Tag: record labels

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Industry Spotlight: Chris Hansen (No Sleep Records)

Hello and welcome to the only Industry Spotlight feature we plan to run all week. We don’t always advertise this aspect of our site, but a lot of the content that eventually finds its way to our front page does so because our readers requested it. You want to learn about bitcoin’s role in music? We’ve got you covered. Want to know about the guy who runs PropertyOfZack? We cover that too. Today’s post comes in response to a flood of requests we have received over the last six months, and it’s developed into what I believe is one of our best label-centric features to date. If you have any questions regarding the content of this blog, or if you would like to learn more information about the services offered by Haulix, please email james@haulix.com and share your thoughts. You can also find us on Twitter and Facebook.

If you want to succeed in music you need to learn to take chances. Everyone who holds a position in the music industry today does so because another current or former industry professional took a chance on them when they were little more than a music consumer with a dream. Was there risk? You bet. Was there a chance someone could lose their job? Definitely. Still, each and every day people take chances on dreamers as a means to promote the continued existence of this thing we call the music business.

For me, it was not until No Sleep Records’ founder Chris Hansen took a chance on a completely unknown high school graduate from Michigan that I was able to find my calling in music. The year was 2006 and I was just a freshman in college with a weekly show on our campus radio station. The studio had great equipment, but due to budget cut backs the music catalog had not been updated since the Y2K scare, leaving all incoming radio hosts to find, request, and otherwise acquire whatever music they wanted for their show. I had been an avid reader of Absolutepunk for about a year at that point, and as I started to plan my show I began using the daily news posts to locate labels and artists I might be able to promote through my efforts. It’s hard to remember exactly how many emails I sent, but I will never forget the rush of excitement I felt when Chris wrote back and asked for an address to send over some promotional materials. The initial shipment included a 3-song teaser from a then unknown band called The Wonder Years, as well as a full length album from The Fire The Flood, both of which I played at great length in the weeks that followed.

I can completely understand how some may see this moment of kindness as a mutually beneficial move for all involved that in no way had to extend further than one shipment of records, but for me it was all the confirmation I needed to know my life was on the right track. The fact I could convince someone like No Sleep to send materials my way meant that I could potentially work with any artist and/or label I put my mind to, which is exactly what I set out to do in the months and years that followed. Everything I have today, from the music news blog I still over see, to my role here at Haulix, only exists because Chris Hansen took a chance on me. He probably does not even realize he made that kind of an impact on me, or that he likely made a similar impact on the lives of countless other industry hopefuls, but that does not change the fact he was a positive force in my life at a time when I desperately needed a sense of direction.

No Sleep has been a member of the Haulix family for a long time, but due to the label’s ever-increasing popularity it has been difficult to find a time where Chris and I could work together on a feature for this blog. Fortunately, such a moment presented itself at the end of May, and we quickly got to work crafting an interview that not only retraces the origins of the label, but also offers some insight on where it may go in the years to come. If you would like to learn more about Chris’ efforts beyond what is found in the conversation below, please make it a point to follow No Sleep on Twitter. Additional questions and comments can be left at the end of this post.

H: Hello. Before we dive in, please take a moment to introduce yourself to our readers:

C: Sure thing! My name is Chris Hansen, I run/founded the Huntington Beach based independent record label No Sleep Records.

H: Thank you for joining us, Chris. We have been looking forward to this interview since we locked it in earlier this month. Tell me, how is life treating you and the No Sleep Records team thus far in 2014?

C: 2014 has been a great year, and continues to get better and better. While the year is half over, we have so many more great releases to put out this year. Looking forward to it.

H: I want to touch on where you are now and the place you may go in the future, but first I would like to get a bit of background information on you. Do you recall the first album you purchased with your own money (bonus point if you include the format)?

C: Oh man, I believe the first Cassette I ever purchased was R.E.M.’s ‘Monster’ and then the first CD was Marky Mark and the Funky Bunch. Pretty sure those are accurate, if not then I have lied many times that they were the firsts.

H: Who was the first artist/group you can remember obsessing over, and how did you initially discover them? We’d love to hear an early Chris Hansen ‘fanboy’ moment if you have one to share:

C: I was in the MxPx fan club in junior high, or high school. Whatever year that was. So I guess that is the greatest “fan” aspect I have done since well I was in a fan club after all. I don’t remember everything that you got for being a member, but I do remember there was an awesome exclusive t-shirt.

H: Let’s pick up the pace a bit. Can you pinpoint in specific events or experiences in your life that may have laid the groundwork for the career you would eventually pursue? Maybe a great ‘lightbulb’ or ‘a-ha’ moment?

C: I have always enjoyed music and all things surrounding it, and I knew early on that I was not meant to play music, so instead I went down the path of working behind the scenes. After a few years of experiences at various other companies, and the timing was right No Sleep was born.

H: Did you seek out any education beyond high school, or did you immediately dive into the pursuit of a career in music?

C: I believe the summer after high school was when I took on my first “internship” at another record label, which eventually turned into a full time gig at their then sister company. As far as education goes, around that same timeframe I went to a community college for about a week, and then I decided it wasn’t for me.

H: While on the topic of higher education, do you feel college is a necessity for those wanting to enter the industry as professionals today? Should it even be considered?

C: This is a topic I have thought about, talked about and argued about many times. School wasn’t for me, but it is for some I think. It all depends on the field you want to get into as well I believe. as there are a lot of fields where school is literally just a debt you will have the rest of your life, and not something that will really help you in what you are doing. But with that said, there are many paths in life where School is needed. Again, that is just my opinion – which could be just because school wasn’t something I was cut out for.

H: The first industry gig I know of you having was an internship with Fearless Records and Smartpunk, correct?

C: Correct, I started an internship at Fearless Records I believe the Summer after High School, which then became a full time gig at Smartpunk who was their then sister company, worked in the same warehouse/etc in Garden Grove.

H: What can you tell us about the application process and your earliest memories with those companies?

C: I believe Fearless Records posted about an internship, to which I simply sent in a resume I had and did an interview. Mostly what I remember about my internship is disassembling a lot of Jewel Cases to be reused. Did that a LOT.

H: You were hired from the internship to handle content at Smartpunk, which you did for a little over a year. After that you had a brief break before joining the team at Revelation Records. Tell me, how did that opportunity come together? What kind of goals did you have for yourself and your professional career at this point?

C: I had known Vique and Jordan at Revelation from my time at Smartpunk and was lucky enough to get an internship when i returned to CA, which lead to a job in the warehouse. At this point I really just was wanting to work in the industry in some way still, and learn whatever I could along the way doing whatever I had to since i’d rather be working in the Warehouse at a label I love with great people, rather than working somewhere else i’d hate.

H: Your role at Revelation comes to an end in mid-2005, just months before No Sleep Records would begin. Did you know when leaving that role that you would be starting your own label? When did the ideas initially begin to flow for what would become No Sleep Records?

C: I had no idea at all, the whole inception of No Sleep in a way was a pure luck. While moving out to New Jersey to work at Trustkill I grabbed lunch with my friend Rick Robinett, who just happened to have a new EP that was paid for/needed a label to put it out on, and the rest is history.

H: We ask this of everyone, but what can you tell us about the story behind your label’s name? What is the origin of ‘No Sleep’?

C: Well i used to do Freelance Graphic Design on the side to make some extra money, the company used to be called Barton Fink Designs (after the movie with John Goodman, amazing film) and i decided to change the name to No Sleep Studios since at the time i had a horrible case of Insomnia (which has completely gone away, if you catch me up till a late hour, the world must be ending).

H: After the launch of No Sleep you joined the Trustkill Records team for nearly two years of work in the art department. What did you take away from your time there, aside from a paycheck, that aided you in developing No Sleep?

C: Everywhere i worked, from interning at Fearless, to being the Art Director at Trustkill helped me to learn various to do’s, and not to do’s in the industry – not to mention many connections/friendships that are still around to this day. Had i not interned/worked at every place along the way I truly do not think No Sleep would be around/where it is today. I am forever grateful for all the opportunities I have had along the way.

H: Was No Sleep a success from the start? If not, how long were you in the red before the company started to make any profits?

C: No Sleep was a success to me from the start, on the books? Definitely not. It took many years of hard work, and massive “debt” to become the “success” that it is today. I would have to say at least half of the time No Sleep was around there was no real profit made if you ran a P&L each year.

H: If you had to pick one release that signified when thing began to ‘take off’ for No Sleep, what would it be? We’d love to hear a bit about where the label was before this record came out, and how things began to change once it reached listeners.

C: There are a few releases that really made a impact along the way, and just made me take a step back and realize “Wow, this is really something.” The first one that really did that was ‘The Upsides’ from The Wonder Years. That album was the first time we made it into Billboard on any of their charts, it helped spread the awareness of No Sleep among the industry and the scene. A few other releases that helped a long the way would of course be ‘Separation,’ ‘Wildlife,’ and ‘Proper.’ But really, every release and every artist up until this point has helped to build No Sleep – sure some of them were successes and some could be called a “flop” from a financial standpoint, but I do not regret any release or band we have worked with.

H: There seem to be more indie labels than ever before vying for a bit of consumer attention. What advice would you offer to those just starting out to help them develop their business?

C: This is a question i get asked a lot, and is something i have a hard time answering. Really there has always been a lot of indie labels, etc trying to get the consumers attention, now there is just more social ways to promote it. So I don’t think it has really changed since when i started No Sleep, so hard work, lots of late nights, spending every penny you have, put out records from bands you truly love, and go in it aware of the fact that you won’t be rolling in the “dough” by any means.

H: Speaking a bit more generally, do you have any guidance to share with those who are simply curious about becoming a professional in the music business?

C: Get an internship anywhere you can that is in the industry, and see where it takes you. You can literally go anywhere from anywhere. The only thing that can stop you, is you.

H: Looking ahead to 2014 and beyond, what are the biggest challenges facing No Sleep?

C: I think one of the biggest challenges is finding true bands with a true purpose.

H: What goals have you set for yourself as far as your career and personal development in this business are concerned?

C: The same goals/etc since day 1. Release music from bands I love, learn as much as I can and enjoy the ride for as long as I can.

H: With the ever-growing amount of competition seeking to make a buck off alternative/indie/punk music, what steps are you and the No Sleep team taking to set yourselves apart from the rest of the industry?

C: The one thing that i think we have always done, and will continue to do so is release records from bands that we truly would listen to. We have stuck to the integrity that i set forth back in 2006, and i believe that is what has helped No Sleep to continue on this upward path. Sure following trends can make you a quick buck, but that won’t last a lifetime, nor will you be happy doing so.

H: You have been a Haulix client for several years at this point. What is it out about digital distribution service that keeps you coming back?

C: We have always been looking for a great place to allow us to share our music with those that need it early, but in a safe way. Haulix was that answer for us, and we will be lifelong customers of theirs.

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

C: It’s true, there are a lot of shitty people in this industry, and I would love for that to not be the case.

H: When it comes to music discovery, where do you turn when hoping to find new bands? I am sure a number of our readers would love for you to hear their latest creation.

C: A lot of the bands that come to us at this point are word of mouth from other bands on the label, or friends who are in bands on other labels. Just bands that our family/friends have seen at shows or heard, etc. Hard work is the best way to get your music discovered at the end of the day. Cheap shortcuts don’t get you very far in my opinion.

H: Do you have any job or internship opportunities with No Sleep? If so, how should people go about submitting their application?

C: We generally will post about any internships or job openings by way of our social networks, so following them is the best way to be in the know. And just a note, 50% or so of the staff that has been/is at No Sleep was previous an intern.

H: Okay, I think that covers everything. This got a little long in the tooth, but I appreciate you sticking it out. Do you have any final thoughts or observations you would like to share?

C: Death to false music.

Categories
Job Board News

Music Industry Job Board (5/25/14)

A lot has been written about the supposed dire state of the music industry, but truth be told there are a number of successful and growing companies, including record labels, that are thriving in 2014. In this column we bring together every job opening we can find from the companies responsible for building the future of the  business and present them to you, our reader, in hopes of aiding you on your journey to join the global music industry professional family.

Each Sunday we scour the internet for the latest and greatest job postings throughout the music industry. You can help us better serve our community by sending any job openings you find or have to james@haulix.com. Be sure to include the name of the company hiring, a detailed description of the position being offered, a desired start date, contact information, and any additional supplemental information you feel may be needed.

Job Openings:

Record Label Manager (Confidential)

Job summary: This job is based around project management skills, including the ability to schedule many projects simultaneously. It is essential to be able to work to multiple production deadlines. Should have skills in office administration, oral and written communication, industry networking, budgeting and financial management are required. Because label managers deal with artists, they need tact and diplomacy. The label manager must have a thorough appreciation of and commitment to the multiple genres of music that the label deals with. It’s useful (but not necessary) to also have some technical knowledge about recording and production in order to understand the needs of the artists when setting up recording sessions. Technical knowledge of digital marketing strategy will help.

Coordinator, College Label Services (Warner Music Group)

Job summary: Emmy Award winning production company looking for a temporary (possibly leading to permanent) Music Coordinator to join the team in our LA (Culver City Adjacent) offices. Under the direction of the Executive in Charge of Music, this position will be responsible for acting as the department’s music coordinator across multiple projects.

Team Coordinator (Universal Music Group)

Job summary: Universal Music Group is currently seeking a Team Coordinator position in our Hollywood, CA office location. The purpose of this position is to provide strong administrative and organizational support to the VP of Adult Programming.

Music Supervisor (Create Advertising Group)

Job summary: A leading, cutting edge, Culver City Entertainment company is looking for a talented and enthusiastic Music Supervisor position to join the team. The candidate will be expected to manage the demands of entertainment marketing, working under high stress, with urgent deadlines in a fast pace environment. The candidate must possess a vast knowledge of all types and genres of music and have preexisting established contacts at labels, publishers, and music marketing agencies and have a complete understanding of the music clearance process.

Music Clearance Coordinator (Reflection Music)

Job summary: Looking for a music clearance coordinator to assistant of various projects. Minimum 1 year previous experience in film & tv music clearance and/or licensing. Must know how to perform song searches on the various PRO’s. Must have exceptional attention to detail. Duties will include song research, sending out quote requests, tracking approvals, processing licenses and payments and other admin duties. Must be able to work in a faced paced environment.

Creative Assistant (Sony/ATV)

Job summary: Sony/ATV Music Publishing Los Angeles is seeking a detail-oriented, highly motivated, and career-minded Creative Assistant to support two A&R/ Creative Executives. The candidate must be able to work well in a fast paced environment, have the ability to multi-task and be knowledgeable of music as a whole. Major duties of the job will include answering heavy phone volume, booking travel, and maintaining various creative documents for the A&R staff.

Media Manager (Axcess Talent)

Job summary: To be one of the leaders of the core agency team responsible for developing and executing effective advertising campaigns for Axcess TV & Radio. The Media manager is responsible for setting the bar for strategic and creative thinking in all media services.

Full Time Staffer (Barsuk Records)

Job summary: Barsuk Records is seeking an experienced individual to join our Seattle office. As a small company with a select roster of artists and where most current staff have worked for 5-10 years or more, there’s a fair amount of responsibility-sharing at Barsuk. Ideal candidates will have experience (3-5 years minimum) in one or more record industry disciplines, including but not limited to marketing & promotion, A&R, project management, warehouse operations, artist management, event planning, bookkeeping, copywriting, and/or design. Familiarity with Barsuk’s catalog and 15-year history is strongly preferred, but not necessary.

Music Supervisor/Sales (Atrium Music)

Job summary: Atrium Music, a new-model, boutique music licensing and publishing company is seeking an experienced, well-connected and highly motivated team member for the position of music supervisor/sales agent to pitch and place the company’s vast catalog of artist and composer music. 

Manager, Digital Marketing (Universal)

Job summary: As a key member of the Digital Marketing team within UMe, the Manager’s position marries strategy with execution across all digital channels for a designated set of projects, from start to successful finish. The Manager will work collaboratively with internal stakeholders and global counterparts, per project as well as with external industry and consumer facing outlets to develop online, social, and mobile opportunities. In an unconventional approach to catalog priorities, this role will also take on the onus to develop core, genre comprehensive campaigns to elevate and optimize deep catalog titles, tracks, and artists. The Manager will report directly to the department head for Digital Marketing.

Licensing Administrator (Warner Music Group)

Job summary: Securing from music publishers any and all rights required in order for WMG’s U.S. record labels to exploit any musical compositions embodied in the sound recordings and records that those record labels release, negotiating the corresponding mechanical and other licenses covering those musical composition rights, and paying those music publishers the corresponding mechanical and other license advances, fees, and/or other royalties in an accurate and timely manner. 

Business And Legal Affairs Assistant (Sony)

Job summary: This position will provide administrative support to the Business & Legal Affairs contract administration staff, and assist in digital rights management and administration. Advances/Payments/Checks: Manage the requisition and distribution of all contractual advances and other payments.

Administration and Licensing Manager (Confidential)

Job summary: Scout Staffing is actively seeking an experienced and personable Administration and Licensing Manager for Nashville’s fastest-growing independent record label. Working closely with the Director of Administration and VP of Publishing, this role includes both publishing and record label administration duties while also managing a full-time coordinator. If you have a passion for licensing, a team-oriented mindset and management style, and a want to thrive in a fast-paced, collaborative environment, then this role with an innovative label may be the one for you!

Sales Representative (Alfred Music)

Job summary: Under general supervision, performs increasingly responsible and complex duties in developing and serving an account base and attaining sales goals of company products in an assigned territory and within a team environment.

Music Payroll Coordinator (TEAM)

Job summary: Wonderful opportunity for the right candidate.  TEAM provides talent and union payroll services to music clients in the Film, TV and Sound Recording industries.  The Music Payroll Coordinator is a “team-player” position that requires accuracy, attention to detail, initiative and a pro-active approach to duties and responsibilities in working with intercompany departments, clients and colleagues.  Discretion in handling company and private or personal client and employee information is required, along with a positive attitude, professional ethics, appearance, and conduct.

Project Manager (MTV)

Job summary: Are you interested in driving highly visible initiatives for MTV Artists? Do you enjoy working in an entrepreneurial environment solving complex technical problems and delivering innovative solutions? MTV is looking for a Technical Project Manager to help us make our MTV Artists website and apps even better! This role will provide project leadership, mitigate project risks, make tradeoffs, and balance business needs versus technical constraints. You will work with various software and business teams around the company to identify and drive innovative solutions that achieve business goals. This is an opportunity to shape the next generation of MTV artists!

Music Assistant (Sports Media Network)

Job summary: Assist Coordinating Director of Music, Music Director and Music Coordinators in the preparation, filing, coordination and organization of music licenses and related music documentation. Oversee the management of digital audio resources, storage and organization of the department’s audio libraries. Handle the update of music data to the cue sheet management system, as well as the distribution and handling of cue sheets to licensors.

Senior Manager, Market Research (The Country Music Association)

Job summary: The Country Music Association is currently seeking a Senior Manager, Market Research to manage a broad range of research initiatives related to CMA initiatives and the country music industry as a whole under the direction of the Sr. Director, Market Research.  The position will design, manage , implement and report primary and  secondary research to provide a multi-dimensional and in-depth understanding of the Country Music consumer and marketplace.   Position will also manage CMA Insiders – CMA’s proprietary consumer panel.

Project Manager (Gibson Guitars)

Job summary: Gibson Brands, Inc. (f/k/a Gibson Guitar Corp), the world’s premier manufacturer of musical instruments and professional & consumer audio equipment, is building out its Product Management function in Corporate Marketing and is seeking to hire six (6) Product Managers. The Product Managers will be located in Nashville and report directly to the Executive Vice President of Product Planning. They will have responsibility for managing existing product lines as well as creating and integrating new products and product changes within their specific product line.

Office Manager (Yamaha)

Job summary: Yamaha is seeking a dedicated Office Manager to work on a temporary basis for a period of approximately three months. The length of the temporary assignment may vary contingent upon business needs. Individual will be responsible for various clerical and administrative functions in the office.

Maintenance/Process Supervisor (United Record Pressing)

Job summary: The Maintenance/Process Supervisor is responsible for overseeing and executing the work of maintenance staff. The maintenance staff is responsible for the upkeep of vinyl presses and other machinery needed to produce a high quality product. The role also provides support to the execution of the production schedule. The successful candidate must have strong communication and troubleshooting skills, and possess the ability to perform maintenance duties as needed.  

Music Content Operations & Data Specialist (Getty Images)

Job summary: You love music, technology, operations and the coming together of all three. You have the ability to look at music on the asset level and understand data trends surrounding it. On a day-to-day basis, you aren’t afraid to dig into databases for more information and know how to communicate your findings to a broader team. You execute quickly on projects, are detail oriented, love creating processes and enjoy troubleshooting issues. You understand music as a digital asset and know what it takes to move an asset along a value chain to generate revenue in today’s complicated music landscape. You will work closely with our global sales group, contributor services, content curators and contributor relations teams. Your focus is to ensure that our high quality music offering grows online and offline while also spearheading delivery of our music offerings to existing and new customers. You will also be a conduit between our contributor base and music partners and facilitate our music submission process when necessary. You must understand music licensing as a business and technical formats for digital music assets. Most importantly, you must like working on a diverse team, love to execute according to a plan and learning as you go. 

Controller/Treasurer (Los Angeles Philharmonic)

Job summary: Oversees and manages the LA Phil’s accounting practices, financial controls, financial reporting, audit and tax filings, cash management, payroll, insurance and retirement plan administration.

Manager, Membership (The GRAMMY Museum)

Job summary: The Manager Membership of the GRAMMY Museum is responsible for all aspects of a highly successful membership program, including strategic planning and growth; providing a significant base of unrestricted annual support and donor cultivation; providing excellent benefits and services; developing effective marketing strategies and programs; increasing and improving member renewal, retention, upgrades and acquisition. 

Finance Director (Wind-Up Records)

Job summary: The finance team provides financial reporting, accounting, planning, budgeting, financial compliance and auditing for the company. TheFinance Director reports to and partners directly with the Chief Financial Officer to assist with a broad range of Finance activities including shared supervision of Finance Manager.

Director & Chief Curator, GRAMMY Museum® Mississippi (AEG)

Job summary: The Director & Chief Curator leads all activities directly related to the GRAMMY Museum Mississippi® collection and exhibitions in carrying out the organization’s mission, vision, strategic plan, and budget.

Mid-Level Digital Account Manager (Complex Media)

Job summary: If you are tired of the typical AdOps jobs and want to provide higher value beyond the execution of campaigns, you are ready to work with Complex Media. Set up a meeting with us to learn how you can be part of the team that is making Complex Media’s Digital success a reality! Bring in your creativity! The idea is to stay ahead of the market by offering digital advertising products that are unique – we provide the venues to challenge the established guidelines. 

Director of Marketing (Backstage)

Job summary: Sonicbids (part of Backstage.com) is looking for a Director of Marketingto grow its two-sided opportunity listing marketplace. The Director of Marketing will grow band and promoter (venues, festivals etc) signups via acquisition marketing at high volume and low cost. You will be responsible for narrowing Sonicbid’s marketing focus and solving the marketplace chicken vs egg problem. The Director of Marketing will manage the marketing team and work in partnership with the Director of Brand and Content.

A&R Department Coordinator (Universal)

Job summary: Candidate will support the A&R team. Responsibilities will include booking studios, coordinating travel, assisting with budget preparation, preparing expense reports and heavy phones.

Director of Licensing- Trailers (Chappell Production Music)

Job summary: Warner/Chappell Production Music is looking for a results driven, professional, flexible, hardworking individual for the full-time position of Director of Licensing- Trailers in our Los Angeles office. This is a fun and challenging position in fast-pace environment.

Categories
Job Board News

Industry Spotlight: Rose Slanic (Eleven Seven Music Group)

Hello and welcome to a new week of music industry insight and advice here on the official blog of Haulix. We are extremely proud of the content planned for the days ahead, and are thrilled to be kicking things off with one of our most high-profile interviews to date. If you have any questions about the content of this post, or if you are interested in learning more about the secure music distribution services offered by Haulix, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.

Graduation season is quickly approaching, and already it’s hard to visit a store like Target or Wal-Mart without seeing copies of the Dr. Seuss story Oh, The Places You Will Go sitting alongside products with ‘Class of 2014’ printed on them. Not every copy will sell this season, but thousands will, and among those sold a few will go on to be read so many times their pages will begin to show signs of wear. It may be a poem originally intended to inspire children, but over the years Oh, The Places You Will Go has become a symbol of the future’s promise for young people, or at least those willing to chase after what interests them. I’m not sure the person at the center of today’s post was ever given a copy during a graduation celebration, but I can guarantee she’s embodied the message of Dr. Seuss’ iconic story her entire professional career.

Rose Slanic is a name you may not be familiar with just yet, but she has more than likely worked with a band or artist you adore at some point during the last two decades. She knew from an early age music was what interested her most and, after studying the industry through a two-year program offered by Harris Institute, began a journey in the music business that would not only allow her to travel the world, but gain the knowledge and experience necessary to lead labels in both the US and Canada. She was recently appointed to the position of General Manager for North America at Eleven Seven Music Group, and just last week she took a few minutes to speak with us about her life in music. What she shared changed the way we view the business, and we think it will offer a fresh perspective to many readers as well.

I want to grow up to be like Rose Slanic. I know I’m pushing twenty-seven now, but she has lead the kind of life in the industry all professionals aspire to one day achieve. She has seen the world while working with bands she believes in, and along the way made time to help others achieve their goals as well. If you need a new role model for industry professionalism, but still want to look up to someone who leads a kick ass life, Rose is a person you need to know.

If you would you like to learn more about Rose Slanic and her efforts with Eleven Seven Music Group, please take a few moments to follow her and Eleven Seven on Twitter. Additional questions and comments can be left at the end of this post.

H: Hello, thank you again for joining us. To get us started, please tell everyone your full name, job title, and the company where you are currently employed:

R: Rose Slanic, General Manager, Eleven Seven Music Group 

H: It’s a pleasure to feature your story, Rose. I have been looking forward to this interview for some time. Tell me, what are some of your earliest memories with music?

R: My earliest memories with music…wow! I always loved music, but the music I was introduced to when I was young was very different from what I listen to now. It came through my parents who each had moved to Canada from Slovenia. I use to listen to CFTR (used to be Rock radio, now is a news station in Toronto) a ton when I was a kid, but then my brother came home with some Kris Kringle gifts from school and he got the BACK IN BLACK album from AC/DC, Quiet Riot, and the new Culture Club record. It was all so different and new to me, I liked all of it. 

H: Do you remember the first artist you were obsessed with? Go on; tell us a little about your early fangirl moments.

R: My first artist-obsession was with Culture Club (I was 8 or 9 years old). After that, it was Platinum Blonde – I wrote Mark Holmes a letter. After that it was Bon Jovi – I had the fringed jackets to prove it!

H: How about the first concert you ever attended? Put us in the seat next to you.

R: The first concert my parents took me to was a German artist called Heino. It was at the Sony Centre Toronto (called something else back than) and we had really good seats. I just don’t know why my parents thought I would enjoy his music.  The first concert I bought tickets to was Culture Club when I was 11 years old. My older cousin agreed to take me as long as I got the tickets. It was at Maple Leaf Gardens in Toronto and we had what I call now, nose bleed seats! We were in the Green Section. The opening band was Glass Tiger – who were actually called Tokyo at the time!

H: Looking back on your life now, are you able to pinpoint any formative moments or experiences that may have guided you toward the career in music you have today?

R: This is a great question, as I don’t really remember. I have friends that will tell me I told them I was going to work in the music industry a very long time ago, but I don’t remember what possessed me to say that.  When I was younger, all I did was go to concerts, and buy CDs.  I think that is what kick-started the desire to be a part of the music business.

I registered to University for Travel and Tourism, and to get my BA, as I wasn’t sure what direction I was headed in. I ended up taking a year off after High School and working. Within that year I registered to go to Harris Institute for the Arts, and never looked back 

H: You have an incredible and lengthy history in this business, so let’s jump ahead just a bit in your timeline. You attended college for business before changing school and pursuing a two-year program providing an overview of the music business. What can you tell us about the type of information were given about life in the music business at the time? I imagine it’s completely different than what students are taught today.

R: Harris Institute is an interesting and unique school. They make you take a course on everything in the music industry. Which was perfect for me, as I really wasn’t sure what I wanted to do within the business. I could have lived without the engineering class, but overall it was a well-rounded education. I am sure they continue to do the same thing, but I would imagine they include much more about digital sales and distribution, online marketing and more. I don’t think those topics where even addressed when I was there. They did teach us about making websites, however. 

H: I’ve read that you also taught at the school where you learned about the music industry. Is that true? Have you always had a passion or teaching?

R: I did teach Music Marketing there for a while. I really enjoyed it and got to see some of those students move on and secure jobs in the industry. The only reason I resigned from the position is because my job with the management company had me on the road all the time, and I didn’t feel it was fair to the kids to keep rescheduling classes!

H: As far as I can tell, your first big role in the industry came from Attic Records. What can you tell us about that job and how you initially landed the position?

R: My job, prior to Attic, took me as far as it could. At that point, I put the word out that I was looking for a job. Thanks to my teachers at Harris, I had a few options. I applied for the position of National Promotions, and Publicity for Rock, Hard Rock, and Metal at Attic, and landed the gig! I loved it, as at that time, I was a big fan of Pantera and all was already friendly with most of the bands on Roadrunner. (Attic licensed Roadrunner in Canada so it was perfect!!) 

H: Attic lead to Universal Music, which then lead to the world of artist management. Did you prefer management work to what had been doing at Attic and Universal? Was it similar?

R: The guy who hired me at the management company sold me on the fact that I could travel the world, which I did thanks to the likes of Nelly Furtado, Fefe Dobson and k-os.  I loved the traveling, and getting to meet people in the music industry all around the world!  Though, in my opinion, management and label work are two very different worlds, as long as you understand how labels work, you are a better-informed player in a management role. 

Not sure which one I prefer. I like them both for different reasons. Management is really a 24/7 job – which is fine – but you need to want to do that.  

H: In more recent years you have been a part of the Roadrunner Records family. What can you tell us about your responsibilities in that role and how it initially came together?

R: Roadrunner was licensed to Universal Canada and Cees Wessels wanted to change his deal to a strict distribution deal. He wanted his own team in place. I think Roadrunner staff, an artist manager, and Randy Lennox (President of Universal Music) suggested me. The timing was perfect as I felt it was time for me to move on from the management situation in was in.

Took me a few months to secure the position, but I got it and started in January 2006. As the General Manager of Roadrunner Records Canada, I had to put together a team to run the label from a Toronto office. I was also responsible for budgets, forecasting, marketing, sales and everything else the other team members did not cover! Roadrunner had a real family atmosphere, and was always a joy to work with!

H: During your time as GM for Roadrunner Canada the company’s sales more than quadrupled. That’s incredible. What changes did you make after coming on board that facilitated such a large change over the subsequent years?

R: Universal Music is a great place to work and be distributed in Canada, but whenever an indie label licenses to any major, you get an advance check in the mail and then you hope your release stands out from the other 1000 releases they have. When you have a team clearly focused on your releases, chances are you are going to see changes. We had a four-member team signing bands, working radio and press etc.  A team that clearly understood the market, and the genre they were working. While the amazing, often-overworked people at Universal have a deluge of releases, at Roadrunner we probably had one or two new releases a month, and 8-10 active current releases. We even had time to focus on catalogue campaigns. We had time to focus on our bands, and we worked hard making people take notice. 

H: After six years with Roadrunner you moved to a Vice President of Label Operations role at Eleven Seven Music, but not before founding your own label and communications company known as Black Rose. What inspired you to launch your own business?

R: There were two bands Roadrunner Records Canada had signed and did not pick up their option.  To this day, I don’t know why, because some of the staff in the NYC office stated that the albums were their favorite releases of that year. Nonetheless, one of those bands where Bleeker Ridge. I kept working with them after leaving Roadrunner.  After Roadrunner, I got freelance work here and there for various companies (The Next Star, Goldenvoice, Evenko), so Black Rose was just a way to brand myself and stay in the music industry 

H: Being as successful as you were at Roadrunner, I have to imagine the decision to change roles was not made very easily. What drove you to join the Eleven Seven team?

R: Circumstances were such that Roadrunner had to cut staff so drastically that, in their third round of layoffs, I was affected. Allen Kovac was one of the first people to call me afterward. I didn’t jump into the role at Eleven Seven Music Group though. I enjoyed the summer off and met with several people who had options that I wanted to hear about. Working with Allen Kovac was by far the best choice for me. In a world where companies are downsizing, he is growing his companies, and being smart about it. Also, as the VP of Label Operations in Canada, I got to move back in to the Universal Music building in Toronto, a place that felt like home to me.

H: After just over a year with Eleven Seven you were promoted to General Manager and relocated to New York City after spending more than a decade in working in Canada. Aside from your changing roles, what has been the most difficult part of the relocation process?

R: A few things were tough for me:  Leaving my nieces behind was probably the hardest.  They are 2 and 5 years old so it’s important to me to keep in close contact with them! Also, it was tough not having US credit history (something I hadn’t thought of). I feel like I am starting over, where I had built my life, and credit, in Canada already.

H: Without going too in-depth, please walk us through a typical day at the office for you:

R: It starts with me complaining why the coffee here doesn’t come close to Tim Hortons’ quality!

Everyday is actually different. My schedule is largely based on meetings, what releases we have coming out and more. There is some routine, but not a ton. That is why I like this job! Activities vary from leading company-wide marketing meetings to listening in on junior staff brainstorming meetings, to reviewing materials submitted by bands for upcoming albums. My involvement in every part of the process is quite deep. Therefore, my email in-box is out of control!

H: Beyond paychecks and continued employment, how do you measure your personal success?

R: If I can help someone, teach someone, or guide someone to be better and more successful, that is my barometer of success.  

H: Do you have any career goals or aspirations you are currently working towards?

R: One reason I chose to move to NYC was to help Allen Kovac expand this company, his brand, and make it more successful. I have only been here 5 months, but I feel we are headed in that direction

H: A lot of the people reading this are likely considering a career in music themselves. As someone who has endured the changing landscape of music for the better part of two decades, what advice do you have to offer them?

R: You know when I started in the music business; I just wanted to get in. No matter what the job, there is always an opportunity to learn in this industry because it is always changing. If you want longevity in this industry, I believe you have to start at the bottom and work your way up. It is just important to not get discouraged easily. The best schooling for this kind of work is actually doing it, hands down. 

H: When it comes to keeping music safe ahead of its intended release date, Eleven Seven uses Haulix for all its secure music distribution needs. What do you like about our service?

R: We love the ability to track which songs are listened to and how often individuals listen to them. There is nothing better than knowing people have heard music and are prepared to discuss it in detail, while still maintaining the security of the material.

H: What is the biggest challenge facing Eleven Seven Music Group today? Is it growth? Piracy? Something else altogether?

R: It is probably growth…We are signing bands and beefing up our release schedule, but we are concentrating on quality so it is a slow, steady process. We aren’t just throwing things against the wall to see if they stick, we make a commitment to these bands – multiple singles released, aggressive marketing, etc.

We are also trying to communicate the message of what we do for our bands to the industry at large, which is another slow process.

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

R: Illegal downloads. Despite what everyone says, this has really affected sales.  When I started at Alert Music, the #1 selling CD was selling 200,000 copies per week!  Now we are lucky if we get to 20,000 copies per week on the #1 release. The bar has been lowered and that is sad.

H: Looking ahead to the remainder of 2014, what can we expect from Eleven Seven Music Group?

R: A great year of releases for both our Rock (Eleven Seven Music) and Alternative (Five Seven Music) labels.  We signed a new band called NOTHING MORE to Eleven Seven Music that we are all very excited about.  HELLYEAH (Eleven Seven) and NICO VEGA (Five Seven) made great records we are now promoting!!! We also have a bunch of new signings. It’s going to be a busy and fun year for us!

H: What is one thing you hope to accomplish before the end of the year?

R: A gold record… wishful thinking!  Honestly, that ELEVEN SEVEN MUSIC GROUP becomes a brand that bands want to be a part of!

H: Okay. I believe we have made it through all my questions. Before I let you go, do you have any final thoughts or observations you would like to share?

R: I would like to take the time to say thank you for doing your research and asking me great questions!

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