Hello, everyone. Happy Record Store Day! Our team spent the morning rubbing shoulders with audiophiles at a handful of stores across the country and likely spent far more money than intended, but we had a blast in the process. If you have yet to go out, MOVE. What are you waiting for? This is like Christmas for the music industry, only you have to spend money in order to enjoy it and there are rarely family get togethers.
We started this column as a way to help aspiring writers get their start in music, but over the last month 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 one reader in regards to whether or not social media numbers mean anything. 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.
The age of social media has forever changed the way we communicate with one another. We still call and text, but we also have the ability to be connected 24/7 to the people, groups, personalities, sites, and brands we love. It’s a win-win for everyone involved, as people love catching up with friends and companies love the free access to consumers. Blogs love it too, perhaps even more than regular businesses, because it essentially offers the opportunity for nonstop free advertising as long as they have a steady stream of timely content to share.
…And therein lies one reason many believe music blogging has started to go downhill in recent years.
The problem with the level of connectivity allowed by social media and how it applies to blogs is that too many people have become focused on generating clicks and short term popularity instead of developing content that is actually worth the time and attention needed to read it. Everyone is so obsessed with being the first to print a certain story that everyone rushes to post the same thing at the same time and the net becomes cluttered with dull, lifeless writing that serves more as promotional fodder than actual music journalism. If you want to be a promotional machine for labels and bands, that is perfectly fine, but you need to understand there is a world of difference between shoveling content out for quick clicks and writing something that is worth reading, let alone being shared.
Before the age of social media anyone hoping to make a name for themselves with a music blog would have to do something that is no longer required thanks to social media: Give people a reason to stop by each and every day. Some would accomplish this through forums of course, but everyone had to work hard at crafting content that people would actually want to click in order to begin developing an audience. They had to try and start conversations where there otherwise were none, and then hope that others who enjoyed those conversations told someone they knew about the site that hosted said conversation. Even if they did, the person who learned about that ‘cool’ thing someone else saw on a particular site then had to take it upon themselves to visit that site at a later point in time.
It’s important to keep in mind that there were no ‘Likes’ or ‘+1’ before the boom of social media. Sharing online meant emails, and more often than not originated with real life conversations that later continued through email. How many stories have you read in the last week on music blogs that you discussed with another person in the same room? Videos or images do not count unless they were created by the site hosting the content. Otherwise you’re commenting on material released by musicians found on a particular blog, which that site had no part in bringing to life.
I recently heard another critic comment that with everyone online posting the same story essentially the same way within moments of it breaking, the biggest choice consumers have in entertainment news is the voice that delivers the information. Do you have a voice? Anyone can post content from next big act, but simply having a site with a bunch of media on it does not make you a music blogger. A promoter, maybe, but definitely not a writer.
In order for your site to grow and for you to develop as a writer you need to first focus on the quality of the content you are producing before you begin to fret over the quantity. Copy/pasting press releases and doing everything in your power to feature the top videos of the day as soon as they are released will go a long way towards building a social media following, but that type of engagement with consumers is entirely surface level. You are only getting the attention of readers because you are fast, and being the fastest is never a guarantee in writing. There is always another lightning-fast blogger with a tumblr ready to post and re-post the next breaking tidbit. The best thing you can do is find a way to present the latest and greatest content in a way that is both unique and engaging. You do not have to write a dozen stories a day and you certainly do not have to love everything you cover, but you do have to have a voice that is your own. Forge a connection with readers that makes them curious of content you post regardless of their familiarity with the artists or group behind the media you are covering. Those are the consumers that will ultimately help you thrive.
Hello and welcome to the tenth installment of our Journalism Tips series. We started this column as a way to help aspiring writers get their start in music, but over the last month 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 one reader in regards to one can make the most of email interviews. 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.
Let me preface this article with two caveats. Firstly, there’s no right way to conduct an interview (aside from maintaining some professionalism). Everyone develops their own style, and what’s right for me might not be right for you. My style tends toward the conversational. It’s not that I don’t prep questions. I actually prep a lot of them, more than I could reasonably ask. But I treat those questions as guideposts – they’re places to stop at and explore along the journey of a conversation, not turn-by-turn directions to be followed in strict linear sequence. Sure, I make certain to hit on the points I want to hit on, but I don’t worry too much about how I’m going to get to them – if things go as planned, I generally find I wind up in those places without really having to try. If it’s interesting to you, it will be interesting to your readers, so trust your gut and go off-script if you’re onto something interesting.
That leads to the second caveat: I abhor email interviews, because they don’t offer any interplay. (I don’t even like phoners; so much is said in body language). They’re craft, not art; they’re classical, not jazz. Useful for gathering basic info, to be sure, but no fun, and your readers will snuff it out in a heartbeat. The original premise of this article was going to spend time on how to make the most of an email interview, but it turns out I don’t really have any good advice. You have Google, you have Facebook and Twitter, you know how to find whatever info about a band is already out there – I don’t need to tell you how to do your homework. Just try and ask the questions you’re genuinely curious about, in a way that lets the interviewee elaborate, and trust that your readers want to know the same things you do.
Email interviews aside, the best tip I can give for garnering a revealing interview is to let your subject do just that: reveal themselves. Give them room to answer; let them ramble. Let your interviewee follow their own train of thought – if they briefly touch on something that merits further exploration, make a mental note to come back to what they said, but don’t interrupt their flow.
If there’s a pause in the conversation, I try to hold back, to let the moment breathe for a second rather than jumping in with another question right away. In doing so, I’m creating silence. Why? Because silence is awkward, and that awkwardness is something you can use to your advantage. Nobody likes awkward silences, and if you don’t fill that silence, odds are your subject will, often with things they would never have said otherwise. I’ve frequently found that the best, most interesting answer is the one that comes after the stock answer, when my interviewee suddenly finds themselves unexpectedly digging for something more to say. Sometimes, they even surprise themselves with what they reveal in those moments. My best interviews are the ones where I manage to make my subject feel comfortable while simultaneously keeping them ever-so-slightly off-balance. It’s definitely not a technique that comes easily or naturally, but it’s well worth practicing.
Yes, practicing. Especially when you’re first starting out, take every interview opportunity you can get, and pursure the ones that aren’t presented. There are a million bands out there dying to have someone talk to them, even if the results are just going to end up on a personal blog that nobody but their friends will ever see. There are plenty of times I’ve interviewed bands whose music I don’t care for, or about. Remember, your interview isn’t about the music, not really; it’s about the musician, and people are endlessly fascinating. Every artist has a story to sell, but there’s always a story behind the story, too. That’s the part that I find compelling, and it’s the part your readers will find compelling. The facts are important, sure, but – unless you’re getting an exclusive – every interview that artist does will contain those same facts. It’s the other stuff that will make your interview worth reading. I love the challenge of trying to unearth that hidden substory. The more interviews I do, the better I get at it.
There are even occasions where I’ve interviewed bands whose music I haven’t even heard. Usually, that involves a publicist throwing one of their baby bands in front of me while I’m waiting on the artist I’m scheduled to chat with. It’s a dirty trick, but it happens. Instead of treating it as an annoyance, treat it as an opportunity to practice your skills. Even if it goes terribly, what have you got to lose aside from a couple minutes of your day? Also, it will keep you in said publicist’s good graces, which is always a plus, because access is everything.
When you’re done, take the time to listen back to your interviews. There’s nothing I hate more than transcribing a long audio interview, and yet it’s a vitally important part of my process, because it forces me to rehear as a third party what I originally heard as a participant. Generally, I give one listen while I transcribe; a second listen after transcription is done, to make sure that what I’ve written is accurate and captures the context and mood in which things were said; and then, finally, a full read through of the written interview to ensure for clarity and flow. Remember, it’s not just about getting a good interview, it’s about writing a good interview, and those aren’t necessarily the same thing.
Throughout, I’m not just listening for accuracy. I’m paying attention to what I should have asked but didn’t; noting where I jumped in when I should have let my subject talk; and listening for things I should have keyed in on for follow-up, but missed. Every mistake is a learning opportunity, a chance for me to do better the next time out. Because ultimately, interviewing is like any other skill – the more you work at it, the better you will be.
Jesse Richman is a contributor to PropertyOfZack and someone you generally need to know in the alternative music scene. If you would like to learn more about Jesse’s efforts, be sure to follow him on Twitter.
Hello and welcome to the ninth installment of our Journalism Tips series. We started this column as a way to help aspiring writers get their start in music, but over the last month 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 one reader in regards to how writers handle the hate that comes their way online.
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.
This may come as a shock to some of the younger writers reading this, but not everyone who reads your reviews will agree with, or even be able to appreciate, what you write. It’s not talked about all that often and it’s never taken to the kind of extremes that warrant news attention, but every writer that has developed a voice worth reading online has and will most likely continue to encounters people who disagree with their opinions on everything. It gets tough and, if we’re being completely honest, can drive even the most talented writers to ask themselves why they didn’t dedicate the last several years chasing after a different career, but it’s of the utmost importance you do not let such messaging break you.
The hard truth is that there is nothing you can do to prevent people from telling you that your work sucks. You are entitled to the opinion you have on the art you critique and the anonymous voices of the internet have a right to the opinion they have about your opinion on that piece of art. They also have a right to express that opinion, and there will be some who choose to exercise that right. The best thing you can do is learn to come to terms with the fact you will never make everyone happy and try your hardest to resist letting any amount of hate detract you from sharing your thoughts with the world. That is far easier said than done, of course, but that is the kind of mindset you are going to need if you want to make it in the writing world today.
There are no guides on how to handle the internet’s disdain for your work, but we can offer a few pointers:
Don’t be afraid to read the hate. You may learn to see things in a whole new light.
There will always be people who choose to express their disagreement with your opinion by telling you to kill yourself, but that is not the case with everyone. Some people simply see or hear things you may not, and reading their explanation for disagreeing with you may help you find a new reason to appreciate a certain artistic creation. Maybe you missed the string quartet on the closing track, or perhaps you overlooked a few subtle connections in the storyline of that recent indie film others were raving about. You might have a lot of good points to make, but you certainly do not have all of them. Others have insight to offer as well, and taking the time to listen/read and consider their thoughts will not only aide you in better understanding certain things, but it will also help you further develop a relationship with your readers.
Try to resist the urge to engage the nonsense.
Remember how I said there will always be people who wish you would kill yourself or otherwise have your life take a turn for the worse because you did not enjoy something they like quite a bit? You may want to engage them and go off with your own delicately-designed string of obscenities, but it’s important to realize from the start that you cannot win a war with the internet. Those haters are looking to get a rise out of you, and feeding their desire for attention will only result in worse words being swapped between people who otherwise would never interact with one another. It’s pointless. Move on.
Remember: It’s only the internet, and there a 99.98% chance the anonymous haters of the internet will never engage you in real life.
Every writer I know has been told over the internet, in one string of obscenities or another, that they are worthless human beings with poor opinions on pop culture who should either get cancer or kill themselves because they’re too stupid to do anything else on this Earth. You know how many of them have been told that in a real life setting while standing or sitting next to another actual person? None. It doesn’t happen. The @nickelback4ever and @musicsnob2006-s of the internet are not going to leap from your laptop or smartphone and grab you by the collar. It’s just text on screen, and it can only do as much damage to your spirit as you allow it.
When the going gets tough and you just do not think you can take anymore hate, do us all a favor and put down the glowing screen you have dedicated your life to and step outside. Close your eyes, take a deep breath or three, and remind yourself there is a lot more to this life than the opinions of other people. Be yourself, and be confident in your thoughts and opinions. Don’t let anyone take away what makes you unique.
Hello and welcome to the seventh installment in our ongoing Journalism Tips series. This specific column is a continuation of a post we debuted last Saturday (which can be found here), but reading that entry is not a pre-requisite to enjoying the words shared below. We are glad you stopped by and hope the following advice will help further your efforts towards building a lasting career in the music business. If you have an idea for this blog, or if you would like to learn more about the digital distribution services we offer, please do not hesitate to email james@haulix.com and share your thoughts. If you prefer social media, feel free to reach out to us on Facebook and Twitter.
The initial response to last week’s post was so overwhelming that contributing writer Joe Ballard actually spent the last few days refining the words and advice shared below to craft a suitable follow-up. His insight will not only make you a better writer, but it will also make you far less of a pain in your future editor’s side, which might get you further in life than your talents as a journalist when all is said and done.
An Introduction:
You know that classic phrase “it’s a dirty job, but someone’s gotta do it”? I feel like that’s how a lot of people think of us editors. After all, part of our job is to clean up writers’ articles and make them shiny and spotless before they get published. However, even the professionals can’t catch all the mistakes 100% of the time, and this is why I’m here today – to show writers and aspiring journalists five of the most common errors I see in music-related articles and how you can successfully avoid them in the future.
1) Apostrophes in Years
This one is similar to the “that vs. who” mistake in that the incorrect versions are commonly accepted as accurate. Many authors and journalists will typically write a sentence just like this:
Oasis was one of the most popular British rock bands in the 1990’s. (Incorrect)
When it should read as such:
Oasis was one of the most popular British rock bands in the 1990s. (Correct)
It’s a natural inclination to think there should be an apostrophe in a year, mainly because having a number and a letter right next to each just looks odd to many people. When dealing with apostrophes – and this applies to all words, not just years – ask yourself: what does the apostrophe stand for? That’s how you know there should be no apostrophe in the sentence above – because it can’t stand for anything. But where should it go when you’re abbreviating years?
Some of my favorite songs were recorded back in the 60’s. (Incorrect)
Some of my favorite songs were recorded back in the ‘60s. (Correct)
Many journalists make the mistake of writing the former sentence simply because it looks nicer and, well, you see it more often wherever you look on the Internet, whether it’s social media, forums, or even news outlets. The “apostrophe + s” again does not work because it cannot stand for anything there. By putting it before the 6, you’re showing that it’s standing for, in this case, the missing 19.
In the end, the trick to dealing with apostrophes in years is similar to the “it’s/its” conundrum; if you’re writing an article and you get tripped up, stop for a moment and ask, “Can the apostrophe stand for something here?” If it can’t, you can safely live without it.
2) Compliment vs. Complement
This mistake seems to appear in music journalism more often than most other places, but fortunately it’s an easy one to rectify.
Example 1: Few vocalist duos complement each other as well as Emery’s Toby Morrell and Devin Shelton.
Example 2: Oasis paid a lot of compliments to The Beatles throughout their discography.
If you’re a music journalist, 80% of the time you probably mean to use “complement”, which means “to complete” or to “make perfect”. You should only use “compliment” if it’s to express admiration or respect for a band or album.
3) Who vs. Whom
Whom: the one word every writer desperately wants erased from the English language. Luckily, that’s why we have editors and the solution to the infamous who/whom debacle can be explained in a pretty straightforward way.
Use “who” when referring to the subject of a sentence. Use “whom” when referring to the object.
Example 1: Mindy White, who once sang vocals in Lydia but now leads the band States…
The “who” in this sentence refers to the subject, which is Real Estate.
Example 2: I wonder whom the Tonight Alive song “The Other Side” was written for.
The “whom” in example 2 refers to the object of the song – in this case, a person.
In music journalism you probably won’t come across many cases where “whom” should be used. However, if you’re still confused about the subject/object issue, here’s a helpful trick:
If the “who/whom” reference can be answered with “him/her” then you should use whom. If it can be replaced with “he/she” then it will always be who.
Take another look at example 1. You could also put it as “She once sang vocals in Lydia but now leads the band States.”
Likewise, in example 2 you could answer the question by saying “The Other Side was written for him.”
There are examples of rarer usages in all of these cases, but to explore them all would likely leave you with a migraine. As a professional editor, this two-part series is meant to showcase a few of the most common mistakes I see from both journalists and authors. It is of course my job to find them all and correct them, but if you are or will be pursuing journalism as a career, you will impress all current and future employers by constantly practicing and perfecting your linguistic skills.
Joe Ballard is an editor for MindEqualsBlown. We have not interviewed Joe for our blog just yet, but you can rest assured we will share his story soon.
Good afternoon! Thank you for taking a few moments from your busy schedule to spend with on our blog. We are glad you stopped by and hope the content below will help further your efforts towards building a lasting career in the music business. We love to entertain, but being informative in a way that is easy to understand is always our primary goal. If you have an idea for this blog, or if you would like to learn more about the digital distribution services we offer, please do not hesitate to email james@haulix.com and share your thoughts. If you prefer social media, feel free to reach out to us on Facebook and Twitter.
We have been running this column every Saturday for the better part of two months, but so far we have yet to any multi-part features. That all changes today, as MindEqualBlown editor Joe Ballard shares the first of his two-part series on common errors aspiring writing professionals need to avoid. We have yet to feature Joe in our Blogger Spotlight series, but we have worked with him for a number of years and know him to be one of the brightest minds in alternative music today.
An Introduction:
You know that classic phrase “it’s a dirty job, but someone’s gotta do it”? I feel like that’s how a lot of people think of us editors. After all, part of our job is to clean up writers’ articles and make them shiny and spotless before they get published. However, even the professionals can’t catch all the mistakes 100% of the time, and this is why I’m here today – to show writers and aspiring journalists five of the most common errors I see in music-related articles and how you can successfully avoid them in the future.
1) That vs. Who
This is the single most common mistake you will see in any publishing format, whether on a website, a national magazine or a bestselling novel. It happens everywhere, both in writing and speech. Luckily, there’s a simple way to differentiate between the two:
“That” is used when referencing a place or an object. “Who” is used when referencing a person.
Example 1: Cities was the album that took Anberlin’s popularity to a whole new level.
Example 2: Dustin Kensrue is the kind of lyricist who writes his words like poetry.
Easy enough, right? However, it becomes complicated when referring to, say, a band name. What is a band, exactly? Should it be referenced as an object or a group of people? Actually, both ways can be correct, depending on the usage. Let’s take a look:
Example 1: Saosin, who reunited with their original vocalist Anthony Green, will be performing at this year’s Skate and Surf Festival.
Example 2: The band that I’m really looking forward to seeing in concert is Tonight Alive.
If you use the band’s name in the sentence, use “who”. If you use the collective noun “band” then it should be “that”.
2) It’s vs. Its
Another one of the most common mistakes seen in all forms of writing, yet a very simple one to rectify. If you are ever unsure whether to use “it’s” or “its”, speak the sentence out loud. If you can say “it is” and the sentence makes sense, include the apostrophe. If “it is/it was/it has” doesn’t work, then “its” is the word you need.
Example 1: The only thing I dislike about Neon Trees’ album Habits is its short length.
Example 2: It’s been a long wait for the new Pharrell Williams album. Did it live up to its hype?
3) Past tense vs. Present tense
Tense usage in music articles can be a tricky issue, and some of the rules are likely different according to each individual publication. Here, we’re going to look at a couple of rules that are (or should be) universally accepted by every publication, specifically for album reviews.
A. When discussing individual songs, always use the present tense.
Example: The opening guitar riffs of “The Ocean” immediately set the tone for what’s to come, showcasing the group’s expanded sound as well as Jenna McDougall’s range as she shows off her lower tones in the verses but reaches sky-high in the bridge.
This applies whether you’re discussing the new Taking Back Sunday song or an Elvis Presley hit. Whether it’s a brand new review or a retro review, always use present tense verbs to explain a song.
B. When discussing the band or the album as a whole, vary the tense as needed but make sure you stay consistent.
This is where a lot of writers get tripped up, especially when writing retro reviews of albums from previous decades. Let’s use the classic Beatles album Rubber Soul as an example of how you can vary the verb tense within a single paragraph:
I have always loved the song “In My Life”, and the unique sped-up piano at the bridge still gives me chills to this day. The Beatles did a terrific job with the entire album, which still inspires music listeners nearly 50 years after its release.
The same principle largely applies to current albums as well – vary the verb tense as needed, particularly in the intro paragraph – but generally you want to stay in the present tense for the rest of the way.
Hello again, everyone. We know the weekend is always too short, so we appreciate you taking a few moments from your schedule to spend with us. If you’re reading this on a day that isn’t part of the weekend, just go ahead and disregard the previous sentence. We’re happy you’re here as well.
This week marks the one-month anniversary of our recently launched Journalism Tips series. It also marks the debut appearance from contributing writer Andy Maroon, who was kind enough to create the article you’re about to enjoy. We are always looking for new ways to expand and further refine our efforts here at Haulix. If you have an idea for this blog, or if you would like to learn more about the digital distribution services we offer, please do not hesitate to email james@haulix.com and share your thoughts. If you prefer social media, feel free to reach out to us on Facebook and Twitter.
You want to break into the music journalism scene? Great! Haulix has a few simple tips to help you get started. I’ll pass over the ones everyone already knows: Read a lot, write a lot, and so forth. Great. But what else? Hopefully these few bits of advice help you focus your efforts.
Maintain a Blog – If you’re an aspiring journalist, be it in the music industry or wherever, you should have a blog. If you don’t have one, stop reading and go make one immediately. I’m not kidding. This will arguably be your most efficient tool, save for the keyboard you use to type. Maintaining a blog will not only give you an outlet to publish your own pieces, it also provides a channel for others to reach out to you. Practice, practice, practice.
Network – I’m not going into much detail as Adrian Garza did a great job in a previous Haulix blog post – so make sure to read that. (http://blog.haulix.com/post/77494403070/journalism-tips-3-networking) Simply put, having a great network is an essential key to success in the industry. Form positive relationships with bands, record labels, PR firms and, most importantly, your colleagues. Something special about this industry, at least on the small scale, is the sense of community amongst ‘competitors’. Build up your network and make friends with everyone – surrounding yourself with positive influences will help you immensely.
Start Small – I’ll say it again. Start small. Odds are there are a million other journalists, both professional and aspiring, who are covering the latest album from your favorite band. You know who isn’t getting covered? That awesome local band playing the opening slots around town. Take advantage of the market and cover smaller unknown acts. Be an outlet for fans to find information on obscure bands. Your coverage will benefit both you, and local acts who are looking for promotion. Who knows, you might just uncover the next big thing.
Power Through – Finish then polish. This may be my favorite bit of advice for aspiring writers. Start writing and don’t stop until you are done. Regardless, of how sloppy, disorganized and just flat out terrible the first draft is – power through. Once you have the whole article down on paper, you will be amazed at how much easier it will be to polish and re-organize.
Be You – Write about what you enjoy and write your own way. There is nothing worse than reading something that someone obviously had no desire to write. Let your stories reflect you and what you are passionate about. Cover what you’re interested in and write with your own personal flair. Look for inspiration, but find a voice that is unique to you. This will not only make your writing come naturally, but will help you stand out amongst the sea of aspiring music journalists.
Hello, everyone! Our weekend coverage begins its second week of existence this afternoon with the continuation of our recently debuted ‘Journalism Tips’ series. We built this column with input from our friends in writing, and in the months to come you will see many previously highlighted talents lending their know-how to our blog. Today’s piece was written by Adrian Garza, who currently resides in Florida and contributes to a number of up and coming publications. 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. We can also be found on Twitter and Facebook.
Everybody who works in a creative field would be the first to admit that inspiration isn’t just some endless and overflowing river that drives people to create. This is something that needs to be found from somewhere, and if someone doesn’t know where to look, the search can take too long.
It’s really all about working out a system of ideas that work for you, but if you don’t know where to start, that could take a very long time. So for a place to start, give my list that I’ve developed over the years a quick look.
Read!
Ok, I know I sound like some high school English teacher, but if you really think about it, this couldn’t ring any more true and you would be hard pressed to find anybody who would disagree. Some of the best artists are those who’ve followed the examples of others, and writing isn’t exempt from this either.
The truth is, we all need inspiration from somewhere. If you’re running on empty, you need to refill your tank in whatever way possible. But don’t limit this advice to other music sites either, although a lot of the writing at sites like Noisey and Mind Equals Blown is top notch, there are so many other places to turn to for ideas. It could be something as plain and simple as reading a book a month, dig into creative writing, and even just skim over newspapers (preferably weekly local publications, if you’re lucky enough to live within distribution of a good one).
Watch a Movie
Personally, one of the things that draw me into the world of film is the idea that movies are based on a story that was created from nothing, just like written work. It’s that “no-boundaries” approach that motivates me to try new things in my own writing.
Along with providing viewers with a glimpse of entirely new and foreign worlds, movies have always motivated me to do go out and do something. Even if that “something” was as simple as throwing together a quick news post about a song that I really enjoy, or putting serious work into a feature story, it’s the thought of expression and leaving something behind that makes it feel worth it.
Take a Walk
Now, I know “taking a walk” could translate over to anything. It could literally be getting up and physically moving around or even just switching your browser over to YouTube to watch some thirty minute long vine compilation video. I’m not much of the outdoors-y type, so instead of literally taking a walk, I’ll at least make a point to cook a good meal. This gives me the chance to escape, even if for just an hour or two. I’ll usually even go as far as avoiding playing music to help detach myself even further.
This is really all about giving yourself the chance to clear your head of everything going on. Don’t think about what you need to do, instead think about what you’d rather be doing… then realize that you won’t be able to get to it until you finish up whatever you’re supposed to be working on.
Write Something Else
Sure this is something that I’ve already covered before in my “blogger spotlight” interview that I did months ago, but this is something that I completely stand behind. Everybody needs to switch things up in their lives eventually. If you’re capable of cranking out work for multiple outlets, you should be more than willing to dedicate the time to do so, because this method is the most worth it. Eventually, you’ll naturally start combining different approaches to writing and with that will come a much more enjoyable and productive experience.
But don’t contain this to different kinds of journalism/blogging. Some of the best writers that I know are those who dabble in writing advertisements, press releases, and even screenplays. At the end of the day, it’s all about mixing things up in order to create something better.
When he’s not blasting Crime in Stereo, Adrian Garza writes at Under the Gun Review and works at the Editor-In-Chief at The Southeastern Times, Southeastern University’s student newspaper. Follow him on Twitter.
Hello and welcome to another edition of the Haulix Blogger Spotlight series. Today’s column is by far our longest to date, so make sure you bookmark this page in case you get pulled away by a cute cat video or, you know, work. If you have a writer or publication you feel deserved to be featured in an upcoming installment of this series, please do not hesitate to email james@haulix.com and share your recommendation.
Say what you will about the age of reality television, but I have yet to meet a person in the music business who doesn’t still want their MTV. Programming changes have occurred, sure, but the original national stage for all things alternative is still a force to reckon with thanks to the unstoppable efforts of their digital team. Of those, no brand is probably more widely recognized than the Buzzworthy Blog, and this afternoon we’re going to learn about the young woman who leads this long-running section of MTV.
Fate has a funny way of making you think twice about the things you were once sure of, and for a long time Tamar Anitai was sure she wanted to become a rabbi. She entered college with this goal in mind, but along the way realized the rabbinical life was not for her, and as many do began examining her other interests in search of a potential career path. After a few attempts elsewhere she settled on an English major that, coupled with the introduction of the internet to households across America by way of AOL in the early 90s, eventually lead her to a number of internships at various print publications (yes, news was still printed regularly at this point). Here Tamar cut her teeth in writing, and as her career turned digital she began working more heavily with music. She now serves as the Managing Editor the Buzzworthy blog, and today we could not be more excited to share her journey.
Tamar has a gift for wordplay that never ceases to amaze me, and from the early days of this column I knew she would deliver a great interview if the opportunity ever presented itself. We tried for months to connect and the results could not be better. She has built a career for herself through hard work and determination that is nothing short of inspiring, and the craziest part of it all is that she still has a long life in writing to lead as she helps guide MTV’s online presence into 2014 (and beyond).
If you want to stay up-to-date with everything Tamar has going on, make it point to read the Buzzworthy blog daily and follow the official Twitter account. Any additional questions or comments can be left at the end of this post.
H: for the record, state your name and job title
TA: Tamar Anitai, and I’m the managing editor of the MTV Buzzworthy Blog.
H: Let’s start simple. Do you remember the first album you purchased with your own money?
TA: Oh man. I think it might’ve been the Technotronic “Pump Up The Jam” cassingle, the analog precursor to the iTunes single download!! It was definitely from an Eastern Cleveland mall that I’m sure no longer exists. That and the cassingle, both long dead!
H: When you think of your earliest memories of music, what comes to mind?
TA: Folk music that my mom listened to – Mamas and Papas. Stuff my dad listened to when I was a kid – Bob Seger’s “Like A Rock.” Listening to Michael Jackson’s “Thriller” and being terrified by Vincent Price’s voice.. Watching the making of the “Thriller” video on MTV and being mesmerized and also terrified by Michael Jackson’s werewolf eyes.. Early ‘80s Madonna – the “Borderline” video and how she wore different colored neon socks was like an early Stan moment for me! I was a huge Madonna fan. I still have her “Like A Virgin” tape. I remember listening to a lot of Power 108 in Cleveland and taping it off of the radio. I was really into Debbie Gibson and still wonder about that face she drew on her knee on her “Out Of The Blue” album cover. That was kinda punk. I used to sit in my room for hours and wonder what the New Kids On The Block were doing at that exact same moment and if they or other famous people really used the bathroom. Whitney Houston had a tremendous impact on me in terms of loving a commanding female belt. Her “Whitney album is one of my first albums. I’ve always had a love of musicals from very early on – “West Side Story,” especially. Anything Rodgers and Hammerstein or Sondheim. Anything Barbra Streisand. Oh, and I really loved freestyle R&B. Still do. The Jets, Sweet Sensation, Taylor Dayne. There you go – lots of disparate answers for you. That still kind of informs my musical influences and tendencies today – broad, random and disparate.
H: I know you’re busy, but i want to cover as much ground as we can in this piece. You have been working in writing/content creation for more than a decade at this point. Do you remember what inspired you to follow a career path in journalism?
TA: I started out wanting to be a rabbi. My mom’s still bummed that didn’t work out. Ha. (But for the record, I go to temple more than she does, so that counts for something, right?) In college when I realized rabbinical life wasn’t for me, I thought I might want to teach writing, until I realized that wasn’t really what I wanted to do either.. I liked performing and the theater and singing, and I did that as a kid and in high school and college, but at heart, I lack the ultra ultra cut-throat competitiveness you need in those fields, and I wanted to have more options to be able to support myself, (so I became a writer – HA HA!), so performing became less important to me as a career path. I knew I loved writing and was good at it, and I’d hoped that I’d be able to support myself that way, and I figured it was a hard skill that will always be needed in some way or another (at least I sincerely hope so), so I pursued an English major with a concentration in journalism and technical writing. I always loved non-fiction, journalism, anything that was telling real stories or providing commentary, context, or insight, putting many pieces together into a package (which is a huge part of why I love digital editorial – you have the ability to tell a story dynamically and multi dimensionally). I was only ever really interested in journalism and non-fiction. I’ve never really been interested in creating fiction. I have a massive amount of respect for novelists, short story writers, anyone who can create a whole new world on a blank page. But I do believe truth is stranger than fiction.
In the mid ‘90s when it became a little more commonplace to own a personal computer, and AOL brought the Internet (or some rudimentary portal version of it) and email into the mainstream, and the Internet started growing and becoming available, I loved the fact that you could just get lost in any number of online worlds and connect with people absolutely anywhere in the world. I was in college and thought I might want to write for magazines, and then I interned at several magazines and newspapers, which was an invaluable experience on every level. Newspapers actually let me write. Magazines wouldn’t let us like 1000 feet from their pages, which ended up being a blessing in disguise because I realized I liked the pace of newspapers and became less interested in the extremely slow life cycle of magazines. I liked the pace of daily papers more, but I realized I really loved the ability to publish instantaneously to the Internet, so I finally realized I wanted to “something with writing on the Internet.” Broad, I know, but the opportunities for online editorial are also very broad and more democratic.
H: Which came first, the love of music or the love of writing? When did you first begin to combine the two?
TA: Probably a love of music since I can identify so many different songs for every different year and phase and crucial experience in my life, and I can’t say that I have personal writings I identify with for every part of my life. (I have really embarrassing poetry I wrote in middle and high school and during my Tori Amos phase, though.) But music has provided the meaning behind moments for me. Writing was something I enjoyed when I was in school and realized I was good at it and not horrible at it, like I was math or gym. Ha. I worked at AOL from 2000 – 2005, and I began to combined the two professionally when I got a job at AOL Music in New York in 2001.
H: From what I’ve learned, you got your start in the business by reviewing theatrical productions. Can you tell us a bit about finding your footing in the entertainment business?
TA: Well in high school I was one of four local student movie critics for what was then the Virginian-Pilot/Ledger Star newspaper in Hampton Roads, Virginia. I applied for that gig and wrote a movie review about how I didn’t see “Jurassic Park,” and I guess my sarcasm helped land me that gig. I think I got paid about $25 an article. Not bad for 1993. So I actually had legitimate press clips when I started to put together a portfolio after college when I started looking for jobs. I lived in New York the summer between my junior and senior years of college. I interned at Jane Magazine (R.I.P!) back when it was still part of Fairchild on 34th Street. I interned at W for the then-features editor James Reginato, and I was unpaid at Fairchild, so I needed to make some money. I worked at a smoothie place in the West Village, and because neither publication let their interns write, I knocked on the door at Showbusiness Weekly (like, literally, I think I actually knocked on the door) and asked if they needed theater critics. So they hired me as a freelance writer. (Turns out people love free or extremely cheap help!) I reviewed some off-off Broadway shows, and I did some editing. Actually, I don’t even think I was paid. I gave it away for free. Man, I was a whore. Actually that’s not even being a whore because whores are, by definition, paid. I was a slut, I guess, editorially. But really, I was hustling because I knew I loved New York and wanted to come back after graduation, and I knew I’d need to support myself. I didn’t have any money to spare, my parents were spending money they barely had to put me in an NYU dorm for the summer (no one I knew had heard of Craigslist yet, so you stayed in the dorms). I ate a lot of ramen and other various soups to get that experience to help land me back here after college.
In college I reviewed theater (huge conflict of interest come to think of it, since I also performed – ha, whatever). I went to school at James Madison University in Virginia, and when I graduated, AOL was growing just an hour and a half north in Dulles, Virginia. I loved being online and couldn’t wait to get out of school and hopefully land an editorial job online. I applied to AOL and was offered entry level editorial/ programming jobs at their parenting channel and their local guide channel, and I went with the local guides, which were called Digital Cities back then. They were basically a rudimentary Yelp. I worked in the DC area, had great bosses, wrote and edited, and when a job opened up at AOL Music in New York, I applied and was like LOOK. I’M YOUR GIRL. I PUH-ROMISE YOU. I GOT THIS. At the interview, I bonded with the other programming managers over Jeff Buckley. And I got the gig. That eventually helped me get this job at MTV. Between then I also started my own fashion blog called FashionBinge basically just for fun (don’t laugh – it’s still on Blogger), and I’m so glad I did because I basically taught myself the basics of blogging, SEO, coding, and I still had a place to keep writing..
H: Do you have any advice for those that are currently starting out with dreams of finding steady employment in entertainment as far as early work and internships are concerned?
TA: All of the above. Be willing to hustle. Outside of anything illegal or that offends your sensibilities or moral code, be willing to do absolutely anything. I opened Jane Pratt’s mail, and she didn’t even know who I was, but I wasn’t too good to open mail at Jane, transcribe interviews, fetch coffee, whatever. Be eager. I heard the legendary Joan Rivers speak at the Lucky FABB Conference a few years back, and her advice to the group of bloggers was you’re never ever ever ever too good for a job. Ever. At any age. Say yes. Amazing advice. Be willing and be open. But you’ve gotta hustle. Rarely does anyone give you anything, so don’t be entitled, and don’t expect opportunities to magically appear. Sometimes they do, but they’re rarely “magic.” You’ve probably laid the foundation or left a breadcrumb trail to you earlier in your career. But if you’re not leaving those breadcrumbs behind then they’re never going to find you.
H: From theatre to AOL, you spent a number of years crafting your content strategy efforts before you eventually found your current home at MTV. What can you tell us about landing this job?
TA: I had had a job for a year and a half or so at a stock photo agency doing their communications and marketing. It was a small company that was being grown and groomed to be sold to Getty. I got that job because I’d had three jobs at AOL within five years and was still early on in my career and was looking for a change. Once I was there I realized I missed working at a somewhat larger company, and I saw the gig at MTV and jumped on it. Another piece of career advice – my first role at MTV was at least two or three years junior to where I was at that point, but I knew MTV would be a great place to work and provide far more opportunities, so I didn’t look at that more junior title and say “Oh, I’m so beyond this.” Look beyond the title. Titles mean little when it comes to your day-to-day opportunities and obligations, especially if you’re working for managers who are willing to let you get your hands dirty and experiment and do what you’re good at and do more of that. I’m really glad I didn’t give a shit about titles, because the opportunities here have been tremendous.
H: The Buzzworthy label is one of the most well known aspect of MTV, and it seems every artist or group in music wants to have that label attached to their efforts. What makes an artist buzzworthy?
TA: It’s like art or porn – you know it when you see it. Ha. Just kidding. Kind of. There aren’t many strict parameters beyond, of course, pop music, though we don’t delve too far into country or much metal. Pop music is, of course, extremely broad, which is great because you can cast a really wide net in terms of the content you’re curating. But really, it’s an artist whose sound absolutely grabs me on some level. It might be, like, wow, this is really visceral, emotional, profound music that reminds me of Fiona Apple. It might be like, wow, this feels like early Green Day. Or this is SUCH a good, shameless party jam. An artist that’s Buzzworthy is someone who’s making music that I know will connect with a certain type of person or fan base on some level. It’s something I hear and I can say “I know EXACTLY who this appeals to,” and there’s so much value in that.
H: You’ve successfully grown MTV’s web presence and traffic year-over-year in spite of the growing number of competition in the market. What can you share about your content strategy (without giving away any secrets, of course)?
TA: Well, I have the benefit of the longview, right? Having done this for a while, I can usually identify and say, yeah, historically, this type of content “does well,” this type of content doesn’t, but it’s always been important to me to present the Buzzworthy audience with smart, fun, funny commentary on pop music, and the bigger names are usually the ones who perform better. But you’ve got to have your eyes and ears open for new artists who are under the radar but could be the next One Direction or Katy Perry. Or artists who may never play Barclays or Glastonbury but who are still amazing and deserve recognition and coverage. I love being able to say “Hey, I love this, and I hope you will too.” Anyway, performance and metrics and traffic are important, but curation is just as important. And knowing what type of content to create is hugely important. The same formula and type of content doesn’t work for every artist or song. It’s not one size fits all. Another thing i love about online editorial and working for MTV – there’s so much room to experiment.
H: Some people believe there is no need for critics in the digital age. Do you agree? (Support your response)
TA: Wow, good question. I don’t agree. I think people are looking for trusted names and brands and to cut through the noise and clutter. There’s more music content and entertainment options out there, which is wonderful – it’s literally impossible to be bored. If you’re bored in 2013, you’re doing everything wrong. But given that there’s a bottomless well of available music options, you want that voice who finds the good stuff for you. Which isn’t the same thing as making decisions for you or telling you what to think or believe. I always want Buzzworthy to feel like a person. That nice, cool, funny kid in your class who’s friends with everyone, nice to everyone, and you always trust to be into good music. The kind of person who owns their taste and isn’t into the snobbery of it but loves to discover new music and wants to share that with you. too.
H: When it comes to receiving music for feature consideration, which services do you prefer and why?
TA: Honestly, I love the ease of use of Soundcloud. Any of the services that require a separate login and password, which I’ll inevitably lose, slows you down a step, or two. When people send me unsolicited MP3s that kill my inbox, I’ve been known to drop a few F bombs.
H: What is the hardest part of this ‘job’ you’ve made for yourself?
TA: Oh keeping up with the emails, absolutely. Balancing all of the projects I’ve really into and excited about (I get really really hyper and excited about new projects and opportunities. I’m definitely that person who like rushes into someone’s office all gung ho and breathless and like THIS ONE TIME, AT BAND CAMP hyperventilating about some new thing I want to try or implement or share.) But I really do love being busy, and I love that the day flies by. I’ve been at MTV for seven years, and I can’t remember ever once saying or feeling anything like “Man, this day is dragging” or “I’m so bored.” That just doesn’t exist. I’m very fortunate.
H: How would you describe your writing style to someone who has never read the Buzzworthy blog?
TA: The Buzzworthy Blog is where Stan culture meets music discovery. My writing style is usually very first person. I love to be a clown, and I hope that my writing comes across as self-deprecating and inclusive. There’s so much contrarianism and negativity. I love saying WHO CARES about guilty pleasures. If you love it, why is that a reason to feel guilty? I always hope you read my writing or Buzzworthy’s writers’ and feel like you can totally relate because a friend is recommending this to you. People usually tell me I write exactly like I talk, and I take that as a compliment.
H: Music is in a strange place right now. EDM-infused pop is still everywhere, but there is a growing admiration for artists using more throwback-like sounds as well. What do you think the next big thing in music will be?
TA: I kind of love that even that even though dance music is huge and obviously sampling and remixing and slick, glossy production (shout out to Mike Will Made It because I love what he’s doing not just to hip-hop but to hop, and I’ll always love anything Max Martin touches – he’s truly music’s Midas), I love that a guy like Ed Sheeran, who just shows up with a guitar and hoodie and sells out Madison Square Garden three times over, I love that there’s room for singer-songwriters like him and Jake Bugg. I LOVE Haim, so I’d love if more people were more receptive to girls and guitars. Guitars in general are kind of disappearing since dance music. I really miss the singer-songwriter/guitarist. Think about how many songs you love you can identify just by a few opening guitar riffs (shout out to Katy Perry though for opening “Teenage Dream” with that intoxicating guitar riff) “Come As You Are,” “Smells Like Teen Spirit,” “Losing My Religion,” the Smashing Pumpkins’ “Today,” or “Laila,“ “Sweet Jane,” “Don’t Speak” by No Doubt, “Blackbird,” “Last Night” by The Strokes. I miss a bunch of dudes with guitars! Ha.
Almost any Simon and Garfunkle song. So I’d love to see guitars get their due.
I’m glad AutoTune is basically over, except for Daft Punk or Kanye, because they always get a pass. Speaking of Katy Perry, I love that her “Walking On Air” single as brought back that deep house ‘90s feel to radio, because I never get sick of that.
H: If you could change one thing about the music industry, what would it be?
TA: More open format radio and less redundancy on the radio. I wish terrestrial radio were programmed more openly and freely. Label deals with radio stations often benefit the same handful of artists, which is great for those artists, and the success of those artists can help labels boost and buoy funds for smaller artists, but it’d be amazing to hear those artists on the radio in the first place instead of the same 10 songs over and over, even if they’re songs or artists I love. I’d love for more discovery to happen on the radio in the first place. But I think this is actually a very exciting time and place for the music industry. Yes, there are fewer labels than in the past, but there are more avenues for music discovery than ever before on every piece of smart technology you own, even your actual TV set. And you don’t have to have a traditional record deal to build a fan base, which is rather incredible. My problems, though, aren’t that much with the music industry itself in terms of labels but rather looking at music more holistically and historically and realizing that music history and lessons are so crucial, and funding for music in schools is no longer a guarantee. When I was in elementary school you didn’t have a choice – you had to lean at least one instrument. So, funding for music in schools is so much more important to me than the commercialization of music and album sales. If we don’t expose kids to music and give them the option to learn to read and write and play music we’ll have much bigger problems than dwindling album sales. Music in schools is literally the future music industry.
H: Before we let you go, can you tell us a bit about what you have planned in the months ahead?
TA: I have a few incredible Buzzworthy Live acoustic performances coming up, some exciting Live From MTV live music events in the works, some great short-form videos I really hope everyone will love, the EMAs on November 10 are going to bigger than ever with some extra special events planned, our comprehensive MTV year-end review, artists to watch in 2014, we’ll be going back to Hangout Fest in 2014, and so much more.
Hello and welcome to another edition of the Haulix Blogger Spotlight. As you may have noticed, we are increasing the amount of content we post here on our blog, including the debut of several new columns. Our hope is that you will continue to join us as we explore the people working behind-the-scenes to bring the music industry to a screen near you every day, and would love to hear any suggestions you have for future features. If you have a recommendation, please email james@haulix.com and share your idea.
We have written in the past that making a career in the music industry today often requires taking on multiple job titles. With that in mind, it is our pleasure to share with you a new interview with Absolutepunk contributor Jack Appleby.
Everyone has to start somewhere, and for Jack Appleby that place was Mind Equals Blown. You may recall his name being mentioned during our previous spotlight with MEB founder Drew Maroon, and the reason for that connection is the major role Appleby played in thrusting the site towards the forefront of digital music coverage. He and Maroon have developed a brand together that continues to grow and evolve daily, and it did not take long for others in the industry to notice his talent. We spoke with Appleby about his time with MEB, the decision to join Absolutepunk, and where he sees his own future in the industry headed. You can read our conversation below.
Jack Appleby is often found discussing new music, promoting the bands he manages, and generally being an amazing person on Twitter. If you want to read his writing, be sure to check out Absolutepunk and the pages of Mind Equal Blown. Jack recently joined the team at Siren Records, so head over to their Facebook and learn what they have planned for the remainder of 2013.
H: For those unaware, please state your name, the site you work for, and your role at said site:
JA: I’m Jack Appleby, and I’m over at AbsolutePunk. I organize exclusives, write reviews, cover shows, contribute to social media – a little bit of everything.
H: For lack of a better phrase, you’re a bit of a “Jack of all trades” when it comes to the music industry. When did you first know you wanted to work in music, and where did you first find work (unpaid efforts count too)?
JA: Haha, well – I still don’t have aspirations of making a career of music, but it’s certainly a field I enjoy participating in. I prefer music as a hobby, since it’s damn near impossible to make a good living in the industry. And my first of many unpaid (but completely worthwhile) efforts came via Mind Equals Blown.
H: When we interviewed Drew Maroon from Mind Equals Blown, he said the site really started to take off after you came on board. How did you come to work with Drew, and what can you tell us about the early days of MEB?
JA: Back in college, I was Editor-In-Chief of my university’s newspaper and wanted to apply my skills to music. On a whim, I Googled “music blogs” and came across MEB back in its .blogspot glory. I reached out to Drew, offering to help recruit and train a staff – we teamed up, and MindEqualsBlown.net was born.
Like every music site, MEB grew out of a passion for music and writing (and, you know – wanting to meet our favorite musicians and hear their music first). We wrote reviews, but took a focus on features and in-depth stories even in the early stages – every site had reviews, but no one was approaching happenings in the “scene” (or whatever it’s called) from a serious, journalistic approach. We also emphasized the editing process – all of our pieces ran through the same editing filter as the newspapers I’d worked on. Most reviews and editorials saw multiple edits from multiple editors before publishing, a rarity with most student-based music blogs. None of us were interested in news blurbs and the obvious hits they bring, so we focused on strong content.
H: You’re now a member of the AbsolutePunk staff. At what point did you make the switch, and what attracted you to the world of AbsolutePunk?
JA: As the Managing Editor at MEB, my role revolved around leadership, infrastructure, and editing – I loved running the site, but as I pursued a career in social media, my time for side-projects became increasingly limited. Around the same time my career pursuits became serious, Thomas Nassiff inquired whether I’d be interested in writing at AbsolutePunk, a site I’d always admired. AP.net’s emphasis on community and discussion always fascinated me, and the chance to focus on my own writing again was a huge appeal. It was incredibly tough leaving a site I’d helped create, but in the Fall of 2011, I moved over to AbsolutePunk.
H: Would you say your time at MEB helped prepare you for Absolutepunk? If so, how?
JA: Actually, MEB prepped me more for my career path. I graduated with an interest in business, tech, and social media, but no true “dream job” or specific path in mind. When I finally landed a meeting with Ayzenberg Group (a full-service advertising agency in Pasadena, CA), my time at MEB became the interview’s focus – turned out my content focus and promotional tactics on the site were enough to land me a social media gig. I’ve been at Ayzenberg for two years now, and absolutely love what I do – and I have MEB to thank for that.
H: Like many, you have earned little-to-nothing in return for your efforts at both of these sites. What motivates you to continue dedicating your time day in and day out?
JA: More than anything, I love having the ability to support musicians I believe in. Whether it’s premiering a new song, reviewing a record, or simply tweeting about a band, I love being able to contribute to the music. It seems so few bands know how to expose themselves to the world, and I’m happy to lend a hand in any way possible.
And working with my favorite musicians never loses its luster. I’ve managed to tone down the starstruck effect, but make no mistake – I’m still giddy when I meet a musician I’ve admired for the first time. Over the last year, I’ve interviewed musical idols, helped guide new bands, sat in the studio while favorites as they record – I wouldn’t trade those experiences for anything.
H: Beyond writing, you also recently added another gig to your list of titles. Care to share that role and how it came to be?
JA: Gladly! I’m ecstatic to say I’ve joined the Siren Records team. You likely know the label for Peace’d Out (Vinnie Caruana, Steve Choi of RX Bandits) and their vinyl offerings.
About a year ago, I worked publicity with Donny and James on Silver Snakes’ debut album, one of the early Siren releases. We’d run into each other on occasion and chat music, vinyl, all the things – until one day, they asked me if I’d like to come aboard. It was a pretty easy yes – I’m excited to work with these guys and continue developing the label.
H: Working at a label is a dream shared by many aspiring music industry professionals. If you had to choose, would you continue writing or spearhead label life full time?
JA: I think I’ve struck a healthy balance – I doubt I’d be happy exclusively committing to one role. I love having the ability to work with any band I please on the writing side, and I enjoy having weight and influence on the label side – they give different satisfaction. And again, music’s just a hobby, though one I’m heavily invested in – having the chance to dabble in everything is important to me.
H: Fortunately, you get to do both as long as you’d like, and each offers its own opportunities to expose new talent. Where do you go when you’re seeking out new music?
JA: Friends, the AP.net community, and band buddies are my go-to’s – none of us are shy about passing along new music. If I’m hungry for new stuff, I tend to scour Twitter to see what the rest of the AbsolutePunk staff is playing. I never use algorithm-based sources like Pandora – I’d rather focus on Spotify and Rdio’s “Related Artists” sections, where I’ve found some surprisingly great new bands. I’m lucky enough to have an inbox full of music as well, so there’s always something to check out.
H: Speaking of music discovery, what advice can you offer young artists hoping to stand out in your inbox?
JA: Please do yourself a favor, bands – include a “Recommended If You Like” in your email. And that doesn’t mean say you’re just like Brand New – give honest comparisons that are specific enough to be associated with your sound, yet relevant enough that most writers would know them. It doesn’t trivialize your music – it gives writers a reason to open your email instead of the other hundreds we receive. What’s more, it allows writers to pass music to the appropriate colleague; I’m not a big pop-punk or metal guy, but if you include a RIYL, I know who I can send the music to, even without listening.
Also, offer a stream in your email. Writers don’t have enough hard drive space to download every album sent our way, so send an online stream, with all of your band’s information (name, location, social media links, etc). Or, be smart and send us both a stream link and download link in the same email – give us the opportunity to explore your music however’s best for us.
And please, if you send me a download, have the iTunes info attached to the tracks already. I can’t tell you how much time I’ve lost editing song names and track listing to make an album play as intended.
And no caps. Don’t send me email in all caps. I’ll fight you.
H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?
JA: Thanks to leak culture, it’s become increasingly difficult for publicists to send advances of albums, making it near impossible to publish reviews before or around a record’s release. Anything that makes a publicist more comfortable sending me music early works for me, and Haulix’s watermarking and secure online player seem to do the trick. Sound quality is incredibly important as well – nothing’s more frustrating than receiving an advance in 128 kbps. Whenever possible, I’ll try to get my hands on the WAV files, though 320 kbps is certainly acceptable and deliverable through Haulix. But more than anything, it’s the multiple methods of listening that wins me over. I operate off of several computers, and love analyzing music in my car – having both stream and download options is a huge win.
H: If you could change one thing about the music industry, what would it be?
JA: I’d definitely encourage music fans to rethink how they support their favorite bands. While I’ve got my own theories as to why no one can make a dime in this industry, I’m always baffled by how little music fans contribute to their supposed passion. If a band releases a record you love, go buy it – then go to their show – then buy a shirt – then show your friends – then tweet about it – then do whatever’s next. So many people are happy being passive listeners when it takes such a small effort to help the cause. Seriously, just tweeting about a band accomplishes more than you realize – you could be introducing a band to their next biggest fan.
H: You tweet a lot about having big plans for the future. Before we let you go, can you tell us a bit about what you have planned in the months ahead?
JA: Lots of exciting things happening at Siren Records, though not much I can share at the moment. We’ll definitely have some Peace’d Out news soon, including info about their first full-length. There’s a few projects taking shape that’ll blow your mind, but those will reveal themselves in the next few months – plus, vinyl, vinyl, vinyl.
I’m also managing Culprit, who’s releasing their sophomore EP on August 20 via Easy Killer Records, so make sure you watch for that.
And there’s always new things brewing at AbsolutePunk – it’s sounding like the mythical new design may come sooner than later, but you’ll have to talk to Jason Tate for details. Some damn good music coming this fall as well, so hopefully lots more features, song premieres, and reviews.
