Dissertation interview for Regent's School of Business, London
Monday, April 28, 2014
Q. From your experience or perspective, in what way(s) does management, specifically talent management, within the music industry differ from other industries?
A. Talent management deals with artists. The work ethic, drive, motivation and skill set of artists, specifically musicians, is much different than other industries. To get into the heart, soul and mind of anartist is an art unto itself.
Q. To what extent do you believe artist management in music has changed in the last decades? Has the impact of technological development changedthe role of the manager?
A. The changes are coming at us faster than before led by changes in technology. The ability to reach an audience is easier, but the fundamentals haven’t changed: quality, hard work, a great show performed live is still ultra important.
Q. Traditional management theories define effectiveness and efficiency as the core elements used to measure the quality of management. Would you agree that efficiency isn’t the most appropriate measure for management in the music industry as it can impact on musical creativity?
A. Correct, efficiency is not one of my top measures as to the quality of a quality manager.
Q. Out of the variety of ways the quality of management can be measured and perceived, what would you consider fitting for identifying successful artist management? Is it possible to measure such management accurately?
A. The ability to launch, grow and most importantly sustain a career is at the top of my list. For a team, manager and artist should be in good mental, physical and spiritual health. The financial and personal well- being of the artist is what successful artist management is all about.
Q. Do social media figures, commercial sales and other industry statistics provide reliable information, or is management more measureable in a qualitative manner?
A. Data is part of the equation, but data can be twisted and turned… and in some cases fudged. For some very successful artists, sales, statistics and numbers are low on the list of goals.
Q. In your opinion, what artist management styles and methods are effective in guiding artists and musical products in their development? Is a free-management style better than creating a comprehensive business model around an artist?
A. It depends on the artist. Every artist/manager has a unique style… it can constantly change when necessary. As a relationship progresses, growth, progress, failure all require different, evolving methods.
Q. In your experience, are there any specific approaches (with regards to copyrights, live performances, recorded music sales, music resources etc.) that are effective in managing the career and musical products of an artist?
A. Again depends on the artist… the only thing that is certain… is if an artist can blow away an audience live they can have a career.
Q. Would you agree that artist management should focus on creating value instead of profit from music as an art form?
A. You need money to launch and facilitate a career in music.. it is unavoidable… good art, hard work … with capital behind it should create value on some level. A manager has to balance the ‘creating value’ with keeping the business afloat, it is a dance.
Q. Due to the closeness between the music and the artist, is it possible that a trusted manager who has a close personal relationship with the artist could be more successful than a professional with an effective business approach?
A. I think a close relationship should come out of great work together, achieving success, forward progress, and time… an artist needs a manger to be good at business first, not a friend… when a manager becomes a friend, it is a bonus.
Q. To what extent do you believe that the success of musicians and/or musical products depend on the quality of management?
A. Success is driven by the quality of music… a great manager with poor music is like lipstick on a pig… (sorry)
Q. Is there is anything else worth mentioning?
A. I find that I need to be the leader of a holy crusade when I take on a client. I need to fight the good fight, even when it seems like no one cares. I assume no one cares.. and I try to make folks care about my artist. This is the goal.
A. Talent management deals with artists. The work ethic, drive, motivation and skill set of artists, specifically musicians, is much different than other industries. To get into the heart, soul and mind of anartist is an art unto itself.
Q. To what extent do you believe artist management in music has changed in the last decades? Has the impact of technological development changedthe role of the manager?
A. The changes are coming at us faster than before led by changes in technology. The ability to reach an audience is easier, but the fundamentals haven’t changed: quality, hard work, a great show performed live is still ultra important.
Q. Traditional management theories define effectiveness and efficiency as the core elements used to measure the quality of management. Would you agree that efficiency isn’t the most appropriate measure for management in the music industry as it can impact on musical creativity?
A. Correct, efficiency is not one of my top measures as to the quality of a quality manager.
Q. Out of the variety of ways the quality of management can be measured and perceived, what would you consider fitting for identifying successful artist management? Is it possible to measure such management accurately?
A. The ability to launch, grow and most importantly sustain a career is at the top of my list. For a team, manager and artist should be in good mental, physical and spiritual health. The financial and personal well- being of the artist is what successful artist management is all about.
Q. Do social media figures, commercial sales and other industry statistics provide reliable information, or is management more measureable in a qualitative manner?
A. Data is part of the equation, but data can be twisted and turned… and in some cases fudged. For some very successful artists, sales, statistics and numbers are low on the list of goals.
Q. In your opinion, what artist management styles and methods are effective in guiding artists and musical products in their development? Is a free-management style better than creating a comprehensive business model around an artist?
A. It depends on the artist. Every artist/manager has a unique style… it can constantly change when necessary. As a relationship progresses, growth, progress, failure all require different, evolving methods.
Q. In your experience, are there any specific approaches (with regards to copyrights, live performances, recorded music sales, music resources etc.) that are effective in managing the career and musical products of an artist?
A. Again depends on the artist… the only thing that is certain… is if an artist can blow away an audience live they can have a career.
Q. Would you agree that artist management should focus on creating value instead of profit from music as an art form?
A. You need money to launch and facilitate a career in music.. it is unavoidable… good art, hard work … with capital behind it should create value on some level. A manager has to balance the ‘creating value’ with keeping the business afloat, it is a dance.
Q. Due to the closeness between the music and the artist, is it possible that a trusted manager who has a close personal relationship with the artist could be more successful than a professional with an effective business approach?
A. I think a close relationship should come out of great work together, achieving success, forward progress, and time… an artist needs a manger to be good at business first, not a friend… when a manager becomes a friend, it is a bonus.
Q. To what extent do you believe that the success of musicians and/or musical products depend on the quality of management?
A. Success is driven by the quality of music… a great manager with poor music is like lipstick on a pig… (sorry)
Q. Is there is anything else worth mentioning?
A. I find that I need to be the leader of a holy crusade when I take on a client. I need to fight the good fight, even when it seems like no one cares. I assume no one cares.. and I try to make folks care about my artist. This is the goal.