Ethnically and Culturally Inspired Music
PHOTOS
ABOUT
I am an "80/20 person" and my objective is to have a simpler but vastly more productive life that is easier, with plenty of time and no stress. Have considerable freedom and confidence in life turning out well. This is about focusing my life on the vital most important payoffs and leaving out the trivial many.
At the very least, as an artist manager, I do everything the artist cannot or will not do in terms of planning, organization, and negotiation. I need to know what's happening to an artist from the songwriting and rehearsal stage right through to the point at which the money goes into the artist's bank and the record shoots up the charts. This includes dealing with lawyers, record companies, and PR people; coordinating tour dates with studio time and holidays, and pushing for better record company deals.
As a Manager, I have to find and negotiate the right record and publishing contracts and, in collaboration with the artists, must find the right record producer. When a record is to be released, I must liaise with and, in some cases, employ the plugger. I decide upon the works with the concert promoter, hires a publicist, and buys advertising.
I am a guide and mentor where the artist is concerned and a great handler of money where just about everyone is concerned. In the day-to-day running of a band, my role can involve anything from talking with record company A&R people about record deals to lunching with publishers and meeting with concert promoters and booking agents.
In the case of a band with all deals in place: publishing deal, record deal, and a deal with a concert promoter, my job will involve seeing that the terms of all those deals are adhered to by all parties and administering the deals on behalf of the band on a day-to-day basis. In the case of the record deal with an album in the making, I will on a daily basis want to ensure that:
1. The record company's A&R department provides suitable support without interfering with the band's creative input;
2. The record company press office or hired-in PR company understands the band and its wishes with regard to publicity;
3. The marketing department times its campaign properly with the release of the album and that the media advertising and in-store promotions are properly targeted.
In case of a forthcoming tour, which has been taken on by a promoter, I will on a daily basis, want to ensure that:
A. The tour and album release are properly coordinated to maximize the publicity benefits of the tour on the album;
B. The right venues are being chosen and the right conditions offered at the venues by the venue management;
C. That the tour contract is being adhered to and that all artists' riders are observed;
D. That the tour is being properly promoted at local, national, and international levels if relevant.
In case of a publishing deal, I will on a daily basis want to ensure that:
1. The publisher is properly promoting the catalogue and songwriting skills of the act in question for possible exploitation by other artists (if indeed that's what the writers want);
2. Looking out for other publishers who might be waiting in the wings to buy out the publishing of the act.
In general, I am always on the lookout for new and profitable ways of exploiting the talents of my act/client, while at the same time maximizing earnings and properly managing the income from existing work.
At the very least, as an artist manager, I do everything the artist cannot or will not do in terms of planning, organization, and negotiation. I need to know what's happening to an artist from the songwriting and rehearsal stage right through to the point at which the money goes into the artist's bank and the record shoots up the charts. This includes dealing with lawyers, record companies, and PR people; coordinating tour dates with studio time and holidays, and pushing for better record company deals.
As a Manager, I have to find and negotiate the right record and publishing contracts and, in collaboration with the artists, must find the right record producer. When a record is to be released, I must liaise with and, in some cases, employ the plugger. I decide upon the works with the concert promoter, hires a publicist, and buys advertising.
I am a guide and mentor where the artist is concerned and a great handler of money where just about everyone is concerned. In the day-to-day running of a band, my role can involve anything from talking with record company A&R people about record deals to lunching with publishers and meeting with concert promoters and booking agents.
In the case of a band with all deals in place: publishing deal, record deal, and a deal with a concert promoter, my job will involve seeing that the terms of all those deals are adhered to by all parties and administering the deals on behalf of the band on a day-to-day basis. In the case of the record deal with an album in the making, I will on a daily basis want to ensure that:
1. The record company's A&R department provides suitable support without interfering with the band's creative input;
2. The record company press office or hired-in PR company understands the band and its wishes with regard to publicity;
3. The marketing department times its campaign properly with the release of the album and that the media advertising and in-store promotions are properly targeted.
In case of a forthcoming tour, which has been taken on by a promoter, I will on a daily basis, want to ensure that:
A. The tour and album release are properly coordinated to maximize the publicity benefits of the tour on the album;
B. The right venues are being chosen and the right conditions offered at the venues by the venue management;
C. That the tour contract is being adhered to and that all artists' riders are observed;
D. That the tour is being properly promoted at local, national, and international levels if relevant.
In case of a publishing deal, I will on a daily basis want to ensure that:
1. The publisher is properly promoting the catalogue and songwriting skills of the act in question for possible exploitation by other artists (if indeed that's what the writers want);
2. Looking out for other publishers who might be waiting in the wings to buy out the publishing of the act.
In general, I am always on the lookout for new and profitable ways of exploiting the talents of my act/client, while at the same time maximizing earnings and properly managing the income from existing work.
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