Writing for free: experience or exploitation? (Part two)

So, I stopped writing for the non-paying indie music magazine, whose cover stars became increasingly A-list as the ads became increasingly numerous. I decided that I deserved to be paid for the time and trouble I was taking interviewing, transcribing, writing, re-writing, editing, subbing and submitting (on time) my copy, so focussed my efforts and energies instead on magazines that rewarded their writers with something more tangible than prestige and pride (which are nice but don’t pay the rent).

Having built a portfolio by writing for a variety of websites – yes, for free, but magazines still retain a much better and more profitable business model than websites – I was extremely happy when I got my first offer of paid work from another magazine. It was only £20 for a short review, which I probably more than spent that night on travel to the event and alcohol, but it was a paid job – better than nothing, which is what the other magazine were offering for my labour.

This in-turn eventually led to being commissioned to write short interviews and then, a dream of mine for many years, full-blown features. I have to say I was ecstatic to finally receive payment for all of the hard work I was putting in. The problem was, it wasn’t that straightforward.

I interviewed musicians and wrote and submitted copy but getting paid for it was hard to say the least. The terms of each commission, which I naïvely accepted, were that payment would be made within 30 days of the issue going OFF sale. With lead times on magazines being around five weeks anyway, plus the four weeks the issue is ON sale, this equated to not being paid until over three months after the copy had been submitted.

Unfair? Yes. And, as I’ve since discovered, also illegal. Under UK law invoices must be paid within 30 days of being issued, otherwise interest is due (see here for more information from journalism.co.uk). More unfair though was the fact that even this three month rule was not respected by the owner of the magazine. The unpaid invoices mounted up until I was owed around £500 and then, the magazine folded. When I say folded, the magazine didn’t miss an issue, just merely carried on with the same name with the same Managing Director but under a different publishing house name – a bizarre, somewhat unfair quirk of British law. I lost the money but was assured by the MD that I would be recompensed by the editor giving me more work.

After much thought, and legal advice (there was no way I could get the money owed to me) I decided I would continue to write for them and the editor did put more work my way to make up for what I had lost.

The close working relationship I shared with the editor once more came into play when, once again, the publishing company went under (again, not an issue missed) and I was one of the few writers that the magazine paid in full to keep me on board. Lucky for me, my hard work and professionalism had been recognised enough by the editor to want to keep me. (Incidentally, the editor was always professional and produced a fantastic magazine - how do so many poor MDs get such great staff?!)

But once again, invoices have gradually piled up, the amount owed has spiralled upwards and my countless emails to the MD have gone unanswered. Now I find myself in the position of having to take one of my clients to court for unpaid invoices. And it is this that inspired my change of heart: the indie magazine I once wrote for were open about their non-payment of writers, which, while unfair for a popular, well-known publication, is surely more honourable than offering money and then not paying it?

I noticed recently that the indie magazine had placed (no doubt very expensive) ads above every urinal in men’s toilets at major train stations across London. But while they may still be taking the piss, at least they’re being honest about it.

Originally posted on http://blog.ianroullier.com on 22 July 2011.

Writing for free: experience or exploitation?

This was going to be a blog entry criticising a particular indie music magazine. One that doesn't, and has never, paid any of its writers. But then something happened that gave me a change of heart. First of all though, allow me to explain some of the background.

At the start the full-time editorial staff of this magazine, which you can find at WH Smith and 'all good newsagents', were earning next to nothing and had to fund themselves through other jobs. So if they weren't in a position to pay themselves, they certainly wouldn't be able to pay anyone else. With this in mind, I happily kept writing for the magazine, content in the knowledge that they needed to increase their brand and circulation etc.

But as the big company ads from companies like Top Man, Firetrap and L'Oreal pushed the front cover and contents page further and further apart and the sponsorship deals, branding stages at festivals and an endless stream of gigs and club nights, increased, I became certain that they must now have some money coming in. I asked repeatedly when writers were going to be paid but as those requests for payment were met with, 'Not yet', I realised I was now being taken for a ride.

What the magazine's owners were relying on was the fact that there would always be a pool of up and coming, inexperienced music journalists that they could draw upon; writers that would write for pride and prestige and to increase their portfolio rather than for money (see the recent UK launch of the Huffington Post for a vaguely similar scenario). As a start-up magazine, this was acceptable but as a successful, ad-filled, glossy and, it must be said, well-respected and recognised publication, I felt their business model was built purely upon exploitation so I stopped writing for them.

But while this blog entry was going to be an acerbic rant against the magazine in question – who I must add are not alone in filling their pages with unpaid copy from hard-working journalists – I realised that perhaps they weren't that bad after all.

So, why the change of heart? I'll explain tomorrow.

Originally posted on http://blog.ianroullier.com on 21 July 2011.

An evening with the Eurythmics

So finally, the Eurythmics interview explained! Apologies yet again for the delay - so much going on, more of which another time.

The deal was that Dave Stewart and Annie Lennox were holding a viewing to mark the opening of an exhibition of Eurythmics artwork from throughout their career together. Both of them were set to attend and so they did.

Entering the art gallery revealed the duo sitting stock still on chairs with their eyes shut as TV screens flashed up images behind them, a kind of living piece of art in itself. This continued for some time until the duo freed themselves up to mingle with the assembled media, friends and other guest list blaggers.

My brief was to attend and try and get an interview with them about their latest reformation and collaboration together, 'I've Got A Life', which marked their latest hits compilation 'Ultimate Collection'. Now, I was just starting out, very inexperienced and feeling a bit nervous. How could I just go up and ask one of the biggest selling artists of the 80s (75 million units sold globally to date) for an unbooked interview on the spot? That's when my duty to do the job in hand overrode my fear however, something that has always stood me in good stead since thankfully - though the free champagne that was flowing may have also given me a handy shove in the right direction!

Dave Stewart had always struck me as an aloof character so I thought I'd be better off approaching Annie Lennox first. I explained who I was and asked for a short interview with her and also dropped in that I was just starting out as a journalist so a bit nervous, no harm in being honest eh?

Her eyes were open but seemingly shut as she replied, if the eyes are the windows to the soul then she had the shutters down and I could read no emotion in them, perhaps indicative of speaking to the press for most of her life. What she said to me was really kind though, "I'm sorry but I've got a lot of friends here that I haven't seen for a long time and want to catch up with. Good luck with your career though."

So I was left with the even more daunting prospect of asking the 'unapproachable one' (to my preconceiving mind at least) for an unplanned, unbooked interview instead. I waited for a suitable time then approached Dave Stewart in the same way I had Annie Lennox - the whole 'nervous, just starting out' thing included.

I was suprised when he told me, in the friendliest way possible, that he could spare some time and would meet me over by the door in a few minutes time when he had worked his way through the crowd as nothing would meet be picked up on a dictaphone in such a noisy room. And even having withstood the embarrassment of me approaching and double checking a few minutes later that it was still OK (damn nerves/champagne!) Dave Stewart did indeed give me some of his time for an interview just outside the front door of the gallery.

He was amiable, friendly and while clearly a star with his mid-Atlantic twang, was completely genuine and unpretentious. Cool and easy, kind of the way I would expect Ringo Starr to be (but that's another preconceived idea yet to be challenged)! He only spoke to me for about seven minutes but, indicative of dealing with the press most of his life, gave me enough to work into a feature. You can read the results here.

So, a baptism of fire perhaps but also a hugely important confidence boost and a vital step towards actually believing I was a music journalist!

Useless music fact #13: Annie Lennox was born on Christmas Day.

Originally posted on http://blog.ianroullier.com on 26 August 2010.

Starting out - interviews

It's been a while. My day job as an editor has been taking over far too much lately meaning that any music related writing has had to be put on the back burner.

Looking back at the most recent set of posts on here, I realise there's been a lot of negativity flying around. Have I finally lapsed into being a jaded hack? Tales of problematic interviewees and scathing album reviews may point towards this. I do however remain relatively chipper thank you very much so feel it's time to put some more positive tales out there.

Which brings me on to good interviewees. As I said before, I take musicians as I do everyone else, as human beings. And you are bound to encounter human beings you get on with and those that you don't. I am happy to report that I have had far more of the former as interviewees than the latter (the latter being almost wholly covered in previous posts).

My first few phone interviews since I started writing about music again about six years ago were with million unit album sellers, Röyksopp, an unknown act called Dear Eskiimo, who have now gone on to become the Ting Tings, and Dave Stewart of the hugely successful Eurythmics. Each was massively different but taught me valuable lessons.

The interview with Torbjörn Brundtland of Röyksopp was a strange start. Every time I asked a question he gave me a witty, surreal answer but because in my head I felt I had to get serious answers, I kept pressing him, asking him the same questions till he gave in and gave a serious answer. Which not only must have been quite frustrating for him but meant the interview went on for the best part of 90 minutes! He even asked at one point, "Is this interview for radio?"

So not a great start but I learned that it's best to take interviewees as they are rather than trying to force the desired answers out of them. More importantly I learned that it's invariably better to put across any humour and personality that comes across.

Dear Eskiimo was different altogether as they were in the same boat as me - nervous because it was one of their first interviews. That common ground allowed everyone to relax a bit and the interview flowed well. The Eurythmics interview was by far the most daunting though. More of which on my my next blog post...

Useless music fact #12: The Chemical Brothers were one of the few people not to be grounded by the Icelandic volcano as they had a private jet chartered. Brothers gonna work it out!

Originally posted on http://blog.ianroullier.com on 20 April 2010.

You're not worthy!

Firstly, a Happy New Year to you all, I hope 2010 treats you well and your hangovers aren't hanging too heavy on your heads today. As promised, here is the continuation on the topic of difficult interviewees I've encountered along the way...

Another tricky interview was with a certain 'King Of The Breaks' who frankly I'd never heard of before interviewing him. Whether he was just particular or had been bitten one too many times by the media I’m not sure, but he refused to do any phone interviews and any questions had to be run past his manager and vetted.

After some emailing, back and forth and amending of questions, they were then deemed acceptable enough to pass on to the great man himself (whose music had incidentally gone from innovative and original to self indulgent and noodly over the years). Barring one question that wasn’t answered due to its unworthiness, the interview was a success. Job done.

At the time I had a great sense of achievement that I had managed to tread carefully enough to get a decent interview and quotes with someone so difficult/disenchanted with the media and his manager even emailed me to say, “This is the best interview conducted with him." As time has passed though and I’ve spoken to so many amiable, positive, open, helpful and downright friendly artists out there, I’ve gradually come to realise that there is really no need to make communication with another person such a long, protracted struggle. It reeks of self-importance and egotism.

So, yes, it was a challenge, but not one I’d relish again. Anyone out there who wants to be spiky, difficult or ’challenging’ would do well to realise that you are just human beings that happen to make music, however great it may or may not be. You are no greater or less great than the next man or woman, whatever it is you do in life, so get over yourselves!

Useless music fact #9: The Ting Tings were once in a band called Dear Eskiimo. They were influenced by musicals and their output was patchy but enjoyable enough. I interviewed them for a magazine but the article was pulled at the last minute as the editor realised their music wasn't quite up to scratch to feature in the mag or on the cover CD. If you'd care to read the results of the interview however, just have a look here. Incidentally, Ting Ting is a Chinese name that means 'slim and graceful' but is also a slang term for penis!

Originally posted on http://blog.ianroullier.com on 1 January 2010.

Procrastination

Well, I was going to write my next blog entry sooner but I needed to erm wash the dishes and watch that programme about the sex life of fleas and then there was the reorganising of my bank statements into date order which I really HAD to do NOW, OK?! Anyone who remembers studying at school or university will identify with being faced with a deadline and feeling compelled to do just about anything else under the sun aside from the task in hand. It can be the same when faced with writing an article. Out comes the hoover, you feel compelled to call that friend you've quite happily neglected for the past three months and you find yourself taking a real interest in Murder, She Wrote for the first time in your life.

If the TV isn't a big enough distraction then there's the time sapping black hole of the internet to contend with too. The interweb is a devious beast as well because even when you do finally start researching your article online you can either find yourself distracted by the 'related links', which often send you off on a completely useless tangent, or you automatically log into your Facebook account out of habit. This can often lead to the obsessive compulsive procrastinators loop of Facebook, Hotmail, Facebook, Hotmail, Facebook, BBC Weather, Facebook, Hotmail. Neither direction is a good one to go in when you have that big black dreadline cloud hanging over you and can only lead to a very late night, two hours sleep face down on your keyboard and then the realisation when you awake with marginally more sense that nothing you wrote before you passed out makes the slightest bit of sense and even if it does there's five times the amount of words you were commissioned to write. The wood and the trees look remarkably alike but you're on a promise to get the article in first thing in the morning and that happens to be a mere 90 minutes away. You struggle through in between swearing and frustratedly tugging at clumps of your hair while feeling like some kind of drug-addled space cadet.

But somehow, you make it. You meet the deadline. The editor is happy and no one aside from you knows the ordeal you've been through to get the article written. To think you could have just bloody well got on with it without the impromptu spring clean or the assistance of Angela Lansbury... but that's something the professional procrastinator can only dream of.

Anyway, time to exorcise some more chart trivia from my overloaded noggin with useless music fact #2: The Prodigy reached number three with their debut hit 'Charly' in August 1991. The fairground style follow-up 'Everybody In The Place' went one better and hit number two but it wasn't till 'Firestarter' in 1996 that Liam Howlett and co. finally hit the top spot. However, even though that is their best known track to date, follow-up 'Breathe', which also hit number one, sold more copies. Fancy that eh??

Till next time…

Originally posted on http://blog.ianroullier.com on 8 June 2009.

Pitching

Hello and welcome to a blog that only I am following at the moment. Exciting eh? I've spent the past two evenings pitching. Once for features and once for albums. A good pitch involves having a decent sales technique as well as a good idea, because a great idea poorly outlined to an editor will simply appear to be a poor idea. I keep pitching funny feature ideas, ie not chin-strokingly academic articles on the nature of electronic music and its role in forming popular culture, rather ones along the lines of 'Bodily Functions That Sound Like Dance Tunes' as a made up for-instance. This makes for a lot of fun when I'm writing but I feel the need to get a feature about something a bit more weighty under my belt again soon. Two of my feature pitches were ideas for humourous pieces and one was based around DJ Food whose 'One Man's Weird Is Another Man's World' EP is bloody amazing. Really traditional Ninja Tune cut and paste stuff with loads of samples but heavy on quality throughout. Can't wait for the album that's due out later this year following a couple more EPs.

Anyway, my first proper blog entry draws to a close and what have we learned? Well, not a great deal but I never said it was my job to inform! I will leave you with this though as I need to clear some of the old clutter out from my brain by revealing some of the music trivia I carry around in my head. Useless music fact #1 then: Bryan Adams' 'Everything I Do (I Do It For You)' spent 16 weeks at number one in 1991 before being knocked off the top spot by a new entry at number one, U2's 'Desire'. Wet Wet Wet fell just short of equalling the lumberjack shirted, gravel-gulletted crooner's record by spending 15 weeks at the top with 'Love Is All Around'. That too was knocked off the top spot by a new entry at number one, Whigfield's novelty-dance tune 'Saturday Night'. I wonder who was the happiest about conceding the throne?! I don't think Wet Wet Wet ever recovered from that kick in the teeth did they?

Originally posted on http://blog.ianroullier.com on 30 May 2009.