Tag: Music Writing

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How Writers And Photographers Should Handle The Return of Live Music

live nation pandemic lessons live music concerts

Live music is back! Here are a few things music journalists and photographers should keep in mind before heading out to a show.

Can you believe it? After more than a year away, Live music is back. Concerts are already happening across America and worldwide, with hundreds more being announced every week. Live Nation, one of the most prominent concert promoters on the planet, says they will have twice as many artists touring next year as they did in 2019. That would have worried the industry a few years ago, but today, demand and excitement are at an all-time high. Fans are ready. Artists are prepared. Everyone is itching to get back in the pit and sing along to their favorite songs while surrounded by people who feel the same way they do about music. It’s a beautiful thing.

Music journalists and photographers, many of whom have spent the past year trying everything in their power to make click were the headlines from reviews and live stream announcements, are pretty excited as well. As much as writing about tour announcements and reviewing albums can be a satisfying experience, nothing compares to the thrill of covering a live show. A well-written review or beautifully captured photograph can do more to help members of the media and musicians alike than a dozen album reviews. With competition for consumer attention rising, the music journalism community is in a unique position of influence. The tours and events they cover can make or break someone’s spending decision, and that responsibility is not to be taken lightly.

But there’s a catch.

Since the first post-pandemic shows were announced, messages have circulated on social media calling for an end to guest lists. For those unfamiliar, these lists are used by venues and artists to set aside tickets for select individuals to attend a performance without buying a ticket. Spots are typically reserved for family and friends of the artist or promoter and members of the industry at large.

Here’s an example of the messaging in question:

It seems clear that the message of this tweet is for people who do not have a legitimate reason to request guest list inclusion. Artists and promoters are trying to tell friends that they would prefer they buy a ticket. Honestly, it makes sense. Before the pandemic, an artist had no reason to believe that touring, the primary way most musicians make money, would come to a halt. Artists in 2021 know that live music can disappear anytime. There is no guarantee of another tour. Artists need people to buy tickets so that they can feed themselves and pay their bills. The same goes for promoters. People have spent the last year worrying about where the money would come from, and now they have an answer. Live music is back, which means making money is possible.

Regardless, certain members of the music journalism community have taken these comments personally. But as the old saying goes, “if you think it’s about you, then it probably is.”

We spoke to several publicists and promoters who confirm they have no plans to deny guestlist access to writers and photographers when live music returns. One professional, who is allowing us to use their quotes anonymously, went as far as to say that “concert coverage may be more important than ever this fall. Artists, especially smaller ones, are going to need all the attention their shows can get to move tickets.”

That said, we put together a few rules with the help of the industry at large that music journalists from all walks of life should adhere to as concerts return:

  • Always say please and thank you. That may seem obvious, but unless you are a significant publication with massive influence, granting you access to an artist and their performance is a gift. 
  • Do not publicly attack artists, labels, promoters, or publicists if you do not receive access. Many factors go into media accreditation consideration. Keep working hard and, in time, you will get the access you seek.
  • Always deliver on your coverage promises. If you said you would write a review, then you better write something. If you said you wanted to take photographs, then you better publish a gallery. The publicists we spoke to say they will be more closely following the content created in return for guest list inclusion moving forward. 
  • Don’t request access to anything you wouldn’t cover otherwise. If you write for a metal site, for example, then you shouldn’t be requesting access to the Jonas Brothers concert under the guise of being a music journalist.
  • In the event you are granted a plus one, use it to expand your coverage. Guestlist spots are limited, and they are not intended to help your friend or significant other access a show. It would be best to use additional guest list spots solely to ensure the best possible coverage—for example, a writer AND a photographer.
  • If you enjoy the artists performing, consider buying merchandise. Not only will this help the artist continue to pursue their career, but it’s also a show of support for both the artist and their team. It says that you are serious when you say you want the artist to succeed. Artists and publicists know that not every site has any significant level of influence, but when you vocally support musicians and buy their merchandise, it tells the industry that you are actively working to ensure musicians can continue creating the art they aspire to share with the world.
  • Don’t be a dick to security or venue staff for no reason. Treat everyone the way you wish to be treated.
  • Don’t post a photo of your press badge or photo pass on social media. It may seem harmless, but someone may steal that image in an attempt to infiltrate another gig or event in the future. At the very least, wait until the tour or event has ended before sharing your pass.
  • Respect any boundaries set by the artist or their team. If someone says they don’t want to discuss something or be photographed at a particular time, listen to them. No one wants gotcha journalism.
  • Send links to your coverage to the person who granted you access. Everyone in music is busy, but you can make someone’s job easier by sharing your contact with them rather than making them seek it out. That behavior will also help you develop stronger relationships with publicists, labels, etc.
  • Don’t fake it. Humans have a unique ability to detect when someone is lying or not presenting the entire truth. Don’t create content you don’t believe in or would not want to consume. Make what is authentic and meaningful to you, and everything else will fall in place.

There are probably 100 other things we could add, but this is enough for now. We’ll see you at the show!

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How To Become A Music Influencer [VIDEO]

With Spotify adding over 60,000 songs every day, the world needs music influencers to make sense of it all. Maybe that’s you, and if so, we can help!

Is music your world? Do you feel like you could spend forever talking about your favorite artists and albums? Are you open to hearing musicians from all walks of life? If you answered yes to all three, then maybe you should consider becoming a music influencer.

Music influencers is a blanket term covering many areas of music conversation. Whether you want to write about music news, review the latest releases, create video content, host a podcast, or try your hand at a little bit of everything, the goal is the same: You want to influence people to choose one artist over another.

Building a career as a music influencer is hard work. It’s a labor-intensive process that can take years to lead anywhere financially beneficial, but it’s the only way to live for many. It’s a calling heard by those who spend more time with music than friends, and it demands devotion. Those who excel do so thanks to a mix of obsession, ego, and drive that compels them to consume, digest, and discuss as much music as humanly possible.

Music Biz host James Shotwell began his career in music journalism. For the first time, he uses this video to lay out the four essential building blocks of music reporting, influencing, and criticism. It’s easy to start, and we encourage everyone who enjoys discussing music to give it a try. You never know where your life might lead.

Music Biz is brought to you by Haulix, the music industry’s leading promotional distribution platform. Start your one-month free trial today and gain instant access to the same promotional tools used by BMG, Concord, Rise Records, Pure Noise Records, and hundreds more. Visit http://haulix.com/signup for details.

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Join The Music Writer Exercise This February [#MWE]

Become a better writer in less than thirty days by participating in the 2021 installment of #MWE, otherwise known as the Music Writer Exercise.

Have you ever thought of writing about music?

Did you watch Almost Famous and feel like you might like to pursue a career in music journalism?

Do you ever wish you were a better writer?

If the answer to any of the questions above is yes, then we have the perfect exercise for you. The Music Writing Exercise is a month-long event created by journalist Gary Suarez in 2015. Participants attempt to listen to one new album every day throughout February and crafting a tweet that summarizes their thoughts on the record.

#MusicWriterExercise: Each day in February, listen to one full album you’ve never heard, from start to finish. Write one tweet about it.— I’m Gary (@noyokono) January 30, 2015

The Haulix team participates in the Music Writing Exercise every year. It’s hard to know how many other writers will join in the fun, but you can follow along and engage with the global writing community by using the hashtag #MWE on Twitter.

As for the albums you cover, that decision is ultimately up to you. Some people plan out their entire month of listening in advance, while others choose to pick a record at random each morning. Others develop one or more themes for the month, such as live records or third albums.

You won’t win anything for completing #MWE, but like any other exercise, you will develop your skill set. As writers, we all fall prey to repetitive phrasing and tired wordplay. The Music Writing Exercise challenges us to create bright new ways to discuss music. It also encourages community. There is no cost to participate, so what do you have to lose?

Music Biz is brought to you by Haulix, the music industry’s leading promotional distribution platform. Start your one-month free trial today and gain instant access to the same promotional tools used by BMG, Concord, Rise Records, Pure Noise Records, and hundreds more. Visit http://haulix.com/signup for details.

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Editorials News Writing Tips

How To Become a Better Music Writer In One Month

The Music Writer Exercise is coming, and you would be a fool to ignore the opportunities it presents.

As the saying goes, everyone is a critic. The age of social media has given everyone a voice to talk about everything they experience. One glance at Facebook or Twitter at any time of day will reveal countless opinions about everything, from entertainment to fast food. You don’t need a degree or any amount of experience to classify yourself as a critic, just like you don’t necessarily need any measurement tools to claim you’re an influencer. Did your friend do something because you suggested it? Congratulations. You’re an influencer.

Being a music writer in 2020 is a strange thing. You believe your passion for music and your knowledge of its history are so great that people should take an interest in your perspective on an industry that millions try and fail to join annually. Everything a music writer attempts today is challenging to achieve. Successfully pitching stories is hard, securing exclusive access or content is hard, and finding an audience for your work often feels impossible. That said, there may be no more excellent feeling in this life than writing something you believe in that connects with people, even if “people” turns out to be someone you’ve known for years.

Writing about music is a passion many possess, and we want to make you better at conveying your thoughts on artists and songs with a challenge. Music Writer Exercise, otherwise known as #MWE, is a month-long writing challenge that will expand your palette and improve your wordplay. Watch the video below for more information.

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Writers: It’s okay to enjoy music without writing about it.

Creating great art of any kind requires inspiration, but when your life depends on producing art it can be hard to enjoy things without turning them into work.

Music writing can be a double-edged sword as far as fandom is concerned. The fact you’re in a position to influence a group of consumers makes it possible for you to get closer to your favorite artists than you probably would otherwise, but it also means you have to continue following those artists’ every move long after your initial interest in their work has begun to fade. This is honestly a best-case scenario because more often than not writing about music means you have to not only know but learn to appreciate the works of many artists whom you would otherwise not make time to experience. Establishing a career in writing requires that you be engaged with the wide world of music, and that entails keeping tabs on far more artists than those you personally enjoy. Over time this can make the joy of writing feel a lot more like work than most would care to admit. But that’s because writing is just that — work.

This is not a complaint, per say, but rather a matter of fact. You cannot make it in music writing simply by covering the artists you enjoy when you enjoy them. You need follow-through, and more importantly, you need to engage the fans of artists regularly to ensure people continue to care about your writing and/or publication exists.

When I began writing about music I did so because I felt there were artists I knew and enjoyed that most of the world had yet to recognize. If you could find my first hundred articles, I can almost guarantee every single one would be based on an artist or group I admired at the time, and if I’m completely honest, I would also wager most of those posts are fairly similar. They each praise a group I loved at the time, and they each argue others should feel the same. I built my initial following by covering bands like A Day To Remember, Chiodos, Secret Secret Dino Club, and The Wonder Years whenever possible, and I made it a point to interview someone from the band every time a new piece of news presented an opportunity for discussion. As word of my work grew, so did interest from others bands and labels about having their talent promoted through my channels. I was completely blown away by these requests, so of course, I agree to almost everyone that hit my inbox, and as I began to network with the industry at large my writing began to encompass more and more bands. Some acts I enjoyed, but most were perfectly average in my mind, and looking back now I know the only reason I covered them is that I felt that it is what my (arguably non-existent) audience wanted. Whether or not that was true is something I’ll never truly know, but I do know that covering a wide array of talent helped me navigate the industry and secure full-time work in the business I love the most. Was it worth it? Absolutely. Do I continue to cover any and everything that comes my way as a result? Hell no.

It’s incredibly difficult to land a job in music that allows you to share everything you love all the time. Most jobs are far more focused than that, be it covering solely alternative music or perhaps just hip-hop. Finding a paid position that covers everything is rarer than a Morrissey performance that goes off without a hitch, and they are becoming increasingly hard to come by as the demand for specific content curators continues to rise. I used to have a big problem with this because I felt, and still do believe, that everyone is able to enjoy a little bit of everything. I might not love country music, but there are several country artists I enjoy. The same goes for musicals, top 40 radio pop, and obscure shoegaze bands. None of these areas of music are where I spend the majority of my time, but they each are filled with wonderful talent that is deserving of exposure and praise. Just because this is true however does not mean I am the person to tell you these acts exist. I can tweet about it, sure, but I cannot dedicate every minute of my day to telling you about everything I love as I once did. That is not my job.

At first, the need to separate the work I am paid to do the work I would like to do was incredibly frustrating. I felt as though my initial mission to help more people discover great music had been compromised by the need for a paycheck, but over time I came to realize that was not true. Having full-time employment gave me more freedom than I had ever had before as far as creative pursuits were concerned, and though I couldn’t argue the need to cover everything I could do more to help a specific set of artists and bands than ever before. Instead of writing about 40 or 50 acts a week I wrote about 10 at most, but I made sure to make each piece released as good as it could be. Having fewer artists to cover made it possible for me to dig deeper into my coverage and, ultimately, provide higher quality content to my readers.

But what about all that other stuff I loved? Did I turn my back on a world of talent just because they didn’t fit my 9-5 lifestyle?

Of course not.

I still love a wide array of bands as I always have, but these days I keep some things I love to myself if for no other reason than the ability to enjoy certain songs or records without turning that enjoyment into work. Before I had full-time work in music, I viewed everything I enjoyed as something I would eventually cover, which in turn made everything I enjoyed some form of work. Maybe it wasn’t hard work, but it was work nonetheless, and as a result, my relationship with music began to change. The idea of listening to music for the sake of simply enjoying it became an absurd concept, as I hadn’t purely enjoyed music for years on end. I liked it, and I wouldn’t know what to do without it, but at the end of the day I was trying to put food on my table based on what I was listening to, and that put a lot of undue pressure on myself, as well as the talent.

When I speak to aspiring writers and music professionals today, I encourage them to experience as much music as possible. As soon as I do this, I immediately tag my comments by adding that not every great song or record needs to become the sole focus of their work moving forward. It’s not only perfectly acceptable, but it’s also needed. If you lose your ability to simply enjoy music, you will be unable to accurately critique it. The reason anyone begins chasing after a career in music in the first place is based on their love of enjoying music in their youth, and when you lose the ability to appreciate music in that way you begin to lose track of why you work in music. It’s not about clicks, and it’s certainly not about being the first person to hear the next buzz-worthy release. It’s about celebrating art and the appreciation of art, as well as making others aware of undiscovered talent. You can only do this to the best of your abilities if you too are still able to be wowed by music. If you’ve lost that passion, or even if you believe it has begun to fade, take a step back from writing and unplug from everything except your stereo. Put on the records that first inspired your career aspirations and reconnect with the source of your drive to succeed. Never lose your passion.

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Do you know who reads your music blog?

Building and retaining your audience begins with understanding who is clicking on your site.

Search the name of virtually any artist or group on social media, and you are bound to find people discussing that act. Opinions on music are a dime a dozen, and when it comes to bands, everyone already knows their value is worth even less that. Young music writers around the globe cut corners on a daily basis to be among the first to cover the latest news about the biggest acts in their area of interest. It doesn’t matter if their site has few to no visitors or if much larger publications beat them to the punch, they want to ensure that their readers learn the latest breaking news directly from them.

But who is the audience for the average blog, and who visits websites for news before scrolling social media?

Music publications, especially those lacking funding, rarely build their audience through coverage of talent that is covered by every other zine, blog, or Twitter feed in the world. Music publications gain readers by delivering the stories no one else can. They earn trust through curating a profoundly entertaining and highly engaging conversation around music that they believe deserves recognition.

Covering everything that is popular in music will satisfy people, but it won’t captivate them. If you want people to continue coming back, you need to seek out the stories no one is telling about the musicians that everyone will want to know six months from now. Your job is to hook people with music made by others. There is a finite amount of people who read music sites, and the vast majority are using the same hook to lure readers. Why do that when you can stand out? Why offer what everyone else offers when you can be the alternative?

When you align yourself with artists on the rise, you align yourself with dreamers, and that is – in many ways – your audience. You want people who listen to music and dream of lives not yet lead. You want to provide the soundtrack to their next great escape, and you want to tell them why it’s going to change their lives before they even realize what is happening to them. You want to be a source of discovery, not regurgitation, which continually introduces new sounds and ideas into someone’s life. If you can accomplish one or both of those things, you can make a reader for life. Better yet, you’ll create an ambassador for your work that helps carry word of your writing to places you’ve yet to reach.

So, who reads music blogs? People just like you. People who think the radio is dead and the music they hear everyone else enjoying is stupid, dull, or just plain awful. Be yourself and readers will find you. Do what everyone else is doing, and they will pass you by in search of a more authentic voice.

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How to write compelling concert reviews

Reviews are a dime a dozen these days, but a great live review by an engaging author can still make the difference between a tour’s success or failure.

Ah, the concert review. It has been a staple of entertainment journalism longer than almost any other feature, appearing long before recorded music was even thought possible, and it will most likely outlast us all. Why? For starters, the financial risk in seeing virtually any show is much higher than consuming a single song, album, or movie. Most people will risk $10 on a new release, but far fewer people are willing to spend $30 (or in many cases, much more) to see a performance whose quality is uncertain.

Then there’s the YouTube problem. Just last week, I saw Kelly Clarkson tell a crowd of thousands at Van Andel Arena how much she appreciated their attendance by admitting, “I don’t know if I like anyone enough to leave my house. You could have watched this whole thing on YouTube from your couch, but you’re here, and that means something.”

There are thousands of hours of concert videos on YouTube. In the time it takes to read this article there will likely be hundreds, if not thousands more than when you started. A lot of the clips feature muddy sound and poor video quality, but there remains more than enough decent uploads to sustain those unwilling or unable to purchase tickets for themselves. Just look at this video from the latest Panic! At The Disco tour, which is currently making its way across North America:

The clip above may not duplicate the live experience, but for many, it’s good enough.

These reasons, as well as many others, explain why creating quality live reviews is so important in entertainment today. A compelling live review can determine whether or not a ticket is bought, which plays a role in whether or not artists can support themselves and continue to create.

The importance of criticism in regards to concerts is as much about the performers on stage as it is the production, the crowd, and the overall vibe of the event. Journalists can speak to all these elements on a technical level, but what really grabs today’s easily distracted reader is the critic’s own journey. The consumer of your material may never make it to the show in question themselves, and the reasons for that are numerous (schedule, cost, etc.). What they can do, however, is live vicariously through you.

In today’s entertainment writing culture, the key to crafting a great live review lies in learning how to tell a good story — your story. You should consider yourself, your feelings, and everything that goes into a night out on assignment as a vessel for others. Capture as many moments as possible, especially the tiny moments that others in the crowd might miss, and use them to make your story more engaging for the reader. Here are some questions to get you started:

  • What is the weather like?
  • Is it hot or cold inside the venue?
  • Do people look happy to be there?
  • When did the venue staff notice people lining up? (Don’t be afraid to ask!)
  • What are people in the crowd talking about?
  • What are people in the crowd wearing?
  • How much time between sets?
  • Did the performers engage the audience? If so, how?
  • What moments from this show will you remember in six months?
  • What would you change, if anything, to improve the night?
  • How did you feel during the show?
  • Were your expectations met?
  • Where were your expectations?

2019 is shaping up to be a banner year for live entertainment. Legendary acts are returning to the stage for a final run, new artists are trying to fill large venues, and there appear to be more festivals than ever before. Everyone who is anyone is trying to get a piece of consumers’ live entertainment budget. The reality is, only a few will succeed, and critics can play an active role in determining who comes out on top.

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Join the 2019 Music Writer Exercise (#MWE) this February!

The month-long event started by music journalist Gary Suarez returns next month.

Have you ever thought of writing about music?

Did you watch Almost Famous and feel like you might like to pursue a career in music journalism?

Do you ever wish you were a better writer?

If the answer to any of the questions above is yes, then we have the perfect exercise for you. The Music Writing Exercise is a month-long event created by journalist Gary Suarez in 2015. Participants attempt to listen to one new album every day throughout February and crafting a tweet that summarizes their thoughts on the record.

https://twitter.com/noyokono/status/561269689603862529

We at Haulix participate in the Music Writing Exercise every year. It’s hard to know how many other writers will join in the fun, but you can follow along and engage with the global writing community by using the hashtag #MWE on Twitter.

As for the albums you cover, that decision is ultimately up to you. Some people plan out their entire month of listening in advance, while others choose to pick a record at random each morning. Others develop one or more themes for the month, such as live records or third albums.

You won’t win anything for completing #MWE, but like any other exercise, you will develop your skill set. As writers, we all fall prey to repetitive phrasing and tired wordplay. The Music Writing Exercise challenges us to create bright new ways to discuss music. It also encourages community. There is no cost to participate, so what do you have to lose?

…And if you need listening recommendations, here is what I’ll be spinning next month:

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A beginner’s guide to writing about music

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. 

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The Essential HaulixDaily Content from 2018

2019 is upon us. As the music business slowly returns to normal, we wanted to take a few moments to reflect. The past year has been a busy one for us. From traveling the country to appear at conferences and colleges, to creating a wide array of content covering our changing industry and the best ways to navigate it, we did our best to bring you a little bit of everything.

Everyone knows music professionals are busy so we wouldn’t blame you for being unable to keep up with our every post or activity. Instead, we decided to compile our favorite posts from the past twelve months and present it here for easy access.

Use the links below to catch up and prepare for the year ahead.

Inside Music Podcast:

Industry Advice and Insight:

Writing Advice:

Advice For Musicians:

Piracy Reports And Stories:

Editorials:

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