LM: What is you occupation?
BS: Music services.
LM: How did you get started?
BS: Playing in a rock band age 16.
LM: What services do you offer?
BS: Piano tuning and repair, piano purchase consultation, professional accompanist, church musician
LM: What are clients you are typically looking for?
BS: All the above services provided promptly, fairly priced, and satisfactorily.
LM: What skills are required to do the job?
BS: Good customer skills,follow up, marketing, knowledge, and experience
LM: What do you like about the business?
BS: Flexible hours,working for myself, unlimiter opportunity.
LM: What do you find most challenging?
BS: Staying current with technology
LM: What’s the biggest change you’ve seen in the business in the last 5 years?
BS: Fewer new piano sales customers, more repeat customers with piano reconditioning,
LM: What are your plans for next year?
BS: To continue my business plan in a manner similar to the last five years
LM: What opportunities do you see in Indiana?
BS: The need for music services will continue in most areas such as performers on many different instruments, recording personel, piano tuners, agents, school music teachers, private music teachers, church musicians, instrument repair techs.
LM: Any advice to people considering going into the music and entertainment business?
BS: Take time to study all the different areas to get a feel for areas which interest you. Become proficient with the technology in those areas, intern with companies that have those services. Form a networking group to help you evaluate your strengths and give feedbackto help you on your journey.
LM: Any thing else you'd like to add?
BS: Understand that personal responsibility for building your career path includes perseverance, study, goal setting and evaluation of progress, working to improve one's skills, finding mentors, and not giving in to negative influences that abound in the marketplace. Accept that there will be failures along the way but realizing the difference between those who succeed and those who do not is being willing to fail again and again to you finally get it right.
What's your occupation with Sweetwater?
I'm the VP of facilities there, and I handle all the functions of the building from a mechanical standpoint.
How did you get started there?
I've known Chuck for 30-some years, and I've been there from pretty much when the company started off as a customer, and doing my recordings and stuff right out of high school.
What do you like most about working there?
It's just an awesome company. It's incredibly progressive, we're constantly changing. It's great being part of a winning team. There's just so much I could go on for hours and hours, how much time do you have? (laughs)
As much as you're willing to give me.
Yeah, Sweetwater's a pretty amazing company. Basically, just go online to see how much it's grown over the years. It's one of the companies people come to, and you're really proud to say you are a part of that company. When people walk in the door, and just see how amazing the building is, and the ammenities and the great group of people that work there, it's just something to be proud of.
You mentioned that you're constantly changing. What's the biggest change you've seen there in the last 5 years?
Oh my gosh, the changes are just phenomenal. We're constantly growing whether it's putting on whole new annexs of the building to hiring hundreds of new people. Really just the growth.
What do you find the most challenging about your job?
Honestly, I don't find it challenging. It's a job that I enjoy, I don't look at it like big challenges, more than just everyday I'm looking to see what the next day brings, more opprotunities than challenges.
How do you balance writing and performing with your job at Sweetwater?
Well, I work for a music company (laughs) and the bulk of the people that work there are musicians. So the company is very understanding when it comes to, when you've got gigs or when you need to do something musically. Even the owner is out playing gigs on the weekend playing saxophone. So, it's pretty much an understanding, we're a music company and everyone supports each other.
What opprotunities are there for your music in Indiana?
I guess it all depends on what audience you're targeting. I target a more select group of people, so my audience is more abroad and in the bigger cities like New York, Miami, and California and the bigger meccas.
Do you have any advice for people considering going in to the music business?
There's got to be a passion, you got to have it in your heart, because there's so much out there and there's so much competition, and its getting easier for people who are just beginners to put out some decent stuff. So you've got to have a game plan, otherwise you'll just be mixing in with the huge ocean of everybody that's out there.
Anything else you want to add?
I would also say, if you're getting into music, it would probably be best before you start throwing stuff online, to get with a licensing company like BMI, ASCAP, get your work registered, then get into something that'll help get your fees collected like a TuneCore, and that will help you distribute with things like iTunes, Spotify, and Amazon. It really makes it easy for the artist. But the great part is you don't have to worry about collecting royalties and sales because TuneCore, or an agency like that, will do it all for you. That makes it really easy for an independent artist.
That's very helpful thanks.
Yeah, and then you've got to think about publishing. In the old days, you had like huge record companies, and you couldn't do anything till you were like begging at their doors, and waiting for just like a tidbit or a scrap. Depending on how much tenacity you have, you can do alot of that yourself with social media and the way the internet works right now. You've just got to make sure you protect yourself, and you're not just throwing your music out there for free. Unless that's what you want to do. That's not a huge issue for me, making sure I get every penny that goes out there, cause I'm not that greedy. Of course, I'd like to make some money off it, but heck I give away stuff for free, just to have people listen to it. I guess it all depends on the level of how much you want it. If this is your sole income, you really want to protect yourself. But if it's more just your art and you just want to distribute your stuff then that's a whole different ball game than being a whole livelihood type function.
Alright cool. Thanks for your time.
Sure thing, have a good one.
Event On! :)
Event Entertainment Specialist
NBE Event Grou
What is your title?
-I am considered a music therapist
How did you get started in this career?
- I learned about the career of music therapy when a music therapist came to present to my high school choir class my senior year. I have always loved music, but didn't want to be a performer or teacher. I wanted to help people and work with people who have special needs, or in a medical setting, so I was planning on going to school for nursing. After I saw the music therapy presentation I decided to look into that, and I never looked back! I love it.
What education would you need to be in this field?
-You need at least a bachelors degree in music therapy. If you have your bachelors in something else you need to go back to get a masters in music therapy. After your masters your need to do a 6 month internship and pass a certification exam.
Is it more playing music with/for children or is it teaching them music?
-It is much more than playing music with kids or teaching music! Music therapists are therapists. We assess the needs of our clients, create goals, develop treatment plans, track progress, document, and reassess. Goals vary according to the population. In a pediatric hospital, goals often include promoting self-expression, decreasing perception of pain, or easing distress. Music therapists who work in nursing homes also use music to decrease agitation, promote reality orientation, and promote socialization. In rehab settings, music therapists work alongside physical therapists to encourage movement in various areas of the body as well as provide emotional support. Each of these goals are reached through music interventions. Interventions could include singing, instrument playing, lyric discussion, songwriting, etc.
What is most challenging part of your job?
-I work in a medical setting, often with children who are in critical condition or with the families whose children are dying, so emotionally it can be very hard. Not all settings are so emotionally demanding, though, so don't let that scare you away! In Indiana, many many many music therapists work with individuals who have special needs and receive music therapy services on the Medicaid waiver. These music therapists often drive to their clients homes for sessions.
What is your favorite part of your job?
-One of the great things about music therapy is that there are so many different settings music therapists can work! I love my job. I love that I get to use music to promote healing emotional and physical. I love bringing peace into stressful situations.
1. What is your band position? My name's Earl, and I play guitar and am the lead singer in the group. I'm the voice of the group, I'd say.
2. How did you get started? I started with the trumpet when I was about 11. That got me excited about music and playing the guitar to me seemed cooler to do at the time. So I learned to play and met some cool people who wanted to play along with me.
3. What services do you offer? I offer composed sounds for people to enjoy and tie to their lives.
4. What are your clients looking for? Listeners want good music from good people.
5. What skills are required to do the job? Musical skills! Skills coming from playing stuff over and over and over. Also people-skills. A big part of spreading your music comes from networking with people, so people-skills are huge.
6. What do you like about the music business? The music business truly still stands as a way of spreading good music to good people who like music. And there are enough people in the industry who believe that mission statement and that's why we're still here.
7. What do you find most challenging? Getting. Gigs. Man it's hard getting gigs where you want because as a band whom no one knows, it's atypical for someone to branch out and book someone like us; unheard.
8. What's the biggest change you've seen in the band within the past years? I've seen us get better and better. But our progress goes in waves, really. There are months where we play and compose and write and it's a success. But then there are spans of time where we're lazy and don't get a thing done.
9. What are your plans for next year? Next year we're going to play lots and lots of shows here in Bloomington and hopefully do some recording!
10. What opportunities do you see in Indiana, if any? Indiana, in some places, are just filled with fantastic people everywhere. And talented people. There are wholesome people just looking to contribute to our collection of music as humans.
11. Any advice to people considering going into the music and entertainment industry? My advice is to get as good as you can be. That's insanely important, to outwork everyone else. The second biggest thing is to expand your social network as much as possible. The more people you become friendly with, the more you're able to find opportunities in the biz.
Caligula's Birthday Party
What is/was your occupation?
Out of college, high school band director and overall musician for bands around my area.
How did you get started with that?
“I went into college thinking I would be a performer so I started as a music performance major. However, I did get some advice to double major and I followed that because with music business, performance, education, it is easy to double major. That is because there is so much overlap between music that I could do much more in college in the 4 years that I wanted to graduate in. In about my third year of college, the head director at WMU retired and a new one came in. He told the ensemble that most of you are music education or music business majors so we aren’t going to have rehearsals for band pretending to be a professional organization that you can find in many other colleges and ensembles. Every day in rehearsal is going to be like a lab on how to best teach music in schools or in the business world. So all of the pedagogical stuff was explained as we went through the course and living the student end of it, I saw how much of a great impact it could have on musicianship. By the end of that first year with the new director, I was getting more interested in the teaching aspect with also having some part in recording in the music business. For performance wise, I played in short 2 week gigs and responded to various ads in the paper for ensembles who needed payers so I could still play but at the same time move away from that to focus more of business and education.”
When you started, what were schools looking for in an applicant much like yourself?
“Schools want to have people who are good musicians, although you are rarely going to be asked to play an instrument like in an audition. They are more interested in your academic preparation, and looking at your transcript with how well you did in your classes. For popular jobs, an awful lot of people would apply for one job and I could tell you from 2 experiences being on the higher end, no 4 experiences! My most recent one was hiring my replacement band director and I will never forget it because we had over 300 people apply for the job and I had to narrow it down to less than 10 people, and it was not easy. Each of those people would come to Stevenson and conduct one of the bands in class while being observed by people in the fine arts department and we went from there. But when I was early on at Stevenson, I built a relationship with all of the Junior High Schools that fed into Stevenson to grow the program because my teaching in Texas was built all on that model to have that sense of continuity. Every week I was in each school at least once and the principals trusted me. So when those people retired, which were successional like every 2 to 3 years, they invited me to be part of the hiring process/committee to find the directors replacement. It was not really official, I made basic yes and no piles and sat in on the interview part. You also really need to stand out with grades you know you have to show that you are serious enough that you take care of yourself academically. And I think of what people look for in the business overall, is the enthusiasm and the mind-set of what a person really wants to do with trying to be helpful and showing what you know. Overall: Smart, confident, enthusiastic, track record of working hard shown with what you have. If you have experience, especially with recording, companies really look at the track records you have with enthusiasm on the part students when you talk to their coworkers or former students.”
You were a director for a long time. If you had to describe the basic skills to do that job, what would they be?
“I’m not going to promise to spit these out in an order of importance as it will be a little bit random! You have to have a real thorough understanding of music and that is not always a given I’m afraid especially when it comes to recording… You have to have a clear pedagogical approach on how to teach recording, music, the various instruments, and little nuts and bolts of a recording studio in ways that are logical and understandable by students and now, coworkers. Because of the 2 different things I did, I worked with people of various ages in a big gap, from 14 to anyone who is an adult! You have to be able to express yourself through stories and analogies and so on so you can meet people where they are in your explanations. Another skill set is organization especially in a community like Stevenson is. Being as complex as it is, I was lucky to have already taught for 10 years in Houston Texas as an assistant to a guy who had established a strong program and while it was never as big as Stevenson got so I really understood what and how to do it. When Mrs. D and I started at Stevenson, it was about 53 students was the entire program. So I think one of the important aspects was having some experience as people would say, a view from the mountain top you know you’ve been up there and have seen what’s possible, what students and coworkers are capable of, what a program can become so that when you are starting up a program that has returned to the ground floor and needs to grow again, you aren’t feeling your way along with that growth rather that you are helping it come back to a place that you have experienced. I was lucky to have that experience but I think that played into my hiring. The principal at the time needed someone who would stay a long time at the school and has experience in education and recording because recording was just starting up at Stevenson. He was thinking, here is someone who has worked in a program that looks like what we want this program to be. I consider myself very very organized, logistical things, kind of like playing in that stuff hence the program grew to 5 bands and 360 people. Being a team player with coworkers/colleagues is very important. I was lucky to be in with other colleagues that shared a vision of what a music department could be. Band was not separate, orchestra was not separate, and chorus was not separate as we all had the same ideas! We want the music department to look this way. And a lot of that was the Stevenson culture, but we were all team players. So in essence, you have to understand music and for me, recording well, you have to teach and how to do it and there is a lot more to it, like the art of knowing how to do it. You also have to be very encouraging of others to make their own discoveries with leadership components. You also need to foster independence in the coworkers and students. Leaders, drum majors, head directors, are essential. And finally, highly, highly, and did I mention highly organized?”
What was the one thing you found most challenging being a director and recorder?
“Well, this will probably sound like a typical answer to an interview question. The thing I found the most challenging I also found to be the most rewarding which was the Stevenson culture and this was fit me very naturally this okay lets never be satisfied with where we are. Let’s always look at how something went or whether it’s an event or the whole school year or something in-between those in the scale and think how could it be better next time around. And so this constant analysis and strife to make it different and better is always a challenge, but that is what makes it fun. I would think it would be terribly boring to do the same do the same things in recording and conducting over and over again in its regards.”
What is the biggest change you have seen in the your work world in the past 5 to 10 years?
“I may go back and add to it and maybe even shift it but the first thing that comes to mind… I heard someone else quote someone else saying what’s been the biggest change in education these past several years of your career and this person said, (I used to spend all of my time and energy teaching my students. It feels like more recently I have to spend most of my time and energy proving to people that I teach students.) And now, that did not manifest in as bad a way for me as it does for other people at other schools. Just on my way out of Stevenson, you can tell that there are more standardized testing and there would be a lot of brand new things I would have to learn about and go through more hoops and it would all be peripheral to the core jobs I always did and still do today. The way I recorded and taught students, taught music, technology, helped the program achieve and grow in context of all the other parts of the music department. But there is a lot of peripheral stuff that teaches must do because there is a general suspicion, not on everybody, but on some people. You end up with Common Core emphasis and it would get more specific in each department of the district. All this accountability testing stuff is really for the academics for music is a huge distraction in what teachers could be teaching their kids about real world stuff and to have more interaction. Everyone buys in to this cycle of continuous improvement at a personal level and all this other stuff is just like it just went all away. Computer Science, for example, is always changing, and the teachers have to always stay me chapter ahead of they students. What makes a good HS music and recording educator today is the exact same stuff that made a good educator 40 to 50 years ago. For business and performance, I think there are a lot of challenges with the technology that now makes it very easy for people who want to make a living at performance to not be able to because you want to make records but now everyone can download and share their stuff and buy all accounts that I keep in touch with. The recording industry, from my experience, is a very big machine that is really built to keep the machine well oiled and growing and enriched. The artists, and we can all think of people that are household names as artists and they are the small percentage of people trying to make a living at performing their music for the rest of the planet. These few golden platinum albums are selling people away and everyone else you know they have a tough time doing it. And I do worry a lot I guess about the democratization of music too. The concern is if you want to play the whole career through the traditional path of trying to sign a major label and get your 25 cents per record or something or a penny or two per radio play that might happen and that is because companies do not sell the recordings like they used to. I grew up in the days of vinyl. Unfortunately, even when I was teaching, technology has improved so greatly that I miss records. I went to the record store and I paid $10 for this piece of vinyl and you knew the record company was a getting a line share of it and the artist was getting a fair amount of that. This is balanced out, I suppose, that technology now allows people to record themselves. I myself have never worked with big artists but with a bunch of students and more communal groups. My last major project, was with a guitarist that I know who put together an album and I saw it unfold over the course of a year. She found musicians to collaborate with, she found the producer (me), and we did a lot of studio time and I know that she did invest a lot of $ into making this project happen. But she published it somewhat independently. She sold her own records from her own website but she will not have the bigger connections to get her way out. The whole universe, as I’ve come to accept, is constantly changing and things get easier and harder too. I think the soul of musicians will keep going but I think it is sad that it is becoming harder to make a living at it which I might think be the case. If a person was into playing an instrument that could potentially be in one of the major symphony orchestras that pay a living wage and I am not exaggerating these numbers that if the CSO wants to replace 1 of their 3 trumpet players, there will be 600 to 700 applicants and they’ll invite 80-100 to a first round audition then pick a pool from there. If you want to get together with your friends and polish up your garageband, its even gotten where live performance opportunities are tougher too. I mean, so when I started out, you could go to a bar or restaurant and there would be a 4 or 5 piece band or hotel lounges with a show band, businesses have gotten large and cheap about that stuff. They would rather have a jukebox or one guy with a guitar and a microphone just singing. Pushing your own way and making you own way I think is even harder than ever before. When I first learned about Pit Orchestras on one of the band trips to NYC, they were huge, but more and more that gets downsized today because producers want to save money.”
What are your plans for this upcoming year?
“I’m kind of excited because told myself several years ago that I wanted to get together with somebody who is very proficient at teaching jazz improv and so just last month, I have started those lessons. This lady was a pretty successful lady in NY and she moved to Chicago quite some time ago. I had a student about 15 or more years ago at Stevenson and she started taking lessons with this Audrey Morrison and I started seeing after about a month or so that she would come into jazz band with all of this confidence and understanding and her improvised solos were just blossoming in front of me and I thought okay, I have played in many jazz bands before, and that student made me want to go more into the improv mode for jazz band when I had some time. So I thought this student is passing me up and I know that when I have time, so now I am doing it! I’m playing in the Buffalo Grove Community Band and Jazz Band and it has one day a week rehearsals and it’s a few gigs a year and that’s okay. I would like to get myself to a place to find a gig with a big band in a jazz setting! There is nothing more fun for me now than playing in a big band as a trombone player.”
Do you have any words of advice for people going into what you have done?
“As it is the case for high schoolers going off to college, my father wanted to assert some opinions and here’s what you ought to do things. I wanted to go off and just be a performing trombone player and my father was in business and had his own business and he was very assertive that I take business classes. I took those classes and ended up doing that as a background with education too. They are important classes and it is just legendary that people who are passionate about their music and tune out everything else get taken advantage of and don’t manage their well-being if they’re not financially savvy. I’m grateful that I have that understanding of the business and the financial world and I would say that people should take the basics and definitely some music business classes if possible in college. When I was leaning towards teaching too, my parents were skeptical about how teachers would make a living. I think, for me, the stars aligned in a way I can’t explain or understand because I have been fortunate enough to only have had 2 jobs along with recording in my career. 10 years in Houston and I landed with a guy who was a terrific mentor. I brought what I knew back to Chicago at Stevenson for 24 years and low and behold, this is under extreme thread of turning something into not at all good but I was in all of this when teachers paid into pensions and states and schools aid into pensions and right now, I have modest wants and needs, and I have a pension that will take care of me for the rest of my life! My advice to people is to follow your passion, not to be cliche, but be smart about it and think about how do I trust when I’m young and what I see most is my immediate passion for what interests me now, that I got to step back and take a view of my future too. Later in life, paying the rent, buying the groceries, or even a family! Take coursework that makes you knowledgeable about how life works. Getting to expand your horizons, like in philosophy, this is how the human life works in the world, so take as many courses as you can! And finally, keep updated with technology! It is moving all the time and so someone who is getting started needs to keep up, regardless of the industry you will be going into.”
What is your occupation?
I am an independent touring singer/songwriter. I book all of my own shows and negotiate my contracts. I also produce my own music.
How did they you get started?
I got started by auditioning my material in local coffee shops, calling venues, and e-mailing venue owners when I was 13. I played all kinds of shows, both paid and unpaid until I established the reputation I wanted.
What services do you offer?
Currently, I only offer my skills as a live acoustic music performer.
What are your clients typically looking for?
My clients who book me to entertain at their venues typically look for a quality EP, compatible availability, and how big the fan base is.
What skills are required to do your job?
I have to be business savvy, and not take things personally if a venue doesn't respond when I reach out to them to get booked. I have to be able to market myself and argue for compensation. Some graphic design experience is helpful, as well as knowing how to write a pitch in an e-mail. At the actual show, I have to be able to perform well and stay calm under pressure. I also have to be social and network with as many people as I can.
What do you like about the business?
I get to meet all kinds of people, and I get paid to play music. There's nothing better.
What they you most challenging?
Perseverance. It gets extremely discouraging, and not everyone likes what you're doing. Someone always wants to be the critic.
What’s the biggest change you've seen in the business in the last 5 years?
I have noticed two things. Women don't have to be a size 0 to be successful in music. We've seen Adele, Meghan Trainor, Ella Henderson, Kelly Clarkson, etc. sell smash hits without being skinny. The other thing I've noticed is that live music is experiencing a rebirth. People are going to see shows again.
What are your plans for next year?
I'm planning on continuing to tour nationally, attend some songwriting conferences in Los Angeles, and maybe even move to California.
What opportunities do you see in Indiana?
Opportunities in Indiana are very few, but they're out there. Basically I've had to make my own opportunities, and network within a very close-knit community. It's important to be kind to everyone you meet, because everyone knows everyone in the Indianapolis music scene.
Any advice to people considering going into the music and entertainment business?
Make sure you've got a thick skin. Know who you are as an artist/engineer/performer, and always fight for what you know you deserve.
Any thing else you'd like to add?
What is your occupation?
When did you start playing?
“I started playing instruments back when I was a toddler. Probably at age 3-4 but not professionally, I was about 15 years old.”
How did you get started?
“Growing up music was always around. Mom was a singer, and sang when she was pregnant with me. My grandfather was profession musician. It was just apart of my DNA.”
Who inspired you the most
“I was most inspired by cousin Anthony Harmon to play bass. He played for a lot of well know gospel artist."
What kind of services do you offer? Such as when people call you for gigs?
“I'm hired to give the artists what they want. Normal duties are to be on time, learn and know the music, and deliver it just like the artist expects you too. I also arrange and produce music for artists. And I also lead as the Music Director too.”
I said, “Sounds like a lot of hard work…”
“Yeah it can be but I love it but last week I had to learn and play 25 songs.”
What skills are required for you to play as well as you do?
“It just requires dedication and professionalism. Everyone plays and at all different skill levels, styles, etc. anyone can get work as a musician."
What do you like about the business?
“My favorite thing is continual growth that is easily accessible ... Learning new styles and meeting new people. There no ceiling as far the growth you can have in the business.”
What did you find most challenging about the music industry?
“It's a dog eat dig industry! No body is going to hand you anything!”
What's the biggest change you seen in the business in the last few years?
“True musicianship has gone on the back burner. Back in the days when technology wasn't as advanced you had to be on you’re a game! All of the musicians came in together and recorded simultaneously! Now days everything is so digital and mistakes can be altered so you don't even truly have to be good! The need for the musician will go away if it doesn't change. But I think slowly but surely real music will be back at the top!
What is your future plans with your profession?
“I would love to tour with mainstream artists and perform all over the world. Performance is where I get the most joy out of my career.”
What opportunities do you see in Indiana? Or if there is any here?
“Not many opportunities as far the mainstream scene goes. I see myself living in LA or somewhere that the music scene is rolling.”
Do you have any advice to give someone that is considering the music industry?
“Yes! Music is universal! There's no right or wrong to do it. Never compare yourself to another's success. Your road is your road.”
Is there anything else you want to add to the interview?
“I don’t have anything else. Thank you.”
What is their occupation?
Music A&R for Unfold Management.
How did they get started?
“I got started in college helping produce and manage my friends who were artist. After college, I worked for a label and soon had to undergo a A&R role to help with releases and collaborations and loved it ever since.”
What services do they offer?
Unfold offers management for artist including booking shows, career advice, and sponsorship endorsements.
What are their clients typically looking for?
Clients are typically looking for help booking shows and having a platform where they can focus solely on the music and less of the intense business of the music industry.
What skills are required to do the job?
“A skill you must have for the job is the ability to have a good ear for music and be able to work with a artist with a vision for longevity in their career. It's not always easy to spot raw talent but once you know the industry your dealing with things will start to become natural”
What do they like about the business?
“I love the music. I also like to see a artist flourish and develop into a brand that is recognized across the globe!”
What they find most challenging?
“The most challenging part is locating talent with a incredible work ethic. Artist can have the vision but if the work ethic doesn’t follow it things will be held at a standstill or prolonged.”
What’s the biggest change they’ve seen in the business in the last 5 years?
“The business is always rapidly changing, the biggest change I have seen in the last 5 years is that most artist want to remain independent instead of working with a major label. That use to be a measurement of the success of the artist (landing a major deal) but now a days the artist want to remain in control of how they market and produce their music.
What are their plans for next year?
“Unfold plans to continue expanding the amount of artist that are managed within the company. This includes helping artist book shows and touring, help artist locate sponsorship deals and endorsements, help with marketing and press releases insuring the success and longevity of an artist/client. I am excited to continue to accruing artist with talent and incredible work ethic and we will have to see what unfolds… ”
Any advice to people considering going into the music and entertainment business?
“Good advice in the entertainment industry is to conduct excellent and honest business with people. Word of mouth travels fast so it always a good to have a solid reputation and image. People enjoy working with individuals who posses those traits and makes things seem more natural and easy flowing business wise.”