Vol 4 | WINTER 2014
INSIDE CrowdFunding is it here to stay? Is Self Management for you? Wanna Be Managers Please Stand Up! X-Pozsed Featured unsigned Artist and much much more !!
The Manager and Agent Issue EXCLUSIVE X-Pozsed Music Manager and Agent Contact Directory
contents X-Pozsed The Magazine
Winter 2013- Vol 4
8 16 13 20
Feature Story - CrowdFunding Is It A Fad ? - Will crowdfunding follow in their footsteps? In a mere 10 years, the bland, technical term has come to evoke emotions ranging from rabid excitement to cynical dismissiveness. That could be thanks to a music industry still grappling for answers on how to right itself, Millennials frothing at the chance to blaze techno-trails to the future and artists clamoring for a game-changing way to pay their bills.
Self Management Is For You ? The role of a Manager has changed as much as the music business. In fact, the traditional artist team (manager, attorney, agent, business manager) may no longer be practical. Today many artists believe that selfmanagement and outsourcing functions is the way to go.
Creative Allies is a unique web-based company that offers a means for fans to interact with artists in a dynamic way—by actually creating the images that appear on CDs, websites, tshirts and other platforms.
Artist Corner Highlighted Art-‘Teest’ Introduction - José Alves da Silva is a freelance Character Artist and 3D Illustrator.
X-Pozsed Exclusive --Managers And Agent Directory – The key to success, if you’re an independent artist is getting the right Manager and Agent . You will find that this exclusive updated list of Manager and Agent, is a great resource for any artist trying to break into the industry . Use wisely!
IN THIS ISSUE 6. Letter from the Creative Director 14. Songwriters Profile - Ali T 24. Are You A Manager Wanna Be ? 12. Rock It Ship – A new way to tour 25. X-Pozsed Artist Report, Feature Artist & Highlights
Be sure to follow X-Pozsed The Magazine on Facebook, and Twitter. Also check our website at
www.x-pozsedthemagazine to listen to feature artist , read our blog and get up to date casting and industry information.
PUBLISHER Col-X-Zist Multi Media Group & Publishing L.L.C
FOUNDER - ART DIRECTOR / CHIEF EXECUTIVE Col-co Chanel
EVENT /MARKETING COORDINATOR Jonathan Smith
THE BACKBONE OF X-POZSE MARKETING Chanel Outin
Our Editorial Team / Music A & R Department / Review (Also shout out to our contributing writers)
CHIEF MUSIC EDITOR Gary Ivory
SOCIAL MEDIA MANAGER Fredrick Bishop
Michael Wilson C.Ross Renee Raymond Scott Philip James Olbright
WEBSITE /ONLINE TECH C.Chanel, J.B Morgan
CHIEF EDITOR Sara Moore
Photographer /Artist: Name is credited throughout publication. Some Images in this magazine do not belong to X-Pozsed The Magazine. It is always our intent to make sure that credit is given to any photographer whose work is displayed in our publication. Yet, if any images have been displayed without proper accreditation, please submit credit information to the email@example.com
CHIEF GRAPHIC DESIGNER Anil Verma X-Pozsed The Magazine / www.X-Pozsedmagazine.com / www.X-PozsedTheBlog.com
From Our Founder – Chief Executive Here at X-Pozsed we work very hard to keep you continually informed and connected with industry professionals who have the potential to help to catapult your music careers to the next level. The core of X-P-M, are the artist who grace our pages, tell their stories and give us the opportunity to introduce and highlight their talents for the world to see. Many record executives, DJs and producers read our magazine and I get so excited when I hear from artists who, through X-Pozsed, have been able to connect with industry experts and advance their careers. When starting this publication my goal was, and still remains, to be the South’s #1 reliable go-to magazine for top industry executives and artists across the entertainment spectrum. With each issue I’m gradually starting to see that dream come true! Thank you for continuing on this journey with us!
Dream, plan and then REACT! — Col-co Chanel
I HAVE MUSIC EVERYWHERE. DO YOU? WITH THE CONNECTIVITY OF SONY PRODUCTS. YOU CAN LISTEN TO YOUR MUSIC ANYWHERE.
MySpace. Friendster. Radiohead's In Rainbows model. Music lovers were certain that those blasts-from-thenot-too-distant-past were here to stay. But the novelty of those crazes wore off almost as quickly as they arrived.
Crowd Funding Is It Fad?
Will crowd funding follow in their footsteps? In a mere 10 years, the bland, technical term has come to evoke emotions ranging from rabid excitement to cynical dismissiveness. That could be thanks to a music industry still grappling for answers on how to right itself, Millennials frothing at the chance to blaze techno-trails to the future and artists clamoring for a game-changing way to pay their bills.
funding transactions could total as high as $500 billion in 2013, this aspect of the music industry is cle arly booming. But with high hopes come great skepticism. In the following exclusive feature, X-Pozsed The Magazine takes a close look at where crowd funding is right now and where it is likely to go.
With some estimates projecting that crowd
Grassroots Beginnings While the buzz word is still relatively new, crowdfunding is in many ways synonymous with the patronage of the arts, a centuriesonly practice that predates the earliest forms of capitalism. If it weren't for patronage the basic business activity––in which a person financially supports an artist––legends like Homer and Mozart may not have risen to fame. The contemporary phenomenon has its very
Marillion album. About 200 of the 6,000 said no, but the rest were onboard. “That was enough for us to say, 'Okay, we'll do this,'” says Kelly.
own Oxford Dictionary definition: “The practice of funding a project or venture by raising many small amounts of money from a large number of people, typically via the Internet.” (Crowd funding is not to be confused with crowd sourcing, the practice of gathering information or feedback through a paid or unpaid group of people, usually online.) The first musicians to embrace crowd funding appear to be Marillion. In the mid1990s, the UK progressive rock band acted as a midwife of sorts, birthing the practice of crowd funding by virtue of its devoted legions of fans. Marillion was without a record deal and reluctant to tour the US on its own, as the band had lost money with every one of its Stateside treks. However, an avid group of followers––connected through an online mailing list of about 1,000 fans––would not let the idea die. After keyboardist Mark Kelly told a rabid fan that it would cost roughly $50,000-$60,000 to fund a North American tour, the devotee raised about one-third of that amount in a few weeks, set up a bank account and put the money into escrow. “I said, 'I have to speak with the band about this,'” Kelly recalls. Within six months, Marillion were touring the US with the support of $60,000 raised by fans. Thanks to media attention surrounding the crowdfunding endeavor, the band actually made a small profit with the campaign, and used it to send CDs of live recordings to anyone who had donated. Following the surprise success of the crowd funding effort, Marillion––desperate to break free from the shackles entailed by a record contract––decided to replicate the concept with its album-making efforts. In 2001, the band asked its burgeoning mailing list if fans would be willing to pay up front for a bonus track-laden special edition of the next
Marillion eventually accepted 13,000 preorders for what became 2001's Anoraknophobia, which more than covered the costs of recording the album. After completing it, the band approached its former label EMI and reached a deal through which the band declined an advance payment
in exchange for the label putting the album in stores. Marillion has effectively used that model ever since, releasing five more crowd funded albums. “At the time, we didn't realize we were starting a whole Internet movement,” Kelly says. “It was born out of necessity … it's one of those things whose time had come.”
Getting (Kick)Started While Marillion appears to be the first band to raise money for a music project through an online fan campaign, the founders of Kickstarter––which touts itself as the world's largest funding platform for creative projects––say they came up with the concept independently of the UK prog band. “I'm not sure if anyone can claim the idea,” Kickstarter co-founder Yancey Strickler contends. “Everything about Kickstarter was our creation and came from us.” Strickler says co-founder Perry Chen, an artist, devised the concept on his own in 2001 or 2002 when he wanted to stage a concert in New Orleans but didn't have the money to do so. Chen wondered if people would agree to pay for their tickets via credit card only if the concert actually came to fruition, according to Strickler. In 2005, Chen shared the idea with Strickler, a journalist, and Charles Adler, a designer. Four years later, they launched Kickstarter, through which an artist establishes a project and its financial goal, determines the length of the fundraising campaign and formulates a series of reward––such as a limited-edition album or a hoodie––to coax potential contributors. Notably, Kickstarter doesn't feature the word
“crowdfunding”––which Strickler calls only “a mechanism”––anywhere on its site. Instead, the site encourages users to “pledge to” or “back” a “project.” “No one is funding a project because they want to fund something,” he says. “It's because they want to be part of a project.” Similar to Chen's original concept for the New Orleans concert, a Kickstarter project must reach its funding goal within a designated time frame, or supporters won't be charged for the money they commit. The strategy is a way of protecting the project supporters as well as ensuring that the project is not ill-funded, according to the website. Kickstarter collects a five percent fee from the funding total for a project, if it is successfully funded. Additional payment processing fees run between three to five percent. To date, Kickstarter has hosted 11,000 successfully funded projects, according to Strickler. He said that only 20 percent of the website's 40,000 total number of creative projects have been related to music, as Kickstarter also hosts projects related to games, theater, comics, fashion and food (charity projects, however, are not allowed). Strickler notes, however, that music projects have had some of the strongest success rates
on the site, with 54 percent of music projects reaching their funding goals. He attributes the site's success to its aesthetically appealing website, easy-to-use functionality and track record of success, chiefly represented by singer-songwriter Amanda Palmer raising a record-breaking $1,200,000 in May 2012. “Since we've launched,” Strickler says, “there are hundreds of sites that have copied what we've done.”
Indiegogo Two years before the launch of Kickstarter, the founders of crowdfunding platform Indiegogo germinated a similar concept. In 2008, they launched their San Francisco website for the independent film industry, broadening it the following year to encompass music and other media. The company claims to be less restrictive
crowd FUNDING than Kickstarter because Indiegogo doesn't have a review process requiring that a project fit into a clearly defined category––music or photography, for example––and meet other standards. “Our philosophy is that there shouldn't be a gatekeeper and that funding should be open to anyone,” says Indiegogo's Head of Music, Karen Bair. “Who are we to say that anyone's idea is a bad idea?” Perhaps the greatest distinction between Indiegogo and Kickstarter is that while the latter platform strictly offers all-or-nothing funding for projects, the former website has a “flexible funding” option allowing campaigners to keep the money they raise, even if they don't reach their total funding goal. “A common misperception about crowdfunding is that it's an 'all or nothing' attempt, but it is quite the contrary,” Bair says. “Many campaigners just need to raise funds to get them to the next level, which is why even if a campaign doesn't ultimately reach its target, it can still be a success.” Indiegogo––which, unlike Kickstarter, doesn't release data related to success rates or other metrics––charges a four percent fee on money raised by projects that meet their fundraising goal and a nine percent fee on projects that don't. Additional third party payment processing fees run about three percent, and international wire fees also apply.Also, while Kickstarter (since it uses Amazon payment methods) is only available to project creators who are based in the US or the UK, Indiegogo––which uses Paypal instead––says it has campaigners living in 193 countries. Bair notes that Indiegogo's biggest success story, a $341,000 campaign by mathcore act Protest the Hero, could not have happened on Kickstarter, because the band members are Canadian.
the crowd funding bandwagon for their fourth. Guitarist Tim Millar says the band became attracted to the concept after eyeing the success of other independent artists, like Palmer, ska group Five Iron Frenzy ($207,000) and indie-rock ensemble Murder by Death ($187,000)––who, along with industrial-rock band Mindless Self Indulgence ($225,000), have had the most heavily funded Kickstarter music projects thus far. “We wanted to have control and not have to answer to anyone,” Millar says. “We don't really want to be in the business of selling and distributing records.” Protest the Hero also noticed another fringe benefit that comes with a crowd funding campaign: It can provide a band with key metrics about its fanbase, such as breadth, geographic distribution, level of devotion, etc., which can then be used to hone plans for marketing, touring and beyond. “In a worst-case scenario, we thought we'd have a better idea of what our support was really like,” Millar says. “You never know why people are at your shows, and record sales aren't a valid number anymore.”
The Artists' Perspective After releasing their first three albums through Underground Operations and fulfilling obligations to the Toronto punk rock label, Protest the Hero decided to join
Protest the Hero collected that critical information during their 30-day campaign to raise $125,000, which turned out to be anything but a worst-case scenario. The band scooped up $200,000 in the first seven days of the effort and ultimately garnered contributions from 8,300 fans.
“What surprised me the most was that a small amount of people were able to generate a large amount of income for us,” says Millar. He added that the band will use the extra $216,000 it received above the goal expectation to produce a making-of-thealbum DVD, touring costs and, potentially, expenses for Protest the Hero's fifth album. Millar attributes the success of the campaign to three factors: organization, organization, organization. Prior to its launch in midJanuary, he and his four bandmates spent three weeks creating spreadsheets that detailed the projected album expenses and funds needed for their campaign goal. Also in advance, the bandmembers created a treatment for a video introducing the campaign; drafted a letter explaining the crowd funding effort to fans; and established the Indiegogo “perks” that supporters would receive, such as the opportunity to perform guest vocals or other instrumentation on the record (for a $5,000 contribution); to take part in a pizza party/sleepover at Millar's house in Toronto ($1,250); and receive a handwritten set of lyrics ($250). Protest the Hero still have some more work to do––recording the album, for example. They also have to find a company that can ship the album and figure out a way for the campaign contributors to all receive it at the same time. Millar said the band wants to make sure that the album is available to fans and others who didn't want to contribute to the Indiegogo campaign––or couldn't, after it
ended. The Canadian band's last two albums both cracked the top 100 on theBillboard 200 albums chart. “That was the one thing I was worried about: We send out the new album to our Indiegogo supporters, but then it isn't released [broadly],” he says. Whether Protest the Hero revisits crowd funding is also uncertain, according to Millar. “I don't know how many people can do it twice,” he wonders. “It's good to know that it's an option, but we're not going to take money if we don't need it.”
Accountability Issues Experts such as music industry analyst Bob Lefsetz argue that there is little accountability with the practice of crowd funding and lots of opportunity for artists to rip off fans by not delivering quality products. Also, due to lax oversight, an artist who already has enough money to fund a project can launch a campaign for it anyway. “Cynical people who already have the money [to finance a project] are using crowdfunding as a marketing technique,” Lefsetz says. Strickler rejected the idea of implementing a “litmus test” that measures the wealth or financial backing of an artist before
more money online. However, some analysts believe the rules––which the US Securities and Exchange Commission is still writing––will be too restrictive. The JOBS Act will prohibit crowd funding on websites that aren't specifically registered for that purpose; sites will have to file disclosure documents with the SEC and an individual couldn't invest more than 10 percent of their net worth into crowd funding within a given year. The federal government's imminent crowd funding intervention also begs the question: Will music fans still support the practice once it becomes uncool? Is crowd funding's maverick appeal in danger of wearing thin, especially as it becomes normalized through entrepreneurial conferences, LinkedIn groups, how-to books and meetup groups? Will it be dominated by wellestablished––and presumably welloff––celebrities like Zach Braff, who raised millions for a film project in mere days? “Crowd funding is a fad,” claims music industry analyst Bob Lefsetz. “People are going to burn out on it, maybe not in three months but perhaps in five years.”According to Lefsetz, bands have proven that they can get their money from sources other than labels, which undercuts the establishment, “and that's very exciting,” he continues, “but do I think that Kickstarter is the wave of the future? No.”
approving their project, saying, “It doesn't matter how much money is in their bank account. If the world likes a project and wants to back it, that's what's important. We're all grownups here.” But to the extent that crowd-funding is still in its kid-on-theplayground stage, with very few rules and restrictions, the school bell could be ringing soon enough. Many crowd funding advocates have voiced optimism that President Obama's Jump start Our Business Start ups Act, which was passed in April 2012, will break open the dams by allowing entrepreneurs to solicit
“Five years from now Kickstarter will hopefully be the same as it is now,” Strickler predicts. But, as with any online organism, crowd funding may have to evolve in order to survive. Take as a micro-example the rewards/perks/bonuses offered by the growing pool of artists competing for the attention of fans and the media. Whereas a signed vinyl or a T-shirt was once enough to persuade someone to contribute to a project, and a project in and of itself was enough to warrant blog coverage, artists have now upped the ante considerably. As I Lay Dying frontman Tim Lambesis––yes, the guy recently arrested for allegedly soliciting someone to kill his wife––gave donors to his Austrian Death Machine side project the chance to punch him in the stomach. Solo rocker Jesse Malin offered to play a softball game with contributors, while singersongwriter Joseph Arthur even put his tour van on the auction block.
Malin's and Arthur's campaigns were featured on PledgeMusic, a mutated version of crowdfunding that could provide clues on how the practice could evolve. As opposed to Kickstarter and Indiegogo, PledgeMusic campaigns don't include financial targets or even timetables. Instead, supports fund a project from its inception through its fruition––and beyond. “If you run a crowd funding campaign for 30 days, what happens on day 31?” company founder Benji Rogers asked. “That's where the campaign really begins.”According to Rogers, a musician gets 30 percent of their income after a crowdfunding campaign, since it can take a while to get fans involved. Accordingly, the average campaign on PledgeMusic––which charges a 15 percent commission that includes all other fees––lasts for four or five months instead of one, with the intention of deepening the level of engagement with fans. Rogers calls PledgeMusic a “direct-to-fan” site that guarantees fans get their money back if they don't get the creative product for which they pledged. The best-known musician to launch a campaign on the site is Mike Doughty, who took the fan-solicitation concept to another level by allowing “pledgers” to pick among three versions of the same song, each performed in a different key. He then committed to sending each individual song to pledgers on a signed and numbered digital recorder and, for roughly $35,000, record them a personal message. Such innovation might prove that, whatever the future holds for crowd funding, music fans can always count on the artists to come through. They existed before there was a music industry, and survived its collapse, and will undoubtedly outlast any new technologies and paradigms. As P-Funk legend George Clinton said when asked to comment on his successful Indiegogo campaign to upgrade his music studio and obtain the rights to some of his archival material: “It's time for people to start getting their music back. WE WILL WIN!” (photo credit courtesy of Getty Images)
Talent Connections B.BUSH
Creative Allies Connects Unknown & Amateur Graphic Designers with Bands.
ounded in 2010, Creative Allies (http://creativeallies.c om) is a unique webbased company that offers a means for fans to interact with artists in a dynamic way—by actually creating the images that appear on CDs, websites, t-shirts and other platforms. The company was launched by Sean O’Connell, CEO, and Greg Lewis of Music Allies, a major cross-platform marketing company for music festivals and independent artists and labels. Kevin Carroll, a veteran music industry marketing executive, was brought on as COO of Creative Allies in 2011. “Creative Allies provides the tools to enable fans to interact with artists in an intimate way, and also for designers to get their work exposed,” says Carroll. “Designers and fans can sign up for free and submit their artwork for consideration to have it actually appear on an official artist website, poster, merch or CD cover.” The site runs several contests each month and viewers vote on the designs. The ultimate winner is chosen by the artist, management team or festival running the contest. Fan Favorites are also chosen, with runners-up receiving prizes such as tickets or signed band merchandise. Recent contests in August included the challenge to create a t-shirt graphic for Lady Antebellum, poster art for
Stereophonics, Paramore and Buddy Guy, and a logo for the 25th anniversary of Sublime. Winners receive a flat fee for the use of their artwork, with most contests awarding $500. (Winners also receive bragging rights, but no additional percentage, and sign over their licensing rights.) Entering the contests and joining the site are free. Creative Allies also operates a merch store on the site. “Artwork that is submitted but does not win may still be picked up for the merch items, with 10 percent of the net profits of those sales going to the designer,” notes
Carroll. The site is as much a showcase for emerging design artists as it is a marketing tool for the music artists. “The great thing about these contests is that anyone can enter, not just professional designers, and have a chance to get their work noticed by the worldwide community of visitors that come to the site. It has launched careers.” Carroll’s experience in the music business is impressive. During his nearly 30 years in the music industry, he has been a senior executive at EMI, Sony Music/Relativity, East- West Records and Chrysalis Records, among others. With that extensive track record, what does he think of the current
marketing climate that social media has wrought? “Social media provides an unprecedented way for artists to market their music by interacting directly with the fans. In the case of Creative Allies, because art and music are so intertwined, it is an ideal way for music artists to get direct feedback on how fans visualize the artists’ work and also the image they are conveying.” Major acts that have worked with Creative Allies by using fan-generated artwork include Counting Crows, Keith Urban, the Black Keys and Ween. “We promote the contests in several ways, including fan sites,” says Carroll. “We also go around to the design schools, and we have relationships with Bonnaroo, Warped, Lollapalooza and other major festivals. To generate interest from the artists, sometimes it’s a matter of going directly to the label or artist representative, or they come directly to us.” The site currently has 50,000 designer/members worldwide. To some, this may seem like a sneaky way for labels and artists to get cheap access to quality designs, but Carroll views it as a win-win situation. “Unknown and amateur designers value this opportunity for exposure to professionals, and to get feedback from the design community,” he says. “And of course, the opportunity to ultimately win a contest and gain professional credibility.” Creative Allies is based in Asheville, NC. Contact: Lauren Jaeger, firstname.lastname@example.org
Meet the hit songwriter behind Beyonce and Christina Aguilera!
Don’t expect any weepy “victim songs” from Ali Tamposi. “They don’t make you feel better––they just reassure you of your pain,” she says. This songwriter prefers a more commanding message. “There is no better way to make someone feel better than five minutes of empowering lyrics in a cool, fuck you, twisted way.” Her breakthrough song, “What Doesn’t Kill You (Stronger),” a No. 1 Grammy-nominated dance anthem for Kelly Clarkson, is a resounding case in point. Since her arrival in Los Angeles from South Florida three years ago, the 23-year-old Tamposi, who envisioned a career as a recording artist, has blossomed as a formidable songwriter for marquee acts like Gary Clark Jr., Beyonce and Christina Aguilera. With her first co-writing ventures in Los Angeles she was expected to write topline––words and melody––to preexistent tracks. “Nine times out of 10 it never really meshes,” she notes. “There’s too much going on.” She first met her “What Doesn’t Kill You (Stronger)” collaborator Jörgen Elofsson when a fortuitous set of circumstances landed her in a writing session with the Swedish hit man. “One of the producers was looking for a top line writer,” she recalls. “Two days before the session I got called. I knew Jörgen from ‘A Moment Like This’ (Kelly Clarkson). I was shaking with fear and excitement.”
After the session, Elofsson inquired about Tamposi’s publishing situation and invited her to Sweden to write. Since she didn’t have a publishing deal, and speculates that she probably had about $10 to her name, she didn’t think that a trans-Atlantic trip would be in the cards. She was mistaken. “Jörgen had just started his own publishing company, and wanted to sign me. He called his partner in that day. It was such a surreal moment; that whole process of going to Sweden and having a little bit of money.” “What Doesn’t Kill You (Stronger)” was written about a year and a half into the Elofsson/Tamposi creative partnership. (David Gamson and Greg Kurstin are additional co-writers.) “Swedes are not normal; they are on another level when it comes to melodies,” Tamposi laughs. “Writing with Jörgen, I have to come in with 10 different titles, and maybe of those 10 he’ll be okay with writing one. It’s a grueling process; he challenges me. The lyric has to be as good as his melody, and that’s hard to compete with.” A torturous breakup back home in Florida provided the backstory for “What Doesn’t Kill You (Stronger)” and it also fueled the emotions of “Empty Words,” recorded by Christina Aguilera, who shares co-writing credit with Tamposi and her collaborators Nikki Flores and Michael Busbee. Although Aguilera added her spin on the song in the studio, Tamposi has since collaborated with the pop star who she calls “a
dream writer,” in person. “She’s one of the artists who I feel most comfortable writing with. But then she lays her vocals down and it is mind-blowing.” Tamposi explains her contributions to the collaborative chemistry. “Lyric and melody and concept, but not as much on the music side.” Although she says her mom “spent a shit ton of money on guitar and piano lessons. My musical skills aren’t enough to control a session.” She also notes that her current boyfriend “is an incredible guitar player, and I could never hold a candle to him.” He is James Valentine, lead guitarist for Maroon 5. “Songwriting is a difficult job; there is a lot of pressure in every session. You have to be on your ‘A Game.’ It’s a dream job, but it’s also work,” stresses Tamposi. That said, she appreciates the breathtaking trajectory of her career. “I honestly feel like this isn’t my life, and that I’m dreaming and that it’s three years ago and I’m going to wake up with my crazy ex-boyfriend.” For Tamposi, whose recent projects include Selena Gomez, Diplo, Shakira and Avicii, among others, the value of a song might be measured in a real message, a deep soul and a long life. “A great track with a great melody is a hit,” she concludes. “A great track, a great melody and a killer lyric make a copyright.”
Who Reads X-POZSED THE MAGAZINE The Rising Artist “I love X-Pozsed The Magazine ! As an independent artist, their directories and music industry tips are always super useful. X-P is a great way to stay on top of what’s happening in the industry.”
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Are You A Music Manager
Wannabe? Written By: X-Pozsed Staff
How to be a music manager is a question frequently asked by people who are interested in the field of music management. Of all the careers in the music business today, the music business management career is simultaneously the most demanding (“why aren’t you doing more”) yet sometimes the most under-appreciated (“well, anyone can do that!”) in the eyes of many in the music community. This can be attributed mainly to the fact that in today’s D.I.Y (do-it-yourself) era the role of the music manager is often seen by some as that of simply the “musician’s helper” as opposed to “career architect” as it should be. If this is the case, why would anyone want to be a music manager or start a music management company? The answer lies in the potential for rewards and satisfaction that can be achieved when a manager marshals together the necessary resources and connects with the right artist at the right time to execute the perfect game plan that results in success. The path to success, however, is littered with those that have tried ahead of you and failed; so if you are interested in the field of music management you have to enter it with your eyes wide open and equip yourself with whatever knowledge you need to succeed. Before you focus on how to become a music manager you need to ask yourself what ‘type’ of manager you want to be. There are several types available, including: • Personal (or music, band, talent) manager – the one most involved in the actual day-to-day career strategizing and plan formulation and execution with the artist, • Business manager – mainly handles the ‘books’ of the artist (income and expenses, making payments on the artist’s behalf, taxes, investments, etc), • Road manager – handles all the logistics of a tour while an artist is on the road. On larger tours, a tour manager coordinates all the various road managers involved with the tour and generally manages all the details of the tour itself; while on smaller ‘independent’ tours the road and tour manager are often one and the same. Once you’ve decided which one of the various managers you’re interested in becoming, you’ll have to determine how you’re going to go about getting the knowledge (or ‘background’ education/information) necessary to enable you to do your job competently. Unlike
earlier times when much of what a manager had to think about was shopping for a label, recording an album and then going on tour; today’s managers have so much more to deal with (and therefore to need to know), including how to reach fans directly, song licensing, brand partnerships, sponsorships, social media strategies, creative financing, independent publicity and marketing, etc. As far as getting information goes, there are several ways to go about getting educated, including: • School – several universities and colleges have music business management programs that may be of interest to those that have the money, time and geographical access. Search online for information on which institutions offer music business management programs or courses you can take either on campus or via online learning. • Books / Self-study – if you don’t have the access to funding for college or university, another option is to purchase some of the various books available on the topic of how to become a music manager and/or studying much of the material available online in the form of blogs, articles, forum postings, newsletters, etc. You can also attend music business conferences and/or seminars in order to get valuable information from the various panelists and establish connections with attendees and sponsors. • Apprentice / Intern – another way to get a music manager job is to spend time interning at a management company. Jobs in
The path to success, however, is littered with those that have tried ahead of you and failed; so if you are interested in the field of music management you have to enter it with your eyes wide open and equip yourself with whatever knowledge you need to succeed.
music management are difficult to get without a track record, so working behindthe-scenes inside a company allows you to gain experience on the job (which could lead to a job at that company or provide you the experience to start your own company) as well as enable you to develop contacts within the company itself and also with people who the company does business with. In reviewing how to be a music manager, an important thing to keep in mind about music management is that a manager gets paid a commission (usually 15% - 20%) based on their artists’ earnings. If your artist earns $0, your commission is $0. Therefore, you will need to make sure you have the music management knowledge and information necessary for you to be able to generate substantial income for your artist – and therefore yourself – from multiple sources (including recordings, licensing, publishing, merchandising, touring, brand partnerships, crowdfunding, endorsements, sponsorships, donations, subscriptions, etc) prior to taking on the task of becoming a music manager. You will also need to evaluate how much time you have available to devote to the task of music management since your (and your artists’) chances of success are directly related to how much quality time you put into the job. You will likely need to have another source of income (i.e., another job) to pay your bills in the meantime until such time as enough income is being generated by your management-related activities to sustain your lifestyle. You will need to make sure you have enough time to create and execute a winning game plan with and for your artists as well as maintain constant communication with the artist in order to evaluate, fine-tune, and adjust the plan where necessary. These are just some of the things to keep in mind as you research how to become a music manager.
new artist REPORT CARD
Contact: email@example.com, firstname.lastname@example.org Web: bonzie.net Seeking: Label, Booking, Mgmt Style: Indie Rock
Web: soundcloud.com/ user7669507/sets/niqa-mor Seeking: Label, Record deal Style: R&B
Melancholy Chicagoan Nina Ferraro, just 17, is one precocious artist whose sophisticated tracks have Fiona Apple and PJ Harvey influences funneled through intriguing tunings and prodigious skills from her producers who take each song's essential simplicity into sonically engaging realms. As a vocalist, Bonzie can deliver a beautiful melody ("Felix") as well as a Conor Oberst-like flatness ("Catholic High School"). She is an ideal example of a hipster anti-pop artist whose talent is downright scary. - Monica
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Production Lyrics Music Vocals Musicianship X-P Report Card SCORE
Contact: email@example.com Web: matthewmayfield.com Seeking: Mgmt, Distribution, Label Style: Folk/Rock, Singer-Songwriter
Crisp recording and simple, spare arrangements create the perfect platform for Mayfield's lovelorn pathos and yearning sensuality. His altogether downcast material ("Heart In Wire," "Ain't Much More to Say," and "Take What I Can Get") is well-crafted, accented and shaded subtlely with cello, slide guitar and accordian. But always, his producer keeps the singer front and center, enabling him to tell his story, state his case, and make you feel his pain. If Dashboard Confessional had a Southern lovechild, this Birmingham, AL artist might be it. - Mike
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Contact: firstname.lastname@example.org Web: ad3music.com/b-a-s-i-c Seeking: Label, Booking, Film/TV, Producer Style: Hip-Hop
Contact: email@example.com Web: malyndahale.com Seeking: Mgmt, Label, Booking, Film/TV Style: Pop, R&B, Singer-Songwriter
Contact: firstname.lastname@example.org Web: emberfx.com Seeking: Film/TV, Booking Style: Electro-Indie-Pop
Hip-hop headz who crave a higher consciousness set to a dark beat will enjoy the entire vibe of "Levitation," whose expert lyric flow holds a mirror up to the thug life, both male and female. A sultry female R&B sample sets "Windows Down" in motion and propels the song with guest vocals, a beefy bassline, an easygoing vintage vibe and a nice bridge. "Another Thing Coming" is a track that, like the rest, shows great production skills, primarly on the vocals, which are perfectly mixed. This is an artist that is surely on his way to stardom - Q T
Production Lyrics Music Vocals Musicianship X-P Report Card SCORE
Niqa , a sultry female R&B singer with nice vocal skills â€œOne Stepâ€? is a song that tells a story of a female who is fed up with her man lying ways , the EP shows deft production skills, particularly on the vocals, which are perfectly mixed. Even though at this time Niqa doesn't quite stand out to me as the female who will kick Beyonce off her throne . However,She is and artist who is working at a high level and ready to sell some records! - Candice
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Hale has love on her mind, and with a strong, expressive and sometimes theatrical voice she makes her impassioned pleas in "Fallin'" and "Blue Eyes." While both have effective arrangements, their prospects for placement are handicapped by a couple of things: sonically they suffer due to a general muffling in the low end; and, lyrically, Hale tends to force her rhymes and be too literal, resulting in lyrics that are sappy, even for this genre. "City Lights," which conveys the singer's aspirations for a successful life, is her strongest outing. - Adam
Production Lyrics Music Vocals Musicianship X-P Report Card SCORE
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Spearheaded by Michael Berns, this pop-rock project has propulsive, hook-driven synth-pop songs that are custom-built for high-profile radio. "What Aren't We Going To Do" (mixed by Jack Joseph Puig) is the best of the bunch. Less poppy than MGMT and with a Ben Gibbard vocal inflection, the song is extremely commercial, though lengthy at 4:40. (We recommend a more interesting drum track.) "Lights & Action" has impressive falsettos that glide along with the changing tempos. Can't see why Q100, wouldn't consider Ember Fx for its playlist
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Mélat's Style: R&B Website: www.BeholdMelat.com Facebook: https://www.facebook.com/OfficialMelat Contact Info: email@example.com Hailing from Austin, Texas, Mélat approaches every note with fearless class. She represents the artistic songstress in its purest form. Of Ethiopian descent, Mélats’ repertoire of musical influences is diverse, spanning all genres. From a production standpoint, she is rooted in San Antonio, Texas from which she strives to paint musical landscapes vivid enough for the contemporary soul yet resilient enough to weather the tests of time. To be courageous, to be daring, and to be unforgettable are her pillars when it comes to creating art. She sings to pass on her simple message of love: Love is infinite, love is over all.
LAMONE Style: R&B Soul Facebook: https://www.facebook.com/ pages/Lamone/62203572327 Who is Lamone? Lamone, the self proclaimed "X-Man" aka (Lomon Andrews), pulls in the crowd. He is a must hear, multitalented vocalist, songwriter, producer, and must see performer with an incredible vocal range. Born and raised in Waterbury Connecticut, and being a product of "Genration X", Lamone is no stranger to going against the grain, or straying from the norm. Never a follower, always a leader, this "soulja" of music and art blazes his own trail. With his ability to channel and evoke the artistry of such legends as Al Green, Marvin Gaye, Sam Cooke and Donny Hathaway, Lamone has developed a soulful yet eclectic style all his own. That ability combined with his dynamic stage presence commands audience attention at every show. Lamone is also working on his much anticipated cd which is currently in production, with various producers, such as multi-talented producer/musician/songwriter, Chris Big Dog Davis, who has worked with the likes of Brian McKnight, Vest, Will Downing, Phil Perry, Najee and many more. Lamone has performed as part of opening acts for Phyllis Hyman, Keith Washington, the Stylistics, the Chi-lites, and the Dramatics. Lamone has also performed onstage with Chaka Khan, Anita Baker, and has sang backround for Me'lisa Morgan. Ladies and Gentlemen, this is one "exclusive" artist you don't wanna miss. So stay tuned! The wait will soon be over.
Kim Cole www.KimberlyColeMusic.com
MTV christened her "Buzzworthy." Clear Channel's iHeart Radio called her "One to Watch." With over 1.5 million Twitter followers, it's clear that audiences are indeed watching, and listening to, rising dance music artist Kimberly Cole.
Following the breakout success of her first single, "Smack You," which Seventeen magazine called an "incredibly addictive dance-pop tune," she recently teamed with DJ/remixer/producer Eddie Amador and up-and-coming artist Garza on "Arrow Through My Heart," which cracked the Billboard Dance Chart's Top 20, and reteams on "U Make Me Wanna" (Big Beat/Atlantic Records), to be released March 13. The charismatic artist is beginning to make her mark as a headliner, having opened for Katy Perry, LMFAO, Cobra Starship, Lupe Fiasco and Shiny Toy Guns. This year she entertained U.S. troops in Hawaii and will continue to perform shows across the U.S. and Japan as a headliner for the 2012 "Welcome Home Leatherneck Tour." "Smack You," the lead track off her 2010 debut album, Bad Girls Club (Oxygen Media/iTunes), is a girlfight-themed song about standing up for yourself, which Cole dedicates to "anyone who has ever been a victim of bullying." The edgy, upbeat song has received strong Top 40 radio and mix show adds across the U.S. and broke the Billboard Dance Chart's top 4. The video has a Tarantino-inspired Kill Bill-style fight club theme. "Smack You" was featured on the fifth season of the Oxygen reality show "The Bad Girls Club," a collaboration which led the network to support the release of her first full-length album. Bad Girls Club is infused with catchy tunes, clever lyrics and irresistible beats. She co-wrote all the songs with Grammy-nominated producer/writer Jeeve (Nicole Scherzinger, Paulina Rubio, Santana), joined by the songwriting talents of Philip Lawrence (Bruno Mars, Flo Rida, Cee-Lo) and The Writing Camp (Beyonce, Britney Spears, Rihanna). From the sexy "Cherry Pop" and "Pocket Rocket" to the party-hearty beat of "Get Stupid" to such relationship-driven tracks as "Psycho," "Walk of Shame" and the comedy-laced "Three Way," Cole establishes herself as a talent both fresh and fearless. A native of Orange County, California, Kimberly Cole studied piano, voice and dance beginning at the age of four. But it was in her teenage years when her skills all came together, performing for huge audiences as a champion competitive artistic roller skater, a demanding sport where she learned how to tell a story with her body and enthrall arena-sized crowds by fusing hip-hop and break-dance into electrifying routines. While earning a reputation as a spunky on-camera talent, in hosting gigs for MTV and as a celebrity judge on VH1's "Saddle Ranch," she has cultivated her acting talents as well, co-starring with Eliza Dushku in the Fox series "Dollhouse." Cole has performed on soundtracks for such films as Fame, her song "I Know" accompanies the closing credits of Mean Girls 2, and Oxygen has featured more than a dozen of her songs on its series "Bad Girls Club," "Love Games" and "The World According to Paris." Kimberly Cole has also lent her talents to myriad commercials, including those for Old Navy, Mattel, Mountain Dew, Skechers and Pantene, most recently appearing in ads for Skittles in a custom pair of candy-covered headphones.
X-Pozsed By Renee Ross x-pozsedmagazine.com/x-pozsedthemagazine.com
Managers & Agents X-Pozsed The Magazine exclusive, national directory of managers and booking agents. This list will allow you to reach out to the firms of your choice. All data is updated with information supplied by the listees. So what are you waiting for?
Get Connected Today !!! 4 STAR ENTERTAINMENT New York, NY E-mail: firstname.lastname@example.org Web: www.4starent.com Contact: Todd Frank Styles: Pop, Rock, Oldies Clients: Mo'Nique, Cedric The Entertainer, Isaiah Washington, Yolanda Adams, the Trammps, Mary Mary *No unsolicited material
producers only ABBA-TUDE ENTERTAINMENT 311 N. Robertson Ave., Ste. 505 Beverly Hills, CA 90211 818-991-7399 E-mail: email@example.com Contact: Mark “Abba” Abbattista Styles: All Services: Personal management, legal *Accepts unsolicited material
5B ARTIST MANAGEMENT 1755 Broadway, 3rd fl. New York, NY 10019 212-445-3500 E-mail: firstname.lastname@example.org Web: 5bam.com Styles: Metal, Rock, Alt. *No unsolicited material Additional location: 1605 Pacific Ave. Venice, CA 90291 310-865-4808
A.C. ENTERTAINMENT 52 Carmine St., Ste.12 New York, NY 10014 212-741-3083 Fax 212-924-0333 E-mail: email@example.com Web: www.badbrains.com Contact: Anthony Countey Styles: Punk, hip-hop, alt., rock Clients: Bad Brains, Dufus, “Dr. Know” aka Gary Miller, Darryl Jenifer (producer), Blakvova *Accepts unsolicited material, but not seeking new clients
AIC ENTERTAINMENT 321 High School Rd. N.E. Ste. D3, PMB 210 Bainbridge Island, WA 98110 206-781-3956 Fax 206-781-3957 E-mail: firstname.lastname@example.org Web: www.aicentertainment.com Contact: Amanda Case Styles: S/S, folk, pop, rock, americana, jazz, world Clients: Ian Moore, Two Loons For Tea, Spottiswoode & His Enemies, Modeste, Joel Dilley, Bett Butler, Swati, Bronwen Exter, Don DiLego, David Berkeley, Jamie Hutchings, Sophie Hutchings, Beautiful Small Machines. *Accepts unsolicited material, call or email first
AFRICAN MUSIC SOURCE 2519 Nason Ave. El Cerrito, CA 94530 510-778-1885 E-mail: email@example.com Web: www.africanmusicsource.com Contact: Baba Ken Okulolo Styles: African Clients: Baba Ken & Kotoja, Baba
AL BUNETTA MANAGEMENT 33 Music Sq. W, Ste. 102-B Nashville, TN 37203 800-521-2112 Fax 615-742-1360 E-mail: firstname.lastname@example.org Web: www.ohboy.com Styles: folk, bluegrass Clients: John Prine, Kris Kristofferson
AAM 7 W. 22nd St., 4th Fl. New York, NY 10010 212-924-2929 E-mail: email@example.com Web: www.aaminc.com Contact: Matthew Clayman Styles: Alt., Rock, Pop, Indie Clients: Call for roster *No unsolicited material, represents
Ken & Afro-Groove Connection, West African Highlife Band, Baba Ken Okulolo & the Nigerian Brothers *Accepts unsolicited material
*No unsolicited material ALLURE MEDIA ENTERTAINMENT 34 E. Germantown Pike, Ste. 112 Norristown, PA 19401 215-601-1499 Web: www.allureartists.com Styles: rock, alt. rock, pop, adult rock, r&b, hip-hop Clients: Sleeper Cell, Maddam Ink, Slik Helvetika, XDao, DJ Miguel, Kara Reynolds, Tim Laigaie, Stealing Love Jones, Thoroughfare, Gallucio, The Wonder Years, Greg Howe, Uncle Plum, Darryl Ray Band, Flux Capacitor, Coolooloosh, Tom Taylor, Brian Severn & Those Victorious *Accepts unsolicited material, please follow submission guidelines on web AMERICAN ARTISTS ENTERTAINMENT GROUP 29 Royal Palm Pointe, Ste. 5 Vero Beach, FL 32960 772-569-1040 E-mail: firstname.lastname@example.org Web: www.aaeg.com Contact: Anthony Messina Styles: pop, rock, R&B, country, s/s Clients: Jenny Galiardi, Mike
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