INDUSTRY SPOTLIGHT

Jim Donio - NARM

Fri, 04 May 2012 12:28:35 -0700

Michael has devoted the past 12 years of his career to protecting the value of music. Prior to being appointed to SoundExchange’s top position in 2011, he most recently served as organization’s executive vice president and general counsel.

Michael holds a B.A. from the University of Virginia and a JD from Harvard Law School. He is an adjunct professor at the Georgetown University Law Center. His optimism helped to place SoundExchange among Forbes Magazine’s “Top Names You Need to Know for 2011.”

1. What in your career path led you to your initial job at SoundExchange?

I’ve had an interest and passion for music since childhood, but my career path -- mixed with a little bit of luck -- brought me to SoundExchange. I was drawn to intellectual property law ever since law school, because of what it meant for our culture and the policy goals behind it. I tried to work on as many IP cases as I could at my law firm, ultimately moving to focus on the music industry at the Recording Industry Association of America, and spent the last two years there doing work related to SoundExchange. When my focus shifted to digital issues, it was clear how important this area was going to be for the industry as a whole. When the opportunity at SoundExchange to become general counsel opened up, it was a natural and exciting move. About four years later, I became president.

2. How has SoundExchange evolved the last few years?

It’s an exciting time in the music industry, and new services and innovation mean consumers have more access to music than ever before. As a result, SoundExchange has experienced explosive growth over the past few years. Our numbers are proof of our growing contribution to the industry: In 2011 we distributed more than $292 million to artists and record labels – that’s nearly triple what we paid out in 2008! What used to be a rounding error on the books of most recipients has now become a very real and meaningful source of income.

These new revenue streams makes a difference not just in the lives of well-established artists and labels, but also in those of working class artists and labels. That is a very rewarding part of our work. Of the over 60,000 checks SoundExchange sent out last year (2011), over 90 percent were for less than $5,000.

3. Where do you see SoundExchange five to 10 years from now?

First of all, you can expect to see continued growth from SoundExchange. In the next five to 10 years, we could very well become as large as other performance rights organizations that have been around much longer.

In addition, we’re increasing our technology game. We are building a next-generation technology platform that lays the foundation for our future and for the benefit of the entire industry. We’re also in the process of developing a repertoire database – a single authoritative database for U.S. recording that is critical for SoundExchange to expand and improve our service – also for the benefit the entire music industry. As an organization, we’re focused on creating an environment to allow this new part of the industry to flourish.

We are developing technologies that can have a broad application. We will be able to do more than simply administer the statutory license, such as helping companies with their “back office” functions, or even helping distribute royalties for other industries.

I can promise you what won’t change: SoundExchange will always fight for the music community – artists, artists’ managers and copyright owners. We will always work to protect the value of content.

4. What is your greatest professional challenge today?

While there are many, I think our greatest professional challenge as of this moment is probably also the industry’s most exciting challenge: a change of mindset, and a conversion to a completely different way of consuming music. The historic model was based on sales, and while sales are still important we need to focus on other revenue sources as well. The consumption today might just as easily be for “access to a stream” as it is “purchase of a CD.” The model is changing and it affects everyone -- managers, artists, labels, consumers and everyone in between. SoundExchange has found itself right in the middle of the industry’s evolution. Yes, it creates challenges in terms of the need to enhance our technology to keep up with the explosive growth in the streaming industry. But, the real challenge is helping to broaden industry perspectives in order to keep up with consumer expectations for legally accessing music.

There are some who like to preach “doom and gloom,” or that the music industry is dying. That’s just not true. Our industry isn’t dying; it’s simply evolving, and we’re just starting to tap the new potential of this evolution.

5. What's the best advice you've received since heading up SoundExchange?

It’s actually a philosophy that I’ve carried with me throughout my life and career, which is “never be satisfied.” I’ve always been the type to push a little harder, or strive for that target that’s a little higher. Running a company is about what lies over the hill, and not where you’re standing right now. I believe the entire team at SoundExchange shares the same forward-looking vision that we’re working towards, for the future of our organization and for the future of the music industry.

6 Do you think we will ever get an artist terrestrial Performance Right? If so what do you think it will take to achieve this?

Absolutely. It is only a matter of time. For anyone who truly looks at the issue, there is really no good factual or policy reason that the U.S. is the only industrialized nation without a terrestrial performance right. This situation is simply a victim of history and politics.

In the last Congress, we moved farther than ever before in the 80-year plus fight for this right. More artists and more people in the industry are recognizing the undeniable fairness of our position, and this drumbeat is only getting louder. I certainly recognize the long business relationship between the broadcasters and the music industry, and that they have historically provided benefits to one another. But it is neither fair nor appropriate that broadcasters make billions of dollars every year from the creativity, hard work and investment of others, without sharing any of that profit. If someone wants to give away their content, that’s their choice, but it shouldn’t be given away as a matter of law. Everyone with a stake in this fight should speak up and lend their voice to this fight.

7. Do you think services like Spotify have the potential to hurt SoundExchange. Please explain.

SoundExchange is excited about the growth of all digital music services as long as they appropriately compensate artists and rights holders. We’re not privy to terms of any particular deal, but SoundExchange always fights to ensure artists and rights owners get their fair share. It’s our job to ensure that content continues to have a value. That said, we think services like Spotfiy can coexist with those that rely on the statutory license that SoundExchange administers. They offer entirely different experiences and cater to different types of consumer demands. One is a more active “lean-forward” experience, requiring far more input, while the other is a more passive “lean-back” model that requires less interaction from the listener. It wouldn’t surprise me if the most passionate Spotify fan also listens to Pandora whenever they are in the car, just as the avid record collector would listen to FM radio before. There is no reason both of these models – and others – can’t easily coexist in the music ecosystem.

8 Do you see any new revenue streams for Artists from new media?

Definitely. We expect digital radio to continue to grow, so more and more artists will see increasing royalties from SoundExchange. Sirius XM, for example, is projected to grow, Pandora’s usage is exploding, other webcasters are seeing double-digit growth every month, and new digital music services are launching every week.

In addition, we are just beginning to scratch the surface on the potential for monetizing the online audience. Unlike broadcast technology (which is a “shotgun approach” to messaging), online marketing can be ultra-targeted. Digital services can match a fan with not only their demographics, but their online preferences, online usage patterns, geo-location, or even hyper-local marketing (such as texting someone as they’re passing a relevant sales location). As this convergence of data is perfected, it will allow artists to connect with fans like never before. And with that greater connection come new abilities to monetize the experience.

9 What advice would you give a new manager coming into the industry?

I would advise any new manager entering the business to be forward-thinking and keep an open mind. And most importantly – don’t miss out on any of these revenue streams. Remember, many of these models did not exist five to 10 years ago. (Just imagine how different this same discussion would have been even only five years ago.) If you think you know everything, and every possible stream of revenue, you almost certainly don’t. We still find managers who think they don’t need to sign up their artists with SoundExchange because they’ve already signed them up with BMI, ASCAP, or SESAC. So many people in this industry don’t know what they don’t know.

The successful artist of tomorrow will be drawing significant revenue from 10-15 (or more) different sources, as opposed to two to three primary streams under the traditional model. So be ready to work all the angles for these different sources, including maximizing your online presence and social networking strategy, and recognizing that it is important to extract value from every stream possible. And make sure you have someone on your team who really knows new media, and how to exploit it to the artists’ maximum advantage.

Jim Donio is the President of the National Association of Recording Merchandisers (NARM), the music business association in the United States. Since taking the role in 2004, Donio has evolved the organization from one primarily focused on physical product retailers to a more inclusive trade association that represents the full breadth of the current music business, including digital distribution, mobile, games, video, applications, and other entities that monetize music. This expanding membership vision includes not only Board-level representation from companies such as Amazon, emusic, iTunes, Microsoft, Nokia, Spotify, and Verizon, but also the introduction of membership levels for individuals and students, not just corporations.

In addition, he conceived the Digital Think Tank, which was formally created in 2009 to explore and resolve objectives related to enterprise-level digital music commerce. Donio recruited Bill Wilson to helm Digital Strategy and Business Development to oversee this area, underscoring NARM’s commitment to being on the leading edge of technological developments for music retail. The Digital Think Tank has now morphed fully into digitalmusic.org, a comprehensive hub for all of NARM’s digital initiatives that features six functional work groups, events such as the Music Startup Academy, white papers, and more.

Donio has worked on collaborative industry campaigns to inspire music sales since he first joined the organization in 1988. NARM has worked with every music awards show, from the GRAMMYs ® to the Country Music Awards, to translate the televised experiences into exciting in-store campaigns. In 2007, NARM collaborated with the Rock and Roll Hall of Fame to create the “Definitive 200,” a ranked list of the 200 albums and soundtracks that should be in every music collection.

More recently, Donio worked with the Recording Industry Association of America (RIAA) to revive the “Give the Gift of Music” campaign in May 2010, which provides consumers with ideas on how to give music – both CDs and digital formats - as gifts, and providing retailers support materials that highlight “giftable” titles. NARM also supports the now-annual Record Store Day on the third Saturday in
April, bringing together independently- owned record stores and artists to celebrate the art of music.

Donio has also revitalized NARM’s Music Biz convention, making it the definitive gathering for
about 1,000 executives engaged in the business of music in the United States. Held each spring in different locations around the US, Donio has also worked to expand NARM’s event offerings beyond
the convention, introducing the Entertainment And Technology Law Conference Series and a regular schedule of webinars on a diverse variety of topics of interest in the industry.

Donio also finds time to participate in other industry events. In 2009, he was a keynote speaker at
the TM Forum’s Management World Americas, and was a panelist at MediaTech’s Future of Packaged Media, as well as Digital Music Forum East. He has also guest lectured to students at the NYU’s Clive Davis Department of Recorded Music and Drexel University.

Donio worked his way up through NARM since he joined the organization almost 25 years ago as Director of Creative Services. In 1991, he added PR and marketing functions to his NARM resume, and was promoted to the position of Communications Director. In 1995, he took on oversight of NARM’s conventions and conferences as Vice President of Communications & Events. In 2000, he was elevated to Executive Vice President, adding most of the organization’s day-to-day administrative and operational responsibilities to his job description, before assuming the top job in 2004.

Prior to joining NARM, Donio held a variety of editorial, PR and event-related positions for the Association of Information Systems Professionals (AISP), an international individual membership organization focused on the needs of office systems professionals.

A Philadelphia native, Donio earned his Bachelor’s Degree in Journalism from Temple University.
He has been involved in the city’s Mummers Parade tradition since his college days, and has supported the Mummers Museum since it opened in 1976. This folk tradition, one of the oldest in the country, celebrates the New Year with elaborately costumed participants, songs and dancing. Jim has participated in a variety of ways, including as a musician, costume designer, choreographer, and television commentator, and won a local Emmy Award in 1986 for “Outstanding Cultural Programming” for his special coverage of the event.

Donio has also acted professionally, and if you look closely, you can see him in the movies “Mannequin,” “Clean & Sober,” and “Stealing Home.” The first record he recalls receiving as a gift was Meet the Monkees, which is still on his personal “Definitive 200” list.

1. What in your career path led you to your initial job at NARM?

Prior to joining NARM, I was working for a business organization whose member were office information systems professionals. That organization was relocating to Chicago and I did not want to make the move. I answered an ad in the Philadelphia Inquirer for an editor at a South Jersey-based entertainment industry organization...and that was NARM and its sister organization in the video space the Video Software Dealers Association (now the Entertainment Merchants Association). I has always been interested in the entertainment space, having been an actor, broadcaster, musician, and dancer with a voracious appetite for all things involving popular culture. Since my degree is actually in Journalism, and I had substantial prior writing, PR and editorial experience, the initial position was upgraded to Director of Creative Services and I was responsible for both organizations' publications and promotional materials.

2. How has NARM evolved the last few years?

NARM has gone from an organization whose members and mission were exclusively focused on the distribution and sale of physical music product to an organization whose members are now evenly split between physical and digital distribution and sales. We have also created a new brand for our digital initiatives called digitalmusic.org that has six work groups, events, white papers, etc. Even our Board of Directors is now skewed slightly more digital than physical, including representatives from Amazon, emusic, iTunes, Microsoft, Nokia, Spotify, and Verizon.

3. Where do you see NARM five to ten years from now?

We are a service organization that exists to advance the business of music. As the future of the business continues to evolve and unfold, we will be reflecting those changes in who belongs, what we offer and what we do...providing the necessary programs and services that our membership demands.

4. What is your greatest professional challenge today?

What keeps us up at night is really no different than most other businesses in these tough times...finding the best ways to maintain and increase revenue, while controlling expenses.

5. What is the greatest advice you've received since heading up NARM?

I would say the best piece of advice I have received was from a very trusted mentor and friend who I was talking to when I was extremely angry about a particular e-mail I had just received. I was venting about how I was going to quickly respond, and the advice was never, ever respond to an e-mail when you are this angry. You should always wait until the next day. I have really tried to heed that advice.

6. How do free services such as Spotify impact retail music sales?

Music subscription services, some of which have free options, have surged recently in both usage and overall membership. And that surge has brought with it no shortage of questions, confusion and controversy over how the model will impact the broader music industry: both labels and artists alike. As the collective voice of the digital music business, digitalmusic.org and its Music Subscription Work Group convened to address this issue directly and drafted a document to dispel myths and facilitate a balanced discussion on the role of subscription music services in today’s marketplace. This is a complicated issue that, like past innovations in this sector, will take time to fully comprehend and appreciate. Spotify, Rhapsody, MOG, Rdio, Slacker, Cricket's Muve, Zune, and Sony Music Unlimited are all members of this Work Group. It's a myth that these subscription services cannibalize music sales. In fact, digital music sales have actually increased along with the spike in on-demand streaming and subscription music users. By getting consumers to subscribe for fixed periods of time, creators and content companies benefit from a steady stream of revenue.

7. What do you think is the future of physical product such as CD's and vinyl?

I think there will always be a role for physical products in the marketplace. But the products will likely continue to change and perhaps bundle different types of digital offerings with the physical product. The way people enjoy music falls along a spectrum of choices and I don't see that spectrum diminishing its choices to completely eliminate a physical option of some type.

8 Where do you see opportunities in the digital retail space for new artists?

It's really all about commerce in its broadest form. There has probably never been a time where there are more avenues for new artists to gain exposure for their music. But sometimes the monetization is not as simple. I have already talked about the subscription model, but there are also new opportunities as social media embraces social commerce. There will be other types of commerce opportunities as well for artists to explore and exploit with the development of new apps.

Mike Huppe

Mon, 09 Apr 2012 12:28:35 -0700

1. What in your career path led you to your initial job at SoundExchange?

2. How has SoundExchange evolved the last few years?

3. Where do you see SoundExchange five to 10 years from now?

4. What is your greatest professional challenge today?

5. What's the best advice you've received since heading up SoundExchange?

6 Do you think we will ever get an artist terrestrial Performance Right? If so what do you think it will take to achieve this?

7. Do you think services like Spotify have the potential to hurt SoundExchange. Please explain.

8 Do you see any new revenue streams for Artists from new media?

9 What advice would you give a new manager coming into the industry?

Michael Huppe is responsible for the strategic direction of SoundExchange, the nonprofit organization that collects digital music royalties paid by internet radio, satellite radio and other digital media services on behalf of recording artists and record labels. SoundExchange represents one the music industry’s fastest growing segments including more than 48,000 payable performer accounts and over20,000 rights owners and label accounts. Michael has devoted the past 12 years of his career to protecting the value of music. Prior to being appointed to SoundExchange’s top position in 2011, he most recently served as organization’s executive vice president and general counsel. Michael ho

lds a B.A. from the University of Virginia and a JD from Harvard Law School. He is an adjunct professor at the Georgetown University Law Center. His optimism helped to place SoundExchange among Forbes Magazine’s “Top Names You Need to Know for 2011.”

1. What in your career path led you to your initial job at SoundExchange?

2. How has SoundExchange evolved the last few years?

3. Where do you see SoundExchange five to 10 years from now?

4. What is your greatest professional challenge today?

5. What's the best advice you've received since heading up SoundExchange?

6 Do you think we will ever get an artist terrestrial Performance Right? If so what do you think it will take to achieve this?

7. Do you think services like Spotify have the potential to hurt SoundExchange. Please explain.

8 Do you see any new revenue streams for Artists from new media?

9 What advice would you give a new manager coming into the industry?

Manager Spotlight - Marty Nolan

Fri, 09 Mar 2012 12:28:35 -0800

Marty Nolan serves in both management and marketing capacities for Red Light Management and ATO Records as an artist manager and A&R/product manager, working and having worked with a list of artists including Dave Matthews Band, Phish and Trey Anastasio, Ben Harper, My Morning Jacket, Robert Randolph & the Family Band, and Dawes among others. Prior to his tenure at Red Light, Marty founded his own company, and managed/co-managed independent rock phenomenon acts, The Samples and Dispatch, among additional clients, and was a marketing consultant for several major and independent record labels. Marty has also been involved with festival marketing initiatives on behalf of sister company, Starr Hill Presents, and serves in an advisory capacity to several music technology based companies. He is based out of the New York office.

What inspired you to want to be a manager?
It always starts with a passion for music, and that moment where you realize that you could actually do this for a living.
Although I was accepted into school for architecture, I found out there was a music industry program during orientation and quickly enrolled. After one semester, I transferred into the business school.  I had several marketing co-ops in strategic planning, market research, new product development, etc.  All my friends were working for companies like Gillette and Kraft, and I couldn't care less about shaving products or macaroni and cheese…but I realized that I loved the analytical, strategic, and creative components of building something that I was really passionate about.

For me, with music and artist management, you have a multi-dimensional relationship with the brand. The brand in this case is a living and breathing entity that creates something intangible, providing real personal meaning and value.  Obviously the artist writes and performs the music, but you are involved in helping to create and shape a career.  You build a team of friends and partners around an artist to help complement and execute their vision and goals, which for me, is extremely rewarding and exciting.

What was your first industry job and how did you get it?
I was fortunate to land a job as a college rep with Universal during my first semester at school in Boston.  I heard that Universal was hiring in several cities, (not including Boston), so I called the head of college marketing to see what opportunities might be available.  A few days later I was on a train to interview at one of the distribution branches outside of the city, and was offered a position that I held until I graduated (thanks Chris Clancy!).

What determines your desire to work with an artist?
I feel like I use the word compelling often, for good reason.  You can objectively say that a song may be fundamentally well written, or that an artist knows how to technically sing or play, but the degree to which they land hooks, and can resonate emotionally with an audience, is the determining factor.

Obviously other personal and professional factors carry weight as well, but when it comes to desire, it stops and starts with that elementary component.  You need to feel like you are in on something amazing and be inspired to want to spread the gospel to anyone and everyone, turning over every rock in that process.

In your opinion, what makes a great artist “great”?
To answer this from a creative standpoint, having the courage of their convictions to not only create amazing material with a bold vision and unique point of view, but to pull it off and execute it with supreme confidence and skill.  To the extent that the original stamp that you put on it makes the music bulletproof to criticism and demands objective respect because it is so undeniably special.

To be in that elite category requires the ability to do deliver consistently and raise the bar by contributing to that legacy of greatness…acknowledge influences but create something completely your own.  You don’t need novelty, you don’t need to be iconic, you need to be able to affect people and compel them in a powerful manner.

To answer this from a professional standpoint, which is of equal importance now more than ever, artists have to possess a passion to not only live and breathe music/creativity, but to match that with the work ethic and discipline necessary for any level of success.  The great ones are driven.

What is your greatest professional challenge today?
One of the first things that comes to mind is the challenges faced with developing new artists. Generally speaking, artists no longer have the luxury of taking the time necessary that was once afforded to them to hone their craft and develop a profile and meaningful fan base over the course of several album cycles with the belief and support of a label behind them.  The clock is ticking before the first album is released, and the stakes are so high that the signings are extremely marginal and selective.  We are fortunate to have several great label partners for our clients, but it has become increasingly difficult to put together resources early on as it relates to touring, press, etc. that are so vital to an artist’s development.

How did your business transform over the last several years?
When I started working at Red Light, there were a handful of us operating out of Coran Capshaw’s (founder) home outside of Charlottesville, VA in 2004.  Since that time, the company has expanded with offices in New York, Los Angeles, Nashville, London, Denver, and Atlanta…and has also developed a more eclectic and diverse group of artists in multiple genres.  We also have an unparalleled suite of resources available to our artists in the multiple entities that Coran has developed including ATO & TBD Records (record label), Musictoday (ticketing, merchandising, fan clubs), Star Hill Presents (festival promotion), Green Light (strategic marketing and content), New Era (sponsorship), District Music (licensing), etc.  Today, Red Light is the largest privately held management company in the business.

Where do you see this business 5-10 years from now?
Artists will be making more revenue (share/volume) from the direct-to-fan model, and developing stronger relationships with their fan-base in the process.  Traditional retail will continue to give way to digital, with that component of consumption shifting to subscription versus album sales.  Technology and social networking platforms will evolve to help further create trusted channels for discovery, and help filter worthy content from the overwhelming noise and traffic.  The role of the manager will only become that much more important as artists need to navigate their way through an ever changing landscape presenting new opportunities and challenges at each turn.

What is the best advice you have received over the years as a manager?
Challenge your artists to deliver their absolute best.  In this current climate, it is so insanely competitive on every level that good won’t cut it.  Word of mouth is often the tipping point in a successful campaign.  The music and all of the other supporting elements need to be special for good reason.  Seek objective feedback to put your best foot forward and make the most of opportunities. Quality control is worth its weight in gold. Despite your best efforts, every project is still subject to varying degrees of timing, luck, and politics…so make sure you do everything within your power to stack the deck in your artist’s favor as best you can before pulling the trigger.

What would you tell a new manager coming into the business today?
When I was 20 years old, I was thrown into rock and roll boot camp and began managing a band that had sold a million albums independently.  Needless to say, I was thoroughly in over my head.  There was a group of managers in Boston that met once a month with different guest speakers, headed by Tim Collins (longtime manager of Aerosmith), that took me in under their wing and helped provide invaluable perspective and advice that I couldn’t have received from anywhere else at the time.  Attend panels, read interviews, and just benefit as much as you can from other people’s experience and lessons learned.

Develop your critical thinking skills and absorb every bit of relevant information that you can, with an emphasis on marketing.  At the same time, learn the craft and be proficient enough to have credibility and know what you are talking about when it comes to creative input on music, and even further, art/photography direction.

Above all do right by your artists and take care of their fans.  Be extremely selective about who you work with and commit yourself to their success.  You make a reputation for yourself based on your taste, your work, and how you treat people.

Manager Spotlight - Gregg Latterman

Mon, 16 Jan 2012 12:28:35 -0800

Gregg Latterman is the Founder and CEO of Aware Records and A-Squared Management. In 1993, Aware released the first of many Aware Compilations to help expose unsigned, regional bands to a national audience. The compilations featured Hootie & the Blowfish, Matchbox 20, Jack Johnson, John Mayer and many more bands that have gone on to be household names. After releasing the first compilation, Latterman left his job as a CPA in Boston and immediately started a buzz in the music industry. He continued to build the company while receiving his MBA from Kellogg (Northwestern) Business School in 1996.

After being pursued by most of the major labels, Aware Records signed an artist development and distribution deal with Columbia Records in 1996 which continued as a joint venture until 2010. The first three bands signed to Aware Records were Train, Five for Fighting and John Mayer, who have combined to sell over 20 million records worldwide. In the summer of 2010 Aware did a new joint venture with Universal/Republic and is the home to Mat Kearney and Guster.

In addition to the label, Latterman formed A-Squared Management, an artist management company, in 1998. A-Squared currently manages musicians such as Five For Fighting, Mat Kearney, Brandi Carlile, Jack's Mannequin, Michelle Branch, Motion City Soundtrack, Cary Brothers, Angel Taylor, This Providence, Vedera, Anya Marina, Leslie, A Rocket To The Moon, and producer Jason Lehning.

What inspired you to want to be a manager?

I started out as a record label and over time we had great success with our first 3 artists (Train, John Mayer and Five for Fighting) with our label partner Columbia Records and we had artists coming to us wanting to be involved with us that were already signed to record labels. The first band we managed was Glenn Philips from Toad the Wet Sprocket and Liz Phair was second I believe.

What was your first industry job and how did you get it?

The first thing I did in the industry was put out a compilation of unsigned bands called The Aware Compilation. They kind of took off and after a year or two I figured out I could make this a job/career. Between the first 3 compilations most of the bands on them got signed including Hootie & the Blowfish, Matchbox 20 and many many others....Thus the industry was calling me about how I was finding these bands....I had to learn pretty quickly how the industry worked since I was an outsider (actually a CPA at Coopers & Lybrand in Boston).

What determines your desire to work with an artist?

I/we have to love the music and the artist/band. If they are not great people who want to work hard and be honored to be in this industry then it won't work no matter how talented they are as artists.

In your opinion, what makes a great artist “great”?

I just have to hear it and see them. For me I have to love their voice first and then melody and then lyrics.

What is your greatest professional challenge today?

Helping our artists have the career they want without doing things they don't want to do. A lot has changed and how you get heard to the masses has changed. We still try and break bands the old fashioned way....Great artists with hard touring and building it.......and getting everyone on board....

How did your business transform over the last several years?

We started as just a record label and now we are a record label that also has a management company.

Where do you see this business 5-10 years from now?

Hopefully working with most of the artists we are working with now and have brought in some new artists as well.

What is the best advice you have received over the years as a manager?

Only take on what you love...and don't take on too much...Be successful at what you do..

What would you tell a new manager coming into the business today?

Learn as much as you can by reading books about the industry and talk to people that have done it before you...Learn from others mistakes and success's.......Find a great artist you believe in and put everything you have into them with passion.....

Manager Spotlight - Justin Goldberg

Thu, 01 Dec 2011 12:28:35 -0800

Justin Goldberg is an American music industry executive, artist manager, writer and graphic artist. Goldberg is the manager for Grace Potter & The Nocturnals and has worked with the group since their album Nothing But The Water was recorded in 2005. He is the author of The Ultimate Survival Guide to the New Music Industry: Handbook for Hell (Crown Publishing Group / Random House). An outspoken critic of the music industry's traditional business model, he is an early advocate for online marketing and distribution.

Goldberg founded the Online Music Channel in 1998, and held key posts at major online music companies such as iMesh, Tonos, and Riffage.com. An accomplished graphic artist, Goldberg has had several gallery showings, including a benefit for the City of Hope at the Patricia Correia Gallery in Santa Monica in 2001. As a music executive and manager, he has worked with a wide range of artists and producers, including Mos Def, Dee Dee Ramone, David Foster, Martin Sexton, T Bone Burnett, Mark Batson, Willie Nelson, Mick Taylor and Rage Against The Machine.

What inspired you to want to be a manager? Meeting Andrew Loog Oldham and being impressed with his swagger and fearless mix of business and adventure. He explained how he and Keith Richards chose new material by the level of "orgasm" reached in the chorus. I thought, "Cool. I can do this - law school can wait."

What was your first industry job and how did you get it? Sony ATV Music Publishing as an assistant in the International Dept. I had met the President of the company trying to get a record deal and he convinced me to work there instead (I guess he didn't think I was a very talented singer-songwriter).

What determines your desire to work with an artist? It's just that feeling in the pit of one's stomach, like falling in love. You're in the middle of something else you thought was important, and then all of sudden something hits you and leaves you with no rational choice.

In your opinion, what makes a great artist great? I suppose sharing a point of view that adds a spiritual kind of value for audiences. Having great hooks doesn't hurt, but longevity is really the true test, and for that being musically fearless and having a dedication to growing AFTER certain kinds of success is probably the key there. As a music executive and fan I've always gravitated towards independent acts but I suppose I'm strangely agnostic in terms of music genre and an artists' mainstream success. For example, in my mind Martin Sexton is a great artist because he's never allowed a lack of mainstream success to keep him from innovating on his own terms and making his audience feel a unique experience. On the other end of the spectrum is someone like Lady Gaga, also a great artist for the same reason in reverse - she doesn't allowed her domination of mainstream success to keep her from innovating on her own terms, yet also making her audience feel they belong to a unique group.

How did your business transform over the last several years? I came into management after being very involved in the digital music business and publishing, so I didn't get into management until after the business had already been transformed by recorded music largely becoming free, which in turn focused revenue flow on the live music experience. Nevertheless, synch fees have gone down, sponsor related fees have gone up, and development money has vanished along with most a&r people. A&R is back to being A&R in many ways; gone are the days when being on the vanguard of the gate keepers was an art form unto itself. Blame Andy Lack and the dual disc.

What is the best advice you have received over the years as a manager? Waylon Jennings was the first person I met in the business when I was just becoming a teenager. I made a demo and he told me "The trick is, you gotta get them to come to YOU not you go to THEM."Still living by that I think. What would you tell a new manager coming into the business today? Go to law school.

Manager Spotlight - Petri H. Lunden

Mon, 12 Sep 2011 20:35:56 -0700

Petri H. Lundén is the executive chairman of Hagenburg and also chairman of the international manager organization IMMF (International Music Managers Forum)

Hagenburg is the biggest management in the Nordic region with clients such as Europe, The Cardigans, Peter LeMarc, Neverstore, Anette Olzon and more. Part from artistemanagement Hagenburg also represents many of Swedens biggest TV- and radiohosts and sportstars.

What inspired you to want to be a manager?
- I´m not sure that it was necessarily inspirational but rather a necessity and lack of professional management available for artists I was booking at the time. It was simply a matter of learning by doing, a punk ethos that I still strongly live by.
What was your first industry job and how did you get it?
- My first steps we´re as self-employed promoter some 30 years ago, however after a few years I was headhunted to become the talent-buyer for Sweden´s then biggest music festival “Hultsfred”, a job that I got stuck with for 10 years.
What determines your desire to work with an artist?
- In my book it´s simply to add value, the artists are artists but they are not runners of businesses which is something that I have skills in so when the two skills meet and are optimized that creates an opportunity to succeed, it´s very hard to do one without the other in the music-industry. If the question is more related to a specific artist it´s like mentioned above, the question I ask myself after the initial meeting(s) is “can I add value?” – if yes and the artist has ambition then it´s worth trying.
In your opinion, what makes a great artist “great”?
- It´s different artist to artist however I´d say that a healthy dose of egoism is very useful, they should want to succeed, they should crave to be loved by the potential audience and they should be able to move people with their music and presence. If that’s nicely packaged then you get a shot to succeed.
What is your greatest professional challenge today?
- That’s a very broad question but I see it the other way actually, what´s the great professional opportunities out there today, and my answer to that is “plenty” actually more than I have ever experienced before. The control has moved closer to the artist and now we know more, can do more and actually, if we´re reasonably good at what we do and have an artist that is willing to challenge the old models, we´re actually even making more money to the artiste and consequently ourselves.
How did your business transform over the last several years?
- An UK based colleague of mine, Cerne Canning who manages Franz Ferdinand amongst others, said it very well: “if we used to do 5 things we now do 50” and that’s basically down to that most of the labels we used to be signed to are in comparison understaffed, and the things that need to be done still needs to be done and at the end of the day it´s the managers responsibility to get it done so there you go…
Where do you see this business 5-10 years from now?
- Preferably from behind sunglasses, slightly tipsy in a reasonably warm place J
What is the best advice you have received over the years as a manager?
- Oh there´s plenty but some sayings that I still use, are “it´s not a matter of if you´ll be fired as a manager but rather when” and “the only way to make someone truly understand what you´re doing for them is by stop doing them”
What would you tell a new manager coming into the business today?
- Don´t do it J Jokes aside, be prepared, find knowledge and remember who you work for, but that does not make you a slave for your client, you´re the manager and that involves managing, not carrying guitar-cases nor drumsticks unless your client is armless.

Manager Spotlight - Paul Geary

Mon, 01 Aug 2011 20:35:56 -0700

Paul Geary always gravitated towards management. Even while drumming for multi-platinum Grammy Award nominated rock juggernaut Extreme, Geary pulled double duty by immersing himself in numerous managerial duties for the group. In many ways, the Boston native was eternally meant to guide the careers of artists, and he continues to do so with a prescient perspective, inspiring work ethic, and infectious passion.In the early 1970s, Geary became obsessed with rock 'n' roll. Influenced by the likes of Led Zeppelin, Aerosmith, and Pink Floyd, he got his first drum kit at 13 and dove headfirst into learning the instrument inside and out. Diligently crafting his percussive style, he formed Extreme with his friend Gary Cherone out of a Medford, MA garage. Extreme quickly became a fixture on the local club circuit as Geary assumed the roles of the band's manager and drummer. Through his knack for networking and deal-making, Geary raised the group's profile on a national level, and they eventually signed their first record deal with A&M in 1987. After that, he sought outside management for Extreme, but he never truly left that role throughout his stint in the band.For Geary, success as a musician intrinsically informs his management style. "In my years of recording and touring, I learned a lot about the music business," he says. "While we were a local band, I completely supervised our career. Even after we did sign to proper management, I was always the guy who dealt with business on a daily basis. I absorbed so much at that time, and that's where the roots of it all began."Geary saw Extreme rise from the garage to stadiums. During his time in the band, Extreme performed live in 35 countries and sold over 9 million records worldwide. Their iconic single "More Than Words" became a #1 hit in 30 countries, and the band spawned 5 top ten rock hits and 2 top 5 hits at top 40. However, after recording Extreme's fourth album Waiting for the Punchline in 1994, Geary made the jump to management full-time.He goes on, "I realized that I was more interested in orchestrating deals, posturing the band to be in a better place, and planning than I was in playing so I had to make a break."While running a providence rock club called The Strand, Geary formed PGM—Paul Geary Management—and commenced working with Godsmack in 1997. He secured them a deal with Universal Republic Records during early 1998, and the group became a dominant force in hard rock, completely taking the genre by storm. Geary brought the band to local Boston radio station WAAF where their single "Whatever" quickly infiltrated airwaves and eventually swept the entire country. Godsmack's self-titled 1998 debut exceeded 5-times platinum status as Geary's company morphed into Global Artist Management, which would become a home for other gold- and platinum-sensations such as Cold, Fuel, Afroman, and many more.In 2005, everything evolved once more for Geary. Global Artist Management attracted the attention of industry pioneer Irving Azoff. Geary folded Global Artist Management into the Los Angeles-based Azoff Music Management, and he partnered with Jared Paul. Together, the two signed alternative rock legend The Smashing Pumpkins. Given how quickly the company collectively grew, a new division was born in 2008 called AGP Management—Azoff, Geary, and Paul. Between Geary handling Creed, The Smashing Pumpkins, and Godsmack and Paul working with New Kids on the Block and touring productions of Glee and Dancing with the Stars, AGP proved to be a multi-genre powerhouse representing some of the world's most successful and important acts.Geary's personal approach to management ultimately separates him. "I work for each artist and take direction specifically from them," he reveals. "The goals differ for each act, and I try to hear them in order to help achieve their version of success. I was an artist, and I can empathize with their experience. You learn what each artist is looking for and you work together toward actualizing their dreams."Geary continues to help make dreams come true. To date, Godsmack has garnered four Grammy nominations and sold 12 million albums worldwide. The group also had more top 10 active rock hits than any other band in the history of BDS. The Smashing Pumpkins are firing on all cylinders, pushing boundaries and paving their own path with unique online releases and sold out shows worldwide. Alter Bridge is a burgeoning international phenomenon, while Creed packs arenas everywhere. Another AGP client, Steel Panther is in the throes of breaking into TV in a big way while the firm has expanded to include Jennifer Hudson and Earth, Wind, and Fire. Geary also fervently seeks new fresh talent, hoping to give the world even more quality music.The future looks just as bright. Geary concludes, "We're focusing on company and brand building. A big part of our business is being a content provider for venues. We're looking to diversify even more." That's been the name of the game for Geary since day one, and it's why he's so crucial to the ever-changing musical landscape.— Rick Florino, July 2011

Manager Spotlight Q&A

What inspired you to want to be a manager?

As a young drummer, I helped form a group of musicians that were each very motivated and committed to get to the next level as professional performers. I was not a gifted writer or musician as my band mates were, and none of them were really interested in engaging in the business side of what we were doing, so I stepped into the manager role which became a way for me to make a contribution to our goals beyond playing drums. Simply as a necessity at that time, but it led me on a path of learning and experience which made the transition to full-time manager a natural one for me after reaching many of our goals as the group Extreme.

What was your first industry job and how did you get it?

Our group Extreme landed a recording contract with A&M Records in 1987 by building a loyal fan base in New England and attracting the attention of several labels.

What determines your desire to work with an artist?

That answer has changed over the years. In the early days of full-time management I was seeking out a developing act that I felt had all of the core ingredients to be successful, but lacked the organization to make that happen. One of the first acts I signed in 1997 was a local Boston group, Godsmack, that fit that bill completely. These days as part of a much bigger organization, it's more likely that we'll take on established acts that require the broad level of resources and service that we have to offer.

In your opinion, what makes a great artist “great”?

There are obviously many forms of greatness; sometimes it's just the shear awe that one inspires when they've mastered their instrument to a stand-out level. I'm most impressed with melody making and creativity. The Beatles are the premiere example of an act that did not have extremely technically advanced players, but they inspired many through their prolific songwriting, undeniable appeal, and their ability to evolve creatively.

What is your greatest professional challenge today?

Breaking new artists is a bigger challenge than ever. With consistently declining record sales, the record labels have reduced staffing and have much smaller budgets than they did 10 years ago. Most of us complained about the old record company model because the artists were given such a small share of profits; however, the system did provide for the next artist in line to be developed and the general public was consistently discovering new music.

How did your business transform over the last several years?

Consolidation. One of the upsides is that it creates a union of sorts; the leverage of many artists being housed under the same roof allows us to negotiate better deals through high volume/low margin deals... Also, with the decline of record company staffing we've had to staff up to plug those holes, and consolidation has helped to provide those resources to acts that may not otherwise be able to afford them.

Where do you see this business 5-10 years from now?

Ask Irving Azoff :)

What is the best advice you have received over the years as a manager?

Most of the best advice I've been given has come from reading self-help books. One bit of advice that comes to mind is not to make decisions during emotional states. If I become really angry (or really happy) about a particular situation, I try to wait a day before responding. I usually regret the decisions I've made otherwise...

What would you tell a new manager coming into the business today?

There are several ways to break in if you have talent, but I have witnessed several entry level people at our company graduate to assistants, then day to day managers, and in some cases senior managers with their own roster of clients. If you have smarts and are motivated you have a very good chance of being recognized and promoted. So don’t be put-off by accepting a low level job (or even internship) if it puts you next to experienced managers.