Tanyel Gumushan

Liverpool Sound City + Conference

04:58

It isn’t news that as university goes on, it becomes increasingly more difficult for students to get their bums out of bed. Despite several Birmingham School of Media students walking into Grand Central station wearing sunglasses, and with the posture of a zombie, spirits were still high for 7am on a Friday. We had to grab a delegate selfie.

Off to @SoundCityPlus with @mybcu media + music industries students 🔊🔊🔊 #fivehead pic.twitter.com/6vAl5vr7Qv
— Lyle Bignon (@lylebignon) May 27, 2016

You could say that this was our first learning curve. The realities of alarm clocks, early starts and morning travels. All part of dreams come true in the business! We were headed to Liverpool to attend the Sound City +, the UK’s premier International Music & Digital Business Conference.

Passes sorted, registration completed; panels were soon starting. Kicking off the proceedings was ‘Do Not Wash, always check the label first’, moderated by the one and only John Robb. After meeting the Louder Than War editor at last year’s Louder Than Word’s festival, we’ve exchanged emails and he’s even been in the interview hot seat for my assessment Think Piece about Riot Grrrls. The guy provides great entertainment in his presentation skills, so I sat back to enjoy the conversation with Simon Raymonde (Bella Union), Will Kneale (Handsome Dad Records), Jack Clothier (Alcopop! Records) and Paul Stewart (Legal and Business Affairs manager at PIAS). Discussing the evolution of the independent label within the digital age, the panel discussed whether the ethos had changed. Interestingly, most labels had started on a whim; musicians who had nobody to put their music out, or wanting to get their mate’s music heard. It seemed that nostalgia washed over Robb as he laughed at the newcomers (Kneale and Clothier’s) professionalism in comparison to the 80’s go with the flow attitude.

With my biggest goal being to work in digital marketing at a major record label, this panel was useful in highlighting the differences between the ‘money-makers’ and the independents. Where some of the labels do use PR agencies and managers, others don’t, and this changes from artist to artist. The entire panel agreed that they’d take on a musician whom they had faith in, and would willingly take the risk of losing money to burn the passion. Comparatively, my work at a major label last year was very profit driven. Though is a record label even needed today? With the tools all readily available online. It was decided that the main role of a label was to be the family support system for the artist, which is a rapport I strongly wish to build with any artist I meet. Afterwards, I was sure to introduce myself to the guys at Handsome Dad records, who gave me a contact email to discuss potential collaboration. Which if successful, would be extremely valuable in learning how an independent label functions and the ins and outs of recording music.

💜 BCU hit @SoundCityPlus 💜 pic.twitter.com/fFzdQboHIr
— Tanyel (@tanyelgumushan) May 27, 2016

Wrapping up the talk, I then dodged multiple cameras on the stairway to scuttle past the acoustic sessions taking place to browse the stands. Grabbing a bite to eat, and brave sips on some disappointing coffee (though, this seemed to be the thing to do), I took my seat in Musicians Union / Association of Independent Festivals (AIF) Stage Play – How to ‘get on’ at Festivals. Despite the majority of attendees being musicians themselves, I was keen to attend for advice on my third year project. Having set up a music PR company, Pretty Cool PR, that ‘focusses on the little things’, festival applications would be part of my work. Moderated by Kelly Wood (Musicians Union) and Paul Reed (AIF), they opened by explaining their ‘Fair Play’ guide, which should allow artists to be treated fairly at festivals. It includes tips and prompts for artists to enquire payment, expenses, merch and small print. As Paul says, ‘festivals are the incubators of emerging talent’, therefore it would be easy for the artists I will be working with to be caught up in the excitement of potential slots. However, the Fair Play guide will make sure it’s beneficial financially too. Picking up a copy, it includes things that I hadn’t thought about, such as how to liaise slots over email and which details to provide upfront. Further, John Rostron (Swn festival), Sarah Nulty (Tramlines) and Oliver Jones (Deershed) provided insight into how they choose their artists. Having applied for many festivals this year with my clients, Pretty Citizens, I realised how I could have helped them further. By signing up to tools such as Gigmit and emailing the direct address, I may have been more successful. Also, it became clear that many festivals were dominated by local bands, so local festivals should have been my priority. As the panel discussed the roles of agents, it helped to hear that they do listen to what PRs have to say, though there has to be a quirk that makes their act stand out. All of these tips will add to my professionalism during my third year project, and I made sure to show my face and say hello to all! Though unfortunately, I didn’t have any badges on me…

#BCUatsoundcity pic.twitter.com/Dg9yYf3pqK
— Tanyel (@tanyelgumushan) May 27, 2016

Catching the tail end of Gideon and James’ talk on streaming content in Believe Digital as a sofa session provided some great insights. I’m all too aware of the power of the internet, utilising social media, streaming being both the angel and the devil, blah blah yadda yadda. Though, the guys justified some unique points. Despite some tough love, reminding me that I'm not Beyonce. They say to post your music everywhere, even on the platforms where you won’t get paid. It leaves more chance of being discovered, and doesn’t punish a fan for their listening habits. As a result, they told the story of a small band who found their way on a Spotify playlist and climbed to the top of the chart with it. Another to remember, is that cheaper alternatives are available. Where in my projects I’ve avoided making videos due to expense and materials, they informed that lyric videos are the second most popular type on YouTube. I suddenly had visions of stop motion photography! Same with teasers, all add to the algorithm of the artist and more results across the net for potential fans to be led to. Utilise this by adding links below videos and in annotations. Again, Gideon and James’ short but sweet talk will really come in handy with Pretty Cool PR. By facing my fears of video, I will also improve my employability by showing that I can use different platforms efficiently.

hitting those hard truths with some tough love at @SoundCityPlus pic.twitter.com/U74e8TtAiC
— Tanyel (@tanyelgumushan) May 27, 2016

“Why nightlife matters” the opening line of From Acorns to Oaktrees definitely grabbed my attention. Exploring the changes of British Nightlife, the panel, Dave Haslam (Hacienda), Alan Miller (Chairman, The Night Time Industries Association), Marc Jones (Medication) and Paula Stewart (Little Panther) discussed the pros and cons. Everything from noise complaints, crime, money and jobs have been knocking back the nightlife in Britain. Providing a strong insight into the role that the public plays in the industry showed dramatic effect. Student clubs are being knocked down to build student accommodation as more people are going to university. Noise complaints are on the rise as more people choose to live in the city centre for work. Venues have higher crime rates as more people report their smartphones as stolen, when really they just lost them. With no experience in the live industry, it was moving to hear the panel talk about their experiences with guests during nightlife. They own the places that hold the best memories of falling in love, friendship and live experiences, and they keep disappearing. The talk was mainly discussing how to get the public to engage with nightlife again, supporting Miller’s #NightLifeMatters campaign which encourages backers to share their positive experiences with MPs. As a music fanatic, it’s scary to hear that independent venues are being taken over by big academy groups, and makes me wonder what’s in store for artists who aren’t quite ready to play there. Where will they hone their craft? Where will they gather listeners? Will it still be possible to sound a city with local talent?

As the day began to draw to a close, my mind was buzzing with the voices of the music industries. Planting seeds in my head, I was excited to reflect on the importance of labels, live music and digital music in my own work. But first, I had to get changed, grab some pizza, and head to the after party!

my weekend was probs better than yours pic.twitter.com/UYMtnxqyj3
— Tanyel (@tanyelgumushan) May 29, 2016

advice

Advice from the music editor greats

03:56

Ah, Music Journalism at Birmingham City University. The time where your tutor is the kick up the arse that you well and truly need in order to branch away from student publications and unpaid work. Pitching is hard work, you have to be firm, confident and believe in what you’re selling. Nobody buys from the quiet market seller, right?

Sending off pitches pays off. Not only do you get your work published in further fields but you’re also rewarded with valuable advice of what these editors are looking for, and how to improve your work. Here are some of the best I’ve learnt.

Jamie Milton, editor DIY

Pitched: Interview with Cullen Omori.

Advice: ‘At the moment you’re writing one short statement or narrative about Cullen, before backing it up with a quote from him. That seems to be the pattern. If possible, I think you should vary how you integrate quotes.

For instance:

If New Misery were a film, Cullen says bluntly “It would be directed by Gus Van Sant. Tom Sizemore would be in his house doing a ton of meth and working up the courage to kill himself.

And at the end he decides not to, but accidentally OD’s.”

Could be…

If ‘New Misery’ were a film, it’d be directed by Gus Van Sant. Tom Sizemore would star, and according to Cullen’s plot, he’d “be in his house doing a ton of meth and working up the courage to kill himself.” It doesn’t pack a happy ending, either. “At the end he decides not to, but accidentally OD’s.”

So by doing this, you’re adding a little more of your voice to the piece and I also think it adds more flow.

There are a couple of places within the write-up where you could switch things up with quotes. Would also contribute to cutting down the word count slightly, if done correctly.’

Outcome: of course! This made a lot more sense. Reading back, the interview was a little choppy and jumpy in places, because I was desperate to try and get everything that Cullen was telling me in. However, Jamie’s approach read like a conversation between myself and the artist. Taking this approach, I cut down about 100 words and the pitch was accepted by DIY. Keep an eye out for it published in April!

Matt Wilkinson, new music editor at NME

Pitched: Interview with Man Made

Advice: ‘I'm not that keen on massively long things for new bands - it needs to be interesting to some kid who's never heard of them, that's who you're writing for and that's who's attention you've got to keep!’

Outcome: I went and chatted to Nile Marr of Man Made, and as he’s ‘a bit of a talker’ I gathered 2000 words of transcribed words from an hour’s conversation. This was not going to be interesting for somebody who’d never heard of the band, and hadn’t got their hands on an advance of the debut album. Therefore to suit the Radar blog I had to decide what was interesting and include that. Any repetition or tangents had to be cut. I knew Nile was full of charisma, but NME is about the music. I had to weave his personality into the energy of the writing instead!
Check it out, here: http://www.nme.com/blogs/nme-radar/man-made-interviewed-nile-marr-on-manchester-debut-albums-and-dishonesty-in-music

Joe Brine, editor at TMRW magazine

Pitched: to be a contributor

Advice: ‘In terms of writing style I like them to be feature length with conversational aspects, we rarely do question, answer, question, answer, style features. In terms of pitching, just fire over a handful of feature suggestions and I’ll point you in the right direction with what will work for the site.’

Outcome: I’m yet to send anything over to TMRW magazine, but love reading it. With sending my interest to TMRW I asked what sorts of things they were looking for, then said what sort of music I’d be interested in covering. The feature length and conversational aspects was really helpful, as that’s the writing stance I tend to take, however some publications prefer to just have Q&As and really short, sharp pieces. Their pitching approach is useful too, as an editor Joe will discuss ideas and send opportunities out to writers to make sure each piece on the site has its own voice but similar style.

Robin Murray, editor at Clash

Pitched: Album review – The Crookes

Advice: ‘Remember a rating.’

Outcome: The review got picked up too late, unfortunately. However the advice remains clear, if you’re going to send over a piece as a pitch, make sure it fits the publication’s style guide. If they have ratings at the end, or stars – include them! It saves following emails and time. Similarly, check whether album names are in ‘Single Quotation Marks’ or maybe they’re Italic? Prove that you will fit in.

blog

My music journalism top tips

07:18

Music journalism is not just fangirling over your favourite bands, writing glowing ‘reviews’ explaining why you love everything they do and the ground that they walk on. It’s not critically analysing every note and chord, either. It isn’t about finding hidden academic messages, or only reading the surface. Like with everything, music journalism at its best is about balance. A glorious mix of research, creative writing, opinion stance and passion.

Having been a freelance music journalist (The National Student, The 405, NME, Gigslutz…) for the past four years, I’ve learned a lot. Self-taught, young, naïve, I’ve realised it’s about quality, not quantity and found my own voice. Now studying the music journalism module as part of my degree at Birmingham City University, here are my top tips.

1. Know your own voice

We start with an important one. Journalism is all about having a voice, but for it to be good it has to be your voice. Whether you’re writing for your own blog or for a publication, it’s your name attached to your words. So make it from you! If you love something that everybody else thinks is crap, or vice versa then express your views – but justify it. The more you write, the more you’ll develop a style. Do you have an unusual vocabulary? Use funny words? Have strong regional dialect? Are wise beyond your years? Utilise it. It’s you.

2. Read other music reviews

Following this, it’s important to know what’s going on in the music world – popular, underground, all around. Read other reviews and note popular techniques and writing rhythms, though don’t compare yourself to those who have been writing for years. Instead, learn from them. Don’t copy! What would be the point in that?

3. Try and avoid personal pronouns

Okay, this is just more my preference. Unless you are trying to really get your own voice on a blog then try and avoid writing from an ‘I’ perspective. I feels like this disconnects you from a reader. If you’re writing up an interview, instead of ‘I walked into the venue and met the band’ try something like ‘Walking into the venue, ____ is welcoming with a warm embrace and a friendly introduction. As if they need one.’ This puts a reader into the environment with you, making it easier to immerse into. This applies with reviews too, especially live ones!

4. Work on your creative writing

Music journalism is amazing with allowing freedom. You can start a piece anywhere that you like and lead into the song or musician in different directions. Your laptop screen is a blank canvas where you’re trying to explain audio. Mad. So set a scene, how do you feel? Where have you been taken? What are you thinking about? Be descriptive, inventive and fun. Make it read like a story with a beginning, middle and end.

5. Leave the comfort zone

If you want to better your writing skills, then jump into the deep end. If you’re a hard-core indie rock fan, awesome. Though have you tried electro? Metal? Folk? Punk? Give different genres a listen, explore different languages and styles. You’ll find that you’ll write a much more interesting review instead of the same repetitive riff descriptions! You might even find your new favourite band.

6. Learn a little bit about how music is made

You’ve probably completely forgotten what sort of family the drum belongs to, and how to differentiate guitars from primary school music classes. Though when you’re reviewing music, you kinda have to know your difference between electric and bass. This is great if you’re already a musician. Also, if an artist mentions a recording studio or equipment – have a Google. Get to know what synths sound like, the difference between beats and rhythm… you’ll do this by reading more about music!

7. Write what it is worth

It’s easy to start rambling about how great your favourite band’s new album is, and to write a few lines about something cool but what you don’t understand. There’s a fine line between grabbing attention and losing it. How much do you read on your phone before getting bored? In interviews, it doesn’t matter if you had a natter about Eastenders last night, unless it’s necessary then cut it. Sometimes less is more.

8. Be well researched

This is especially important in interviews, you don’t want to just be reading the same boring old questions off a bit of paper, getting an answer then going to the next! Instead read past interviews, do your research, listen to the person you’ll be talking to and make sure that you know enough to make it more like a conversation than a university interview. Be ready to jump on anything interesting that they may let slip, so listen to them carefully. Completely abandon your questions once you’re in the flow and instead have a conversation. You’ll get much better results when they’re not answering the same questions they have a thousand times!

9. Be prepared & professional

Keep up with music trends and know who’s playing in your area in advance for better chance of getting coverage. Once you start working with PR, keep your professional levels up. Complete what you say you will and in good time, turn up when you’re on a guest list or let them know if plans change, keep your request emails short and sweet. Know the difference between chasing up, and pestering. It’s important to always be prepared too, know when the act you’re reviewing are going on stage and have spare batteries for your recording device in interviews. Double check it’s even recording! Know music news, release dates and generally just be on top form. Google your name and make sure your open online profiles are clean! Set up a LinkedIn and a professional email too.

10. Quality, not quantity

When I start writing for somewhere new, I try and bash out so many articles for the rush of being published. This meant that shit articles were being published. Repetitive articles, boring articles… Take time to double check any details, including names, dates and even gender. It’s not worth the embarrassment for the rush.

Degree

In defence of media studies

06:38

It’s ironic when people insult degrees within the Media. As usually they’re taking the mick through social media, or doing it when listening to the radio, watching TV, or wearing something that advertisements persuaded them to.

Speaking of mick, you should thank media for being such a ‘Mickey Mouse’ degree, because that lil guy wouldn’t exist or continue to without us guys.

There’s a general perception that media students may lounge around watching films, binging Netflix, snapping pics for Instagram. As a Media and Communications student (I specialise in Music Industries), I’m glad that that’s not the case. My degree is teaching me about the society and culture.

‘Media studies is about the way information is communicated to the masses, and how that is shaped by, and in turn shapes, society.’ reports The Independent.

Media degrees require a manic mix of production, practice and theory. It’s such a vague term that it’s almost unbelievable how much is beneath it. There are over 1600 different media courses available to apply to on UCAS, and that was in 2012. Proving how diverse media courses are.

Photography, TV, events and exhibitions, business, radio, new media, PR, journalism, visual design are just the start… they’re part of building my three year, full time course at Birmingham City University.

All require hard work, courage to not shy away, and creativity. Media students don’t just learn one discipline as the industries cross over, so we’re always kept on our toes. Before we spend hours creating and editing our production work, we have to conduct research to justify our work and then evaluate it afterwards. Then put it into practice in compulsory placements.

With studying media, we’re thrown into industry practice. For PR modules we genuinely have to work with real people, building that trust to create a three month campaign for them. We don’t sit in class rooms, we’re out like we’re on The Apprentice – negotiating for venues to hold gigs, talking to the council about laws for flash mobs and contacting real press for coverage.

Same thing applies with journalism, we’re awake at ungodly hours jumping on stories and meeting deadlines for real life news stories. We have to follow strict law and practice.

Would you have the guts to ring up the family of a criminal for a quote?

Then there’s the theory side of media courses. We have readings, a lot of them actually. Media students read about history, geography, sociology and actually get interesting insights into how the human brain works. Our long readings explore theories of how subconscious works, how celebrity is just a projection of sensitive ego, why music played in stores affects your purchases, how we view TV through a male gaze, why there’s such a sad longing to be part of fandom, and how people are living out false narratives through the media and are too distracted by consumerism to notice.

Media students are often so open minded that it’s hard not to question our day to day practices. We’re also pretty clued up on politics and social movements.

Former media grad, Katie-Marie Lynch said: “media based degree invites you to illuminate particular aspects of society that one would not normally take an active interest in.”

A common question asked to media studies is the almightily rude ‘but what job are you going to get after?!’ well, there’s a whole world out there reliant on us. Who knows?

Maybe I’ll write the script for your TV shows or films, or film them, or do the research, or promote them. Maybe I’ll produce the radio you’re turning up in the car. Or even do the digital marketing for, or work at the record label of the artist being played on said radio. Actually, maybe I’ll prefer to be writing the tabloids that you’re reading so that you have your news that you take for granted. If I get bored of that I might go into PR, because like every major company has a PR office. After that I have the skills to plan your wedding. Or maybe I’ll just take some great photographs for magazines, considering at university I also learnt how to produce print media. Good job I kept up with visual design as well then. Wait, I just had a great idea for an app! Media is all over the world and intertwining more and more industries.

But, if that all fails, I can just teach… right?

Turns out that media degrees are the ‘UK’s second most employable degree’.

Yet we’re still paid less for our work. Whether we’re working for free in the name of experience, or working but receiving the lowest average gross annual wage. This is because media has become so taken for granted in our society that it’s just assumed as easy. We still continue to do it out of passion.

Media students have exams, we have readings, and we have stress with our course. Admittedly, I’m not timetabled in as much as friends on other courses. Though that’s another difficulty with media, a lot of it is independent learning. We don’t really have lectures for production, we’re expected to figure it out, work together, and create something.

It’s hard for a media student to shake the stigma that comes with their studies. I’m tired of feeling like I have to pull an embarrassed face after telling somebody what I study.

I’m not embarrassed to study media.

It is unfair to compare creative courses with ones seen as more academic, especially without a thorough understanding of what’s involved.

I look back at my work and I’m proud of what I’ve achieved. I am confident, innovative, fun, understanding and a conversationalist, just like my work.

2016

Travel tips for Rome, Italy

05:27

Last week I had the beautiful honour of visiting Rome, Italy. As with all city breaks, we walked for four days until we couldn’t feel our toes anymore; wearing pointed ankle boots probably didn’t help in my situation, ate a lot of pasta and pizza, and swooned over pretty boys (and buildings!)

Here are a few handy tips you should know before visiting the city.

1. Check your transfers

Being part of the organised family that I am, we booked our transfers in advance from a secure website. Though stupidly didn’t question the name ‘Terravision’. It sounds like a horror film, because it is. Even in January, Fiumicino airport was packed with tourists and locals pushing and fighting for their place on the coaches. There are problems with fake tickets, paper tickets not being accepted and a whole load of confusion.

However, the metro station is right next to the airport, and lines run to stations named after their landmark. If you know where your accommodation is near, then a train to the city centre will cost you roughly eight euros each. Alternatively, grab a taxi for a set price of 48 euros. Believe me, it’s worth avoiding the stress.

2. Be road aware

It sounds so silly but Italy has very different rules of the road to the UK. Lanes don’t exist, neither do speed limits, apparently, and the roads are always busy. You literally have to just go for it and cross the road, basically walking into the traffic. I’d strongly advise you to stay off your phone and be a bit focussed when getting used to the new ways! Though don’t be scared to follow the locals else you’ll never get across the road. Read up on Rome’s rules about zebra crossings.

3. You’ll probably have to pay a city tax

Upon arriving at our accommodation, we were told to pay a city taxi. The tax amount is determined by how many nights you’re staying and how many stars your hotel is rated. It’s handy to be aware before you arrive so you have some extra euros on you. Read more here.

4. Apartments are cheaper

During my stay, I was at Nerva Appartments. I was dubious at first, though pleasantly surprised. Rooms were modern, fresh and clean. There was everything you could have needed including spacious wardrobes, shower, towels and a hair-dryer provided. There was also a shared kitchen area with complimentary juices, kettle and cereals. Nerva was also located a five minute walk from the Colosseum, and a metro stop was literally outside of the door. There’s also free Wifi!

5. The Colosseum only accepts debit/credit cards

I don’t know whether it’s just me, but I tend not to take my cards away on holiday with me in fear of losing them. However, the Colosseum only accepts card payments. So if you’re planning on visiting, definitely make sure you have your card on you. The admission price to the Colosseum also includes access to the Palatine (a five minute walk away), and is valid for two days!

Inside the Colosseum

The Palatine, a small town in itself

6. Happy Hour means a buffet

There are many different types of bars in Rome, many are coffee shops by day. Though us English are fooled by the ‘happy hour’ signs! In Italy, happy hour means that a buffet (cheese, meat, crisps, olives) are laid out to enjoy for free. Alcohol in bars is expensive, just as any city. However, if you’re wanting to get to know the young people of Rome then join them in the squares across the city. It’s a nightly occurrence to buy a two euro bottle of Peroni from the shop, and sit in a square socialising.

Hang out on the Spanish Steps of an evening

7. Research events/visitors

Checking the web after returning home, my sister and I were gutted to hear that Pope Francis had been out in the Vatican City giving talks and meeting people. Including Leonardo DiCaprio! Rome welcomes many people and has a lot of special events and holidays. Research these before you go and join in the celebrations. For example, on the last Sunday of every month all attractions are free entry.

8. Take the time to read the menu

Everything is very fast paced in Rome, and orders are taken when eating out very quickly. Though take the time to read the menu if you’re there on a budget, as items can be very expensive. Also, be sure of what you’re ordering. On a whim I asked for a lemonade, expecting a 3 euro 7up. However I received a large glass of fresh lemon juice costing me close to ten euros! Specify size.

9. Free entrance places

There are the obvious tourist attractions/photo opps in Rome; the Colosseum, Trevi Fountain, The Pantheon, Spanish Steps… all are either free or at a cheap price. Don’t be discouraged by the large queues, they’re usually for security checks and not payments. As well as this, many of the stunning buildings that you walk past are free to look around and enjoy. You can also climb to the top of them and see the city from above, including the Vittoriano Monument (free) and St Peter’s Basilica (six euro). The Basilica has 551 narrow steps, and was definitely my highlight of the trip. Even if you don’t climb, visit the stunning interior for free.

View from the top of Vittoriano

View from the top of St Peter's

Tours are regularly advertised to tourists, and having caught snippets of them they seem well worth the money if this is something that interests you. As well as this, some allow access to parts of the attractions that the general public can’t. However there are plenty of free tours, and apps like Triposo that you can download to be used without Wifi or data.

10. The airport may be bigger than you think, get to your gate

Finally, once you get to the airport then go straight to your gate! We had a near miss when we blissfully sat at gate B, thinking that gate G wouldn’t be too far away considering the shops and cafes were in front of us. Once the boarding was announced, we headed to the gate. Only to discover that it was a half hour walk and a half hour shuttle bus away! We got on the flight with a minute to spare, and welcomed by lots of glaring faces!