Anyone can find someone to post about their music, but finding the right place to promote your next release takes time.
The state of music is pretty wild right now. There are more artists than ever releasing more music than ever onto platforms that more people can access than anything that came before. The opportunities for exposure and fan creation are limitless, yet meaningful engagement and promotion are increasingly rare. People are distracted, and who can blame them?
The music discourse is increasingly splintered. There are countless blogs and podcasts and YouTube channels claiming to know what you should be listening to, but most struggle to retain an audience as much as the artists they support. Even the biggest publications, like Rolling Stone and Alternative Press, are struggling to stay on top of everything in today’s marketplace. The reasons for this are numerous, but they largely boil down to being driven by what gets clicks over what is most important or engaging. New artists and songs from unknown talent generate far less traffic than the latest insta-update from an arena headliner. That is a hard truth pill to swallow, but it’s nonetheless true.
Some artists will tell you it has never been easier to get press coverage, and in some respects that may be true. There are an infinite number of outlets in existence, and if you email enough of them you are bound to find several who are willing to post about your latest endeavors. However, posting alone does not benefit an artist. You’ve heard the question about whether or not a tree falling in the woods makes a sound if no one is around to hear it and the same applies here. If no one is reading the blog that posts about your music, does it matter that the post happened?
As a journalist myself, young artists often share songs and videos with me that they hope will attract attention from the press. The key, I tell them, is to make as big of an impression with the initial release as possible. A song may live forever online, but if people don’t notice your talent right away the likelihood that material takes off at any point in the future is incredibly low.
Generally speaking, artists looking to premiere a song or video need to be more patient in their hunt for coverage. Everyone wants to share everything right now, but a speedy release does nothing if the content isn’t properly supported. My advice is to allow up to six weeks to find and secure an outlet to share your content. That way, musicians can find the outlet that best suits their material and, hopefully, they can work with the writer preparing their coverage to create the best article possible. Maybe there can be a digital campaign that teases the premiere for a week before the material drops or maybe the song or video being shared can be coupled with an interview that shares insight into the artist’s career.
Artists should treat every update as the biggest thing that has happened to their career to date. You can’t expect consumers to feel strongly about your latest activity if you don’t feel the same. If the press for your next release is rushed or sloppy or underwhelming, the impression it makes on consumers will not be good. We’re talking about your art, after all, and that is an extension of how people view you. Take your time, plan everything as much as possible, and position your next release to be the one that changes everything.
Do you know what I hate? My inbox. Every single day for the last decade my inbox has been flooded with press releases, pitches, and promotional messaging from thousands of contacts around the world. A few artists and artist reps talk to me regularly, a few even daily, but the vast majority only make meaningful contact when they need something.
If you’re a music writer, you can probably relate to this struggle. You want to be someone people turn to with opportunities, but you also want to live life away from your inbox. The tug of war between your personal and professional life blurs the more you work to be diligent with responses, but ultimately you lay in bed at night and wonder whether or not your time is wisely spent.
Now if you think that is bad — imagine how publicists feel. A publicist goes through all the same struggles outlined above; only their experience is 10x worse. They know, nine times out of ten, that an email in their inbox is a request. They don’t know what the person wants or needs, but they know it is something that will add to the list of things they need to accomplish. Even if all they can do is to decline, there is still work to do, and that work never ends.
I tell you this because a surprising number of writers do not appreciate how fortunate they are to receive any response at all from most artists and publicists. Unless you a contributing to one of the top tier entertainment publications the chances your one post is going to make a significant impact on the trajectory of someone’s career in 2018 – without them publicizing it heavily themselves – is minimal. Today’s talent needs a lot of quality coverage, not to mention a lot of different types coverage, from numerous sources. There has to be a strategy to the chaos of promotion, and implementing that strategy requires someone who oversees the madness that is attempting to make people care about someone’s creative output. That responsibility almost always falls on the publicist (or, in their absence, the artist), and it is up to them to figure out how and where and when to push content.
And you know how they keep these jobs? Results. The person responsible for promotion is judged on the results of their work. Did they secure a lot of news coverage? Did the interviews go to sites who had significant influence and/or strong writing talent? Where did the exclusives premiere and why? Were there any opportunities left on the table? If so, why?
To answer the questions above publicists create reports that are regularly updated, which only adds to the workload of these already busy professionals.
This is where you come in.
Every time you write about an artist you need to send the artist’s press contact a link to the published post. Tagging the artist on Twitter or other social media platforms is not enough. Some artists receive hundreds, even thousands of notifications throughout the day. If you want your name and site to get ahead, you need to ensure your work is being seen by the right people, starting with the artist and their representation.
News post? Email.
Review? Email.
Editorial? Email.
Top 10 best hair moments? Email.
Publicists spend a significant amount of time scrolling through Google notifications, and RSS feeds in search of content relevant to their clients. The names and sites that appear through those efforts are hurried into spreadsheets so that another name can be added to the list. You don’t want to be just another name on a list. You want to be known as a writer who gives a damn, and that begins with making sure people know your work exists.
REMEBER: Relationships are everything in music, and you can further yours by helping those around you do their jobs more efficiently. In writing, that means sharing your content with the people who shared that information with you in the first place.
We first ran this post in 2015, but with Warped Tour set to begin again on June 24 we figured an updated reissue made a lot of sense. If you’re going to Warped this year as press, please comment below with your date and maybe we can cross paths!
Vans Warped Tour, the summer camp of punk rock. Every year many people get their start shooting shows by covering Warped Tour. I didn’t get my start shooting Warped, but covering it did prepare me for how to handle shooting an all day music festival in the scorching heat without water. It’s an experience unlike any other and sort of a right of passage for music photographers, especially for those in the punk/alternative field. I’ve decided that not doing a tutorial guide on how to shoot warped tour would be irresponsible, so here are some of my tips (I know Todd Owyoung has a great article on the same thing and I purposely haven’t read to avoid any plagiarism).
Gear (Technical and Professional):
You can shoot warped tour with almost any body and any glass. You’re shooting outside and your equipment doesn’t need to be top notch. Afraid of using your kit lens because of its aperture limitations? Bust it out! You’re shooting in daylight!
Remember to bring extra cards, and batteries. It’s an all day event. Sometimes we all need a reminder to bring extra cards and batteries.
Warped tour is an all day event. Make sure you have sunscreen, comfortable sneakers and appropriate clothing. And please wear deodorant, your pits will smell at the end of the day when you’re shooting verticals 😉
Check out smaller bands:
The reason for this is simple – the little bands are the ones that are going to get big next year. Imagine having photos of Katy Perry from that one summer she spent sweating it out with the best punk had to offer on Warped Tour. I wish I did!
Last, but not least, be creative.
If you shoot vigorously like I do, then you can shoot 10+ bands at Warped. Do something different. Yeah that jump shot is great, but the only way to separate warped photos from you and every other person shooting Warped is to be creative and different.
Nick Karp is a professional photographer and freelance music writer. He recently relocated to NYC and dyed his hair bright pink because that is the kind of thing people do in the music business.
Thank you for joining us for another installment in our our ongoing Journalism Tips series. We started this column as a way to help aspiring writers get their start in music, but over the couple months we have been evolving into a place writers come to have their questions about life in the business answered. Today we are continuing that effort with a response to a question posed by multiple reader in regards to how they go about accessing the music distributed by Haulix. If you have any questions about developing as a writer/blogger in music, please do not hesitate email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
Haulix exists to provide artists and record labels a secure platform for distributing promotional material. Keeping those materials safe is our top priority, and we are constantly developing new ways to further prevent piracy. We believe that by continuing to fight piracy we are helping develop the future of the industry, which is something every current and aspiring professional should feel some sense of responsibility to help create. That’s part of the reason this blog exists – to showcase the wide variety of talents and personalities that have come together to fight for the future of this business.
One thing people often do not understand about our efforts is that we do not grant access to the materials distributed through our platform. We exist to serve our clients, and those wanting to access our clients’ media will need to go through them to be invited to experience the Haulix platform. It’s not our media to share, after all, and as much as we love publicity it’s our forte.
Gaining access to unreleased music for promotional purposes and feature consideration is a relatively simple process, but without a little professionalism and tact your request will likely get lost in someone’s inbox. We cannot prepare you for every situation that you will encounter when seeking new music, but we can give you the basics of working with the type of people that use Haulix.
The first thing you need to know about requesting music from labels, PR, or the like is that no two scenarios will be exactly the same. Everyone has their own method for distributing promotional materials, as well as their own requirements for the individuals they grant early access. The best you can do is be yourself and be honest with your position in the industry. You may not have the biggest site on the net, but that usually does not matter. Labels and PR are looking to work with writers and sites that are passionate about music. More specifically, writers and sites passionate about the type of music they are trying to sell/promote. If that applies to you, then there is a good chance a wonderful working relationship can be developed in no time at all.
Before you send any messages I would take a day or two and scour the internet for the companies and groups you want to work with, as well as their point of contact and how/when they prefer to be reached. It will be tempting to send a blanket ‘please send materials’ message to everyone on your list, but the best relationships are built on taking a personal interest in the other person. If you have 55 people/places to contact then you should plan on creating 55 individual messages. The core of each letter will remain the same, but taking the time to personalize each note will go a long way towards leaving a positive first impression on the individual you are trying to reach.
The letter you draft when requesting promotional materials should be short and to the point. Introduce yourself, your site, your reason for writing, and (if possible) let them know how you plan to feature their artist on your site. There may be more details needed down the line, but this should give the person you are contacting enough information to decide whether or not they want to work with you. You can find a sample letter below:
Dear [insert name whenever possible]
Hello. My name is [INSERT YOUR NAME] and I am writing on behalf of [INSERT YOUR SITE WITH A LINK TO THE FRONTPAGE]. I noticed that you are listed as the press contact for [Artist/Group/Label] and I am contacting you in hopes of working together moving forward.
[YOUR SITE] is a music site dedicated to covering [INSERT COVERAGE]. We have been following [THE ARTIST/LABEL] for a while now and would love to work together on [PROJECT – REVIEWS/INTERVIEWS/FEATURES/ETC] in the near future. We welcome [TRAFFIC, IF POSSIBLE] a month and are growing by the week.
I understand that you are busy, but if you could review my request and respond at your earliest convenience it would be much appreciated. Thank you for your time.
Best,
[YOUR NAME]
[YOUR SITE]
As much as it may be a downer to highlight, the hard truth is that not everyone you contact is going to want to work with you. Heck, some probably will not even send you a reply. In those cases, it’s perfectly acceptable to send a follow-up email to ensure the receipt of your original message, but after a certain amount of time you may need to let that request go until you/your site can improve.
Whatever you do, please try your absolute hardest to refrain from attacking, bashing, or otherwise being a dick to label/PR people who are not quick to respond to you. The music industry is a wild place, and anyone working in promotion or publicity spend about twenty-three hours a day working on various projects. They want to work with you too, but their ability to reply right away may be stunted due to what they currently have going on. BE PATIENT. I know you want to hear the new album from that band you think is going to be huge, and trust me – they want you to hear it to. Being pushy and/or coming across as frustrated with the people on the other end will go you nowhere in this business.
Hello and welcome to another exciting week of music industry insight here on the official blog of Haulix. We have been teasing a rise in metal coverage this month, and today’s we diving head first into one of the biggest online heavy music communities in existence. If you have a site or writer you think would be a great fit for a future installment of this column, please email james@haulix.com and share your story.
In the early days of zines, long before anyone had even heard of the internet, people who wanted to get into music writing had to know far less about the industry than people today. If you wanted to write about your favorite heavy bands, you could do just that and likely find an audience of similarly obsessed metal heads who shared your infatuation enough to read your thoughts without concerning yourself all that much with the rest of the music community. While it’s still possible to have those humble beginnings in 2013, those hoping to make a career out of music need to know going in that being able to appreciate a variety of music is key to finding success in this industry. Today’s highlighted talent is proof of that notion, and we are delighted to share his journey with all of you.
Zach Shaw is the type of person most teens dream of becoming as far as a career in the music industry is concerned. He has a great job at one of the coolest companies around (The Syndicate), exists primarily in NYC, and spends a good portion of each day knee deep in the world of music through his efforts as Assistant Editor for the almighty music outlet, Metal Insider. We spoke with Zach about his time with online metal community, the goals of the site, and what advice he would offer those just getting their start in music. You can find his responses below.
If you would like to stay up-to-date with all Zach’s activities, please be sure to bookmark and frequent Metal Insider. Additional questions and comments can be left 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:
ZS: My name is Zach Shaw. I am the Assistant Editor and main news contributor for Metal Insider.
H: Everyone has to start somewhere. What was the first album you loved?
ZS: Red Hot Chili Peppers ’Californication.’ I always knew about the band from VH1 and MTV, but you know when you hear a song on the radio and you instantly have memories attached to that song? For me, I just remember having this cassette that just had “The Other Side” on it. This is when I was a kid and I was starting a new school in a new town. I would listen to that cassette every day in the car with my mom over and over again on the way to school. That transitioned into me getting the album and I ended up loving every track on it.
H: That’s not what I expected to hear to be honest. I figured you would have a metal genre staple at the top of your list.
ZS: As much as it may damage my reputation, I’ll always admit to being a sucker for a catchy pop song, like Lady Gaga or Rihanna, just as much as I love brutal metal as well. The truth is that you really need the ability to appreciate a variety of music if you want to work in music. At least in my opinion, anyways.
H: What inspired you to get into music journalism?
ZS: I think what really got me into this was watching Behind The Music on VH1, if we’re being completely honest. I mean, just watching Motley Crue struggling with drugs and fighting through. Just watching how these bands became big made me think, “I want to be a part of that.”
H: So you have this interest in music that you recognize. What happened next?
ZS: Being in the right place at the right time and mingling with other people in the industry. The way I actually got into it is that Metal Insider actually kicked off with an industry summit, or panel, at the New England Metal And Hardcore festival. I thought it would be a great opportunity to ask questions of people in the industry, and what I discovered while I was there is that it’s the perfect place to get your start. Go to events, go to shows, and meet people. Whether they’re writers covering the show or people sitting at the merch table, just getting your name out there matters a lot.
H: I had never heard about this summit until I began researching for this feature. It’s a great idea.
ZS: Yea, I think the way they did it was more to introduce Metal Insider. Whenever I interview a band and tell them about what Metal Insider does I tell them we cover Pantera as much as we cover Spotify, or Warner Bros. We want to be an industry insider site as well. I wish we could continue doing that (summits), but it just takes so much advance time and energy that we do not have.
H: There are a growing number of sites that feature content similar to yours. What sets Metal Insider apart?
ZS: We try to not only deliver the news, but to deliver as much insight into the news as well. There is always a borderline between opinion and facts, and you don’t want to overload the reader, but we try give as much insight to the reader as we are able. We try to say ‘so this happened, and here’s why this is interesting.“ That’s really our goal – to inform the reader as much as possible.
H: That actually leads into our next question as well. A lot of sites are shortening their post length, but Metal Insider is known for more long form, editorialized writing. What do you think makes a great news post?
ZS: I think it’s the story. As much traffic as Mike Portnoy or Pantera brings, if it’s just announcing a signing or in-store there will not be a lot of interest. It really depends on the action and what’s happening. Tour news is good because it involves a lot of bands. Unfortunately, break ups also bring a lot of traffic. But I think it all depends on the actually story and who is involved. It’s about finding stuff that will make people say, "that happened? Tell me more.”
H: When it comes to recruiting, what do you look for in a new contributor?
ZS: I would say we’ve been more lucky as of late in regards to new writers. We’ve been trying to do more outreach and we’re still trying to figure out the right formula. it’s kind of difficult because not only is it about whether or not they can write, but if they have the language. You can easily copy/paste a press release with all the main facts, but then trying to add a bit more flavor to it so that it’s actually fun to read is key as well.
H: You feature a lot of young talent on Metal Insider. When a band submits their press materials to you, what are you looking for as a writer?
ZS: Me personally, I always think it’s good to have notoriety. Whether that means a member in the band used to work with someone more recognizable, or if that means the band has toured with known acts. It sounds awful, but that’s usually a good way for a band to market themselves.
Also, if the music is good. There are certainly bands we cover because our readers like them and we don’t care for them as much, but we strive to highlight bands we really like. It’s hard to be too specific because we have such vast taste, but any kind of notoriety does help.
H: What advice would you offer a band hoping to gain exposure on a site like Metal Insider?
ZS: First of all, know your blog. I get so many emails saying ‘hello, we are this band. we would love to see you review our album.“ If people looked at our site they would know we don’t do review unless it’s a very rare occasion. So bands should do their research on sites and decide what type of content they want from that site. If you’re specific in your messaging there is a better chance you’ll receive a response.
H: Building off that, I’ve noticed that you do not do a lot of reviews on Metal Insider. What is the story behind that?
ZS: We always try to be positive in our material. We don’t like to shit on bands just to shit on bands. There are some bands we feel we have to comment on how stupid their activities are, but most of the time we try to be positive.
Any even though we don’t do review we offer other options. We do interviews, news, exclusive band lists, etc. So I think we make up for the fact that we don’t have reviews by offering other opportunities for bands to receive exposure on our weskit.
H: When it comes to receiving music from industry contacts, what methods do you prefer?
ZS: Haulix is definitely a great way to receive music. Even coming from a publicist standpoint, it’s really easy to send and control who you send music. Haulix gives you more than just music, it allows for photos and press releases as well. But outside of Haulix, Bandcamp is fine. As long as you have a place for me to listen to music I’m okay with it. I know some people prefer downloads or physical copies, but as long as you can provide a way for me to listen to your music and learn about your music that’s good. Having everything in one place really helps.
H: What is the ultimate goal of Metal Insider?
ZS: I think the goal is to inform as many people as possible about what is going on in the metal community, and also making sure Metal Insider is part of that message. Not only raising aware for the metal community, but for Metal Insider as well – as a community.
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!”
