t want my byline in Rolling Stone or any legitimate publication to say “Written by: Skank Jones,” but for now the logo will be slated in all of my video work and appear on my photos. If you looked at any of my Under The Gun Review work, it will always say it was written/produced/etc by Derek Scancarelli.
H: Okay, let’s take a step back and look at your early years with music. When you think about your childhood and the songs that served as your soundtrack, what memories comes to mind?
S: I bet this is a question that everyone fumbles on. The first records I’ve ever owned were The Monkees and Steppenwolf. Don’t ask me why, but I was born to be wild. When I was young, my father would always rock out with me to bands like Pink Floyd in the car. When I started playing Tony Hawk video games is probably when I fell in love with punk music. THPS2 came out in 2000, I was 9 years old. It had Public Enemy and Anthrax, Swingin Utters, Lagwagon, Bad Religion, Rage Against The Machine. Dave Mirra Freestyle BMX came out that same year. It had Rancid, Sublime, Social Distortion. Those were eye openers. I also remember winning a Blink-182 single sampler at an elementary school carnival. The sampler had two tracks, “All The Small Things” and “M+Ms.”
H: Who was the first artist/group you can recall falling in love with, and how did you originally discover them? Bonus points if you include an early ‘fanboy’ moment.
S: In 2003 my father brought me to see Iron Maiden, Dio, and Motorhead at Jones Beach. That one probably changed my life. I’ve seen almost every NY appearance Maiden has made since. They have such a grandiose level of international success, it baffles me.
My biggest fanboy moment would be in 2006 at Ozzfest in NYC. I ran into some friends who had some ridiculous connection to Ozzy’s manager through a travel agent. An hour later, I went from getting sun poisoned to meeting the Prince of Darkness himself. I put out my right hand and told Ozzy it was an honor to meet him, I’m pretty sure he grabbed my thumb with his left hand and just flopped it around. I look like a complete child I’m cheesing so hard in that photo.
H: Who did you see when you attended your first concert, and what can you remember about the experience? Go on, paint us a word picture:
S: I went to my first concert with my buddy Chris and his uncle. He’s actually an NYPD officer now, am I old or what? It was at a venue in Plainview, NY called The Vanderbilt. It no longer exists, but I’ll never forget that night. We saw Hoobastank, Blindside, and Greenwheel. I was in the 6th grade and had a 103 degree fever, but I insisted on going anyway. Not exactly the most badass first show.
H: You are known more for your work in photo and video than text. When did you first notice your admiration for still images and video camcorders?
S: When I was growing up, I wasn’t infatuated with sports. Sure, I played some hockey, but that was never me. I listened to CDs and watched music videos religiously. Remember M(usic)TV? TRL? Those used to be things.
I’d watch shows like Steven’s Untitled Rock Show on Fuse and Headbangers Ball. The content always had me so interested, and then one day I realized that people get paid to make this stuff. The English language and text will never disappear, but the climate is changing. Sure, writing is a fundamental, the fundamental of journalism, but I have a passion for putting it together visually.
During college, I completed six different internships. Three were at TV stations, one was at a newspaper, one at a radio station, and one at a record label. At the newspaper office, I saw how the company was dying, despite being backed by a major printing company. I realized that the future of journalism isn’t simply in textual content.
At one of the TV stations, a mentor of mine told me that you can no longer be a “cameraman” or an “editor” or an “interviewer” or a “photographer.” He told me that if I wanted to stand out in this industry that I have to be able to do it all. That’s what I’m trying to accomplish here, within reason.
H: I’ve found over the course of this series that many professionals experience a ‘lightbulb’ moment in their youth or teen years that leads them to initially believe the music business is the place for them. Do you have such a memory or experience to share?
S: I don’t know what the exact ‘lightbulb’ moment was for me, but for as long as I can remember it’s all I’ve wanted to do. Contrary to your question, I have a lot of those moments now at 23. I think that with every successful story I write, photo I take, interview I conduct, the next light down the hallway turns on. It’s a long rocky road; but we must celebrate tiny victories. Sometimes it gets defeating and exhausting trying to pave way for yourself and doing all of this.
But every time I sit down to talk with someone that influenced me growing up, I have that ‘lightbulb moment.’ Sitting on the sidewalk and interviewing a Ramone, ‘lightbulb moment’. Jay Mohr telling the suits to fuck off and that we’ll talk for as long as we want, ‘lightbulb moment.’ Seeing an interview you conduct with the Descendents or Scott Ian go viral, ‘lightbulb moment.’
The people that do this as a career do it for the passion. I say it all the time, I could’ve gotten a finance degree and worked on Wall Street like my sister, but man, I’d be one miserable guy. Those little moments remind me why I’m doing what I do.
H: You followed high school with a trip to college. Did you study anything related to the music business?
S: Initially I went into the University at Albany as an intended Marketing major. I graduated with a Communications degree with a double-minor in Business and English. The program was media related, but not music industry related. I dabbled in every realm of media as I’d mentioned previously. I completed an internship at Equal Vision Records and also was an Arts & Entertainment Editor at the Albany Student Press. Ask any touring band if they hit Upstate Concert Hall in Clifton Park, NY and they’ll tell you that Ted Etoll is the go-to guy. I owe him a serious thank you to. He welcomed me into that venue like I was his son, whether it was for Nas or Every Time I Die. The whole staff there is incredible. I also did some promotion for a company called MASS EDMC who put on enormous electronic shows. The guys who run PeepThis were helpful as well. The Capital Region takes care each other. I liked that.
H: As someone still making their way into the business, do you feel college is something everyone should consider when hoping to get into the music industry?
S: College is necessary to get into any industry. At this point, it’s become standard. Don’t get me wrong, plenty of people have become immensely successful without formal education, but nowadays even college graduates are out of luck when it comes to employment. You don’t need to accrue hundreds of thousands in debt to have an education if you go about it the right way. Once you earn that degree, no one can take it away from you.
H: A little bird told me you may be considering some additional education in the future. Care to talk about that?
S: I don’t think graduate level education is necessary for everyone. I’ve been back and forth on the matter personally. Currently, I have an opportunity to participate in a journalism MA program that is highly competitive and ranks along the monsters such as Columbia and NYU, for a fraction of the cost. In a climate where every person that has the internet thinks they are a journalist, really learning the fundamentals couldn’t hurt.
So, I have a decision to make. As far as for everyone else, it’s a big decision. I finished college a semester early, so I can handle three more semesters. I’d also be walking away with less debt than if I were to buy a Honda Civic.
H: You’ve made the biggest impression on music through your journalistic efforts. When did you first become interested in the news side of the industry?
S: I’m always curious about the “inside scoop.” When it comes to the TMZ aspect of reporting, I’m not a fan. But looking into the history and inside the world of entertainment is exciting. You take these “larger than life” figures and have a conversation with them. Then all of a sudden, you’re not so removed. It brings people closer to the things they’re passionate about. Maybe meeting bands when I was younger made me want to pursue that feeling more and more.
H: You currently produce content for Under The Gun Review. When did you first learn of that site, and what inspired you to apply?
S: When I was in college, I had a friend named Matt Dondiego. He would contribute to the Albany Student Press and write about bands like Basement and Forever Came Calling. When I bumped into him at shows like State Champs, we discussed his other endeavors, one of which was writing for Under The Gun Review.
When I graduated college a semester early, I would randomly contribute back to the school newspaper. I couldn’t wrap my head around not putting out content. I started working at an advertising firm in May 2013 and that is exactly when I started at UTG. I couldn’t keep applying to cover events as an “Alumni Contributor,” that was getting old quick. UTG has allowed me to produce any and all content I’ve brought to the table thus far. They encourage their writers to grow and support me no matter what. I’ll always be grateful for that. Hopefully the friendships I’ve been establishing over the past year will last for many more years to come.
H: What was the application process like? Did you have an interview?
S: When I applied, I’m pretty sure I was browsing the website to see if they were looking for writers, so I sent a resume over. I included a cover page that listed a lot of the photography and interviews that I’d done in the past year up in Albany. I made sure to show my diversity, dropping interviewee names as varied as Hostage Calm, Insane Clown Posse, and Nick Kroll. I mentioned how I’d photographed Gwar and countless other bands. Versatility carries value for me, so I expected that UTG would appreciate it as well. I was welcomed onto the team open arms, there was no high-pressure interview.
H: You do a lot of on camera work. Who was your first on camera segment on, and how did it go?
S: The first time I ever went on camera, I was interning at a high school sports channel owned by Cablevision called MSG Varsity. When they were training new staff for the studio and control room, I went on camera to do a mock “Sportscenter” type show. I have some great reels. Some footage is serious, some is silly.
The first legitimately released on-camera interview I conducted was with Brandon Boyd of Incubus. The video has over 4,000 views on Youtube, so I’ll take that. I think it went well, although I wish I had better posture and didn’t fix my glasses like a nerd. One guy commented saying, “The interviewer is crap.” That’s always comforting.
I don’t necessarily like being on camera, but I think it sometimes helps the flow of an interview. It also has to do with how prepared or confident I am in talking to the particular artist. I often shoot and conduct these interviews alone, so it isn’t even possible. I don’t see myself being Carson Daly, but it’s fun from time to time to go on camera.
H: You’ve made your name known in the industry, but have you started getting paid for your work yet?
S: I was paid doing production work at MSG Varsity for two consecutive summers. I’ve been credited on television multiple times and of course, printed in countless bylines. Currently, I work full time at an advertising agency, but that isn’t music industry or really journalism related.
A lot of people have heated debates over unpaid internships and freelance work. What I can tell you is that often times you need to look at what you are getting out of an experience rather than what they are getting out of you. Obviously, I won’t be doing unpaid work forever, but my experiences over the past few years through UTG and other outlets has far exceeded the college education that I’ve paid for.
I literally just started contributing to another website, I did my first freelance gig last weekend. It’s a foot in the door and I’m very proud of the content I produced.
H: Do you feel you should be getting paid? It seems many sites and blogs do not pay contributors right now.
S: Of course I do, but logistically, that isn’t always possible when you’re starting out. I’d have my head up my ass if I didn’t understand that. It depends on whether or not the website is in the proper financial situation to pay you. As far as I know, no one at UTG is paid. If UTG could employ me full time, I would dedicate my 9-5 to it in a heartbeat. Given that the site started in 2009, it isn’t quite at that level yet.
That being said, the time and effort I’ve put into unpaid work has given me valuable life and career experience that I wouldn’t trade for anything. It has gotten me to new levels of exposure I’d never known before. Sure, sometimes it means pinching pennies or sacrificing, but anything worth working for won’t get handed to you.
H: When it comes to receiving music for review and feature consideration, what streaming services do you prefer and why?
S:Usually I prefer VHS tapes with fuzzy screens. What’s this site called? Haulix? I’ll go with that. All jokes aside, I do prefer Haulix to all of the others. It’s simple, well-formatted and subtly presented. It’s easily to stream and/or download and I know it protects the rights of artists. But getting handed a nice hard copy Compact Disc is nice too. Hey Rey, thanks for Twin Forks!
H: What advice would you offer to other up and comers thinking of pursuing a career in the music business?
S: Get ready to bust your ass. Don’t expect anything handed to you. When I first graduated college, I sat down with a mentor and television executive. I told him that it’d been a little rough trying to find a job. Do you know what he told me? He looked at me and said, “Hey. Stop acting like somebody fucking owes you something.”
It’s harsh – but it’s life. Work hard. Then work harder. Present yourself professionally but don’t be a total stiff either. Learn to make friends. Networking is key. Don’t air out your dirty laundry on public forums, and learn to accept the things you can’t change but do all in your power to change those that you can. But hey, I’m only 22, so I’m still learning. Check back in with me in 20 years.
H: What are your current goals for 2014?
S:As noted earlier, I’m in a bit of a transitional period, so that is contingent on whether or not I commit to further pursuing my education or not. Regardless, I hope to continue producing quality original content and continue to expand my horizons.
H: Thinking a bit more longterm, what are your career goals?
S: I love interviewing, I love entertainment and I love production. It’s pretty hard to find a job that combines all of those things, but at the same time it isn’t. MTV doesn’t play music, Fuse is a small network (and was bought by JLo), but we are in a landscape where all different kinds of companies are ever-expanding and growing. I’d love to be an executive producer on a show producing original content surrounding music. We’ll see. Hopefully if I prove myself one day I’ll have creative control over my own show. But we’ll cross that bridge when we get there.
H: Who is your dream interview, and why are they your choice?
S: As far as musicians go, it may seem like the easy route, but simply the greats: Mick Jagger, Robert Plant, Ozzy Osbourne, Paul McCartney, Elton John, that list could go on forever. Prince would be unreal. Eminem would be incredible.
H: What has your worst interview experience been thus far? You can omit any names as needed.
S: I haven’t had any terrible interview experiences thus far. I’ve had some bands who’ve come off really snobby or acted like they couldn’t care less. But you need to learn not to take that stuff too personally. I’ve also learned to gauge people. One the body language starts changing, they’re probably tired of talking.
H: What do you feel are the biggest challenges you face as a professional right now?
S: Right now, managing time. Working full-time is exhausting and important to pay the bills. My day job drives my dream at night, but that often means I have no time for myself. It’s kind of a Catch 22. The end goal is having a job that you love and enjoy, then at night you can have your personal time. I’ll make that sacrifice now for the end game.
H: If you could change one thing about the music industry, what would it be?
S: I don’t think one change would make a significant difference. There was a paradigm shift, and to be honest, I wasn’t involved in the industry before the age of the internet. The best way to deal with an industry that changes constantly is to adapt and move forward, not looking at the past. I wish there was an easy fix to the way the internet has made almost all content free, but at the same time, I utilize that every day. When I interviewed Bert McCracken [The Used], he compared his music being on Spotify to slavery. I don’t know if we are quite there, but I can certainly see where he’s coming from.
H: Well, I think we have reached the end. Do you have any final thoughts or observations you would like to share?
S: I appreciate you reaching out to speak with me. I’m humbled to join the ranks of the many talented individuals you’ve interviewed here. If anyone reading this has every enjoyed or viewed any of my content, then thank you for giving it the time of day. If you haven’t please check some out!
