1 00:00:00,080 --> 00:00:11,520 Speaker 1: M H. Welcome to Strictly Business Varieties, weekly podcast featuring 2 00:00:11,560 --> 00:00:16,040 Speaker 1: conversations with industry leaders about the business of media and entertainment. 3 00:00:16,280 --> 00:00:19,200 Speaker 1: This is Shirley Halpern, Executive editor of Music, with an 4 00:00:19,239 --> 00:00:22,239 Speaker 1: episode dedicated to music management and how the role of 5 00:00:22,239 --> 00:00:24,920 Speaker 1: a manager has changed over the years. To help us 6 00:00:25,000 --> 00:00:28,960 Speaker 1: understand today's artist representation game, we speak to Mark Gillespie, 7 00:00:29,200 --> 00:00:32,279 Speaker 1: who co founded the company three zero and has been 8 00:00:32,360 --> 00:00:36,080 Speaker 1: instrumental in guiding the careers of Calvin Harris, Frank Ocean, 9 00:00:36,280 --> 00:00:39,400 Speaker 1: Will Smith, as well as Willow and Jaden Smith. A 10 00:00:39,479 --> 00:00:42,920 Speaker 1: native of Birmingham in the UK, Gillespie paid his dues 11 00:00:42,960 --> 00:00:45,680 Speaker 1: in local dance music clubs, which led him to Calvin 12 00:00:45,680 --> 00:00:49,600 Speaker 1: Harris some fifteen years ago. Today, Gillespie calls the intersection 13 00:00:49,640 --> 00:00:52,559 Speaker 1: of tech and music his passion and has invested his 14 00:00:52,640 --> 00:00:56,800 Speaker 1: own funds into such companies as Outdoor Voices, Stance and 15 00:00:56,880 --> 00:01:00,360 Speaker 1: Ember Technologies. He's also a big thinker. To get a 16 00:01:00,400 --> 00:01:03,080 Speaker 1: sense of where Mark ollesp is coming from, head over 17 00:01:03,120 --> 00:01:05,280 Speaker 1: to Variety dot com, where he is authored a guest 18 00:01:05,319 --> 00:01:08,399 Speaker 1: column under the headline Will five G and Web three 19 00:01:08,400 --> 00:01:11,080 Speaker 1: point oh usher in a new copyright crisis for the 20 00:01:11,160 --> 00:01:14,199 Speaker 1: music industry. Gillespie would know, having been on the other 21 00:01:14,240 --> 00:01:18,039 Speaker 1: side of the deal making, negotiating a reported one million 22 00:01:18,080 --> 00:01:22,000 Speaker 1: dollar deal in for the publishing catalog of his longtime 23 00:01:22,040 --> 00:01:26,280 Speaker 1: client Calvin Harris to Vine Investments. The Scottish DJ isn't 24 00:01:26,319 --> 00:01:29,520 Speaker 1: exactly a recognizable face, but you definitely know his songs. 25 00:01:29,880 --> 00:01:34,160 Speaker 1: We found Love featuring Rihanna, One Kiss with Dualipa, his 26 00:01:34,200 --> 00:01:37,880 Speaker 1: Own Summer, and Feel So Close, among dozens more dance 27 00:01:37,880 --> 00:01:41,600 Speaker 1: floor staples around the world. Our second interview in this 28 00:01:41,720 --> 00:01:45,679 Speaker 1: music themed episode is with Michelle Harrison of Range Media Partners, 29 00:01:46,000 --> 00:01:49,240 Speaker 1: a new Hollywood firm that's shaking up the entertainment landscape. 30 00:01:49,600 --> 00:01:52,080 Speaker 1: Open less than a year ago during the height of 31 00:01:52,080 --> 00:01:55,160 Speaker 1: the pandemic, actually by a group of defectors from big 32 00:01:55,160 --> 00:01:57,480 Speaker 1: time agencies like W M E and U t A. 33 00:01:57,800 --> 00:02:00,920 Speaker 1: It signed some big time clients like Lee Cooper here 34 00:02:00,920 --> 00:02:04,200 Speaker 1: in Nightly and Mariah Carey, as well as respected managers 35 00:02:04,240 --> 00:02:07,200 Speaker 1: like Harrison, who spent much of her career guiding bands 36 00:02:07,200 --> 00:02:10,840 Speaker 1: like Vampire, Weekend in the Shins and working with Jamie Fox. 37 00:02:22,080 --> 00:02:26,720 Speaker 1: Welcome back to Strictly Business. Here's three six Heroes. Mark Gillespie, Mark, 38 00:02:26,880 --> 00:02:29,840 Speaker 1: Welcome to strictly business. Thank you for having me. I'm 39 00:02:29,840 --> 00:02:32,200 Speaker 1: going to make the assumption that people who listened to 40 00:02:32,240 --> 00:02:36,200 Speaker 1: this podcast might not necessarily be familiar with you or 41 00:02:36,240 --> 00:02:39,680 Speaker 1: your background, So if you had to sort of give 42 00:02:39,760 --> 00:02:42,640 Speaker 1: the cliff notes version. How did you come up in 43 00:02:42,680 --> 00:02:46,160 Speaker 1: the music industry? UM? I was a promoter for the 44 00:02:46,200 --> 00:02:49,960 Speaker 1: first bible six years of my career, which started by 45 00:02:50,040 --> 00:02:53,760 Speaker 1: handing out night supplies on the street and staying up 46 00:02:53,800 --> 00:02:57,679 Speaker 1: incredibly eight at night and being part of a community 47 00:02:57,680 --> 00:03:00,200 Speaker 1: of people that were that were out and about and 48 00:03:00,400 --> 00:03:02,760 Speaker 1: worked in nightlife in the city that I grew up in, 49 00:03:02,919 --> 00:03:07,120 Speaker 1: and then over time assumed slightly more responsibility within the 50 00:03:07,240 --> 00:03:11,040 Speaker 1: organization that I worked and at the time, and would 51 00:03:11,400 --> 00:03:15,560 Speaker 1: put decorations up in the club, I would run drinks 52 00:03:15,600 --> 00:03:18,960 Speaker 1: for the d js. I would uh stand on the 53 00:03:18,960 --> 00:03:23,400 Speaker 1: front door and run the guest list. I basically worked 54 00:03:23,440 --> 00:03:28,120 Speaker 1: every single possible job from the ground up, and eventually, 55 00:03:28,160 --> 00:03:31,359 Speaker 1: over time developed relationships with the talent. Some of those 56 00:03:31,360 --> 00:03:35,440 Speaker 1: relationships I still have today. Eventually I took over booking 57 00:03:35,480 --> 00:03:38,520 Speaker 1: the talent and being in a place where we where 58 00:03:38,560 --> 00:03:42,200 Speaker 1: we went from being quite a ramshackle, sort of crazy 59 00:03:43,160 --> 00:03:45,400 Speaker 1: gang of misfits that just got together once a week 60 00:03:45,440 --> 00:03:48,840 Speaker 1: to put this club night onto actually becoming a organized 61 00:03:48,840 --> 00:03:51,520 Speaker 1: company within the world of music. And then from there 62 00:03:51,760 --> 00:03:54,640 Speaker 1: we started to put shows on in arenas, and then 63 00:03:54,680 --> 00:03:57,960 Speaker 1: we began to program a festival, and over time, you know, 64 00:03:58,000 --> 00:04:00,360 Speaker 1: the business became bigger and bigger and bigg And then 65 00:04:00,760 --> 00:04:02,640 Speaker 1: one thing that I figured out while I was doing 66 00:04:02,640 --> 00:04:05,840 Speaker 1: a lot of that stuff was that that every week, 67 00:04:05,880 --> 00:04:08,680 Speaker 1: week in, week out, rain or shine, you know, these 68 00:04:08,760 --> 00:04:12,440 Speaker 1: various different agents and managers would turn up in my 69 00:04:12,520 --> 00:04:15,440 Speaker 1: office late at night and come and click their fees, 70 00:04:16,360 --> 00:04:19,000 Speaker 1: and no matter what happened, if the club had ten 71 00:04:19,040 --> 00:04:21,400 Speaker 1: people in it or it had two thousand people in it, 72 00:04:22,080 --> 00:04:25,120 Speaker 1: they always came to get the envelopes. After a period 73 00:04:25,120 --> 00:04:27,880 Speaker 1: of time, I was like, maybe I want to be 74 00:04:27,920 --> 00:04:30,080 Speaker 1: the guy picking the envelope for the guy, you know, 75 00:04:30,240 --> 00:04:32,360 Speaker 1: handing it handing it. And it gave me the inspiration 76 00:04:32,400 --> 00:04:36,520 Speaker 1: to start looking around and figuring out whether it was 77 00:04:36,560 --> 00:04:39,279 Speaker 1: something that I could maybe do. And I felt like 78 00:04:39,320 --> 00:04:41,839 Speaker 1: I had a good level of knowledge in the touring 79 00:04:41,920 --> 00:04:45,440 Speaker 1: world and production and working with talent and having a 80 00:04:45,440 --> 00:04:47,719 Speaker 1: relationship and I had to had to look after people 81 00:04:48,279 --> 00:04:53,080 Speaker 1: and knew absolutely nothing whatsoever other than the odd compilation here, 82 00:04:53,080 --> 00:04:55,880 Speaker 1: and they're about putting records out and quite an important 83 00:04:55,880 --> 00:04:58,920 Speaker 1: part of the job as a manager. When you were 84 00:04:59,000 --> 00:05:02,440 Speaker 1: coming up and and you were trying attracted to the 85 00:05:02,520 --> 00:05:06,120 Speaker 1: dance music scene, it seems like what was popular at 86 00:05:06,160 --> 00:05:09,440 Speaker 1: the time, Like what what was that scene like? So 87 00:05:09,480 --> 00:05:12,320 Speaker 1: I started going out a lot in the scene n 88 00:05:14,800 --> 00:05:17,480 Speaker 1: just as I was turning eighteen years old. And at 89 00:05:17,480 --> 00:05:21,560 Speaker 1: that moment in time, dance music was very European focused. 90 00:05:21,640 --> 00:05:24,440 Speaker 1: There were a lot of it was like the first 91 00:05:24,600 --> 00:05:27,839 Speaker 1: wave of superstar DJs, So there were a lot of 92 00:05:27,839 --> 00:05:30,800 Speaker 1: personalities that would move up and down the country over 93 00:05:30,880 --> 00:05:33,839 Speaker 1: weekend and go to all these different night clubs. Sometimes 94 00:05:34,160 --> 00:05:35,680 Speaker 1: the DJs that had come and played for us were 95 00:05:35,720 --> 00:05:38,560 Speaker 1: played two or three shows in the night and they 96 00:05:38,560 --> 00:05:41,800 Speaker 1: were sort of celebrities within the pocket industry. But a 97 00:05:41,800 --> 00:05:45,160 Speaker 1: lot of it was like commercial house music. It was 98 00:05:45,440 --> 00:05:48,200 Speaker 1: a mixture of different genres within the genre at that 99 00:05:48,279 --> 00:05:51,000 Speaker 1: moment in time. But yeah, at the moment when I 100 00:05:51,040 --> 00:05:55,039 Speaker 1: got in, it was very much about you know, crossover house, 101 00:05:55,279 --> 00:05:57,920 Speaker 1: some of it from the US, some of it from Europe, 102 00:05:57,960 --> 00:05:59,600 Speaker 1: some of it from Australia. There was a lot of 103 00:05:59,640 --> 00:06:03,719 Speaker 1: different things happening at the same time, and is that 104 00:06:03,839 --> 00:06:07,720 Speaker 1: what led you to Calvin Harris mixture of that and 105 00:06:07,800 --> 00:06:10,240 Speaker 1: some technology. You know, it was at the moment in 106 00:06:10,320 --> 00:06:13,680 Speaker 1: time where my space was just starting to become a thing. 107 00:06:14,320 --> 00:06:17,400 Speaker 1: I've always been some really really into technology and fascinated 108 00:06:17,400 --> 00:06:21,520 Speaker 1: by technology since I was a kid, and um my 109 00:06:21,600 --> 00:06:24,919 Speaker 1: sort of passion for electronic music and being able to 110 00:06:25,000 --> 00:06:28,520 Speaker 1: utilize technology to find new music was how we ended 111 00:06:28,600 --> 00:06:33,200 Speaker 1: up together. I guess, you know, calvinists remained an outlier 112 00:06:33,279 --> 00:06:36,479 Speaker 1: in the music industry because he's so consistent. Has he 113 00:06:36,520 --> 00:06:39,440 Speaker 1: has such a successful track record and it's sort of 114 00:06:39,480 --> 00:06:45,960 Speaker 1: like defies genrezation, you know, and it seems almost timeless. 115 00:06:46,000 --> 00:06:48,400 Speaker 1: You can hear a Calvin Harris song from ten years ago, 116 00:06:48,480 --> 00:06:51,160 Speaker 1: twelve years ago, it sounds as fresh as it, you know, 117 00:06:51,200 --> 00:06:55,000 Speaker 1: if it was released last last week. Is he like 118 00:06:55,120 --> 00:06:59,080 Speaker 1: a perpetual dance artist or is he a pop artist? 119 00:06:59,200 --> 00:07:01,440 Speaker 1: Or do you not think in those terms? How do 120 00:07:01,480 --> 00:07:05,320 Speaker 1: you view Calvin? What what kind of artist is he? Honestly, 121 00:07:05,400 --> 00:07:08,479 Speaker 1: I think that he is an incredible songwriter, and I 122 00:07:08,520 --> 00:07:10,920 Speaker 1: think that that is the core of a great producer 123 00:07:11,440 --> 00:07:15,200 Speaker 1: who makes great sounding records which tests, you know, stand 124 00:07:15,280 --> 00:07:18,720 Speaker 1: the test of time and an incredible songwriter, one of 125 00:07:18,720 --> 00:07:23,400 Speaker 1: the greatest songwriters. I think that's why his his music 126 00:07:23,400 --> 00:07:25,840 Speaker 1: stands apart from a lot of other records that may 127 00:07:25,880 --> 00:07:28,600 Speaker 1: be in the genre or genre aligned at that moment 128 00:07:28,600 --> 00:07:33,240 Speaker 1: in time, working from a grassroots level up. Ultimately, I 129 00:07:33,280 --> 00:07:37,200 Speaker 1: think what was one of the main factors towards you know, 130 00:07:37,480 --> 00:07:40,880 Speaker 1: his early success. He worked incredibly hard always and when 131 00:07:40,960 --> 00:07:45,560 Speaker 1: when he came to the US, towards every market repeatedly 132 00:07:45,680 --> 00:07:48,440 Speaker 1: over and over and over again, promoted records and every 133 00:07:48,480 --> 00:07:51,880 Speaker 1: single market over time. And you guys have been working 134 00:07:51,920 --> 00:07:55,080 Speaker 1: together for a long time. When did you start managing him? 135 00:07:55,320 --> 00:07:58,480 Speaker 1: In somewhere around middle of two thousand and six. I 136 00:07:58,520 --> 00:08:03,120 Speaker 1: think these relationships I find super fascinating, the longevity of 137 00:08:03,160 --> 00:08:07,520 Speaker 1: a manager artist relationship, which can be so stressful and 138 00:08:07,560 --> 00:08:13,520 Speaker 1: so fraught with difficult decisions, questions of art and commerce 139 00:08:13,640 --> 00:08:15,160 Speaker 1: and what do you want to do with your career? 140 00:08:15,200 --> 00:08:17,840 Speaker 1: How do you change with the times and the trends. 141 00:08:17,880 --> 00:08:21,760 Speaker 1: So to what do you attribute this long relationship that 142 00:08:21,800 --> 00:08:24,080 Speaker 1: you guys have. I think just being in a place 143 00:08:24,080 --> 00:08:27,000 Speaker 1: where we can we can be totally honest with each other. 144 00:08:27,880 --> 00:08:31,000 Speaker 1: Um consistency, you know, I don't know there isn't a 145 00:08:31,080 --> 00:08:33,000 Speaker 1: data codes by that. I take my job for granted 146 00:08:33,440 --> 00:08:37,600 Speaker 1: in the slightest and I know that. I'm sure that 147 00:08:37,640 --> 00:08:39,120 Speaker 1: there are plenty of other people in the world that 148 00:08:39,160 --> 00:08:41,640 Speaker 1: would love my job, and I treated like that. The 149 00:08:41,679 --> 00:08:43,400 Speaker 1: truth is that he has had a very long career 150 00:08:43,440 --> 00:08:46,280 Speaker 1: because he's incredibly good at what he does, and I 151 00:08:46,320 --> 00:08:49,200 Speaker 1: hope that I've been able to help him along the 152 00:08:49,200 --> 00:08:50,760 Speaker 1: way that that's in my part to play in it. 153 00:08:50,840 --> 00:08:55,360 Speaker 1: But really he's done all the hard work. So tell 154 00:08:55,400 --> 00:08:59,680 Speaker 1: me a bit about the mission of three zero, you know, 155 00:09:00,040 --> 00:09:03,280 Speaker 1: when you launched it and how it's evolved over the years. 156 00:09:03,840 --> 00:09:08,240 Speaker 1: When we first launched the company, it was a mixture 157 00:09:08,280 --> 00:09:11,600 Speaker 1: of different businesses together. We did a bit of everything, 158 00:09:11,720 --> 00:09:14,720 Speaker 1: which is where zero came from. There was a moment 159 00:09:14,720 --> 00:09:16,319 Speaker 1: in time where it was a bit of a buzzword. 160 00:09:16,480 --> 00:09:18,640 Speaker 1: Not long after we sort of renamed the company. That 161 00:09:19,120 --> 00:09:23,200 Speaker 1: spent a long time hating the name of the business 162 00:09:23,240 --> 00:09:26,240 Speaker 1: because there was this horrible association with three sixty deals 163 00:09:26,240 --> 00:09:29,640 Speaker 1: with artists that at that moment in time the most 164 00:09:29,720 --> 00:09:32,600 Speaker 1: unpopular thing in the world at the business, but it 165 00:09:32,679 --> 00:09:35,439 Speaker 1: was it was a combination of a few different businesses. 166 00:09:35,679 --> 00:09:38,440 Speaker 1: My business partner at the time had a label management 167 00:09:38,480 --> 00:09:41,840 Speaker 1: business and would press records and distribute records. It was 168 00:09:41,840 --> 00:09:45,040 Speaker 1: a really smart business to have inside the business and 169 00:09:45,720 --> 00:09:47,560 Speaker 1: brought us a lot of interesting from a lot of clients. 170 00:09:47,600 --> 00:09:51,240 Speaker 1: We could manufacture stuff and really quick turnaround a week 171 00:09:51,320 --> 00:09:53,200 Speaker 1: to week. We'd be able to press up on a 172 00:09:53,240 --> 00:09:55,800 Speaker 1: Monday and he'd be able to distribute it by the Friday. 173 00:09:55,840 --> 00:09:58,400 Speaker 1: So that was aout very very early three zero, and 174 00:09:58,400 --> 00:10:01,719 Speaker 1: then we would we were gussed on remix management and 175 00:10:02,120 --> 00:10:05,160 Speaker 1: conversing with the labels and with the major record companies 176 00:10:05,160 --> 00:10:08,120 Speaker 1: of being able to provide services on that side of things. 177 00:10:08,480 --> 00:10:10,760 Speaker 1: But I think really we were one of the first, 178 00:10:11,000 --> 00:10:14,760 Speaker 1: one of the very first businesses to take the electronic 179 00:10:15,040 --> 00:10:19,240 Speaker 1: music genre really seriously as managers. So you were talking 180 00:10:19,280 --> 00:10:23,600 Speaker 1: as a we you're referring to Dean Wilson, Yes, Yeah, 181 00:10:23,960 --> 00:10:25,680 Speaker 1: Dean was a partner in the company at that moment 182 00:10:25,720 --> 00:10:27,880 Speaker 1: in time, and there was another gentleman called Andy Rutherford 183 00:10:27,880 --> 00:10:31,120 Speaker 1: that were partners in the business in the beginning. And 184 00:10:31,160 --> 00:10:34,079 Speaker 1: the next partnership that you guys had was with rock 185 00:10:34,240 --> 00:10:36,640 Speaker 1: Nation four or five years into the business and newly 186 00:10:36,679 --> 00:10:38,560 Speaker 1: formed rock Nation. It was like a brand new Amember 187 00:10:38,559 --> 00:10:41,360 Speaker 1: going to their offices and they were in apparel business 188 00:10:41,400 --> 00:10:43,440 Speaker 1: sort of officers. They were just getting going and everything 189 00:10:43,520 --> 00:10:46,640 Speaker 1: was temporary furniture, and it was such an incredible and 190 00:10:46,800 --> 00:10:49,760 Speaker 1: interesting time. And yeah, we got to know them really well. 191 00:10:49,760 --> 00:10:53,080 Speaker 1: We had a great relationship, and they were probably looking, 192 00:10:53,240 --> 00:10:56,120 Speaker 1: as I recall, you know, to create the sort of 193 00:10:56,160 --> 00:11:00,960 Speaker 1: collective as managers that was very diverse, that had interest 194 00:11:01,040 --> 00:11:04,600 Speaker 1: in all kinds of artists and different music, and they 195 00:11:04,640 --> 00:11:07,280 Speaker 1: didn't really have a strong dance presence. So I imagine 196 00:11:07,320 --> 00:11:10,360 Speaker 1: that's what you guys brought to the table. Yeah, about 197 00:11:10,520 --> 00:11:14,200 Speaker 1: that on geographical presence as well. I remember being, you know, 198 00:11:14,360 --> 00:11:17,800 Speaker 1: having early conversations with them just about the nuances between 199 00:11:17,800 --> 00:11:20,000 Speaker 1: what was happening in the UK and the US and 200 00:11:20,760 --> 00:11:24,160 Speaker 1: how having us there would be beneficial to them. And 201 00:11:24,320 --> 00:11:29,400 Speaker 1: so I'm curious how you've seen management change. Gig of 202 00:11:29,480 --> 00:11:32,280 Speaker 1: being a manager of the job changes every single day. 203 00:11:32,440 --> 00:11:34,800 Speaker 1: So we have one table and you know, you're you're 204 00:11:35,000 --> 00:11:37,400 Speaker 1: called a manager, but depend on which day of the 205 00:11:37,440 --> 00:11:40,680 Speaker 1: week it is. You can be the sales guy, you 206 00:11:40,720 --> 00:11:44,240 Speaker 1: could be the digital person. You could be you know, 207 00:11:44,360 --> 00:11:48,040 Speaker 1: a content producer, you could be There's so many different 208 00:11:48,160 --> 00:11:51,240 Speaker 1: variants of the scope of the manager. From when I 209 00:11:51,280 --> 00:11:55,440 Speaker 1: began in management to where we are today has changed 210 00:11:55,559 --> 00:11:58,080 Speaker 1: so so, so so much. I joined the industry at 211 00:11:58,120 --> 00:12:02,800 Speaker 1: a time where we were completely dependent on record companies, 212 00:12:03,240 --> 00:12:07,400 Speaker 1: on retail and certain partners, and now I think that 213 00:12:07,400 --> 00:12:09,679 Speaker 1: there has been such great You have two things that 214 00:12:09,880 --> 00:12:13,600 Speaker 1: making sure that we're there. That brings me to the 215 00:12:13,920 --> 00:12:20,120 Speaker 1: catalog copyright market. Calvin has amassed more hits than even 216 00:12:20,400 --> 00:12:24,600 Speaker 1: you know, you're more most successful pop artist, and I'm 217 00:12:24,640 --> 00:12:27,000 Speaker 1: sure you could fetch a pretty penny if you wanted 218 00:12:27,040 --> 00:12:31,000 Speaker 1: to take his catalog to one of these buyers of 219 00:12:31,160 --> 00:12:34,760 Speaker 1: I P So how do you navigate that world as 220 00:12:34,760 --> 00:12:39,199 Speaker 1: a manager? Having an understanding of the value of intellectual 221 00:12:39,240 --> 00:12:42,960 Speaker 1: property is probably one of the most complicated things that 222 00:12:43,000 --> 00:12:46,680 Speaker 1: you can learn. Ever. I often joke with my friends 223 00:12:46,679 --> 00:12:48,960 Speaker 1: of work in different industries that wants you manage to 224 00:12:49,000 --> 00:12:51,440 Speaker 1: figure out how to navigate a record deal or a 225 00:12:51,480 --> 00:12:55,160 Speaker 1: publishing deal, that everything else is pretty straightforward after that, 226 00:12:55,160 --> 00:12:58,199 Speaker 1: that they are literally, contractually some of the most complex 227 00:12:58,200 --> 00:13:01,680 Speaker 1: agreements that you can encounter in the world when it 228 00:13:01,679 --> 00:13:04,920 Speaker 1: comes to them value in the leavers within those contracts 229 00:13:04,960 --> 00:13:09,520 Speaker 1: that create the value of intellectual property. It's a complicated place. 230 00:13:09,559 --> 00:13:12,640 Speaker 1: To be what I've seen happen in the marketplaces that 231 00:13:12,840 --> 00:13:15,199 Speaker 1: there are a lot of financial advisors that are good 232 00:13:15,200 --> 00:13:18,040 Speaker 1: at building models that then you know, you can do 233 00:13:18,080 --> 00:13:20,600 Speaker 1: a lot of really great technical things that explain why 234 00:13:20,720 --> 00:13:23,880 Speaker 1: there is value within copyright. Understanding the importance of being 235 00:13:23,920 --> 00:13:27,480 Speaker 1: able to have reversions within your deal, or potentially owning 236 00:13:27,520 --> 00:13:31,280 Speaker 1: your own copyrights, or being in a place where you 237 00:13:31,320 --> 00:13:32,920 Speaker 1: know you license them for a period and all of 238 00:13:32,920 --> 00:13:34,840 Speaker 1: that sort of stuff is like the most complex part 239 00:13:34,840 --> 00:13:36,920 Speaker 1: of management. So trying to get your head around it. 240 00:13:37,200 --> 00:13:39,400 Speaker 1: There's a lot going on in the marketplace right now. 241 00:13:39,480 --> 00:13:41,319 Speaker 1: I think that you have to build a profile to 242 00:13:41,360 --> 00:13:43,840 Speaker 1: have an understanding of what a catalog is really worth. 243 00:13:44,640 --> 00:13:46,760 Speaker 1: I think from there you then go to market and 244 00:13:47,240 --> 00:13:49,439 Speaker 1: you know, they take these really sophisticated models and they 245 00:13:49,480 --> 00:13:51,559 Speaker 1: throw them out the window, and everybody bits against each 246 00:13:51,600 --> 00:13:53,920 Speaker 1: other and eventually you end up with a number that 247 00:13:54,040 --> 00:13:58,120 Speaker 1: hopefully makes sense. It's um It is a complicated time 248 00:13:58,400 --> 00:14:02,840 Speaker 1: predicated on continue growth of streaming over a very long 249 00:14:02,840 --> 00:14:05,880 Speaker 1: period of time in some instances, but they're big decisions 250 00:14:05,920 --> 00:14:09,480 Speaker 1: to make any artist. But it's an interesting time, a 251 00:14:09,520 --> 00:14:13,960 Speaker 1: fascinating moment in history, and a lot of people will 252 00:14:14,000 --> 00:14:15,800 Speaker 1: be really right, or a lot of people will be 253 00:14:15,800 --> 00:14:19,200 Speaker 1: really wrong. You know, history will tell. N f t s, 254 00:14:19,440 --> 00:14:22,960 Speaker 1: or digital art tokens that sell in cryptocurrency, had a 255 00:14:22,960 --> 00:14:26,320 Speaker 1: big moment this year, especially among musicians who were able 256 00:14:26,400 --> 00:14:29,960 Speaker 1: to see big pay days for the right offering. What's 257 00:14:30,000 --> 00:14:32,960 Speaker 1: your take on n f T s. I love the 258 00:14:33,040 --> 00:14:34,760 Speaker 1: n f t s and the optionality that they bring 259 00:14:34,960 --> 00:14:39,040 Speaker 1: to the business and the creativity that they potentially unlock 260 00:14:39,160 --> 00:14:42,840 Speaker 1: its super early days. The opportunity to be able to 261 00:14:43,120 --> 00:14:46,680 Speaker 1: directly create direct commerce opportunities with fans, to be able 262 00:14:46,720 --> 00:14:50,280 Speaker 1: to give different value propositions to an audience, to be 263 00:14:50,360 --> 00:14:53,600 Speaker 1: able to track data through all the stuff. I think 264 00:14:53,640 --> 00:14:57,280 Speaker 1: that we're on the verge of one of the most 265 00:14:57,320 --> 00:15:00,240 Speaker 1: exciting times. I always feel very excited every day I 266 00:15:00,240 --> 00:15:02,120 Speaker 1: get up and I gotta work, and there's something great 267 00:15:02,120 --> 00:15:04,840 Speaker 1: going on. But this, to me feels like it's going 268 00:15:04,880 --> 00:15:08,560 Speaker 1: to be a momentous shift of not just value, but 269 00:15:08,640 --> 00:15:10,680 Speaker 1: technology as well, and I think that it's going to 270 00:15:10,720 --> 00:15:14,480 Speaker 1: play out in the creative's favor. Tell us a bit 271 00:15:14,520 --> 00:15:18,400 Speaker 1: if you could, about mentors that you've had and advice 272 00:15:18,560 --> 00:15:22,600 Speaker 1: that you've carried with you over the years. Jeditiity around 273 00:15:22,640 --> 00:15:25,080 Speaker 1: Sony in the UK and helped me a lot in 274 00:15:25,120 --> 00:15:28,800 Speaker 1: the early stages of my career, and he managed Paul 275 00:15:28,880 --> 00:15:31,880 Speaker 1: Young and Alison Moyer in a number of other different acts. 276 00:15:31,920 --> 00:15:35,520 Speaker 1: But I remember very early in my career him giving 277 00:15:35,600 --> 00:15:37,840 Speaker 1: me some very very sage advice that are carried all 278 00:15:37,880 --> 00:15:40,000 Speaker 1: the way through my my career as a manager, which 279 00:15:40,080 --> 00:15:43,760 Speaker 1: was never to convince somebody to do something. He was 280 00:15:43,840 --> 00:15:46,600 Speaker 1: just like, if it doesn't feel like it should be happening, 281 00:15:46,680 --> 00:15:49,920 Speaker 1: follow your gut. And I made one mistake very early 282 00:15:49,960 --> 00:15:51,880 Speaker 1: in my career where I felt like I had convinced 283 00:15:51,920 --> 00:15:53,720 Speaker 1: the arts that I worked with do something that they 284 00:15:53,720 --> 00:15:56,400 Speaker 1: shouldn't have. And I swore to myself that to this day, 285 00:15:56,440 --> 00:16:00,000 Speaker 1: no matter what the circumstances were, no matter how big 286 00:16:00,280 --> 00:16:04,160 Speaker 1: consequences of stopping something happening would be, that I would 287 00:16:04,320 --> 00:16:07,360 Speaker 1: always adhere to that. And it's genuinely been like probably 288 00:16:07,400 --> 00:16:09,000 Speaker 1: one of the most important bit of advice that I've 289 00:16:09,040 --> 00:16:12,400 Speaker 1: ever had them as certainly Will I learned from our 290 00:16:12,520 --> 00:16:16,720 Speaker 1: sister site, Music Business Worldwide, which I love loved him. 291 00:16:16,760 --> 00:16:19,360 Speaker 1: He described you as a major movie buff. I didn't 292 00:16:19,360 --> 00:16:22,160 Speaker 1: know this about you, so seeing that this was a 293 00:16:22,240 --> 00:16:26,600 Speaker 1: variety do you have a passion for visual media. I do. 294 00:16:26,760 --> 00:16:29,120 Speaker 1: I love film. I love content generally. I love the 295 00:16:29,160 --> 00:16:31,640 Speaker 1: way that content moving. I like the way that technology 296 00:16:31,680 --> 00:16:34,840 Speaker 1: is driving content. HAVE always been a huge fan of 297 00:16:34,880 --> 00:16:37,760 Speaker 1: the impact of film and how big it is and 298 00:16:37,800 --> 00:16:39,840 Speaker 1: the amount of people that it takes to be able 299 00:16:39,880 --> 00:16:43,000 Speaker 1: to create great movies. Is there a movie that really, 300 00:16:43,280 --> 00:16:45,720 Speaker 1: you know, uh, you know, that changed your life for 301 00:16:45,840 --> 00:16:50,720 Speaker 1: really impacted you. I like techno thrillers. Is that is 302 00:16:50,880 --> 00:16:53,120 Speaker 1: the sort of genre of movie that I would say 303 00:16:53,120 --> 00:16:57,200 Speaker 1: that I enjoyed the most. There's a movie directed by 304 00:16:57,440 --> 00:17:01,320 Speaker 1: an incredible British director called Alex Scotland called X Mackinna 305 00:17:02,440 --> 00:17:05,840 Speaker 1: And he's an incredible filmmaker and his recent made a 306 00:17:05,880 --> 00:17:08,240 Speaker 1: TV show that's on Hulu called Devs, which is pretty 307 00:17:08,240 --> 00:17:10,960 Speaker 1: awesome as well. But he's had an incredible career. He 308 00:17:11,040 --> 00:17:13,480 Speaker 1: wrote a lot of great scripts. He worked very closely 309 00:17:13,560 --> 00:17:15,600 Speaker 1: Danny Boyle on a number of his early films and 310 00:17:15,640 --> 00:17:18,239 Speaker 1: then started making movies himself. And I just love what 311 00:17:18,280 --> 00:17:20,239 Speaker 1: he does. I love the aesthetic of what he does 312 00:17:20,280 --> 00:17:22,119 Speaker 1: in film. I like the stories that he tells. I 313 00:17:22,160 --> 00:17:24,960 Speaker 1: like the set design and the aesthetic of his films. 314 00:17:25,480 --> 00:17:28,960 Speaker 1: They're very satisfying to watch. You're based in California, right, 315 00:17:29,119 --> 00:17:31,520 Speaker 1: based in l A. So how do you deal with 316 00:17:31,560 --> 00:17:34,280 Speaker 1: that time difference. I think time zones are just something 317 00:17:34,359 --> 00:17:38,480 Speaker 1: that you get you soon as a manager. My family 318 00:17:38,560 --> 00:17:39,879 Speaker 1: in the UK, A lot of my friends are in 319 00:17:39,920 --> 00:17:42,600 Speaker 1: the UK. My mornings they're probably slightly different to other 320 00:17:42,600 --> 00:17:45,520 Speaker 1: people that work in Los Angeles. Just something that I've 321 00:17:45,520 --> 00:17:48,720 Speaker 1: always done. So you wake up in the morning, you 322 00:17:48,720 --> 00:17:50,919 Speaker 1: you hit the UK first, then you like go to 323 00:17:50,960 --> 00:17:53,160 Speaker 1: the New York time zone, and then you're you're back 324 00:17:53,200 --> 00:17:55,760 Speaker 1: in l A. Basically that's it. And yeah, the last 325 00:17:55,840 --> 00:17:57,280 Speaker 1: the last sort of two or three hours of the 326 00:17:57,359 --> 00:18:01,520 Speaker 1: day typically sort of the slowest. And yeah, Mark, this 327 00:18:01,600 --> 00:18:03,840 Speaker 1: was such a pleasure to talk to you, get to 328 00:18:03,880 --> 00:18:06,840 Speaker 1: know you and your business. Really appreciate you taking the 329 00:18:06,920 --> 00:18:09,280 Speaker 1: time and thank you so much for having me on. 330 00:18:09,520 --> 00:18:15,000 Speaker 1: It was really really great for the year. Today, we 331 00:18:15,080 --> 00:18:17,000 Speaker 1: need to take a quick break, but we'll be back 332 00:18:17,000 --> 00:18:24,840 Speaker 1: with more from Michelle Harrison. Welcome back to Strictly Business. 333 00:18:24,960 --> 00:18:28,199 Speaker 1: Michelle Harrison is a music manager who spent fifteen years 334 00:18:28,320 --> 00:18:33,000 Speaker 1: working at a company called Monotone. There she represented Vampire Weekend, 335 00:18:33,119 --> 00:18:36,480 Speaker 1: the Shins, and Jamie Fox. After her time at Monton, 336 00:18:36,760 --> 00:18:40,359 Speaker 1: Harrison joined Friends at Work, which is home to John Legend, 337 00:18:40,440 --> 00:18:44,320 Speaker 1: Raphael Sad and Lindy Sterling, among other artists. She spent 338 00:18:44,400 --> 00:18:47,199 Speaker 1: two thousand nineteen at Friends at Work, after which she 339 00:18:47,320 --> 00:18:51,800 Speaker 1: decided to start her own management. In one she joined 340 00:18:51,920 --> 00:18:55,520 Speaker 1: Range Media Partners, a new company founded in September of 341 00:18:56,560 --> 00:18:59,840 Speaker 1: with its site set on shaking up the competitive entertainment 342 00:18:59,880 --> 00:19:03,480 Speaker 1: industry representation landscape. Range was founded by a group of 343 00:19:03,560 --> 00:19:07,399 Speaker 1: high profile defectors from super agencies including ci A, U, 344 00:19:07,440 --> 00:19:10,200 Speaker 1: t A and w m ME as a new management 345 00:19:10,200 --> 00:19:13,720 Speaker 1: firm that will target Hollywood's most powerful potential clients for 346 00:19:13,840 --> 00:19:18,720 Speaker 1: the spoke representation services. It's roster spans film, television, use 347 00:19:18,800 --> 00:19:23,199 Speaker 1: it literally, and activism and includes Tom Hardy, Bradley Cooper, 348 00:19:23,359 --> 00:19:27,440 Speaker 1: Kira Nightly, Gabrielle Union, and Mariah Carey among its clients. 349 00:19:27,960 --> 00:19:31,440 Speaker 1: Here's Michelle Harrison. Thanks so much for being here, Thanks 350 00:19:31,440 --> 00:19:33,480 Speaker 1: so much for having We am honored to be here 351 00:19:33,520 --> 00:19:37,040 Speaker 1: with you. I wanted to ask you about your fifteen 352 00:19:37,119 --> 00:19:40,600 Speaker 1: years that you spent at Monotone, that you worked alongside 353 00:19:40,840 --> 00:19:45,240 Speaker 1: founder Ian Montone, managing acts like The Shins, Vampire Weekend 354 00:19:45,280 --> 00:19:49,240 Speaker 1: and Jamie Fox. That was from two thousand three to eighteen, 355 00:19:49,760 --> 00:19:53,200 Speaker 1: and I'm curious, how have you seen music management change 356 00:19:53,600 --> 00:19:59,440 Speaker 1: during that time to now at Range. It's funny because 357 00:20:00,000 --> 00:20:02,000 Speaker 1: a lot has changed, but not a lot has changed. 358 00:20:02,040 --> 00:20:04,119 Speaker 1: But I think the main thing that I've noticed is 359 00:20:04,160 --> 00:20:07,439 Speaker 1: that artists want to diversify in so many different and 360 00:20:07,480 --> 00:20:10,440 Speaker 1: there are so many different areas to diversify into now 361 00:20:10,480 --> 00:20:14,119 Speaker 1: that didn't exist back in two thousand three, like podcasts 362 00:20:14,160 --> 00:20:16,679 Speaker 1: and even just the barriers of entry to film and 363 00:20:16,720 --> 00:20:20,119 Speaker 1: TV and other art forms. So I think that's the 364 00:20:20,119 --> 00:20:23,640 Speaker 1: main change that I've noticed, and I think that that's 365 00:20:23,680 --> 00:20:26,040 Speaker 1: where like a company like Range can come in because 366 00:20:26,040 --> 00:20:29,120 Speaker 1: we're the antidote to that. We have all these different 367 00:20:29,720 --> 00:20:31,960 Speaker 1: avenues that you could go down. We have branding people, 368 00:20:32,000 --> 00:20:34,880 Speaker 1: we have film and TV people, and and Ian did 369 00:20:34,920 --> 00:20:37,240 Speaker 1: that as well, Like he was innovative in that regard, 370 00:20:37,320 --> 00:20:40,639 Speaker 1: and I think like he moved with the times and 371 00:20:40,680 --> 00:20:43,000 Speaker 1: it's a new model as far as I am concerned, 372 00:20:44,320 --> 00:20:46,720 Speaker 1: When you first got to Monotone, like what were your 373 00:20:46,760 --> 00:20:50,159 Speaker 1: expectations of what you would be doing and what was 374 00:20:50,200 --> 00:20:53,080 Speaker 1: it actually Like I had no idea, Like I had 375 00:20:53,119 --> 00:20:55,480 Speaker 1: a boyfriend in a band, and I remember watching him 376 00:20:55,480 --> 00:20:57,960 Speaker 1: meet with like his label people and his business people, 377 00:20:58,000 --> 00:20:59,639 Speaker 1: and I was like, that's what I want to do, 378 00:21:00,000 --> 00:21:02,639 Speaker 1: want to work on the business side of music. And 379 00:21:02,680 --> 00:21:05,240 Speaker 1: then I just stumbled my way there through hanging out 380 00:21:05,280 --> 00:21:08,400 Speaker 1: with bands and then meeting Ian Montone. He brought me in, 381 00:21:08,680 --> 00:21:12,239 Speaker 1: so I really didn't know what to expect. And I 382 00:21:12,280 --> 00:21:17,159 Speaker 1: think like for me, I've always been like a problem solver, 383 00:21:17,240 --> 00:21:20,480 Speaker 1: and um, I guess the survivalist to a degree, like 384 00:21:20,520 --> 00:21:22,919 Speaker 1: you know, latchkey Kid, all those kinds of things. So 385 00:21:23,080 --> 00:21:24,679 Speaker 1: you know, you just kind of learned to like hustle 386 00:21:24,720 --> 00:21:27,640 Speaker 1: and figure stuff out. And so those skills really apply 387 00:21:27,760 --> 00:21:30,320 Speaker 1: to management because you're just kind of like winging as 388 00:21:30,359 --> 00:21:33,000 Speaker 1: you go, trying to figure things out, like making it up. 389 00:21:33,080 --> 00:21:36,240 Speaker 1: And so I think that's the skill that I brought 390 00:21:36,359 --> 00:21:40,320 Speaker 1: to it, not knowing what to expect and the Shin's 391 00:21:40,440 --> 00:21:46,840 Speaker 1: Vampire Weekend, like those seem like not easy acts to break. 392 00:21:47,160 --> 00:21:49,480 Speaker 1: It's not that people don't listen to bands, but we're 393 00:21:49,520 --> 00:21:53,000 Speaker 1: definitely like more of a single society these days, and 394 00:21:53,040 --> 00:21:56,679 Speaker 1: those are very much album artists. What were the challenges 395 00:21:56,800 --> 00:21:58,800 Speaker 1: that you saw with those acts, because those were the 396 00:21:58,800 --> 00:22:01,280 Speaker 1: acts that you worked with primary I think like in 397 00:22:01,359 --> 00:22:04,600 Speaker 1: that era, early two thousand's that was really the thing. 398 00:22:04,840 --> 00:22:07,880 Speaker 1: But I do think that there's a specific challenge when 399 00:22:07,880 --> 00:22:10,639 Speaker 1: it comes to breaking a band and building an authentic 400 00:22:10,800 --> 00:22:12,960 Speaker 1: fan base, like you don't want to move too fast, 401 00:22:13,040 --> 00:22:15,120 Speaker 1: you want to really speak to your fans, and then 402 00:22:15,440 --> 00:22:17,879 Speaker 1: as you can see, those bands have this amazing longevity. 403 00:22:18,040 --> 00:22:21,360 Speaker 1: So that was really always our primary focus was like, 404 00:22:21,880 --> 00:22:24,440 Speaker 1: let's just make sure whatever we do, we're doing it 405 00:22:24,520 --> 00:22:28,080 Speaker 1: to speak to our fans, rather than to sell more 406 00:22:28,280 --> 00:22:32,040 Speaker 1: albums or to take whatever box. It was more about 407 00:22:32,200 --> 00:22:34,880 Speaker 1: just really being authentic to our fan base and doing 408 00:22:34,920 --> 00:22:38,320 Speaker 1: what was right. M and touring, I imagine was a 409 00:22:38,440 --> 00:22:42,720 Speaker 1: huge part of their livelihood, right yeah, yeah, huge part, 410 00:22:42,840 --> 00:22:44,560 Speaker 1: and all that is the same kind of thing. It's 411 00:22:44,600 --> 00:22:47,480 Speaker 1: just like building, not skipping steps, making sure you're hitting 412 00:22:47,720 --> 00:22:50,520 Speaker 1: each size venue instead of speeding towards something too big 413 00:22:50,560 --> 00:22:53,800 Speaker 1: too fast. There's just way more longevity when you take 414 00:22:53,840 --> 00:22:56,639 Speaker 1: it like on that step by step basis. So that 415 00:22:56,680 --> 00:22:58,800 Speaker 1: was always our focus, and it was frustrating at times 416 00:22:58,840 --> 00:23:02,280 Speaker 1: because there was many years when they're maybe tours that 417 00:23:02,320 --> 00:23:04,960 Speaker 1: weren't profitable and you had to build and you had 418 00:23:05,000 --> 00:23:07,679 Speaker 1: to really look at it from an economic standpoint of 419 00:23:07,800 --> 00:23:09,720 Speaker 1: you have to reinvest in order to build to the 420 00:23:09,760 --> 00:23:13,359 Speaker 1: next level. And your experience working with Jamie Fox you 421 00:23:13,400 --> 00:23:17,040 Speaker 1: worked directly with him, right, Yeah, So it feels like 422 00:23:17,119 --> 00:23:21,360 Speaker 1: today it's like a prerequisite that artists have these diverse 423 00:23:21,440 --> 00:23:26,159 Speaker 1: interests beyond music, so TV, film, podcast, gaming, all kinds 424 00:23:26,160 --> 00:23:29,959 Speaker 1: of things. Did you learn about that through your experience 425 00:23:30,040 --> 00:23:32,080 Speaker 1: with Jamie Fox? Can you talk about that a bit? 426 00:23:32,440 --> 00:23:36,159 Speaker 1: Jamie's such a genius and Jamie thinks this way, like 427 00:23:36,240 --> 00:23:40,159 Speaker 1: he's just so in touch with humanity, and he's always 428 00:23:40,200 --> 00:23:42,760 Speaker 1: thought about things in terms of, yes, sure I'm the 429 00:23:42,760 --> 00:23:46,080 Speaker 1: Oscar winning actor, but I'm also a man of the people, 430 00:23:46,280 --> 00:23:49,040 Speaker 1: and so he always approaches everything he does in that way. 431 00:23:49,119 --> 00:23:51,600 Speaker 1: And I think that was like super eye opening to 432 00:23:51,720 --> 00:23:53,919 Speaker 1: me because before that I had only worked with bands. 433 00:23:53,960 --> 00:23:57,040 Speaker 1: And now Justin Chanter, who I work with at Range, 434 00:23:57,119 --> 00:24:02,119 Speaker 1: same thing, he's working on Broadway, TV, film, everything music obviously, 435 00:24:02,760 --> 00:24:05,240 Speaker 1: So I think it just showed me you can do 436 00:24:05,280 --> 00:24:07,320 Speaker 1: all these different things. And actually it serves you to 437 00:24:07,359 --> 00:24:09,720 Speaker 1: do all these things because then you're speaking to everyone 438 00:24:09,800 --> 00:24:11,760 Speaker 1: and you're reaching the people that you want to reach. 439 00:24:12,160 --> 00:24:17,080 Speaker 1: So Range was launched in September. Defectors from the four 440 00:24:17,200 --> 00:24:20,639 Speaker 1: major agencies had some really big names on its roster, 441 00:24:20,800 --> 00:24:25,360 Speaker 1: including Bradley Cooper, Tom Hardy, where I carry my favorite 442 00:24:25,440 --> 00:24:30,080 Speaker 1: Jack Carlow Newsleigning. How did you hear about Range and 443 00:24:30,520 --> 00:24:32,960 Speaker 1: how did you start talking to them about working there? 444 00:24:33,800 --> 00:24:37,000 Speaker 1: I heard about it through Don Passman. He's just become 445 00:24:37,080 --> 00:24:39,159 Speaker 1: like an amazing mentor to me. So he's always just 446 00:24:39,200 --> 00:24:41,960 Speaker 1: been so gracious and you know, really believed in me 447 00:24:42,000 --> 00:24:45,000 Speaker 1: and champion me. And he called me one day and 448 00:24:45,040 --> 00:24:46,880 Speaker 1: told me about Range. And I had started my own 449 00:24:46,920 --> 00:24:50,520 Speaker 1: management company, and Range really reflected all the kind of 450 00:24:50,560 --> 00:24:54,960 Speaker 1: principles that I was envisioning for my own management company, team, 451 00:24:54,960 --> 00:25:00,280 Speaker 1: equity partnership, the diversification into different areas. And it's not 452 00:25:00,359 --> 00:25:04,200 Speaker 1: an agency, no, not at all as a management company. 453 00:25:04,280 --> 00:25:07,919 Speaker 1: Even though all these agents started it, right, was it 454 00:25:07,960 --> 00:25:12,480 Speaker 1: attractive that it didn't have to do with the agency world. 455 00:25:12,520 --> 00:25:16,439 Speaker 1: It didn't have those pressures of booking and getting those paychecks, 456 00:25:16,520 --> 00:25:19,440 Speaker 1: just keeping it rolling in. I think the main difference 457 00:25:19,560 --> 00:25:22,760 Speaker 1: is that for us, we wanted to keep it very boutique, 458 00:25:22,840 --> 00:25:25,119 Speaker 1: and this has been something that's been throughout my career, 459 00:25:25,720 --> 00:25:30,200 Speaker 1: really wanting to give very bespoke focus to your clients, 460 00:25:30,240 --> 00:25:33,639 Speaker 1: you know, and really being able to like creatively think 461 00:25:33,680 --> 00:25:37,480 Speaker 1: and giving yourself the space to build something and thinking 462 00:25:37,520 --> 00:25:39,400 Speaker 1: of it on a long term basis. So I think 463 00:25:39,440 --> 00:25:42,399 Speaker 1: it's quality over quantity. That's like the number one difference 464 00:25:42,440 --> 00:25:45,280 Speaker 1: because I think agencies just have lots and lots of clients, 465 00:25:45,280 --> 00:25:47,840 Speaker 1: so it's harder to have that kind of focus. And 466 00:25:47,880 --> 00:25:51,160 Speaker 1: also like agencies are booking and we welcome the agency 467 00:25:51,200 --> 00:25:54,120 Speaker 1: relationships that they are very important to us. An agency 468 00:25:54,200 --> 00:25:56,399 Speaker 1: is going to be able to do things and have 469 00:25:56,440 --> 00:26:00,119 Speaker 1: different relationships so everything benefits each other. But I think 470 00:26:00,160 --> 00:26:02,600 Speaker 1: that's the main thing for us was just being able 471 00:26:02,680 --> 00:26:07,440 Speaker 1: to really focus in and super serve our clients. What 472 00:26:07,560 --> 00:26:10,359 Speaker 1: was the or what is the mission statement at Range? 473 00:26:12,040 --> 00:26:14,679 Speaker 1: And I think it's just very innovative, Like it's all 474 00:26:14,720 --> 00:26:18,160 Speaker 1: about work life balance, taking care of each other. If 475 00:26:18,160 --> 00:26:21,680 Speaker 1: we take care of each other, everyone will benefit. Quality 476 00:26:21,720 --> 00:26:27,240 Speaker 1: over quantity, equality, equity, trying to be progressive and forward thinking. 477 00:26:27,280 --> 00:26:30,880 Speaker 1: Those are all the kind of main principles. Are their 478 00:26:30,960 --> 00:26:35,639 Speaker 1: offices not yet. That's amazing. This company was launched in 479 00:26:35,680 --> 00:26:38,560 Speaker 1: the middle of the pandemic and everyone's working from home. 480 00:26:38,840 --> 00:26:41,000 Speaker 1: I mean, have you met some of your coworkers. We 481 00:26:41,119 --> 00:26:44,320 Speaker 1: I have. We've done our zoom meetings. We've done some 482 00:26:44,760 --> 00:26:48,280 Speaker 1: safe social distancing things over COVID, and now that things 483 00:26:48,280 --> 00:26:52,439 Speaker 1: are opening up, we're getting together more. How have you 484 00:26:52,520 --> 00:26:56,840 Speaker 1: seen the music industry pivot and adapt to COVID and 485 00:26:57,000 --> 00:26:59,280 Speaker 1: how do you see it coming out of the pandemic. 486 00:27:00,080 --> 00:27:02,439 Speaker 1: I think it's been really interesting because I think at 487 00:27:02,480 --> 00:27:06,040 Speaker 1: the same time, you've had this real social awakening, consciousness 488 00:27:06,280 --> 00:27:10,800 Speaker 1: that we all spent all our time running and distracting ourselves, 489 00:27:10,800 --> 00:27:13,840 Speaker 1: and because everything slowed down, people were able to soul 490 00:27:13,840 --> 00:27:16,520 Speaker 1: search and dig deep and find what's important. And at 491 00:27:16,600 --> 00:27:19,600 Speaker 1: the same time, we were this captive audience because everything 492 00:27:19,640 --> 00:27:22,160 Speaker 1: was content because you couldn't go out. So I think 493 00:27:22,200 --> 00:27:25,800 Speaker 1: it's been this really interesting time. The content evolution has 494 00:27:25,840 --> 00:27:29,600 Speaker 1: been amazing to see what's come, but also just the artistry. 495 00:27:29,720 --> 00:27:31,879 Speaker 1: It just seems like there's so much more room for 496 00:27:32,000 --> 00:27:34,600 Speaker 1: artists to be authentic and to do things in different 497 00:27:34,600 --> 00:27:37,320 Speaker 1: ways and to not have to follow every trend, and 498 00:27:37,440 --> 00:27:40,399 Speaker 1: the agism seems to have waned a little. You don't 499 00:27:40,440 --> 00:27:43,960 Speaker 1: have to be nineteen or twenty two to find success. 500 00:27:44,000 --> 00:27:45,840 Speaker 1: Like I just feel like it opened up all these 501 00:27:45,880 --> 00:27:50,480 Speaker 1: micro communities. It was already happening before, but it seemed 502 00:27:50,520 --> 00:27:54,600 Speaker 1: to really blossom through COVID. Do you think the music 503 00:27:54,680 --> 00:27:59,200 Speaker 1: industry needed to look in the mirror? Absolutely, yes, I do. 504 00:27:59,359 --> 00:28:03,200 Speaker 1: When I entered You Do around eighteen, you were talking 505 00:28:03,200 --> 00:28:05,960 Speaker 1: about being at Monotone and that there weren't many female 506 00:28:05,960 --> 00:28:10,160 Speaker 1: managers there, and I'm curious, did you have any female mentors? 507 00:28:11,600 --> 00:28:15,640 Speaker 1: Stacy Fast is definitely a female mentor of an attorney. Yeah, 508 00:28:15,680 --> 00:28:19,280 Speaker 1: she's an attorney, and she's also so brilliant and as 509 00:28:19,320 --> 00:28:24,119 Speaker 1: such an advocate for women. Jody Gershon definitely always has 510 00:28:24,160 --> 00:28:29,040 Speaker 1: been super supportive. Michelle Jubiliere, always been super supportive, ties 511 00:28:29,119 --> 00:28:32,600 Speaker 1: to glorious champion me in an amazing way. I would 512 00:28:32,600 --> 00:28:35,399 Speaker 1: say those would be them. And I had my colleagues 513 00:28:35,480 --> 00:28:38,880 Speaker 1: at Monotone, Amy Schmall's and Tiffany Stephens who are managers 514 00:28:38,880 --> 00:28:41,840 Speaker 1: at Monotone, who you know, we always supported each other 515 00:28:41,880 --> 00:28:45,440 Speaker 1: and had each other's backs. Do you feel like there 516 00:28:45,480 --> 00:28:49,480 Speaker 1: are just fewer women in management? Is that changing? I 517 00:28:49,520 --> 00:28:52,800 Speaker 1: do think it's changing. Like all this awareness has bred 518 00:28:53,040 --> 00:28:56,480 Speaker 1: this beautiful thing happening where men are like, help us 519 00:28:56,520 --> 00:28:58,440 Speaker 1: see what we don't know, Like we don't know this, 520 00:28:58,480 --> 00:29:01,320 Speaker 1: but they're open to hearing. The car conversation of how 521 00:29:01,360 --> 00:29:05,520 Speaker 1: it is from a female perspective. And I think similarly, 522 00:29:05,560 --> 00:29:09,360 Speaker 1: a lot of the older generation women were indoctrinated into 523 00:29:09,400 --> 00:29:13,160 Speaker 1: this male like patriarchy and so there wasn't a lot 524 00:29:13,160 --> 00:29:15,880 Speaker 1: of room for acceptance of each other. And I think 525 00:29:16,120 --> 00:29:19,280 Speaker 1: now women are much more aware of being supportive of 526 00:29:19,280 --> 00:29:22,400 Speaker 1: other women and making sure it's just it's much different 527 00:29:22,400 --> 00:29:25,959 Speaker 1: than on my career started. I think, what was it 528 00:29:26,000 --> 00:29:29,320 Speaker 1: like to be a female manager of indie rock bands. 529 00:29:30,320 --> 00:29:33,520 Speaker 1: There were definitely moments that would really make me angry, 530 00:29:33,520 --> 00:29:36,720 Speaker 1: where like the marketing executive from the label, I was 531 00:29:36,760 --> 00:29:38,960 Speaker 1: the manager in the room and they'd be talking to 532 00:29:39,400 --> 00:29:42,680 Speaker 1: another part of my team who was male and they 533 00:29:42,800 --> 00:29:45,720 Speaker 1: just cut me out of the conversation. Like, definitely remember 534 00:29:45,760 --> 00:29:48,960 Speaker 1: having those kinds of moments for sure. And just also 535 00:29:49,160 --> 00:29:52,400 Speaker 1: the sexual harassment. Never had that in any job that 536 00:29:52,480 --> 00:29:55,520 Speaker 1: I had, but like maybe some random lawyer starts like 537 00:29:55,640 --> 00:29:57,600 Speaker 1: hitting on me and you're like, this is supposed to 538 00:29:57,640 --> 00:30:00,800 Speaker 1: be a professional relationship, but it was always kind of 539 00:30:00,840 --> 00:30:04,160 Speaker 1: a thing that happened in the music industry. Do you 540 00:30:04,200 --> 00:30:07,080 Speaker 1: think that there's been a shift towards paroity, Like, are 541 00:30:07,120 --> 00:30:10,400 Speaker 1: you seeing that at range? I'm definitely seeing that at range. 542 00:30:10,440 --> 00:30:14,440 Speaker 1: There's a real consciousness around it, and I think there's 543 00:30:14,480 --> 00:30:17,600 Speaker 1: this respect for the different voices. And that's the main 544 00:30:17,680 --> 00:30:19,840 Speaker 1: thing to me, is like when you can say there 545 00:30:19,840 --> 00:30:22,000 Speaker 1: are two different ways to do this, neither is wrong, 546 00:30:22,080 --> 00:30:24,800 Speaker 1: but we both have perspective, so maybe if we come together, 547 00:30:25,600 --> 00:30:28,800 Speaker 1: then there's something better that can come of it. And 548 00:30:28,840 --> 00:30:31,160 Speaker 1: so that's the main thing that I noticed. There is 549 00:30:31,200 --> 00:30:33,800 Speaker 1: just this openness, and I think that there's just a 550 00:30:33,840 --> 00:30:36,360 Speaker 1: lot of mutual respect. Like many of us came from 551 00:30:36,640 --> 00:30:40,720 Speaker 1: similar experiences, so I think we relate on that level 552 00:30:40,760 --> 00:30:45,720 Speaker 1: of just we all contribute something unique. Justin Transfer is 553 00:30:46,280 --> 00:30:50,320 Speaker 1: a big deal. They are one of the biggest hit 554 00:30:50,360 --> 00:30:54,920 Speaker 1: makers in the US, probably in the world. What's your 555 00:30:55,080 --> 00:30:58,479 Speaker 1: management philosophy as it relates to justin Transfer and just 556 00:30:58,560 --> 00:31:04,440 Speaker 1: in general? Just Entranter is like the dream. They are 557 00:31:04,560 --> 00:31:10,960 Speaker 1: just the most incredibly super brilliantly intelligence, very even keeled, 558 00:31:11,240 --> 00:31:17,040 Speaker 1: professional work ethic kind open. So all those things are 559 00:31:17,080 --> 00:31:19,000 Speaker 1: like what I strive for in any client, and I 560 00:31:19,080 --> 00:31:21,320 Speaker 1: had that with every client I've ever had, and that's 561 00:31:21,320 --> 00:31:23,920 Speaker 1: something that's really important to me. You know, it's just 562 00:31:23,960 --> 00:31:27,600 Speaker 1: working with people who have that approach, and I think 563 00:31:27,640 --> 00:31:31,000 Speaker 1: like from a management perspective, it's super fun because you 564 00:31:31,080 --> 00:31:33,440 Speaker 1: just get to innovate. You get to have new challenges, 565 00:31:33,480 --> 00:31:35,880 Speaker 1: which was a huge thing for me when I left Monitoe. 566 00:31:35,960 --> 00:31:39,280 Speaker 1: Like nothing was wrong there, it was just that I 567 00:31:39,320 --> 00:31:42,280 Speaker 1: was looking for new challenges and growth. And this is 568 00:31:42,320 --> 00:31:43,840 Speaker 1: the kind of client that you can really find it 569 00:31:43,880 --> 00:31:47,959 Speaker 1: with because Justin will not stop. They are going to 570 00:31:48,200 --> 00:31:51,720 Speaker 1: take over the world. So we're working on Broadway, we're 571 00:31:51,760 --> 00:31:55,480 Speaker 1: working on film and TV, We're working on the songwriting stuff, 572 00:31:55,520 --> 00:31:59,200 Speaker 1: but venturing into other genres. So like I just get 573 00:31:59,240 --> 00:32:02,440 Speaker 1: to really think fatively and there's just no end to 574 00:32:02,520 --> 00:32:04,680 Speaker 1: the business that can be done, which is always a 575 00:32:04,720 --> 00:32:08,960 Speaker 1: really exciting client. What do you think is the biggest 576 00:32:09,000 --> 00:32:13,480 Speaker 1: issue facing the music business today? Artists and songwriters not 577 00:32:13,520 --> 00:32:16,440 Speaker 1: getting paid what they should get paid. That's just the 578 00:32:16,480 --> 00:32:18,760 Speaker 1: biggest challenge, Like we got to figure this out, Like 579 00:32:19,080 --> 00:32:22,520 Speaker 1: these companies are making so much money and it's just 580 00:32:22,600 --> 00:32:24,959 Speaker 1: not fair that the people who are making the art 581 00:32:25,040 --> 00:32:29,080 Speaker 1: aren't getting paid what they deserve. So in terms of 582 00:32:29,120 --> 00:32:33,160 Speaker 1: the artists who get a royalty, there has been a 583 00:32:33,200 --> 00:32:37,480 Speaker 1: shift more towards ownership and dividing the masters. Dividing the 584 00:32:37,480 --> 00:32:40,120 Speaker 1: ownership of the masters between the artists and the record company. 585 00:32:40,240 --> 00:32:44,320 Speaker 1: Is that addressing these issues? Do you see that changing. 586 00:32:44,440 --> 00:32:46,480 Speaker 1: I think that it's bigger than that. I think it's 587 00:32:46,520 --> 00:32:49,840 Speaker 1: like getting the songwriters paid. I think it's figuring out 588 00:32:49,840 --> 00:32:52,160 Speaker 1: the publishing side, because there's so much money on the 589 00:32:52,200 --> 00:32:55,680 Speaker 1: publishing side that obviously isn't covered by the master. Yes, 590 00:32:55,720 --> 00:33:00,560 Speaker 1: you're right. The songwriting is incredibly challenged the way they 591 00:33:00,600 --> 00:33:05,720 Speaker 1: get their money, how they're allotted a split from Spotify 592 00:33:05,840 --> 00:33:08,360 Speaker 1: or streaming, where all those things they really need to 593 00:33:08,560 --> 00:33:12,320 Speaker 1: like a complete upheaval. But on the artist side, it 594 00:33:12,400 --> 00:33:17,280 Speaker 1: seems like they give up some of that royalty so 595 00:33:17,320 --> 00:33:19,400 Speaker 1: that they can be touring artists, and they can sell 596 00:33:19,520 --> 00:33:22,120 Speaker 1: merch and they have other avenues of revenue that the 597 00:33:22,120 --> 00:33:26,360 Speaker 1: songwriters don't have. That's why the Pact, which was established 598 00:33:26,360 --> 00:33:30,400 Speaker 1: this year that is championing Oh yeah, Justin Transer signed it, 599 00:33:30,760 --> 00:33:35,880 Speaker 1: and Justin is probably the biggest name on the signatories 600 00:33:35,920 --> 00:33:39,360 Speaker 1: of the Pact. And the Pact's main issue is that 601 00:33:40,040 --> 00:33:43,000 Speaker 1: songwriters are asked to give up a piece of their 602 00:33:43,040 --> 00:33:46,400 Speaker 1: publishing to the artists. And again, the artist has all 603 00:33:46,440 --> 00:33:50,440 Speaker 1: those other revenue opportunities, but the songwriter doesn't. So is 604 00:33:50,480 --> 00:33:53,160 Speaker 1: that the main thing I would say it's too fold. 605 00:33:53,160 --> 00:33:55,920 Speaker 1: It's that that they have to give up percentages over 606 00:33:56,000 --> 00:33:57,960 Speaker 1: something that maybe the artists might not have even been 607 00:33:58,000 --> 00:34:01,160 Speaker 1: in the room when it happened. I think bigger than 608 00:34:01,200 --> 00:34:04,000 Speaker 1: that is like Spotify doesn't pay songwriters. Some of these 609 00:34:04,040 --> 00:34:06,920 Speaker 1: big companies just don't pay songwriters. So I think it's 610 00:34:07,000 --> 00:34:10,320 Speaker 1: getting them respected within the culture of the songwriting itself, 611 00:34:10,360 --> 00:34:12,640 Speaker 1: but then also making sure that we change the way 612 00:34:12,680 --> 00:34:16,640 Speaker 1: that this money is flowing through. It just needs addressing, 613 00:34:16,719 --> 00:34:19,279 Speaker 1: and it feels like there's all these people out there 614 00:34:19,280 --> 00:34:21,799 Speaker 1: fighting for it, but the change just doesn't come. Like 615 00:34:21,840 --> 00:34:24,160 Speaker 1: I don't know what it's going to take. It's going 616 00:34:24,239 --> 00:34:27,040 Speaker 1: to take. Justin Tranton, they're they're there for it.