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PR Spotlight: Mike Cubillos (Earshot Media)

Welcome to the second installment of the Haulix PR Spotlight. The purpose of this column is to highlight the people who work behind-the-scenes to help your favorite bands gain exposure in the media. Some will be business owners, while others grind away their days for a larger corporation, but the one thing they all share is a drive to succeed that knows no bounds. If you know someone who fits this description that you feel deserves to be highlighted in this column, please email james@haulix.com and share their story with us.

If you are hoping to work in the alternative music realm, you will not get far before hearing the name Mike Cubillos. A publicist for over a decade, Cubillos has built a reputation through his company Earshot Media as one of the most influential publicists in the music industry. In our interview, Mike opens up about his early days in the business, his decision to leave the world of major labels and start Earshot, the problems he sees young artists make, and what advice he has to offer others hoping to have a career in this often tumultuous industry.

On a personal note, I have worked with Mike on a weekly bases since I started in the music industry over half a decade ago, and I cannot begin to think of everything he has taught me in that time. There are some people in life you look to as competition, while others you see only as who you hope to one day become. Mike Cubillos is the latter of those two for myself and many others, and it was honor to work with him on this feature.

As always, if you would like to learn more about Mike and his current projects, be sure to follow Earshot PR on Twitter and Facebook. If you have any additional questions for Mike, please do not hesitate to mention in them in the comments section located at the end of this post.

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

MC: My name is Mike Cubillos and I own and operate Earshot Media a independent publicity company.

H: We have a lot of ground to cover, but there is not better place to start than the beginning. What was the first album you remember truly connecting with?

MC: I’d have to say the first album I remember connecting with as the Ramones Rocket to Russia. My brother brought home a European import copy and something about the simplicity of the songs and those great melodies drew me in as a kid.

H: Do you recall when you first realized you wanted to work in the entertainment industry? What was the initial inspiration to start down this path?

MC: I initially wanted to get into to TV Production or something on the programming end of the TV business, but in college I did a few internships at record labels since I’d always been a big time music geek. Even as a kid I subscribed to magazines like Rolling Stone and I’d read Billboard at the library whenever I could. When I realized I could parlay my obsession with music into a career, I ran with it.

H: You started Earshot back in 1998, but you had a history in the industry before that point. What was your first job in the industry?

MC: My first real job after interning was working as an assistant in the PR department for a label called Zoo Entertainment which was part of BMG. It was sort of a “mini major” with acts like Tool. Matthew Sweet, Killing Joke, Green Jello, etc. I learned so much from my time at Zoo and I’m really glad I was able to get that in house label experience. I have very fond memories of that job and all of the people I worked with, many of who I still keep in contact with today.

H: Before stepping out on your own you were a member of the Mercury Records team. What lead you to go independent?

MC: I was one of the west coast publicists for Mercury Records and most of the west coast staff was laid off when the label went through a major merger. It was a blessing in disguise because it was the push I needed to go out on my own.

H: Where did the name Earshot come from? Did you have any other names in mind before settling on that one?

MC: I just felt the name had a bit of a ring to it and liked that it had some sort of vague connection to music/listening. Not long after I started a nu-metal band came out with the same name which was a bit of a bummer, ha… but I don’t think they’re around anymore so at least I can say I outlasted them. : ) I had a few other names I was considering but I don’t even recall what they were. If I could go back and pick another name I probably would, but it’s too late now I suppose.

H: As someone who has worked in and deal directly with major labels for a number of years, what do you think about claims they are no longer a necessity in the modern music industry?

MC: I think that major labels definitely still serve a purpose. The marketing push that major labels can give to an artist is invaluable. That said, I think an artist can achieve great success without being on a major. There are a ton of examples out there of indie acts that are proving this to be true.

H: You were pitching bands to publications long before anyone heard of Myspace, and certainly before the term social media was as prominent as it is today. Do you have any nostalgia for those early years of PR, or do you prefer the quicker pace of today’s media?

MC: I definitely do get nostalgic for my early years doing PR. It’s sad that so many great print magazines have gone under. Publications like Meanstreet, Bam, Flipside, etc are sorely missed. Also, the idea that we used to fax press releases and media alerts or send them via snail mail seems so archaic but it wasn’t that long ago that this was the case. There’s no question that social media and the Internet has made a lot of aspects of a publicists job much easier but it’s also brought along a lot of new challenges.

H: As a publicist, what advice would you offer writers hoping to work with your clients?

MC: I would say be professional. A lot of people assume that since it’s the “music business” that some of the general principals of professionalism don’t apply, and that’s far from the case. Remember that no one owes you anything and if you want labels/publicists/managers to trust that you are a legit writer or blog or publication, you need to earn that trust.

H: We would never ask you to give away your secret to success, but what advice would you offer to aspiring publicists hoping to make a career in today’s music industry?

MC: Again I would go back to being professional. Be willing to work hard and prove yourself. Make yourself indispensable to your employers/clients. Read a lot–especially anything related to the music scene/music business. Do your research.

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

MC: I don’t know that album leaks are 100 percent preventable, but tools like Haulix have become invaluable in helping to control who gets advance music and gauging if the people you sent music to listened to and if so how often. I would advise artist that is concerned about their album leaking to take a precautionary approach to servicing the music out to the media, ie…sending music out to a very targeted list of trusted contacts and outlets rather than mass servicing it to everyone at once.

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

MC: Again, Haulix has been a godsend in that it’s a secure and fast way to get music out to the people who need it. I like that you can also gauge who downloaded the music once it’s sent and can monitor when they last listened to it.

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

MC: I wish some people would be a bit more open minded. People seem to have pre-conceived notions of what they think a band is based on the label they’re on or what they look like and sometimes that gets in the way of discovering great new music. I also wish more people were willing to take chances on helping to “break” artists rather than waiting around until someone else helps “break” them before they jump on the bandwagon.

H: Your roster is as eclectic now as ever before. Do you have any plans or releases on the horizon you’d like to share with our readers?

MC: I just hope Earshot can continue to grow. In addition to music, we’ve worked with clothing companies, websites, artists, charitable organizations, tours, events, books etc. and I hope to do more of that in the future.

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PR Spotlight: Jamie Coletta (SideOneDummy Records)

Hello, and welcome to the very first Haulix PR Spotlight. We have enjoyed getting to know the blogger community over the last two months, and we certainly plan to continue that series as long as there are writers willing to talk to us, but we also want to highlight those working everyday to get talent in front of journalists around the world. If you know a PR talent we should feature in a future installment of this column, email james@haulix.com and tell us their story.

Designer Roy Halston Frowick once said “Buzz and the right publicist are not only important, but crucial in show business.” If you’re a rising punk talent who isn’t afraid of a great pop song and people with the type of personality you cannot help but love, the right publicist for you may be SideOneDummy Records‘ Jamie Coletta. Since joining the team in 2012, Jamie has furthered SideOneDummy’s already well established brand online and off while simultaneously helping develop new talent from a wide variety of genres. She has been working nonstop within the industry for the better part of the last half decade, and in that time has worked with nearly every type of artist or group you can imagine. We are honored to have her serve as our first highlighted publicist, and hope the insight she provides will aide future PR stars in bettering their efforts.

As always, if you like what you read, be sure to reach out and let Jamie know you enjoyed her interview. She can be found on Twitter, just like SideOneDummy, and is often spotted singing at the top of her lungs while standing side stage at pop punk festivals across the country. If you have any additional questions for her, please do not hesitate to leave them in the comments section at the end of this post.

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

JC: Jamie Coletta, SideOneDummy Records, publicist. I handle in-house radio promotion.

H: You’re an East Coast girl who now resides on the West Coast, so surely you have a story to tell. When did you first realize you wanted to work in music?

JC: That’s hard to pinpoint but it probably all started from some random night at the Living Room (RIP) in Providence, RI. I would go there all the time in high school just to be around live music. I helped bands flyer from time to time, joined street teams and eventually starting booking local shows.

Once I got to college and realized that my school had an actual degree in music business, I knew that was the only option for me. I actually didn’t even get accepted at first because my grades were so low (woops). I ended up writing an essay about my favorite concert of all time (Yellowcard/Something Corporate/The Format @ Bentley College, 2004) that convinced them to let me into the program.

I moved to LA after college because I knew that it was the only place in the world I would be happy. And I am.

H: Where did you first find work in the industry (and yes, working for free counts in this case)?

JC: My first internship was at Riot Act Media with a great publicist named David Lewis.

H: Okay, now the big question: Where did you first find paying work in music, and how did you go about landing that job?

JC: My first paid job was assisting an independent publicist at Fly PR. It was short-lived, though, because only a few months after starting, I got hired to work at a major label and obviously took it.

H: Many may believe the ultimate goal of people working in music is to be part of a major label, but your career has gone another path. You were at onetime a member of one of the largest labels still around, then chose to go the indie route and joined the SideOneDummy Records team. What inspired this change of pace?

JC: Honestly? I didn’t like it. I never set out to be a major label publicist or work with pop music but I needed (and wanted) the experience. The majors are basically a jungle and if you’re into that sort of thing, then go for it. Personally, I’ve always wanted to work with the bands I love and have a direct hand in their success. That just wasn’t going to happen at a major pop label so after a few years, I decided to move on. I’m grateful for the entire experience, though, especially meeting people like Rey Roldan who put me in touch with the SideOne team.

H: There has been increasing talk of the necessity for labels ever since the rise of social media. Having gone from major to indie, do you feel smaller labels serve more important/lasting purpose than majors?

JC: Smaller labels have the ability to give you more of a hands-on approach and really work as hard as possible for their artists. Majors just shell out cash and hire a bunch of super smart people to make shit happen. You can still end up on the back burner at both but with an indie, your team is much more likely to care about your music and success, I feel.

H: Most of the artists you work with now fall under the punk category, but that was not always the case. Have you found any major differences between the various genres and artists you have worked with? Is any particular genre necessarily easier than another?

JC: Well our roster is definitely not strictly punk – we’ve got a really diverse mix of bands and artists here so that’s rad. But yeah, I’ve worked in a whole bunch of different genres now and I think it all depends on you. Personally I like punk and alternative so I tend to find it easier to work within those worlds because it’s what I feel most passionate about. Although a mentor once told me that a good publicist should be able to work PR for a bar of soap…

H: As a publicist, what advice would you offer writers hoping to work with your clients?

JC:  

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

JC: It’s hard to say. If you don’t want your album leaking, then you really just need to be super selective with who you give it to. If you can, utilize a service like Haulix or something that will let you watermark the promo so you can track it if it does leak.

But at the same time, I feel like a leak is a sign that people care so much about the record that they’re willing to go through any length to get it early. Does it suck, especially after you & your team have been working your butts off on a release? Of course it does. But it’s a part of the industry now so you just have to be mindful of that when preparing a release.

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

JC: I would always rather show someone music in person, mostly because I can display my excitement better that way. But since we live in a digital age and the majority of my contacts are spread across the country, I use Haulix, Soundcloud and YouTube primarily. Each have their own unique benefits but overall I just like the process to be quick and painless for a writer whose trying to decide if they’re into something or not.

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

JC: There are so many talented musicians in the punk/alt community that get categorized as Warped Tour or Hot Topic bands and for whatever reason, that holds a negative connotation in the mainstream music world. I think that sucks.

Oh also, there is a major difference between hardcore and metal. Thanks
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H: Your roster is as eclectic now as ever before. Do you have any plans or releases on the horizon you’d like to share with our readers?

JC: We’re putting out Chris Shiflett & The Dead Peasants new album later this month and I’m predicting that to be one of the best country/americana records of the year, hands down. Otherwise we have a bunch of surprises up our sleeves for the next couple months so you’ll just have to stay tuned for that.

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News

Blogger Spotlight: Brian Leak (Under The Gun Review)

Hello, and welcome back to the Haulix Blogger Spotlight series. This week we have two very interesting and completely different individuals to introduce you to, and the first comes to us from the land of Northern California.

Though we have featured writers from Under The Gun Review in this series before, today is the first time in the history of this column that we’re highlighting an individual who also happens to be a parent. Brian Lion is the Front Page Editor for UTG, and over the last few years he has helped steer the site’s development, strengthened the overall grammatical proficiency of the staff, and brought countless new eyes and ideas to the world of Under The Gun. He didn’t start at UTG, but he’s certainly made it his home, and in doing so greatly impacted the overall quality of the site’s offerings. When he expressed an interest in this series, we knew his insight would offer invaluable aide to other chasing the dream of a career in entertainment.

Below you will learn about Brian’s history with music, his earliest efforts in the industry, where he sees himself in the future, and what advice he has to offer others hoping to make their way through this business. His story is one-of-a-kind, and we’re grateful that he’s chosen to share it with us.

Brian is always seeking new opportunities in music, and those looking to keep up with his efforts would be wise to follow him on Twitter. Under The Gun Review also offers a social media feed you need in your life, so be sure to Follow them on Twitter and Like their Facebook at your earliest convenience.

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

BL: My name is Brian Leak, alternatively and more than likely known as Brian Lion. I work for Under the Gun Review where I am the Front Page Editor. I mainly read and edit each and every post on the site but I also do interviews, reviews, music and film news, a column when I’m able, and pretty much anything else I can dabble in. I just recently had my first photog experience shooting for RX Bandits.

H: UTG is not the first publication you have written for, but you certainly seem to have made it your home. Where did you get your start in writing, and what initially attracted you to the entertainment industry?

BL: This is true. My first publication was a print magazine/paper based in Chico, CA which was called Synthesis. I mainly did interviews with bands and some actors. Since then, I’ve written for a handful of others as well with UTG being my primary den. I’ve always loved music and film, for as long as I can remember. I used to watch VH1’s top 10 countdown constantly when I was a kid and I would watch tons of 80s and 90s action movies with my stepdad; the Lethal Weapon series, Jean Claude, Jackie Chan, Arnold, etc. It all just fascinated me so much. Whether it be music, film or television, they were just different worlds you could get encapsulated in. Part of me always felt like I would love to be involved with it in some way. That early on, writing hadn’t necessarily crossed my mind but over time as I started reading more and more online, I started to gain an interest in the industry and thought that it was a very special way to explore the things I loved from a different side.

H: What drew you to the position of Front Page Editor at UTG, and why do you feel its purpose is important?

BL: I’ve always been lucky enough to fully grasp the English language and have never truly struggled in that area. I won a couple spelling bees when I was younger and some awards for regional writing events and such and a lot of my teachers and family always told me that writing would in some way be what I would do. At the time, I never really believed that or thought too much on it but as I got older and began noticing an unfortunate lack of literacy around me, it sort of became a pet peeve — spelling and grammar that is. When I was in high school, I had considered working towards becoming an English teacher but I was a teenager and wanted to be such, so that much work didn’t sound as appealing to me once I really put thought into it. Eventually, after having immersed myself into writing about music and film, editing other peoples’ mistakes in the same field only made sense as I would see errors going unnoticed otherwise and felt obligated to remedy that. I just can’t let shit go.

H: In recent years Under The Gun has evolved from covering music to featuring news on film and stand-up comedy as well. Aside from these expansions, what do you feel separate the efforts of UTG from those of similar websites?

BL: Well these expansions are huge for us of course but it’s all about the way we execute our content. We have a very interesting cast of characters on staff spanning the US with one staffer in Europe as well and with that many unique personalities, you’re bound to have some strong convictions, views, and ideas. As a group, we’ve had some of the most hilarious, interesting, and even sometimes aggravating conversations that I think I’ve ever had.

We try our best to allow our contributors to use their voice as they please because that to me is what will make an article more interesting for a reader. There are plenty of sites out there that you can go to for formulaic news, but we try to add ourselves into our content to create a more relatable and enjoyable atmosphere for our readership. Aside from that, timeliness is next to Godliness and original content is our bread and butter. With a sociable and well-connected staff, you can pull a lot of great resources to score some really cool content from friends in the industry. We just try our best to come up with new features and continue expanding as we’re able.

H: One thing that sets you apart from many bloggers is that you also happen to be a father. How has starting a family changed the way you approach your work?

BL: That’s a great question. In one sense, it has made me want to work harder of course but there’re always times when I wish I could just take an entire week off and do nothing but play with my little girl and do whatever we want. I can’t say that that feeling won’t grow even more in the future as she gets older and can interact more but this is my dream and I like to think that it will lead to more and more great opportunities as it already has over the years.

H: Some might think having a child may detract people from chasing their dreams, but you clearly don’t see things that way. What advice would you offer others who find themselves in a situation similar to yours?

BL: Obviously, your child should come before anything and everything, but at the same time, if you give up on a dream in the process, especially one that you’ve made great headway in, then you’re failing your child as much if not more than you’re failing yourself. Writing was always about my own personal gain until we had her. Now it’s just that much more important that I make this work and continue to expand so that it does lead to those other great opportunities that will hopefully benefit not just me, but my family as well.

As far as advice I’d offer others in a similar situation — if possible, do not give up on your dream, but don’t let it take over your life to where you become a stranger to your kid(s). I know that in a reversed situation, I would likely be upset to find out that my parents gave up on something they loved because of me for some reason. I would feel guilty and or disappointed in them and I don’t want my daughter to feel that way about me when she grows up. I want her to be proud that I accomplished my goals just as I will be of her.

H: As someone who not only covers new music, but film as well, how do you go about discovering new talent?

BL: Word of mouth first and foremost, but I’ve bookmarked a lot of sites over the years that I explore now and then. Bandcamp, which is a gold mine of undiscovered talent, has been one of my go-to resources for finding new music. Pandora has introduced me to some artists I was unfamiliar with, and just sites like UTG that I always followed. Finding new music is one my absolute favorite things. Discovering an incredible new band is like Christmas, but usually better because you don’t have act like you like something if you really hate it. No need for gift receipts.

As far as film, I use Letterboxd which is amazing and has helped me come across countless mind-blowing films. I used to just search through Rotten Tomatoes and see what was coming out. It’s pretty good for seeing ratings on more obscure stuff that you may be interested in. I’ve stumbled upon some pretty cool things online, sometimes using StumbleUpon. Go figure. Short Of The Week is a great site for discovering new short films, which many that know me will tell you is a huge interest of mine.

H: Let’s say the artists want to come to you. What advice would you offer a band hoping to stand out from the countless others vying for coverage?

BL: Oh, man. Originality is key, but even that is hard to create these days in a sea of similar bands trying to grab your attention. I’ve seen almost every bait deviation there is and coming across one that really draws me in is few and far between. I personally don’t like when people try too hard. Sincerity is nice and I want to be wowed. Me being an editor, it’s incredibly frustrating when I’m not even sure what the band is trying to ask of me. If you can’t spell or form sentences, you may want to get someone who can to write up your press releases. That’s for starters. As much as I understand the urgency and excitement, I don’t like when people are pushy about it. They should know that almost anyone they’re trying to pitch their material to is going to be a very busy person. I’m a sucker for cleverness; puns and esoteric pop culture references. That’s how you can get me to do a double take and put my headphones on.

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

BL: I personally like to just be able to click to Bandcamp or Soundcloud; some simple streaming platform. I don’t really want to have to download something before I’ve heard it. Physical copies are always nice, too. For film, online screeners seem to be typical and I like that. Again, physical copies are fine with me as well. Other than that, if need be, Dropbox and or WeTransfer are great for a quick exchanges.

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

BL: Uhhh, one thing…that’s difficult. I think I would take out a lot of the ferocity and venom from the competition. For being a medium that is so universally loved, there is a lot of hate and facetiousness involved behind the scenes, and sometimes in the headlines. It can be daunting and exhausting when you’re trying to enjoy your work while bands and artists start feuds and other writers and publications find it necessary to bash what you do because they do it differently. Sometimes they do nothing differently and they’re just clearly vicious people that feel better about themselves by slandering others. I can’t say I’m not a shit-talker but when it comes to my work, I try to respect my peers at least. If I don’t like the way they’re doing something, I look at it as their problem, not mine.

H: Your team writes a lot about having big plans on the horizon. Can you tell us a bit about what UTG has planned for the remainder of 2013?

BL: More original content, more features, more coverage. Hopefully some more indie film screenings like we did last year with Iwrestledabearonce. We should be covering another handful of festivals before the year’s end as well. We just had a staffer attend AFI Docs for reviews which was very unique amongst our peers and helps expand our film coverage. We’ve discussed maybe putting out some merch. Maybe we’ll launch a Kickstarter just to fit in.

“Yes! The danger must be growing / For the rowers keep on rowing / And they’re certainly not showing / Any signs that they are slowing!”

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5 Social Media No-nos Every Artist Should Avoid

Social media has developed countless ways for artists to promote themselves, but along the way a number of bad habits have developed that drives journalists, fans, and labels alike absolutely insane. Using improper marketing techniques over these channels can not only drive away fans, but prevent you from reaching potential new listeners as well. We polled over a dozen bloggers from various genres about the social media no-nos every artist should avoid and put together a list to help all you aspiring stars get a bit closer to your dreams.

1. Stop requiring a “Like” before allowing users to access your music. Even though we asked bloggers from a number of musical backgrounds when working on this article, every single person polled mentioned Facebook “Like” walls within the first few lines of their response. The whole point of promoting your music is so people will visit your page and hear what it is you have been working on, so why make it any more difficult to hold their attention than it already is? The few seconds it takes someone to notice your “Like” wall and read it may be all the time they need to decide you aren’t worth their time.

2. Avoid unsolicited direct/private messaging (AKA Spammer No spamming). Everyone knows you’re excited about your music, and for the most part people will give you a bit of their time to share your excitement with them. However, sending direct/private messages through social networks is not the way to begin the conversation. Your band may be a group of people, but online you’re a single entity that is essentially a complete stranger to anyone unfamiliar with your music. You have to break the ice to start the conversation, of course, but to do so requires more tact that blindly messaging a link to your latest release. Social networks are like mixers, they exist to create a sense of community among strangers through dialogue, but that is not the same as pitching yourself. Leave the pitching to emails and press kits unless someone asks for more information. Until then, join the conversation wherever you are able and keep an eye out for opportunities more fitting for self-promotion (ie people requesting/asking for new music recommendations).

3. Your band does not belong on LinkedIn. This one is relatively simple, but it can be apply to a number of emerging social networking sites. While there are a limitless amount of opportunities to meet people who could help your career through various groups and discussion boards, LinkedIn works best as a tool when used by an individual (or an individual representing a group). Professionals using LinkedIn are not looking to add your band, The River Run Blood Red, to their networks, but they may be interested in engaging with you as an individual. If you can create a dialogue with them through the site by leveraging the various messaging tools, then it may be possible to open a door to promote your band. If you rush it, or try to force your music on those unfamiliar with your work, no one will want to listen.

4. Stop promoting yourself 24/7. Bands are a brand in their own way, and just like many brands on social networks bands often forget the key to maximizing the effectiveness of your network: Engagement. People follow you because they support what you’re doing and want to know more, but that does not mean they want a constant stream of advertising for whatever you have to promote. You may be a group, but you’re also individuals with personalities, and that should be conveyed through social media as well as your latest activities. Fans know about your latest album, and they certainly follow because they want to know when you have new tours or releases, but they’re also trying to learn more about you as people. They want to connect with you more than they have been able to through albums and live shows, and that is the exact opportunity provided by social networks. By engaging them you’re able to create a dialogue that can eventually evolve into a digital community of fans who not only communicate with you, but others as well. If you can accomplish that, those same users you engaged in the beginning will aide you in sharing your music with others. That will lead them to start conversations with new people who could potentially fall in love with your music and the cycle begins all over again.

5. Save the drama for your blog. Everyone is entitled to an opinion, and without a doubt there will be days when you feel stressed as a band, but ranting on social networks and/or attacking others is not going to help further your career (especially if those attacks are directed at fans or members of the industry). Just like how LinkedIn is no place for a band profile, band accounts on social networking sites are no place for unnecessary drama. Fans want to know what’s going on with you, and you should keep them informed, but too much drama can take the focus away from music. Also, you must always be aware of how your accounts appear to those not familiar with your work. If your feed looks more like an individual’s thoughts than the efforts of a cohesive band focused on getting ahead, people may pass by without even giving the music a chance. Appearing driven and welcoming will get you much further than anger and negativity. Always.

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