The Vocalist Magazine SPRING 2013 ISSUE - Page 80

TVM: Do they all have similar musical styles, or do you work with a diversified roster of artists? Not really. I mean yes and no. They are all kind of Top 40 artists, so in that sense yes. But Craig has a like more mature sound that leads to a slightly older audience. And Cassandra is really gonna be like pop, radio, Top 40. TVM: What do you look for in an artist?And what are some factors that determine whether you will or won’t manage an artist? I look for the complete and total package. Meaning they have to have the talent, the voicel- but they also have to have the looks ‘cuz they need to be marketable. Also, they need to have a great personality for them to be easy to work with. So no matter how talented you are, or how cool looking you are, if you have a bad attitude, bad personality: nobody is gonna work with you. So you can throw all that out the window. TVM: Tell us about the struggles you’ve had to face while earning your stripes within the music business? That’s a good one. Yeah there has been struggles... Like my biggest struggle is to get Karl a record deal in the U.S. and get things going. We had released “Africa” in 2010, in the U.S, independently. And it started reaching number 1’s here and there (Salt Lake City, Tulsa, some good radio stations in New York, Miami, L.A.) however, Universal Republic signed Karl, and after they did, they really didn’t do much with the record. So that was a real disappointment to us, and it was actually a struggle for us to keep things going and revive Karl’s career in the U.S. So that’s kinda been a constant struggle for us. TVM: How about a struggle on a more personal level? I guess I kinda had to learn from a learning curve that in this business you can’t always be nice. Even though on a personal level I consider myself to be a polite, nice gu vWfW"F2'W6W72vVR&R6RwWG266FW"F&RvVW726BFV&FR&BvƖR( B&R6RF6RVRBFWvVBGW&&VBB6( F2wW26gB^( 2vV( 6WfW"66RV&VB( Rv6VRvV( 6rRv( 2&B"v( 2vV( 6( fRFVfFVǒ&FVVBWfW"FRV'26FN( 2&VV7G'VvvRࠥEdӢvB&R6R֗7FW2R6VR'F7G2rvV&6rR"f"FBGFW"vW'2vVW&vWBBb&WVW7G2f6V&6r( W6V6WBג6r( &W"g&F&Ff6WfW"Wr&( vVB6֗7FR2vVFW6VBƖFBFW6( Bv&ƖR( &R&VGF6Ɩ6BBFVBFW6( Bv&B( 6VBFVW76vR'WBF( BrvVFRWBFRvvf6V&B6V6FB'F7V"W76vRv62'F7BR&RWGFrW'6VbBF6GfFvR&V6W6RN( 2ƖR( F22W"6BR7W&RBv&>( RrVv2FN( 2RFrBFW"R2R7W&RRfRvBFW&FBW"W622vB6WFW26vW'2W6RWFGVRWfVFV"FV2B6V&GFB6VBR6vRvFW"&4BB7GW&W2vVVBFR4BBv2WFGVVB6Bv2ƖRr7W6RFV"W"f6S6FW6R&R&R֗7FW2FBVRFBF&BbâF( B6VB"FFW7W&FRbR&R7F"RvGF7BƖRREdӢBvB7FvR2"W"6&VW"6VB'F7B6Ɩ6BvW"vVFW7F'Bfr6R6W&W2FW&FBvB6vRBW7BR6r'WB'V6b6w2FBFW&VƖWfR2&VGF&R&WFVBFN( 2vVFW6VB7F'Brf"vW"VW72FBW'62F66fW&VB'vW"BFW6( WvFWfV^( FFN( 2&VǒFR&W7BFRVR6v27F'BB6W"g&VBFvRR"W"6W6'&FW""67FW"N( 2W7BFBf"6V&GFW7BvWF7&VF&RvW"BFWF( BfRFRFW&FRvW"2v&RƖR( ( 'W7vvVBvRRfW"6V&GV6S( EdӢvB6VB'F7Bf"vW#vW"B'F7B&VF62&VǒFR6rF2'WB2FƖRfrv&g&VB"&g&VBR&VǒVVBFvWBrW'6ƗGBbfWrRVVBF6Ɩ6vRVVBFfRFR6Rv2B&VƖVg2RF( BvVBWvFvW"FB^( &RvfRF&wVRBfvBvFWfW'F6RVVBvW"FB6VW2WRFWRvFRB2frFR6RF&V7F2R&RFN( 2V&W"RBV&W"Gv'fW6ǒ6V7F2BvW"FB&VƖWfW26V&GFBv&RFW&Rf"Rࠣ