Comments on: Crossing Over to the Other Side http://www.musicalamerica.com/mablogs/?p=2495 Wed, 12 Dec 2012 04:48:46 +0000 hourly 1 http://wordpress.org/?v=3.0.6 By: Jeffrey Biegel http://www.musicalamerica.com/mablogs/?p=2495&cpage=1#comment-167415 Jeffrey Biegel Tue, 27 Sep 2011 14:46:32 +0000 http://www.musicalamerica.com/mablogs/?p=2495#comment-167415 PS: I only referred to orchestras--you must also memorize Musical America, at least for North America and the important places in Europe and Australasia--I have a friend who went from Australia to France--musical chairs...and, recital presenters you need to know. Also, you might have artists in chamber groups, which will give you further selling power--and, if the artists are on your roster as soloists, you have it all if they are also in chamber groups. PS: I only referred to orchestras–you must also memorize Musical America, at least for North America and the important places in Europe and Australasia–I have a friend who went from Australia to France–musical chairs…and, recital presenters you need to know. Also, you might have artists in chamber groups, which will give you further selling power–and, if the artists are on your roster as soloists, you have it all if they are also in chamber groups.

]]> By: Jeffrey Biegel http://www.musicalamerica.com/mablogs/?p=2495&cpage=1#comment-167413 Jeffrey Biegel Tue, 27 Sep 2011 14:42:51 +0000 http://www.musicalamerica.com/mablogs/?p=2495#comment-167413 Dear Curious, This is a fantastic topic--and I agree 100% with Edna, who has first hand experience in this arena. There are a few points which you must ponder in addition to the wise suggestions about soul searching and reality in this maneuver which Edna brings to the forefront. You would not necessarily be changing hats, per se, rather, akin to real estate, you would be considered a buyer's broker, rather than just a salesperson or broker who represents the seller or the buyer (depending on which state you practice). In this case, you are a co-broker of sorts, needing to have primary duties for your artist, but also juggling your level of respect for the presenters so they will take your calls and reply to your emails. You don't want to be too 'hard to get' for your artists, but as economic tides shift, you need to be savvy in knowing just how hard the economy has hit the presenters' budgets, and how much wiggle room you have for your artists' fees. You also need to decide which level of artists you want to sell. It is selling as a bottom line, and you need to establish the kind of agency you want from the get-go. Thirdly, and most importantly, how well do you know all of the orchestra managements, the conductors, and are you privy to the musical chairs in the business? They go from place to place, and you need to be on top of that 24/7. The more you know the people in the business who book the artists for the orchestras, the better. Are you a salesperson that knows how to timely follow up on your contacts and incoming inquiries? Do you have a lawyer to help set up your business and help with contracting engagements? Each artist, depending on their level in the business, may have different needs and requests. Are you thinking of conductors only, or attractions, or soloists, classical only, or pop, or classical with crossover (that's me~) etc? These are important points to think about, and if I were you, I would take blank paper and answer all of these questions and then close my eyes, and pause a bit and feel if this is a decision that gels with your passion and direction. An artist manager MUST have and maintain the passion necessary to wake up everyday and feel that they are conduits for their artists who have something to give their audiences, and as a legacy to the world of music. Without this, it is a moot case. You also might think, 'I have the passion', but perhaps in three or four years, after it is apparent that the economy has made it difficult to sell my artists, I fear burn out. The last thing an artist wants is for that to happen, because artists put their faith into the relationship and need to feel that they are in good hands for a longer period, and that the relationship is based on honesty and good judgement. Having said all of this, I have been personally very busy, and have done everything I describe above myself. I am actually thinking that it is high time to find a good sales agent to take over because with all my projects, time is not on my side to self promote, and I am getting too old to do that LOL! So I wish you luck in this wonderful decision, and hope the answers you give to yourself are all positive and a new chapter in your life will bring you and your artists success for the world of music. My best wishes, Jeffrey Dear Curious,
This is a fantastic topic–and I agree 100% with Edna, who has first hand experience in this arena. There are a few points which you must ponder in addition to the wise suggestions about soul searching and reality in this maneuver which Edna brings to the forefront. You would not necessarily be changing hats, per se, rather, akin to real estate, you would be considered a buyer’s broker, rather than just a salesperson or broker who represents the seller or the buyer (depending on which state you practice). In this case, you are a co-broker of sorts, needing to have primary duties for your artist, but also juggling your level of respect for the presenters so they will take your calls and reply to your emails. You don’t want to be too ‘hard to get’ for your artists, but as economic tides shift, you need to be savvy in knowing just how hard the economy has hit the presenters’ budgets, and how much wiggle room you have for your artists’ fees. You also need to decide which level of artists you want to sell. It is selling as a bottom line, and you need to establish the kind of agency you want from the get-go. Thirdly, and most importantly, how well do you know all of the orchestra managements, the conductors, and are you privy to the musical chairs in the business? They go from place to place, and you need to be on top of that 24/7. The more you know the people in the business who book the artists for the orchestras, the better. Are you a salesperson that knows how to timely follow up on your contacts and incoming inquiries? Do you have a lawyer to help set up your business and help with contracting engagements? Each artist, depending on their level in the business, may have different needs and requests. Are you thinking of conductors only, or attractions, or soloists, classical only, or pop, or classical with crossover (that’s me~) etc? These are important points to think about, and if I were you, I would take blank paper and answer all of these questions and then close my eyes, and pause a bit and feel if this is a decision that gels with your passion and direction. An artist manager MUST have and maintain the passion necessary to wake up everyday and feel that they are conduits for their artists who have something to give their audiences, and as a legacy to the world of music. Without this, it is a moot case. You also might think, ‘I have the passion’, but perhaps in three or four years, after it is apparent that the economy has made it difficult to sell my artists, I fear burn out. The last thing an artist wants is for that to happen, because artists put their faith into the relationship and need to feel that they are in good hands for a longer period, and that the relationship is based on honesty and good judgement.
Having said all of this, I have been personally very busy, and have done everything I describe above myself. I am actually thinking that it is high time to find a good sales agent to take over because with all my projects, time is not on my side to self promote, and I am getting too old to do that LOL! So I wish you luck in this wonderful decision, and hope the answers you give to yourself are all positive and a new chapter in your life will bring you and your artists success for the world of music.

My best wishes,
Jeffrey

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