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In career development classes for the music industry, students often ask, “What jobs are there, in addition to the obvious ones such as recording artist,

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Presentation on theme: "In career development classes for the music industry, students often ask, “What jobs are there, in addition to the obvious ones such as recording artist,"— Presentation transcript:

1 In career development classes for the music industry, students often ask, “What jobs are there, in addition to the obvious ones such as recording artist, songwriter, musician, or talent manager?” Look carefully anywhere that music or sound is heard, and you’ll discover dozens of jobs to investigate. Any list that was developed would be out of date within a few months, since there are so many new opportunities developing each as the music and entertainment industry continue to shift to the Information Age model.

2 However, before we discuss a few of the jobs and market sectors that exist, let’s look at the roles that people play in the music industry via broad function and let you consider which one of these areas you may fit in most comfortably.We’ve broken down the music business into three broad areas: 1. 1. Creators. These are the artists, arrangers, lyricists, directors, producers, instrument builders, and entrepreneurs who take a tiny idea or inspiration and create a story, a new music-related company, product, or a song, then mold it into something that can be shared, valued, and monetized

3  2. Technologists. These are the hardware and software developers, network techs, sound and video technicians, encoders, compressionists, riggers, social media experts, concert sound crew, instrument techs, who build, expand, and maintain the tools, pipelines, and channel paths to allow music and entertainment to get out to audiences around the world.  3. Managers. These are the dealmakers, connectors, and gatekeepers to the final work that the Creators and Technologists have partnered with to complete. Managers, agents, publicists, entertainment attorneys, music publishers, tax specialists, performing rights organizations, and concert promoters all play a vital role in ensuring that not only will there be an audience for new music, but also anyone who is owed compensation is treated fairly as prescribed by law and convention.

4 No managers—no payday. And yes, a few creators and technologists are also able to self-manage their businesses, especially at the early stages of their careers. Workshop 4.1 – You’ll do this yourself and Workshop 4.2 – Bring printed results of both on Thursday, April 9. Score your test. If you answered yes to four or more questions in part 1, chances are you are well on your way to a career in which you will develop or use new musical technology. Alternately, if you answered yes to four or more questions in part 2, you may find the greatest success by participating in the business end of the industry as some type of manager. If you scored four or more in part 3, you may have the makings of a Content Creator and should look at the next steps available in your area if you plan to pursue that path to continue to grow your skills.

5 If you scored high in two or more areas, surprise! You may be headed for an executive position, as many top performers have the ability to work in multiple modes. Don’t overthink the results of this workshop, as many persons can thrive in more than one of these broad categories. In fact, quite a few managers have been known to get involved creatively with artists (think of a producer that handles both the creative and business aspects of record making), and many Technologists have gone on to become masters at deal making as their careers have unfolded.

6 Not surprisingly, musicians are leading the charge when it comes to evolving careers that allow them to become entrpreneurs and leaders in multiple role. Such “multi-preneurs” would be embodied in the careers of Arnold Palmer, Puff Daddy, Janelle Monae, or Russell Simmons, to name just a few. The purpose of this workshop is to start you down the path fo self-reflection to determine which of these broad areas are of greatest interest to you. Knowing this as you design your own career plan will help you weed out career areas that require different skills or traits than those you have developed or are willing to learn.

7 That’s why it’s important to know which areas you prefer. Today’s music industry requires some basic level of technology facility, and an increasing value is being placed on what are sometimes termed “soft skills,” that is, active and careful listening, the ability to follow and give direction clearly, and the ability to prioritize and stay on top of assignments. Don’t fall into the trap of believing that your strong technology skills will be enough to make it in the industry or conversely, that your amazing gift of gab and people skills will eliminate the need for you to know office productivity programs inside and out. They won’t!And while anyone can be trained if they have the desire to broaden their functional knowledge and skills, past experience has shown that many people gravitate to one of these categories a bit more than others.

8  Note where your preferences lie and refer back to that information as you move ahead and work through the upcoming sections of this book.  ACTION ITEM! – Post a reflection on the results of this workshop in your career portfolio’s “Dear Journal.”  MUSIC INDUSTRY JOB SAFARI  A slightly deeper look at jobs that fit into the aforementioned broad categories: Ceators, Technologists, and Managers

9  Music and Sound Careers:  Film, computer, mobile, theater, and education.  Education career path often overlooked – without it there would be a smaller and less savvy audience  Television and Radio, Internet and Mobile, computer hardware and software, video game music and sound, and theme parks.  At Disney, audio staff “engineers’ are called “imagineers” Think of all the sounds you encounter at theme parks. Imagineers not only create the sounds and music, they design, install and maintain the systems that deliver the sounds and music  Mobile – Verizon, AT&T, Sprint, all recognize the use of a “value-added” service such as delivering music. Some partner with major artists to use their music

10  Listen to and imagine the virtual world created in some of today’s better video games: it takes a team of composers, designers, editors, etc. to create, mix, and deliver what you hear and see.  Musical instruments and products, recording equipment, builders of concert sound equioment, sound recording programs, compressors, reverbs, amplifiers, mixing boards, headphones and microphones  Gear that musicians use to create music. Constantly developing music technology creates new opportunities to develop and market new products.

11  Feature film music: composer, music editor, sound editor, music supervisor, ADR recordist, sound effects editor  Dozens of sound personnel working for long periods multiple major motion pictures, also multiple small budget films with smaller crews  Singer, songwriter, studio musician, arranger, sound engineer, music producer  Creatives who take ideas, emotions, and feelings and turn them into songs and records. A certain level of proficiency is necessary to compete in this field but it can be learned if one has the drive, inspiration and good instruction.

12  Artist manager, publicist, music video director, label staffer, music publisher, entertainment attorney, music journalist, business manager, video game project manager:  Support team for artists, musicians, music companies and music users. Watch your favorite weekly TV series and make note of each “cue” you hear. Each one required permission and license payments, someone had to secure each and every one before show can air  Music Editor, music librarian, orchestrator, copyist:  Educate, disseminate, curate, evaluate, and ensure that music can be created in a wide array of settings.

13 THE 50-TO-1 RULE Many are attracted by the more glamorous jobs like “star”, “artist” and “producer”  Less glamorous “off stage” roles abound in far greater numbers, hence the 50-to-1 rule. For each of the thousands of successful recording artists, there are up to fifty support personnel, many in good paying, exciting, and stable careers.  Those types of careers tend to have more longevity than the “stars” whose careers sometimes decline rapidly

14  EXAMPLE:  U2’s 2009 to 2011 U2 360º tour, according to Billboard, employed a crew of 137 that traveled the world with the band while an additional 120 local techs were hired in each city visited.  The resource section of this text lists two books and a website that lists many music industry careers: Career Opportunities in the Music Industry (6 th Edition) by Shelly Field, 100 Careers in the Music Industry by Tanja L. Crouch, and

15  www.artistshousemusic.com a music resource website. www.artistshousemusic.com  Field’s book details eighty job descriptions, salary ranges, and necessary skills  Crouch’s book features first-person interviews with a range of leading professionals discussing what they do and how they got their start in the industry  The website has a few thousand video interviews with the ability search for specific topics.

16  It is suggested, by the author, that by viewing some of the numerous video interviews and preformances, you will begin to get a better idea of the inner workings of the multitude of varied careers in the music business.  “Getting to know about the variety of jobs and what kind of skills and aptitude are required for each is one of the most important activities you can undertake! How can you find out if you are well suited for a job if you don’t know what it takes to do it well?”  Note: Be sure to do Action Items and Workshop 4.2 (all on page 29.)

17  The careers you have identified in Workshop 4.2 are only a handfull of the music-related fields that need talented newcomers to jump in and help make a difference.  Baby Boomers (run large part of industry) who have embraced the Digital (or Information) Age, will continue to be successful utilizing skills, talents, and adaptability of today’s younger generation who are proficient with evolving technology  By the time your read this, there will be many new job titles created as the industry continues to evolve as a result of new technologies

18  Don’t limit your view to one or two career paths  Do some serious investigation before you settle on any one route  Next, we’ll look at significant trends that are impacting the overall entertainment business  Music-related market sectors are converging  Taking place globally  Result is additional careers to investigate

19 EXAMPLES:  Late 1990s, Wall Street investment counselor David Pullman started investment fund allowing the public to buy shares of future earnings (aka “futures” – look it up on Google) on David Bowie songs  $55 million raised on behalf of Bowie  Bowie received no royalties for ten years  Income paid off investors  Phenomenon viewed as an anomaly at first  Bowies success resulted in more amd more artists seeking investment funds against their future royalty stream with the Pullman Group

20 Artists using this method included:  James Brown  The Isley Brothers  Ashford & Simpson  The estate of Marvin Gaye  Holland-Dozier-Holland (Motown songwriting team) Although “futures” funding has fallen out of favor due to the decline in sales of recorded music: it highlights the concept that songs (or other forms of intellectual property) can be monetized in new and different ways.

21 Today’s new entertainment currency is the control and monetization of information and entertainment (“info-tainment”)  Recent study by International Intellectual Property Alliance cited $1.01 Trillion valuation for value-added services to 2012 U.S. Gross Domestic Product – up dramatically from $885 billion in 2009.  Same study also found that U.S. copyright- related industries employed a total of 5.4 million people and grew at more than twice the rate of the annual economy from 2009 to 2012.

22 Another Example: Hit TV series Glee  Generated hundreds of millions in ad revenue  Episodes sold successfully online  Sountrack recordings generated millions of downloads  Mostly cover tunes performed by cast members Although CD sales continually drop:  New opportunities to make and share music and entertainment continue to be invented  Industry pros finding multitude of new ways to generate profits  Music today is found in more places and used in more ways than in any previous generation!

23 42% of world’s population resides in four growing countries:  China - population of 1.4 billion  India - population of 1.3 billion  Indonesia - population of 250 million  Brasil – population of 200 million GeoHive projects that by 2025, Asia’s population of 4.77 billion will represent 60% of world population  By 2025, North America will be 5% of world population!

24 Logical Assumption: “For anyone preparing for a high level career in the music world, addressing these populations of potential music consumers must receive consideration!” Most people in Asia do not speak English, however:  They do listen to western music  They do play western video games  They do enjoy western movies Note: “western” in the above context refers to the western part of the world (where we live) not George Straight music or John Wayne movies.

25 More interesting global facts: The Wall Street Journal recently reported:  68%of revenue from the $32 billion film industry comes from overseas markets  Iron Man 3 (released one week earlier overseas) broke the $1 billion plateau two weeks after initial release  $776 million in overseas ticket sales, and  $337 million in domestic ticket sales  U.S. movies rank #1 in ticket sales in Japan and Western Europe

26 Wall Street Journal also reported:  Fall 2013 foreign premier of Thor: The Dark World earned $268 million in 12 days! Keith Hatschek quote: “ Tracking entertainment companies such as Fox, Electronic Arts, or Sony on a global basis leads one to a conclusion that I share with many future-oriented business leaders: Info-tainment has become the new gold standard.

27 The same skills that apply to a career path in the music industry will apply to electronic media and information-age careers. Loosely described as convergence, new media and gaming marks the intersection of information, entertainment, and business. It is where the latest technologies for the Internet, computers, cable or satellite television, broadband delivery, movies, and music converge. Interesting Fact: UIW has a new Convergent Media department with both undergraduate and graduate degrees. Check it out at: http://media.uiw.edu

28 Job opportunities are exploding just as fast as new companies are born and bought, as the industry races to develop and deliver the most compelling content to a worldwide audience hungry for information and entertainment.  Another form of convergence that has dramatically changed the rules in the entertainment industry is the rise of content channels such as YouTube.  Allows musicians, managers, and fans equal access to new and/or remixed content  Music can be shared globally using desktop media production tools

29 Success of Karmin, Pomplamoose, and OK Go are examples of the new model for artists and savvy managers that understand Internet media to build a fan base at a fraction of the cost it would take without such platforms. Another example: ReverbNation, BandPage, TuneCore, CD Baby, and DIY blog sites such as Tumblr that provide interactive tools for artists to expand and monetize their audience.

30 Video Gaming  In 2012, research firm NPD Group cited 211 million video game players in U.S.  Entertainment Software Association reported that the average U.S. household had at least one video game console  Americans spent over $24 billion on games, consoles, accessories, downloads, and upgrades  Interactive Software Federation of Europe found that 81% of region’s 95 million gamers enjoy video games online

31  There are now thousands of companies producing video games  They all incorporate music and sound  As market has grown, so have production standards  Result is more people employed creating content  Market has expanded exponentially resulting in:  5 different sectors: consoles, computer, tablet, mobile, and portable – each with it’s own audience

32  Today’s games offer well-crafted musical scores that can rival that of a feature film in sophistication, orchestration, and playback fidelity  Globally, video game market is expected to remain substantial  Example: Call of Duty: Black Ops 2 grossed more than $1 billion during its first 15 days in late 2012  Just Dance series (home dancing video games) has sold more than 25 million copies  Sims series has sold over 125 million copies

33 Is composing for the video industry right for everyone? Hardly! But:  If you are a talented composer who is comfortable working with computer audio and MIDI programs, you should investigate this field  Long hours and critical deadlines can lead to some all-nighters but financial rewards can be quite lucrative  Staff positions at larger firms pay in the $45,000 to $70,000 range with benefits, paid holidays, and profit-sharing programs  Freelancers can also do well but without benefits

34 Not just composers are needed: Any skill or craft that goes into the making of a feature film is likely to be required when a new game is on the drawing board:  Session musicians  Recording engineers  Dialog editors  Voice talent  Computer graphics designers  Sound effects editors  Production assistants  Video editors, etc.

35 Other Areas growing exponentially  Cricket Wireless currently one of first mobile phone services to offer unlimited music access from catalog of millions of songs for flat monthly fee  Apple’s iTunes recently passed the 25 Billion songs sold mark (in ten year period, consumers bought seven million songs per day!)  RIAA (Recording Industry Association of America) 2012 statistics showed recording industry revenue now 60% digital sources (downloads and streaming)

36  As CD sales continue to decline, more new music distribution platforms will be developed  So-called “access” model used by Spotify, Rhapsody, Rdio, and others represents 15%(or $1 billion of overall $7 billion U.S. recorded music industry)  $435 billion projected for worldwide market for television programming services: network, cable, satellite, streaming (Netflix, Hulu Plus, Amazon Prime, etc.), on demand, and pay-per- view.  Expanding universe of content requires new talent to help create and produce programming for the hundreds of channels available

37 Consider any media that utilizes audio, music recording, and sound editing.  Dozens of new opportunities being developed each week  Emerging market for new video programming now being funded by Amazon, Netflix, YouTube, and other alternatives to major television networks and film studios  Why? Because they see the need for content.  Dive in and start exploring the possibilities offered by new media!

38 All of the growth talked about in this chapter also creates new opportunities in the area of administration and protection of intellectual property ( i.e. copyrighted material) resulting in increased need for:  Entertainment attorneys  Copyright administrators  Paralegals Look for continued growth in this field as:  Newer, faster, more secure technologies emerge  More international distribution deals where borders and laws are difficult to enforce

39  To really prepare for a career today, force yourself to think outside the box. There’s a great big beautiful world in the entertainment industry for those who are motivated to make their mark. Push yourself to look beyond the record company or recording studio and at least explore the potential for what creative and financial opportunities may exist in these exciting new media market segments.

40 Another form of entertainment is making music, not only for the professional musician, but for the growing demographic of Americans with leisure time and disposable income looking for a hobby or interest that is fulfilling, not fattening, and enriching. Enter the music products industry. Young music career seekers often overlook the global music products industry, yet it provides many opportunities for all types of music-related careers.

41 Music products include: Musical instruments, any device, object, book, or accessory that someone might need to make, teach, study, create, or share music.  In addition to the obvious (i.e. musical instruments) sheet music, recording equipment, sound systems, music education software, etc. Besides the general public at large, customers include the millions of Americans studying music in schools or privately. $6.6 billion a year industry – offers a wide range of career opportunities

42 National Association of Music Merchants (NAMM) convention – twice a year – Winter NAMM in Anaheim and Summer NAMM in Nashville – Gigantic convention (100,000 +) – not open to public: All musical instrument manufacturers, recording hardware and software companies, and other music product ventures exhibit their latest products. Lots of musicians attend by getting passes from music stores they deal with. Lots of seminars and product demonstrations by well-known musicians, clinicians, and product specialists. Product specialists have to be accomplished musicians because they travel across the U.S. (and sometimes overseas) demonstrating musical products by performing with them.

43 Workshop 4.3 Internet Media and Music Products Opportunities Do it! Action Item: Do it! Both are on page 37

44 Males have traditionally dominated the non- performance jobs in the industry. (Women performers have nearly always had plentiful work options, although their treatment was often not equitable.)  Historically, at least 90 percent of the people working in recording studios, concert production, and many technical roles were male, a few women were found behind the sound board or boom microphone.  That has been changing over the last twenty-five years.

45  In terms of the recording industry, there are now more opportunities for women to work as engineers, producers, A&R execs, technicians, label presidents, and any position that men have traditionally held.  Although the number of women working at record labels has been high historically, it’s only recently that women are common in the top ranks.  In Hollywood, women head up some of the largest film and recording studios  A lot of ancillary fields, such as live sound, concert production, staging, cartage, and rigging, are still dominated by men.

46  A woman aspiring to a career in the music industry must be aware that there are numbers of people who have been in the industry for many years who possess extremely chauvinstic attitudes.  A woman should be mentally prepared for that. She has to have faith in herself, and know what strengths she has and how she can utilize them.  The solution is to have the skills and ambition to do the job well, and you will move ahead on your career path.  Women artist-entrepreneurs such as Madonna, Amanda Palmer, Janell Monae, Dolly Parton, Beyonce, and many others have influenced or are influencing our industry and you can do it too.

47 Remember when you are in a position to hire a person to help your company, don’t ignore the benefits of fostering a gender-diverse workforce.  The Society of Human Resource Management reported that similar sized companies with high levels of gender diversity averaged nearly $600 million more in revenue than companies with low gender diversity.  It’s just such gender diversity that is a key factor in sustaining a dynamic and future- oriented organization


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