Parallel 49 Agency is a new boutique talent agency founded by former WME agents and backed by S.L. Feldman and Associates (Canada’s leading full service booking agency/ management firm). Parallel 49 specializes in booking music, comedy, and variety entertainment. We are currently seeking unpaid interns to start immediately. Must have a strong interest in music, concerts, and live events. Large growth opportunity. Email resume/cover letter to p49intern@gmail.com 1/31
Receptionist/Floating Music Management Assistant needed. Responsibilities include greeting guests in friendly and professional manner, maintaining office appearance and upkeep and providing administrative support to staff. Must be self-starter and quick learner with exceptional customer relations and communications skills; detail oriented with strong organizational skills; prioritize multiple tasks; ensure jobs are completed accurately, and have a desire to excel at all tasks. Salary 25k plus benefits. Please submit cover letter/resume: musicreceptionist@gmail.com 1/31
Exceptional runner/ office asst needed for music company. Must be detail oriented, organized, multi-tasker; be friendly and professional. Must be a self-starter and learn quickly and have a desire to excel at all tasks. Must be willing to do what it takes to get the job done, no task is too small. Must have reliable car, valid driver’s license/ insurance. Please submit cover letter and resume to whowantsajob@gmail.com 1/24
Music Events Company Executive is looking for a highly organized, goal-oriented individual for a full-time Executive Assistant position. Job duties: Heavy phones, high volume email, assistant will transcribe verbal directions into emails, and review contents of emails and letters with the executive, schedule appointments, plan and book travel, handle ingoing/outgoing mail, manage contacts, track documents and projects, manage and direct interns; some personal errands, manage office. Salary range: $60,000 to $70,000 DOE. Please submit cover letter and a resume to hr9726@gmail.com 1/18
Thursday, February 2, 2012
Wednesday, January 18, 2012
New Music Industry Positions
Finance Assistant needed for high profile music company. Requirements: Accounting or Finance degree; minimum 1 year experience in Finance; familiarity with Data Faction, financial statements, cash disbursements/ receipts, accounts payable a must. Must be a team player, extremely discreet, trustworthy; have excellent organizational skills and positive/ can-do attitude; must multi-task and/ or work autonomously in a fast paced environment. Common sense a must. Send resume and cover letter to whowantsajob@gmail.com 1/10
Cutting Edge Group, a full service film music company, is looking for interns within the music supervision department. Please email resume and cover letter to intern@cuttingedgegroup.com 1/10
Tuesday, November 8, 2011
Music Industry Positions!!!
Jam in the Van Productions is seeking a highly motivated and tech-savvy intern to assist partners and production team. Duties include website work, building a YouTube channel, helping with video shoots and assisting with data entry and correspondence. Headquarters are based out of Venice. Must be proficient with Macs, WordPress and video editing. This is a great opportunity for someone who is interested in the music business. It’s an unpaid internship but lunch will be paid for on work days. Please send resumes to Dave@jaminthevan.com 11/1
Network Music Reality Show seeks a PA to support the Music Department with preparing lyrics and sheet music, making reference CDs, reviewing cue sheets, researching writers/publishers, making runs and other assorted office duties. Candidate needs to be proficient with Macs, Word/Excel, iTunes, internet research and burning CDs. 5 days weeks (days vary / weekends included). Please send resume and cover letter to: musiclicensingjob@gmail.com 10/28
Unpaid Intern: Bulletproof Entertainment, run by one of the top music producers/supervisors in the motion picture and soundtrack industry, is in need of interns to assist with scanning, video editing, reachout, our CD library & iTunes database, record production, computer graphics, as well as some light office duties. Requirements: strong interest in music and film industries and strong proficiency with Mac/Apple software. Email resume and brief letter to apply@bulletproofentertainment.com 10/18
Network Music Reality Show seeks a PA to support the Music Department with preparing lyrics and sheet music, making reference CDs, reviewing cue sheets, researching writers/publishers, making runs and other assorted office duties. Candidate needs to be proficient with Macs, Word/Excel, iTunes, internet research and burning CDs. 5 days weeks (days vary / weekends included). Please send resume and cover letter to: musiclicensingjob@gmail.com 10/28
Unpaid Intern: Bulletproof Entertainment, run by one of the top music producers/supervisors in the motion picture and soundtrack industry, is in need of interns to assist with scanning, video editing, reachout, our CD library & iTunes database, record production, computer graphics, as well as some light office duties. Requirements: strong interest in music and film industries and strong proficiency with Mac/Apple software. Email resume and brief letter to apply@bulletproofentertainment.com 10/18
Saturday, October 1, 2011
MUSIC INDUSTRY INTERNSHIPS
Jr Executive Assistant for Senior Exec for high-paced entertainment industry office. Excellent secretarial skills: professional phone manner, strong verbal and written communication skills, attention to detail, common sense. Must be teamplayer, requires minimal supervision, works well under pressure, great attitude, quick learner, thick-skinned, deals well with different personalities. Career assistant wanted - not a job to move up the ladder. 5 years minimum experience required. Email resume: whowantsajob@gmail.com 9/20
Assistant in Music Department position will work closely with the Executive Director, Music as well as with the rest of the Music Team. Responsibilities involve standardassistant duties (word processing, phone calls, scheduling, filing, etc) for director. Duties for the department including but not limited to, coordinating the team both internally and externally with other companies within Shine Group, handling cue sheet preparation, assisting in all facets of music supervision and licensing, and maintaining and cataloging the internal and external music libraries and generally keeping up with the music space in general both creatively and business-wise. Please send cover letter and resume to hr@reveillellc.com 9/16
Monday, August 8, 2011
MAJOR Music Industry Job Openings
A-list record label and management company in Beverly Hills seeks a bright, motivated intern to help with administrative tasks. Duties include phones, helping with promotional mailings, coordinating travel, organizing information, and other duties as assigned. This is an excellent opportunity to learn the skills you’ll need for starting out in the entertainment industry, and the internship provides a great introduction to how a busy label operates. Previous desk experience preferred but not required. Candidates must be able to receive school credit as the position is unpaid. Looking for someone to start immediately. E-mail cover letter and resume to thecollectiveintern@gmail.com. 7/29
Unpaid Intern: Bulletproof Entertainment, run by one of the top music producers/supervisors in the motion picture and soundtrack industry, is in need of interns to assist with scanning, video editing, reachout, our CD library & iTunes database, record production, computer graphics, as well as some light office duties. Requirements: strong interest in music and film industries and strong proficiency with Mac/Apple software. Email resume and brief letter to apply@bulletproofentertainment.com 7/29
Wednesday, June 29, 2011
Music Supervisors, Licensing & Going Pro
After a long hiatus, I am back and very proud to return to the informative world of the music blog scene. Recently, I've been more involved with the film/movie entertainment industry and explored passions I've long held for it since I was a kid. But, I haven't forgotten the music culture and how it was the roots of any success I've seen in the past several months in my new field. So, with new contacts and knowledge gained, I'd like to present you with a new music blog with a fresh point-of-view from a student of the film world.
As an artist, you're goals are simple: You want your voice to be heard and you'd like to make profit from it. Hell, every post in this blog has been aimed at that. From EPKs, to investment strategies, to Film/TV solicitations, that has been the focus of this blog. And all the while, we've maintained the spirit of the indie scene and the free expressionism that I've dreamed of for the music culture which has finally began to dominate and show the light of day, once more. The roots of what inspired the creation of Mellow Marketing. So, today I want to return to expand, or even make a sequel, to that Film/TV Solicit blog from a year ago to explain to you the importance of Music Supervisors:
In the past, we've covered how placing your song on a movie, video game or ad is my most preferred route for an artist. Not only is it gaining you attention and promotion to a potential audience of millions, you're gaining profit for this. Money is sent directly to your publisher. Not a label or investor, but directly to you. This is what the future of music is supposed to be!
So, many of you still follow the blog I last posted on the subject, as you should. Even before we continue, let's make one thing clear: I always recommend hiring a strong agent. I'm going to teach you the tricks of their trade and present to you what they've been doing for quite some time, but the experience, professionalism, accuracy and success rate is something truly worth paying for when you're in this line of work. This is no different from booking gigs, in that there are no room for mistakes or second chances when approaching these people. Presentation is key and talent is a close second, and sometimes it takes a certain type of individual to pull that off for you.
With that said, let's continue: For those who don't know, Music Supervisors exist within every entertainment media. Film, Television, video games, sports, etc. Their goal is to find music for their products that match the tone they're trying to strike for a particular audience. As said in a previous blog, many songs that can be referred to as "old classics" are often more expensive than their marketing budget allows. So, the search for an independent sound that's not only far cheaper, but can establish an individuality for itself and the product to create an original presence that the audience can relate it to.
Therefore, Music Supervisors actually love indie artists, as they provide amazing opportunities for new consumers at a very low cost. This creates a marriage between the artist and said company so strong, that many artists have found themselves funding entire albums or personal promotion tours through the funds they've gained from these successful solicits. Music Supervisors like Kier Liehman(HBO) and Alexandra Patsavas(CW) specifically look for only indie music to push the strengths of the youth and originality to their shows.
IF YOU DO NOT HAVE DISTRIBUTION, A PROFESSIONAL EPK OR PUBLISHING, PLEASE READ THE BLOGS PRIOR TO THIS BEFORE CONTINUING!!!! Without distribution, you don't have a product to sell with your marketing. Without an EPK, you aren't prepared to approach a Music Supervisor at a professional level to discuss the progression of your career. Without publishing, you won't have an avenue to collect the money you've made from either of those successes. If you haven't researched those 3 extremely important things, turn back and crawl before you run.
Now, the first question is the simplest one: "Where do I find a music supervisor?"
There are three ways to find them that are actually pretty simple:
1) Watch TV. No, I'm not being facetious. Seriously, watch TV/movies or play video games and wait for the credits. DVR the end and slow down to find out who the music supervisor is. Once you have the name, do the research(I quite often use LinkedIn.com) and find their contact info.
2). Online Research. To put it simply, Google. Search for companies that do film production/distribution, ad agencies or video game developers. Once there, search on their site or contact them directly regarding who their music supervisors are. Contrary to most people's beliefs, they aren't going to hide the names of those individuals.
3). Follow Productions. This is where picking up that issue of variety or following movie sites on Twitter actually benefit your life. Finding out what movies are set for release within the next few months are currently in production or near post can be a major leg up. They WILL be looking for music to add to their soundtrack and you may have the exact sound that they're searching for.
Next Question: "How Do I Approach Them?"
This where that EPK comes in handy. Your experience, style, strengths and weaknesses are all within that package. And all of those things, even your weaknesses, can play to your advantage. You see, no Music Supervisor ever wants to hear someone say "I'm good at any genre." Nobody in the industry wants a jack-of-all-trades nearly as much as they need someone who just excels at being good at one particular thing more than anyone else.
Just like booking a gig, the best thing you can do is to be honest, be real and set the tone in your favor by giving examples of who your style is similar to and what genre you're a great fit for. When contacting a supervisor, you'll discover that each has their own way of doing business or necessary means for their attention to be gained. Some prefer a strong, visual .PDA format of your EPK to go with your digital audio samples in an e-mail. Some would even prefer if you sent them a physical version of both through "snail mail", in the form of a CD and printed folder of your EPK so they can keep the file on hand.
So, how do you know which style they are? You don't. You have to pass the hurtle of starting a conversation through an e-mail and just asking them as your present yourself in that professional manner we spoke of earlier in the blog. In one swift move, you have to gain their respect and interest to progress further, only to be optioned for the job. But, take every opportunity you can get and be patient. While your song is on file with them, you may be surprised when you find a nice, healthy wad of cash quickly enter your ASCAP one day.
As of now, I will be adding more to this particular blog post daily as I interview several close music supervisors & marketers. I'm never one to show all my cards on the table(I gotta eat!), but here are two sites that I often use & can help in your search to find productions searching for new talent. Happy hunting!:
productionweekly.com
inhollywood.com
As an artist, you're goals are simple: You want your voice to be heard and you'd like to make profit from it. Hell, every post in this blog has been aimed at that. From EPKs, to investment strategies, to Film/TV solicitations, that has been the focus of this blog. And all the while, we've maintained the spirit of the indie scene and the free expressionism that I've dreamed of for the music culture which has finally began to dominate and show the light of day, once more. The roots of what inspired the creation of Mellow Marketing. So, today I want to return to expand, or even make a sequel, to that Film/TV Solicit blog from a year ago to explain to you the importance of Music Supervisors:
In the past, we've covered how placing your song on a movie, video game or ad is my most preferred route for an artist. Not only is it gaining you attention and promotion to a potential audience of millions, you're gaining profit for this. Money is sent directly to your publisher. Not a label or investor, but directly to you. This is what the future of music is supposed to be!
So, many of you still follow the blog I last posted on the subject, as you should. Even before we continue, let's make one thing clear: I always recommend hiring a strong agent. I'm going to teach you the tricks of their trade and present to you what they've been doing for quite some time, but the experience, professionalism, accuracy and success rate is something truly worth paying for when you're in this line of work. This is no different from booking gigs, in that there are no room for mistakes or second chances when approaching these people. Presentation is key and talent is a close second, and sometimes it takes a certain type of individual to pull that off for you.
With that said, let's continue: For those who don't know, Music Supervisors exist within every entertainment media. Film, Television, video games, sports, etc. Their goal is to find music for their products that match the tone they're trying to strike for a particular audience. As said in a previous blog, many songs that can be referred to as "old classics" are often more expensive than their marketing budget allows. So, the search for an independent sound that's not only far cheaper, but can establish an individuality for itself and the product to create an original presence that the audience can relate it to.
Therefore, Music Supervisors actually love indie artists, as they provide amazing opportunities for new consumers at a very low cost. This creates a marriage between the artist and said company so strong, that many artists have found themselves funding entire albums or personal promotion tours through the funds they've gained from these successful solicits. Music Supervisors like Kier Liehman(HBO) and Alexandra Patsavas(CW) specifically look for only indie music to push the strengths of the youth and originality to their shows.
IF YOU DO NOT HAVE DISTRIBUTION, A PROFESSIONAL EPK OR PUBLISHING, PLEASE READ THE BLOGS PRIOR TO THIS BEFORE CONTINUING!!!! Without distribution, you don't have a product to sell with your marketing. Without an EPK, you aren't prepared to approach a Music Supervisor at a professional level to discuss the progression of your career. Without publishing, you won't have an avenue to collect the money you've made from either of those successes. If you haven't researched those 3 extremely important things, turn back and crawl before you run.
Now, the first question is the simplest one: "Where do I find a music supervisor?"
There are three ways to find them that are actually pretty simple:
1) Watch TV. No, I'm not being facetious. Seriously, watch TV/movies or play video games and wait for the credits. DVR the end and slow down to find out who the music supervisor is. Once you have the name, do the research(I quite often use LinkedIn.com) and find their contact info.
2). Online Research. To put it simply, Google. Search for companies that do film production/distribution, ad agencies or video game developers. Once there, search on their site or contact them directly regarding who their music supervisors are. Contrary to most people's beliefs, they aren't going to hide the names of those individuals.
3). Follow Productions. This is where picking up that issue of variety or following movie sites on Twitter actually benefit your life. Finding out what movies are set for release within the next few months are currently in production or near post can be a major leg up. They WILL be looking for music to add to their soundtrack and you may have the exact sound that they're searching for.
Next Question: "How Do I Approach Them?"
This where that EPK comes in handy. Your experience, style, strengths and weaknesses are all within that package. And all of those things, even your weaknesses, can play to your advantage. You see, no Music Supervisor ever wants to hear someone say "I'm good at any genre." Nobody in the industry wants a jack-of-all-trades nearly as much as they need someone who just excels at being good at one particular thing more than anyone else.
Just like booking a gig, the best thing you can do is to be honest, be real and set the tone in your favor by giving examples of who your style is similar to and what genre you're a great fit for. When contacting a supervisor, you'll discover that each has their own way of doing business or necessary means for their attention to be gained. Some prefer a strong, visual .PDA format of your EPK to go with your digital audio samples in an e-mail. Some would even prefer if you sent them a physical version of both through "snail mail", in the form of a CD and printed folder of your EPK so they can keep the file on hand.
So, how do you know which style they are? You don't. You have to pass the hurtle of starting a conversation through an e-mail and just asking them as your present yourself in that professional manner we spoke of earlier in the blog. In one swift move, you have to gain their respect and interest to progress further, only to be optioned for the job. But, take every opportunity you can get and be patient. While your song is on file with them, you may be surprised when you find a nice, healthy wad of cash quickly enter your ASCAP one day.
As of now, I will be adding more to this particular blog post daily as I interview several close music supervisors & marketers. I'm never one to show all my cards on the table(I gotta eat!), but here are two sites that I often use & can help in your search to find productions searching for new talent. Happy hunting!:
productionweekly.com
inhollywood.com
Sunday, March 7, 2010
New Era Marketing Pt. 1
This is the first of a multi-part blog spanning a subject I've been asked about frequently in the past month.
It's been a while. But, that's simply due to 2010 having more twists than a montage of every last 5 minutes of an episode of Lost. The time I've been speaking of for the industry is here and all the independent artists are now fully in control. So, not only are the ones who couldn't adapt weeded out, but the ones who can now have succeeded their superiors. The labels are down lower than ever. But, we all now have responsibilities as the "new" types of labels have already emerged: Corporations.
The phrase "I hope I get signed" makes the backstabbers sneer and the honest folk in the industry shake their heads. To be "signed" by a label can pay for the release of your album & marketing, yes. But, you now have lost control of your publishing, creative independence/integrity and are also in-debt. Without publishing, you'll have to wait for your label to cut you a check of the money you've made and hope they are fair to you. And with you being in-debt to the services they've provided, there's good reason to question the outcome of that. And now that you're in their debt, say good bye to creative integrity. You'll have to perform what they want, when they want, how they want it, where they need it and only a certain way. Congratulations! You've been "signed"!
But, as I always try to explain, this in no way means there is no hope. Independent dollar is alive and it is flourishing. Now, for those who are still working on the investment blog I provided months ago, but can't find a place to bring that very professional business proposal you've built from the ground up: Ad Agencies are your next venture into the world of music.
You see, the beauty of this industry is that music is connected to EVERYTHING. Movies, Television, Video Games, Sports, Events, Nightlife, Traveling, Elevators, Shopping Malls, Coffee Shops. You name it. The exposure into any of these other genres can entirely build a career for a single band/artist. "Death Cab For Cutie" was very low-level indie until the cast of "The OC" demanded the producers to play their music on the show. The band "Cage The Elephant" has been struggling for exposure for years, but recently had their music picked up by a video game company, "Gearbox", to be a theme song to their multi-million dollar hit "Borderlands". Now, they are experiencing more overnight success than they could ever ask for. And there's the band "The Heavy", who have been primed for success ever since they built the original concept of having a lead with a spirit like James Brown and a band that could evoke both Rock and Soul. Now, their originality has been recognized thanks to their short Kia Sorento commercial.
The solution into pursuing this is more simple than most people may think: Ad Agencies. Now, I will be perfectly honest, this isn't the solution to everyone. Some music just isn't marketable from a commercial point of view. But, you'd also be shocked as to what music gets picked up. Hell, look at the entire soundtrack listing to Entourage since Episode 1. But, to pursue agencies at this stage would be wise for any artist. Not only would it help you gain exposure, but it would make you part of a multi-million dollar campaign/project. The money you use to that could be pocketed or (preferably) to enhance your career to the next steps.
Now, to pursue ad agencies, I actually suggest either saving money and pursuing hiring one designed towards music, such as the Gary Group. But, when funds are bad, you can take the venture of putting yourself out there to such agencies in an extremely professional manner, to companies like Saatchi & Saatchi, AMV BBDO or one of my favorites, WCRS. When doing this, be sure to show them everything you've learned from my "Building an EPK" blog below:
A) That you have an active and growing fan base.
B) You have commercial to appeal to a massive group of people.
C) What demographics do you get the greatest response from.
Agencies are often searching for new, indie talent that has the ability to speak to their culture while bringing attention to new products.
This was the first of a series I will be continuing. Next edition will help give instructions on how to approach the agencies mentioned and how to stay a step ahead of the competition in the process. Until then, do your research, prepare those EPKs and hopefully you'll be prepared before the next part of class.
It's been a while. But, that's simply due to 2010 having more twists than a montage of every last 5 minutes of an episode of Lost. The time I've been speaking of for the industry is here and all the independent artists are now fully in control. So, not only are the ones who couldn't adapt weeded out, but the ones who can now have succeeded their superiors. The labels are down lower than ever. But, we all now have responsibilities as the "new" types of labels have already emerged: Corporations.
The phrase "I hope I get signed" makes the backstabbers sneer and the honest folk in the industry shake their heads. To be "signed" by a label can pay for the release of your album & marketing, yes. But, you now have lost control of your publishing, creative independence/integrity and are also in-debt. Without publishing, you'll have to wait for your label to cut you a check of the money you've made and hope they are fair to you. And with you being in-debt to the services they've provided, there's good reason to question the outcome of that. And now that you're in their debt, say good bye to creative integrity. You'll have to perform what they want, when they want, how they want it, where they need it and only a certain way. Congratulations! You've been "signed"!
But, as I always try to explain, this in no way means there is no hope. Independent dollar is alive and it is flourishing. Now, for those who are still working on the investment blog I provided months ago, but can't find a place to bring that very professional business proposal you've built from the ground up: Ad Agencies are your next venture into the world of music.
You see, the beauty of this industry is that music is connected to EVERYTHING. Movies, Television, Video Games, Sports, Events, Nightlife, Traveling, Elevators, Shopping Malls, Coffee Shops. You name it. The exposure into any of these other genres can entirely build a career for a single band/artist. "Death Cab For Cutie" was very low-level indie until the cast of "The OC" demanded the producers to play their music on the show. The band "Cage The Elephant" has been struggling for exposure for years, but recently had their music picked up by a video game company, "Gearbox", to be a theme song to their multi-million dollar hit "Borderlands". Now, they are experiencing more overnight success than they could ever ask for. And there's the band "The Heavy", who have been primed for success ever since they built the original concept of having a lead with a spirit like James Brown and a band that could evoke both Rock and Soul. Now, their originality has been recognized thanks to their short Kia Sorento commercial.
The solution into pursuing this is more simple than most people may think: Ad Agencies. Now, I will be perfectly honest, this isn't the solution to everyone. Some music just isn't marketable from a commercial point of view. But, you'd also be shocked as to what music gets picked up. Hell, look at the entire soundtrack listing to Entourage since Episode 1. But, to pursue agencies at this stage would be wise for any artist. Not only would it help you gain exposure, but it would make you part of a multi-million dollar campaign/project. The money you use to that could be pocketed or (preferably) to enhance your career to the next steps.
Now, to pursue ad agencies, I actually suggest either saving money and pursuing hiring one designed towards music, such as the Gary Group. But, when funds are bad, you can take the venture of putting yourself out there to such agencies in an extremely professional manner, to companies like Saatchi & Saatchi, AMV BBDO or one of my favorites, WCRS. When doing this, be sure to show them everything you've learned from my "Building an EPK" blog below:
A) That you have an active and growing fan base.
B) You have commercial to appeal to a massive group of people.
C) What demographics do you get the greatest response from.
Agencies are often searching for new, indie talent that has the ability to speak to their culture while bringing attention to new products.
This was the first of a series I will be continuing. Next edition will help give instructions on how to approach the agencies mentioned and how to stay a step ahead of the competition in the process. Until then, do your research, prepare those EPKs and hopefully you'll be prepared before the next part of class.
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