Give serious consideration to music internships as they are great for gaining experience that may be parlayed into a job when you graduate. Internships are especially useful if you are majoring in any area of music that also involves business – including arts management, music industry, and music technology.

Music internships also can be very demanding. And they are generally unpaid. As an intern, you are the proverbial low man or woman on the totem pole and are asked to do grunt work and other projects you may not want to do all your life. Recognize that this is a form of initiation: you are being scrutinized on your attitude, thoroughness, and willingness to support the team. Interns who show up to meet the challenges –– yes, even hanging in there with a positive attitude while dusting the recording studio or taking out the trash –– and who also show their talents and abilities on the technical end, are more likely to be offered increased responsibilities and recognition as well as paid opportunities.

Follow the Leader

To be successful in your music internship, it is essential that you follow the rules. Be on time. Go the extra yard, pitch in wherever possible. Respect your boss and the rest of the team. Show your enthusiasm and passion but also know when to be quiet and listen. Learn everything you can about the company where you’re interning on your own time. Ask permission before using equipment, and ask questions if you are unsure how to use it. Don’t assume anything.

Offer to help with studio set-ups or tear-downs, reports, and other business-related presentations. Plan to learn quickly. Make life easier for your boss and others. Show your appreciation when offered free concert tickets, lunch, or any other perks. Be sure to call your boss or supervisor if you cannot show up at your internship or need to be late for any reason.

Internships that go well can land you great letters of recommendation. It’s important to get those letters while you are still fresh in the minds of your boss and any other significant players.

Finding a Music Internship

Most career offices or centers at colleges and universities provide listings of internships and also host internship fairs. Be wary of websites that promise internships for a fee. You’re much better off working through your school and your professors; music venues; recording studios; and anyone you know in the music business. Note that the U.S. Department of Labor created a set of standards in 2010 to clarify terms under which employers can hire interns and to protect interns from abuse.��(See link below to US DOL Internship Programs)

Student-run record labels at college-level music schools provide real-world opportunities for students. They operate like major label companies, thanks to the high-powered music industry backgrounds of the faculty involved. The skills learned and the experiences gained are essential training for anyone interested in a career in music industry, as well as for anyone wanting to get their own music heard and distributed.

“A current day music industry program requires a perspective beyond the traditional industry functions,” says Joe Rapolla, who heads the Music Industry program at Monmouth University, home of Blue Hawk Records.��“As music, media, and technology continue to converge, training needs to go beyond preparing students for jobs in music-only environments.��It must go across media categories, and anywhere organizations are looking for creative people who understand the issues and models of current day media consumption and who know how to produce and utilize entertainment media to reach and engage.”

With music distribution changing so rapidly,��what can students learn?

“We learned first and foremost that the traditional approach to a record label’s job in the music industry is dying hard and fast,” says Ethan Bates, a 2014 Music Industry graduate of Syracuse University Setnor School of Music. Bates had originally joined Syracuse University Recordings (SUR) to record some of his own music. He found the work so interesting and relevant to his career goals of managing and promoting music that he stayed on to become general manager of SUR in his senior year.��“We found success by getting our hands dirty with jobs that a standard record label normally doesn’t involve itself with, like PR, social media marketing, show booking & promotion, etc.��It allowed me to experience working from both sides of the desk, and from the perspective of numerous other jobs within the music industry.”

Kevin Guico, a 2014 Music Management graduate of the University of the Pacific Conservatory of Music, worked with his school’s Pac Ave Records to gain experience and see whether he’d want to incorporate record label operations in his career. “Pac Ave Records is run more as a business and a job rather than as a conventional class. As a student, you get to learn academically about the record industry and its operations first-hand. As an entertainment industry worker, you gain experience and knowledge from actually working in the industry. You learn exactly what goes into getting talent, recording an album, making the album, and distributing and selling it.��Whether you are a performer or a businessman, working with a student-run record label gives you invaluable experience on both sides of the coin.”

Split Rail Records at Appalachian State University Hayes School of Music has offered Music Industry Studies senior Greg Peterson a chance to prepare for what he’ll do once he graduates. With a focus in Marketing and Management and a minor in Business, he’s taken on the role of “frontman” of Split Rail’s marketing team. “We work to promote our events, artists & bands, along with fundraising,” he says. “I speak with companies and local businesses about promoting. I also handle all graphics for Split Rail, so I make posters, logos, and other images for our events to help with brand and event recognition.”��Peterson, who plans to become a festival manager and promoter or a producer for an entertainment company, is getting plenty of experience working with local artists and bands.��“We look to sign local artists of any genre and style,” he says, “and give them the opportunity to have a professional album recorded and promoted by our team.”

Andrea Petrucelli is president of CAM Records (College of Arts and Media Records), a component of the University of Colorado Denver’s Music Entertainment Industry Studies (MEIS) program. Expecting to graduate in May, 2015 as a Music Business major, her many career goals include working in A&R, music journalism, concert promotion, management, and music education. In her major, participation in CAM is required and��“provides a real taste of what it is like to work in the industry via communicating with other colleagues, artists, press, and venues.”

At Monmouth University, Natalie Zeller heads the Outreach Department for Blue Hawk Records. A junior in Music Industry, she promotes the label both on and off campus.��“Working with Blue Hawk Records has taught me how to navigate the advances in technology that the music industry is seeing.��While creating our compilation CDs I saw the process of our music being put up on iTunes and Spotify, two huge factors in buying and streaming music that people use every day.”

Professional Support

Faculty advise and support student efforts at these record labels every step of the way. With their backgrounds in music industry as professional musicians, recording engineers, marketing directors at major record labels, entrepreneurial consultants, and managers of music groups and talent agencies, these professionals offer their students a wealth of wisdom and real-world experience. At the same time, students get to make the kinds of decisions they’ll face in their work after graduation. Phillipe Ravenas, Chair of the Arts Entertainment & Media Management Product (AEMMP) at Columbia College Chicago, works with the oldest U.S. student record label, founded in 1982. He says, “Hands-on experimentation is at the heart of what we do.��The process is the final product. This is a real training ground for students: a safe place to fail, to test the limits, to measure the consequences.”

Keith Hatschek, Music Management Program Director at the University of the Pacific Conservatory of Music, agrees. Pac Ave Records’ purpose is “to provide��a lab for students to test out what works and what doesn’t in terms of choosing, producing, releasing and promoting recorded music and events.��Purchasing, operations, marketing, artistic and creative decisions are basically all made by the students. If money or contracts are involved, those are run by the instructor to get relevant feedback.

“Ultimately, unless a question of legality or propriety comes up,” Hatschek continues, “the students make nearly all decisions relating to the label and its operation.��Mistakes and successes count equally in this type of learning.��Analyzing student decisions and their effectiveness forms the basis for much of the learning that transpires.”

Bob Halligan teaches in the Music Industry program at Syracuse University Setnor School of Music and works with its two labels. “They are meant as learning laboratories for today’s 360 music business,” he says. In addition to preparing students for jobs in industry, “we try to give people tools for inventing their own jobs if they can’t find more conventional ones.”

Opportunities for Students

Experience working at student-run record labels can be parlayed into exciting opportunities and internships, as well as jobs after graduation.

• This past summer, Blue Hawk Records students performed and toured in Italy. “During the trip,” says Joe Rapolla, “our students rehearsed and collaborated with students from a music academy in Italy and held live performances to sold-out audiences in beautiful medieval villages throughout the Abruzzo region.”
• “One of the goals of the label and class is to give students the opportunity to interact with the artist and build relationships,” says Andy “Rok” Gurerrero, who oversees students at UC Denver’s CAM Records label. “Last semester, we worked with the Colorado-based band “You, Me & Apollo” and helped sell out the release show at the Bluebird Theater (600 cap room).”
• “The very first album released by Pac Ave,” says Keith Hatschek, “was recognized by DownBeat magazine as the best collegiate recording of the year for 2012.” Some students who’ve worked with the Pac Ave label have gone on to executive positions at companies including Clear Channel radio, Pandora, Beats Music, and Warner Music Group.
• “Many have used real-world experience gained through the label to land internships,” says Kim Wangler. She oversees Split Rail Records at Appalachian State’s Hayes School of Music, where Split Rail is a required one-semester class for Music Industry Studies majors. “One of our (Split Rail) presidents got an��internship in the legal department of MTV��because she could talk about signing contracts with artists…We also brought in two publishers from Nashville. From that event, they discovered one of our students and he is now��signed to a publishing contract��with them and regularly visits Nashville to co-write with various artists.”

Takeaways

“Create tangible goals and a schedule to complete them. The fact that we had these goals and had deadlines for them held us accountable and focused on helping the label succeed. And always record everything. This not only helped us look back at our meeting notes whenever we needed a reference, but it also served as a compelling selling point. If we were trying to pick up another artist, we had tangible data on how we helped promote our current artist’s social media and record sales.”

— Kevin Guico

“A��class that takes us out of the classroom environment and puts us right in the middle of the industry is the absolute best way to get our feet wet as college students. It is the real-life experience that is the biggest takeaway: record label operations and departments,��the legalities, the��local scene, the people to know in the local scene, networking, communication with difficult people, communication with easy people, dealing with a 5-piece band,��how to pick a band,��time management, budgeting, being punctual,��how to work with each other, all of it.”

–Andrea Petrucelli

“Working at the AEEMP record label provides entrepreneurship, leadership, collaboration, and decision-making experience.”

– Phillipe Ravenas

“(At Split Rail Records) students get to talk about working with musicians in the studio, the trials and tribulations of launching an album on time, putting on release shows, seeking sponsorships, and more. I think this is a really great experience for our students – they deal with the real world of working with artists…not just what I can teach them in the class. They also have the pride of helping artists reach the next level in their career and a much better idea of actually working in, not just talking about, the music industry.”

– Kim Wangler

“One of the other interesting outcomes that students learn by taking the class is just how hard it is to stick to deadlines and how quickly the semester flies by. It’s a taste of how fast things must move in the post-graduation music industry and alerts them that time is of the essence in any business venture.”

– Keith Hatschek

What does it take to find music industry internships/jobs that will help launch your career in the right direction? We asked a panel of three highly knowledegable professionals for their advice on finding “right fit” internships and parlaying them into jobs.

* Nicole Hennessey��is a graphic designer and Director of Communications for the Music Business Association (Music Biz, formerly NARM), where she also manages the association’s interns. Music Biz is a non-profit organization of music retailers, distributors, and others involved in physical, digital, mobile and other forms of music distribution.

* Ken Lopez��is Chair of the Music Industry Program at��. He’s a professional guitarist, audio engineer, and former vice-president of JBL, domestic and international manufacturer of professional cinema, installation, and tour sound equipment. He has worked with international venues and artists including Miles Davis, B.B. King, Ray Charles, Sarah Vaughn, Dr. John, Larry Carlton, Boz Skaggs, Santana, Tower of Power and Chick Corea.

* Katie Reilly��founded Intern Like a Rockstar, a website designed to provide internship resources and support to those starting into music industry. In addition to getting her MBA and her undergraduate degree in Music Industry, she’s interned at record labels, a management company, a venture capital firm, an industry trade organization, a radio station, a publishing company, and a performing rights society.

What should a student look for in a music industry/music business internship?

Nicole: First and foremost, make sure you will be doing hands-on work in the particular segment of the industry that interests you. While there is still networking value in internships that primarily consist of coffee runs and laundry pickup, and you will probably be doing a bit of that no matter where you end up, the ultimate goal is to expand your skillset through real-world experience.

Don’t settle for something that won’t help you grow. Don’t be afraid to ask questions. Take advantage of the expertise in the room. Being inquisitive shows that you are interested in what you’re doing.

Ken:

The most rewarding internships are those that allow you to become part of the business routine, with real responsibilities and an opportunity to work with others in the company on a regular basis. Many companies will set aside time each week where the interns can monitor meetings, calls, negotiations and other functions to gain knowledge.

We counsel students to wait until they have taken introductory Music Industry courses so that they have some knowledge of copyright, licensing, publishing, and legal and business tenets. Once these basics are in hand, a student will be able to choose more carefully, and will be able to lend some knowledge and skill to the tasks that are assigned.

Speaking with other students is a good way to find out about the best internship opportunities. The word will get out about the companies that only want you to carry out menial tasks, or that have a hostile work environment.

Katie:

Do your research and listen to your instincts to make sure that it is a legitimate company. Ask questions about the types of projects you would be working with and what an average day there as an intern might be like. You want to find an internship that is willing to teach you and give you new opportunities as well as allow you to network with employees throughout the organization.

Tips for getting an internship offer?

Nicole:

Make sure you do your homework. Make a list of companies you’d like to apply to, well in advance, then check their websites to see if they have an official submission procedure.

Once you’ve applied, see if there’s anyone who works there that you, your friends, or your family know. Send that person an email and explain that you’ve applied, and are wondering if they’d be willing to put in a good word for you.

Finally, when you get called in for an interview, make sure you’ve researched the company and the industry issues they’re facing. This will show them you’re serious and passionate, giving you a big leg-up on the competition.

And once you’ve gotten the job, buy that supporter of yours a coffee!

Ken:

Research companies and influential individuals in those companies before seeking an internship. An “informational interview” with such people will often present an opportunity to show that you have the attitude, intellect, knowledge, and communications skills to be of use in an internship, and possibly as an employee later on.

An internship must be a two-way endeavor, providing learning opportunities for the student, and useful work outcomes for the company. A more prepared, knowledgeable, and personable student will usually be given the opportunity over others who show up as less competent. I recommend multiple informational interviews as a strategy for learning about the industry, and the people that make it function.

As always, a positive attitude, strong “can do” work ethic, skills with social media and spread-sheet programs, and good writing skills will be very useful in securing an internship position.

Katie:

It’s often little things that make a big difference because most intern candidates don’t have a lot of experience to compete with. Research the company, explain why you want to work there specifically. Show your enthusiasm, customize your cover letter, send a thank you note.

Often in an internship, companies want some initial skills and knowledge but are most interested in someone who is excited to learn, wants to work with their company, and is able to behave in a professional manner without acting entitled or ungrateful. Demonstrate those qualities throughout the application process while also sharing any relevant skills or experiences you do have. These may be business skills from a part-time job, past music internships, writing for the school paper, playing in a band, etc.

What is important to pay attention to when considering an internship offer?

Nicole:

The most important questions to ask yourself are these:

• Is the internship relevant to your interests?
• Will it give you hands-on experience?
• Will it help you grow?

Don’t expect to make much money, as the vast majority of music internships are unpaid. If a stipend is offered, then by all means take it. But if you make it a sticking point during your search, you will most likely find yourself disappointed.

Also, expect to do a little coffee fetching or envelope licking wherever you end up, and make sure you do it with a smile and to the best of your ability. Remember that these are the people who will vouch for you for your first real job.

Ken:

An internship often provides a window into other parts of the industry. An example might be a record label interfacing with artist managers, artists, concert promoters, agents, publishers, recording studios, and similar business activities. An effective internship will allow visibility of these functions, and some interfacing with others in the industry. Always look for those possibilities when choosing an internship, and take advantage and learn as much as possible while performing your duties. Often the contacts made will lead to another internship, and finally to a job.

Katie:

You really need to consider what you want in an internship. Did you like the work environment and get along with your potential boss? If something doesn’t feel right, trust your instincts and if you’re still not sure if it’s right for you, ask if you can speak with a current or former intern to get a better idea of what to expect.

Tips for parlaying a music internship into a job?

Nicole:

The most important thing you can do while interning, or any time in your music career, is to network. Music companies are extremely popular with job-seekers, and a well-placed contact can help you break through the noise. To that end, make sure you attend as many industry conferences and meetups as you can to meet new people who can help you. Many of these events offer student discounts, (including our own annual conference, Music Biz). In some cases, you might even be able to get the company you’re interning with to pay your expenses. Most music people remember when they were in your position and will be willing to give you a minute or two of their time. So don’t be afraid to introduce yourself!

Ken:

An informational interview strategy should be an integral part of the internship and job search. Knowledge is power, and the more one knows about the industry and the people in it, the more likely it will be that a job offer comes sooner rather than later.

The greater the number of people that you meet, learn about, and interact with during informational interviews, the more likely that you will be successful in finding good opportunities. Meeting people by chance at industry functions is useful, but getting to know more about them in a well-constructed 20 minute personal interview is far more valuable.

Once you find an internship, look for opportunities to contribute well beyond your job duties. Be observant, and do what needs doing without being asked. Offer to stay late and help someone in another department. Go above and beyond expectations. Become indispensable!

Katie:

The best advice I ever heard about getting a job from an internship is to be so good they don’t want you to leave. This is tough though because most jobs won’t come directly through an internship. Meaning you won’t necessarily get hired by the company you are interning for on the spot. Don’t expect it to happen, but work as though it could. Just because you may not get the job from them immediately doesn’t mean they won’t recommend you for something there or elsewhere later on.

Current music industry students and recent grads have been learning that internships are essential for success in their field. Music industry internships offer the connections and on-the-job training that can’t be found in the classroom. While they may or may not result in direct job offers, internships in music industry definitely open doors to opportunities that would otherwise not exist.

•�������� •�������� •

We invited 6 recent interns to share key insights they’ve learned through music industry internships. Their wisdom is worth paying close attention to. Most, by the way, received college credit for their internships but no financial reimbursement.

Q: Why are music industry internships essential?

Nick Alexander:��Internships are really what test your mettle. It is great to learn about the music business but being able to take what you learn in class and apply it outside the classroom is where you’re really going to find out if you know as much as you think you do.

Kevin Brady:��They offer countless opportunities to collaborate, share ideas with others, as well as learn and practice new skills, and refine current skills. They also offer great networking opportunities. As long as you work hard and make a good impression, that letter of reference could be quite helpful!

Maddie Casey:�� It’s really hard to break into the music industry field without internships, because of how specific this field of work is. You can read books and take classes and watch videos, but until you’re actually doing it, it’s hard to get a firm grasp on exactly how any of this works. Not to mention how quickly changing it is…You have to be on the front lines to keep up with the times, or you’ll get behind before you can even start.��Plus, the easiest way to gain the experience necessary to compete for “introductory” or “entry-level” positions is through internships.

Maura Duval:��They are the only way to secure a post-college future.

Lauren McCauley:��Without an internship, I honestly think it would be almost next to impossible to get a job and meet people.

Alex Wright:��The experience of working with a mentor is really the best way to learn about any industry, but especially with one as competitive as the music industry. Also, the more time you spend working in a professional environment, with professional people, the better geared you are yourself to become one of those professional people. It’s impossible to be surrounded by people who are really good at what they do and not absorb the energy that it takes to maintain that.

Q: What did you learn that you’re taking into your professional life in music?

Nick Alexander:��l learned about how important organization is and how always��paying attention��is crucial to success because the little things have a tendency to become bigger problems if they are left unattended.

Kevin Brady:��The opportunity to sit in on meetings has given me my first look at��how a business really works��(not just “in theory” in a classroom). I have also already done some research and had the opportunity to share these findings and collaborate with others in the office. I have learned to think more about the impact of decisions.

Also important – I have gotten to��practice and refine my writing skills��through interviews, press releases and various other projects.

Maddie Casey:��My professional aspirations are to continue to work with bands, and being able to do so in a setting where the pressure was not entirely on me gave me the chance to��learn in a safe environment, while still being really immersed in the actual culture and workforce. Working with a smaller, independent band gives you the ability to learn a lot about different topics.

I don’t play instruments, but I��learned a lot about gear��most musicians frequently use, by helping the band load their gear in and out, and helping them set up on stage. I don’t have training in social media, but by working with our social media team, I learned what it takes to keep things consistent on multiple platforms, as well as what is and is not important to a band’s success.

I learned��how to be a successful merch seller��and keep track of the merch, I learned what is expected of a tour manager, and I even learned some things about what a venue does to prepare for shows. It’s all very hands on, and all things that will carry me forward.

Maura Duval:��I learned��how business relationships are built��and maintained and��how to work with an array of difficult personalities and egos. I learned��patience and organizational skills��— never, never underestimate the power of organization; it can make or brake you.

I also learned how important it is to be able to “put out fires,” stay calm in tense situations, plan ahead for disaster, and how to get people really excited about things that are in actuality, not exciting at all.��Sales skills��are also important to take away because at the end of the day, we are all selling something whether we like to think of it that way or not.

Lauren McCauley:�� It is very important to put in the extra work (ex: getting there early and staying late). Also, it’s important to open yourself up to people within the company.��Ask smart questions, go to shows, ask your mentor out for coffee, be available, and smile!

Alex Wright:��I’m a singer-songwriter at heart so seeing the��behind the scenes of artist management��and learning what it takes to do it successfully is huge for me in navigating my future career in music. This is especially the case when it comes to��social media management.

Q: Suggestions for figuring out where to intern?

Nick Alexander:��Intern at a place you actually care about. If you are a fan of punk music, don’t intern with a top 40 radio station because you’re probably going to hate it and just leave with a bad taste in your mouth. I learned to treat an internship like a job, to show up on time and always be willing to stay after because that is going to set you ahead of the pack.

Kevin Brady:��Consider the company and the people you may be working with. Are they reputable and well-connected?

Consider the location and the opportunities it offers. Though you might not want to move away, you might have a better internship experience and better networking opportunities from a bigger and/or more reputable company in a city or just away from home.

Maddie Casey:��How much of your own time can you feasibly dedicate to this internship? Most internships are not paid, which makes it difficult sometimes to allocate a lot of time to them. But if the internship is in your specific field, or will give you access to experience in something important to you, then pursue it at all costs.

Maura Duval:��Make sure you’re not the intern that gets stuffed into a closet with a million envelopes to lick and seal, never to see the light of day again. A good company and supervisor will make sure you are learning and set up for success; a good set up will put you in a place where you can ask questions, spend time in a variety of departments, and meet lots of people.

Never be afraid to ask to do more. Show interest in meaningful��projects and don’t be afraid to ask “Why?” a lot. Do not be the closet intern and if you ever find yourself getting shoved anywhere near one, get out!

Lauren McCauley:��Make sure it’s something you are genuinely interested in and want to do. You work a lot of hours and usually without pay, so the joy of doing it is sometimes the only way to get you through.

Alex Wright:��Pay attention to why you want the internships you want. The “take what you can get” approach might land you in a position where you’re stuck working for people you may not even like, doing a job you don’t care about, and getting experience in something that isn’t useful to you.

Q: What do you wish you knew before becoming an intern?

Kevin Brady:��I discovered there is always going to be a learning curve regardless of how prepared you really are. Also, I wish I had taken more business classes. I feel like it would have made me feel a little more comfortable actually working at a business.

Maddie Casey:��I wish that I really, really understood what a huge time commitment it is to be in a band or work for a band.

Maura Duval:��I now know that the��relationships��I built from each internship were probably just as valuable, if not more valuable, than the actual work I did. The learning experiences were great but in retrospect, I could have devoted a little more of my time to meeting new people around the office and during office social outings.

Lauren McCauley:��I’d tell myself not to be afraid to ask more questions and talk even more with people. A lot of an internship is not just learning the skills necessary to do a job, but how to engage and connect with others already in the industry.

Alex Wright:��I wish I knew how much of an advantage it is being proficient with computers and technology in general. Proficiency with technology is an asset. If you’re not using shortcuts, hot keys, etc., you should start learning because someone faster and more knowledgable that you is out there and looking for the same job. If I didn’t have these skills I would surely be unable to work at my current internship; we do EVERYTHING digitally.

Q: Music industry internships: takeaways?

Nick Alexander:�� I am learning how a smaller independent label works as well as how to make a living in the DIY music ecosystem.

Kevin Brady:��Making connections. You never know when those connections might come in handy.

Maddie Casey:��I could feel out my career goals and aspirations, begin to build a network of helpful and involved people who are already working in my desired field, and experience endless networking opportunities. Every show, every day, each task I did allowed me to shake hands and meet one other person who was somehow involved with my band. I built a great rapport with the people I was working with directly – the band, their manager, booking agent, etc., and hopefully those contacts who have seen my work ethic first-hand will be able to help me land another internship or future job based on our past work experience together.��”

Maura Duval:��Connections that have led to all of the other internships and jobs that I have managed to get.

Lauren McCauley:��Everyone I talked to was always more than willing to offer advice and definitely words of encouragement.

Alex Wright:��Making connections. I’m also learning a lot about booking and hopefully I’ll be doing some stuff with touring soon.

As you amp up your efforts to find relevant work and experience for the summer, the controversy over paid versus unpaid internships rises to the top. To protect yourself now or in the future, here are three tips to keep in mind:

1. Internships can provide excellent training in many fields of music. They can also lead to job opportunities for students who demonstrate their ability to learn quickly, work well as part of a team, and show dedication and perseverance. (See )

2. Be sure you know what you’re stepping into when you apply for specific internships. While an employer may seem like a perfect fit for your career interests, you may find the actual job entails menial work that has nothing to do with your education, training, or future plans.

3. The U.S. Department of Labor (DOL) has attempted to crack down on for-profit employers who use students as free labor and do not follow if an internship is unpaid. Read these criteria to make sure that any unpaid internship you’re considering does abide by them. College credit should be offered when payment is not. Note that non-profits have more leeway since they often have volunteers assisting them.

If you’ve had good or bad experiences with internships, will you share them with us for the sake of students coming up the pipeline?����