Tag: substream

Industry Spotlight: Jason McMahon (Substream Magazine)

Post author By James Shotwell
Post date April 1, 2014

Hello, everyone. Welcome to the first Industry Spotlight of the week. The following feature has been in the works since mid-February, and has been the topic of several request emails since at least November 2013. We do our best to speak with everyone you hope to learn from as soon as their names come up, but scheduling is often a tricky proposition. If you would like to learn more about the efforts of this blog, or if you would like a tour of our servicing platform, please do not hesitate to contact james@haulix.com. We can also be found on Twitter and Facebook.

It is rare that more than a month or two passes without another print publication going digital or shutting down entirely, but as we will today there are still people in the publishing industry who believe in the future of physical products.

Jason McMahon is not the first person you expect to meet when you meet the owner of Substream Magazine. He does not consider himself much of a journalist, and even though he went to college twice he never once majored in anything related to the publishing world. He actually had no idea what he wanted to be when he began his post high school journey, but fate first placed him in the medical field before eventually turning Jason’s focus to the world of music production.

Following a second stint in college, Jason took an internship in New York and left Ohio to pursue his music industry ambitions. One gig lead to another, and over the course of several years he found himself back in Ohio. This time, however, Jason had a partner in creative endeavors, and together the two launched Substream Magazine as a way to expand their horizons in the music business. Jason took on full ownership a few years after that, which is the position he holds to this day.

As someone who has spent the entirety of their career writing online, I am always a bit more excited than usual for interviews when the opportunity to speak to someone working in print comes along. The battle to maintain a physical presence in a world with an ever-increasing demand for digital access has claimed many great business, but Substream has survived and even thrived.

I spoke with Jason about his history in music, as well as the origin of Substream, but when our conversation really took off is when I approached the topic of the magazine’s plans for the future. While others are running from print, Substream is hoping to maintain their physical presence for as long as they are able. They see a value in the way people engage with their physical product that can not be duplicated when fingers dance across the glass surface of smartphones, and they are doing whatever it takes to nurture that value for the foreseeable future.

If you would like to learn more about Jason and his efforts with the Substream Magazine team, be sure to bookmark Substream’s official website and follow the company on Twitter. Additional questions and comments can be left at the end of this post.

H: To begin, please tell everyone your full name and the publication you’re here to discuss:

J: My name is Jason McMahon, owner of Substream Magazine.

H: Thank you again for joining us.

J: Thanks for having me.

H: I’m curious, when did music become more than an interest in your life?

J: I was always really into music, but I didn’t really take any interest from an instrument standpoint until high school. That is when I picked up the guitar and I think it was through playing that I developed a different appreciation for it, and better insight. I started paying attention to the music itself and not the song as a whole.

I also became a huge fan of going to shows, finding new music, discussing new music, and those kinds of scenarios. Like every high school senior, however, I had know idea what I wanted to do with myself when I graduated. I went to college because I thought that is what you were supposed to do and found I really enjoyed the medical field.

Graduation came and I found work at a hospital in Columbus, Ohio. A little later in my twenties I realized that I wanted and kind of needed to do more music stuff. I noticed I had developed an interest and attraction to recording, so I returned to school for music production and as soon as I graduated took a job at a recording studio in New York City.

That kind of kicked off my music career, really. I left the medical field and never looked back. Working at the studio turned into working at an independent label, which turned into working on various projects in Nashville. It was during this time that I met the kid who would eventually become my partner in the magazine. We kicked it off, I bought him out three years later, and just recently revamped the magazine.

I think I got a little carried away there, but yea, that is how Substream came to be.

H: That’s perfectly fine. Giving us the whole story up front makes it easier to talk about other topics. You mentioned leaving the medical field for music. Can you pinpoint the moment in life when you realized music was the business for you?

J: When I was working at the hospital there were a couple other guys I knew who were into music. One of them brought up the fact you could go to school for sound engineering and recording, which I really did not know at the time. I think a lot kids are geared towards and told to do certain things. Law school, medical school, and so on. Counselors do not sit them down and ask, “What’s your passion?” They don’t always have someone willing to help them find something in life that interests them and show them how to make a career out of it.

So, I was working at the hospital and this guy told me about this program for music production. I loved my job at the hospital, but the more I thought about it I realized that going back to school for music was for me.

I don’t regret what I did in my early career though. I loved it, and when I look back now I still do.

H: Music production was where your interests lied originally, but you now work in the journalism field. When did the world of writing come into the picture for you?

J: It really never did to be completely honest with you. I always looked at Substream as a springboard to bigger and better things in the music industry. I love working with bands, working with labels, bringing people together, and setting things up, but to actually sit down and write something was never really a passion of mine. Substream was more something that would allow me to exercise the things I enjoy about the music industry while allowing our writers and photographers do their thing. I have done a few articles and I do enjoy it, but it is not my forte. I am more into the business end of things and finding bands. That is what I enjoy.

H: Interesting. Can you tell us a little about the early years of Substream and how you, as someone who recognizes your own skills lie outsides of writing, went about building your team of editors and contributors?

J: That was back in the MySpace days, when we were just getting started. We had a really good following on social networks and we sought out fans to contribute to our efforts. We were a magazine that was produced by fans of music for fans of music, so we were not looking for high quality, outstanding journalists, we just wanted young people who were passionate about the music we were covering. As we started putting out phone calls and messages via MySpace we began receiving feedback from people who wanted to help us create conten. At that point our jobs became weeding out the good from the bad, and we built our team that way. It’s probably a strange method, but it’s literally what we did.

We started in central Ohio as well, and we know a lot of people in the area who were willing to help us out.

H: How large is the Substream team today?

J: We probably have, on average, a team of 25-30 contributors from all over the world. It’s really pretty cool.

H: Do you actively seek new writers?

J: We don’t really have to seek new people, they tend to find us. We get a lot of messages from aspiring writers and college students who are looking for work. They send us stories and portfolios, which we review, and if looks good we will follow up.

H: I’ve noticed that you guys also have internships available. Can you tell us a bit about what interns do at Substream?

J: If you’re located in the Columbus (Ohio) area, our interns will meet with us once a week and do a variety of tasks. They will go to shows and pass out magazine, help out on social sites, run contests. If any are aspiring journalists we will try and find content for them to work on. It’s really about finding where the individual intern can help us best. We have one intern who helps us edit. She does not want to go to shows all the time or write articles necessarily, but she has an interest in editing.

Our interns do a little bit of everything.

H: What advice would you offer someone aspiring to become a professional in the music industry?

J: Be prepared to be broke for a while. You have to pay your dues. The best advice I can offer someone pursuing a college degree right now with an interest in this industry is to run out an find internships that you are passionate about. That is where I got my start and it’s where I learned a lot about how the business works.

H: Substream is one of the few music publications still in print. You probably get this all the time, but do you plan to keep making a physical magazine for the foreseeable future?

J: Yes. I think having a print edition of anything is far more enjoyable than reading something off a device, like an iPad for example. They are two different experiences, and there are pros to each. The digital side of things keeps you from having to carry around a stack of book, and it also allows for a lot of interactivity, which is great.

But I think to actually have a physical copy in your hands. To see and to have that product on the shelf in a store where someone has to make a true effort to come in pick it up is pretty special. I think that we will always put out a print magazine. I just hope everyone else quits printing, as that seems to be the trend right now. If everyone else wants to stop that is great for us because we know there is value there. I know that when we go out on Warped Tour it’s exciting to see our fans pick up a magazine and flip through it. It’s a different kind of excitement than picking up an iPad and dragging your finger across the screen.

This doesn’t mean we are not going to grow our digital side because we definitely are, it just means that the magazine will adapt and change as needed so that we can continue to print.

H: On that note, how can we expect to see Substream change in the months and years ahead? Is there anything on the horizon you can discuss?

J: We are constantly evolving and reworking our design, and we are also stretching the genres we cover. When we first started out everything was very pop-punk and hardcore-related, but now we are starting to branch out a little bit. We are still covering those scenes, but we are also bringing in some pop, a few alternative acts, and the like. Our focus will always remain on those initial scenes, but we like seeing where the magazine can go.

As far as the company itself, we launched our digital edition on a new platform at the end of last year. I’d also like to launch an app at some point. It’s pretty exciting right now. I have a few ideas on how to diversify what it is Substream does. It’s all music-related, but I would like to see our company grow into more of a multi-level company that does many music things. We’re getting there. Slowly, but surely.

H: You have accomplished a lot with Substream. What are your personal career goals moving forward?

J: I like to start companies and build them, so I would really like to see what we just spoke about coming to fruition. Making Substream a springboard to launch more endeavors. Personally, I would like to get more into the recording side of things. That is where I got my start, and it is where I would like to get back to. Finding bands, signing bands, and help them sell records.

You say personal career goals, but Substream is my life. It all comes back to this, and I am working towards constant growth.

H: Great response. I think that covers everything I have, but before I let you go are there any final thoughts or observations you would like to share with our readers?

J: I think I gave you a quick background on us and how we got to this point. We are seven-years-old now, and to be honest the odds were against us from the start. We have seen magazines like Spin go away and I think we are here to stay the course and create a product music fans want to buy every other month. We are here to stick it out.

Job Board News

Blogger Spotlight: Jameson Ketchum (Substream Music Press)

Post author By James Shotwell
Post date July 12, 2013

The latest edition of our Blogger Spotlight is not exactly a fitting title. You see, even in 2013 not every journalist working in music writes solely online. A very select few have been able to find lasting work in print (ie those newspaper-like things you see in bookstores that are now on ipads, only in paper-form), and today’s featured interview is with one of our personal favorites.

In an age where it seems everyone is rushing to digital, Substream Music Press is one of the few remaining print publications in the alternative scene. It’s not that they don’t appreciate digital, and they certainly recognize the changing times, but they also know how actually holding a magazine can add weight to words. Managing Editor James Ketchum is today’s featured writer, and his insight offers a unique look into a part of the music journalism world that may not be around much longer.

As always, if you like what you read, please support our featured writers and the publications that post their work. Follow Jameson and Substream on Twitter. If you’re not a twitter person, Substream also has an entertaining Facebook page as well. Click here for information on subscribing to Substream Music Press.

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

Substream: Jameson Ketchum and I’m the Managing Editor at Substream Music Press Magazine.

H: Everyone’s backstory is different, and from following your adventures on Instagram it’s clear you have had many titles during your time in the music industry. What inspired you to seek a career in music, and how did you get from that initial inspiration to writing?

Substream: I remember being 15 years old, sitting in my English class, writing Dashboard Confessional (“This Ruined Puzzle”) lyrics in my notebook. Yeah, I was that kid. It was this feeling where I couldn’t write anything of my own just yet but I had to write. More honestly, I wasn’t confident enough yet to put my own thoughts or poetry down on paper, but I just had this itch where I had to write, even if it wasn’t my own words. There was some kind of magical therapy in the act itself. I always knew that, even if I didn’t become a “real writer”, that writing was my jag that I loved more than anything else in school. It took me a very long time to figure out where I was best suited as far as actually striving to make a career in music. I don’t know if I’d say I set out initially to create a career out of what I was doing. I did freelance work for a few years while I ran an online publication with a friend and business partner. Looking back now, I owe a lot to that first publication as it allowed me to make more contacts in the industry as well as learn how each different job worked. The sentiment with that first publication was “Well, I don’t have the experience yet to start applying to be a paid or full time writer, so I guess I’ll just do it myself until someone notices”. That is a philosophy I highly recommend!

H: You are the first of our featured writers who currently works for a publication that still thrives in the physical form. How does Substream make physical work in a digital era, and do you have any plans to move completely online in the future?

Substream: That’s the continual thought rolling around in our minds. Obviously, other publications have seen success having moved completely to digital, which was a move made out of financial necessity, even if they claim otherwise. It’s been interesting to see the competition make cutbacks to their product while doing their best to showcase these downgrades under the guise of “improvements for the readers”. Meanwhile, Substream has added more pages, improved the design work, became a bound publication and snagged bigger and bigger acts. Being a physical magazine is nowhere near as easy as it used to be. I get so excited if I see a kid reading a ANY magazine at the store because that’s such an antiquated notion these days. We do have a digital side of Substream. We use our website to not only post up-to-the-minute news but to give readers a further insight into their favorite article or interview. We post “Continuations” on the site so that whatever we had to cut from the physical mag, will still have a home somewhere. The key is quality and consistent content.

 H: What would you say separates the content offered by Substream from other publications covering similar areas of music, beyond having a physical product?

Substream: We’ve always been known as the magazine that really spotlights the up and comers. We pride ourselves on showing you a band before anyone else does. We gave now vastly successful acts such as Paramore, Owl City and Travie McCoy their first covers. We genuinely love working with the bands personally rather than going through a hundred handlers to get an interview completed. We care about the music AND the people and I think that shows in our pages.

H: When it comes to planning content for a publication that runs online and in the physical form, how do you decide which artists make it to the actual magazine?  

Substream: We have a few guidelines that we’ve honed over the years. Say we give a lesser known act a smaller feature online. If we see the band really backing us, promoting the piece, keeping up with us, seeing what other opportunities we have for them, then of course that makes us happy and more likely to feature them in the future. But let me speak to bands for a moment, you HAVE to have something going on. If you’re still playing in your garage, your promos were taken by a girl in your yearbook class, have no releases and no future plans, then we’d really be doing you a disservice by featuring you. It won’t get you anywhere and it only makes the both of us look bad. I mean that with the utmost respect because we truly do want to see these smaller acts grow.

 H: You also happen to work in public relations with a number of rising artists. Which came first: The journalism or the publicity?

Substream: The journalism definitely came first, but it was because of the journalism that I was able to dip my toes in the waters of another endeavor. By being a writer, I was dealing with publicists all day long, making sure I met their needs when it came to chasing down an interview or review. I really listened to what they wanted and what they expected. Since at the time I was working for such a small publication, we made it a point to really learn as much as we could from each contact. Eventually, I began to think that I had learned their side of the transaction so well that maybe I could try my hand at it. Not only had I been working as a journalist, but I was also touring at the time so I was learning first hand what the band themselves expected from those working for them. The more experience you can gain firsthand, by touring and working very closely with the bands themselves, the more you’re going to put your heart into what you do in this industry. I didn’t start in publicity in a very conventional way. I work with some of the most talented publicists in the business and I still learn from them everyday. It’s a good balance of book smarts and experience.

H: As someone who not only covers new music, but actively works to get it exposed in multiple ways, how do you go about seeking new talent?

Substream: It’s an ever-changing mission. When I started out, it was all about referrals from friends or bands you had worked with early on. You have to always be asking around, going to festivals and scouting nonstop. It’s nice to have publications and websites that largely feature unsigned acts. If it’s a reputable site or publication, you can bet that they did their research which will lead you to a potentially great find.

 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?

Substream: As a publication, you’re so inundated with bands requesting coverage through social media (not the most professional of ways) or cold emails, so it’s become tougher and tougher to sift through the acts that aren’t quite up to snuff. Bands really have to create a personal and professional email pitch when approaching a publication in that medium. Do not blast out an impersonal email to 100 outlets, do not send unsolicited attachments or download links as these will often go to spam or will simply not be read because of all the red flags. I cannot stress this enough; do your research on the outlet you’re pitching to. Nothing is worse than getting a pitch from a band that is nowhere near what your publication usually covers. Be creative but again, be professional. Do not pitch to a major publication if you do not have quality promo photos and recordings. I have to state this again; it will do you no good to be featured in a publication if you don’t have any skin in the game.    

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

Substream: I swear I’m not just saying this, but Haulix really is the best. I’ve never had any hangups with it unlike many of the other services. I always get a little extra excited when I see I have new music through Haulix because I know I can jam it in mere seconds with no hassles.

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

Substream: I recently, independently from Substream, wrote an article for Heartsupport.com on the lack of leadership in this particular music scene. The egos on some of these bands that have been publicized and seemingly encouraged lately has been pretty upsetting to witness.

Secondly, while the internet and social networking has no doubt been an amazing tool for the music industry but it has also somewhat devalued the job of the journalist. Just as digital cameras made everyone a photographer, blogs have made everyone a writer. I don’t believe I’d change it though as competition just creates a better product.   

H: You write a lot about having big plans for the future. Before we let you go, can you tell us a bit about what Substream has planned for the remainder of 2013?

Substream: We plan on rounding out the year with some big names on the cover including at least one that you will not see coming! We’ll be amping up some of our less music-oriented sections in the hopes of expanding our reach and fan interest. It’s a really exciting time at Substream. We can’t wait to show you what’s next!