TKO Management

The sign of a good Artist Manager is the ability to blend into the background to make your artist clients shine. T.K. Kimbrell is such a person.  Mr. Kimbrell is owner and president of TKO Artist Management in Nashville, Tennessee.  While he is definitely a driving force behind his clients Toby Keith, Chris Le Doux, Mac MacAnally, Sawyer Brown and Carter’s Chord, there is less personal information on him than on his famous clients.  Obviously, Kimbrell is putting the spotlight where it rightfully belongs.

Mr. Kimbrell’s style of artist managing lends itself to understanding his clients from the inside out and allowing their individual personalities to shine through their music while he manages their business in the background.  In an article from Billboard (June 6, 2011), he add, “The more you get them concentrating on making a hit record, writing or finding a hit song, the better off you’ll be.”  Mr. Kimbrell allows and encourages his artists to focusing on the business of making music.

While the record labels are declining due to the explosion of digital media, they are still an integral part of the music industry.  Their connection to radio is vital for the artist.  Kimbrell points out their role in “finding, promoting and marketing acts” is just as important as ever before (Billboard, 2011). 

Just as most people in the industry, Kimbrell is a former musician; a bass player in country music as well.  Only another musician would understand the “heart” of another musician and the drive to make music.  Because of that insight, Mr. Kimbrell doesn’t try to “squeeze his musicians into a mold.” (Advertising Age, 2004).  He understands their need to be creative while business is being taken care of with the right mix of publicity and sponsorships. 

Apparently, T.K. Kimbrell has the right combination of genius that sits well with big sponsors and big labels. All you have to do is watch his clients soar at the top.

Peoples, G. (2011, June 6). Toby Keith, Zac Brown, Trace Adkins' Managers Break It Down at Billboard Country Music Summit Roundtable | Billboard.biz. Music Business | Music Industry | Record Sales | Billboard Charts | Billboard Hot 100. Retrieved December 11, 2011, from http://www.billboard.biz/bbbiz/industry/legal-and-management/toby-keith-zac-brown-trace-adkins-managers-1005218622.story

Stanley, T. (2004, March 1). T.K.Kimbrell, Entertainment Marketer of the Year.              Advertising Age: Ad and Marketing News. Retrieved December 11, 2011, from adage.com/article/special-report-entertainment-marketers-of-the-year/t-k-kimbrell/97863/

Red Light Management

Since my emphasis thus far in my journey has been on Artist Management, I decided to focus my next blogs on researching Artist Management Companies.

The first company I checked into was Red Light Management; started by Coran Capshaw in 1991 at the same time he started managing the Dave Matthews Band.  The company has grown large enough to form a sister company, Starr Hill Presents which are live concert promoters for regional and national areas  “together with its partners, produces large-scale music festivals nationwide including Bonnaroo Music and Arts Festival.” (Music Row, 2010).  Capshaw also co-founded the ATO Records Group and the TBD records label as well.

Red Light Management handles many aspects of an artist’s career, promoting, licensing, touring, in-house marketing and new types of media.  According to Music Row Magazine, they consider Red Light Management as one of the “premier management companies” in the music industry. 

Looking at the home page for Red Light Management, the sheer amount of established artists is astounding.  To mention a few: Dave Matthews Band, Faith Hill, Tim McGraw, Switchfoot, Third Day, Dierks Bentley, Phish and Soul Asylum. 

All of the resources I found talked about the company’s creative vision, their amount of resources and integrity. That makes sense when perusing the artist roster on their website!  Capshaw complimented McGraw by saying, “He’s a leader who shares our entrepreneurial spirit, a natural pioneer who embraces the cutting edge in everything he does.”(Music Row, 2009). That says to me Red Light Management is all about pushing the envelope for their artists; looking for new ways to promote and support their people.

The manager and artist chooses to work with is an all-important and all-inclusive deal.  Since they live in one another’s pocket practically, the choice needs to be well researched and thought out.  Not only in compatibility but more importantly, in the vision the artist has for his or her career.

Frascogna, X. M., & Hetherington, H. L. (2004). This business of artist management (4th ed.). New York: Billboard Books.

Humes, M. (2011, September 1).   Red Light Management & Warner Bros. Records Music Featured in ESPN™s College Football Coverage | ESPN MediaZone. ESPN MediaZone - a resource for media professionals. Retrieved November 29, 2011, from http://www.espnmediazone3.com/us/2011/09/01/red-light-management-warner-bros-records-music-featured-in-espn%E2%80%99s-college-football-coverage/

Ross, D. M. (2009, April 29).    McGraw Moves To Red Light Management: MusicRow “ Nashville's Music Industry Publication“ News, Songs From Music City.  MusicRow “Nashville's Music Industry Publication“ News, Songs From Music City. Retrieved November 29, 2011, from http://www.musicrow.com/2009/04/mcgraw-moves-to-red-light-management/

Salter, C. (2007, February 1). Way Behind The Music - Musictoday - John Legend | Fast Company. FastCompany.com - Where ideas and people meet | Fast Company. Retrieved November 29, 2011, from http://www.fastcompany.com/magazine/112/open_features-waybehindthemusic.html

Skates, S. (2010, January 8). Faith Hill Signs With Red Light Management. MusicRow “   Nashville's Music Industry Publication “ News, Songs From Music City. Retrieved November 29, 2011, from www.musicrow.com/2010/01/faith-hill-signs-with-red-light/

Rod Harris and Negotiating

Rod Harris is owner of Jenn-Rod Artist Directions, lives just outside of Nashville, and is an experienced Artist Manager, Talent Developer and Producer.   He also owns his own Publishing House. I contacted him this morning to talk about Negotiating in the music industry and he talked about some of his experiences.

We spent some time getting acquainted and talked about a mutual acquaintance, Sherrill Blackmon who is a premier song-plugger in Nashville.  

Mr. Harris told me about his current project and some qualifications artists need to make it in this business. Artists need to develop very thick skin, have an open mind and be agile…in order to fit in whichever way the door opens! That is a great way to look at the

opportunities that show up when you least expect. He also talked about the reason artists get into the industry; the real ones do it because they would be making music even if they weren’t making money!

When we turned the conversation to the topic of Negotiating, Harris talked about his personal Business Concept:  “We believe integrity and quality must be first and foremost in our business and everyday life. We believe in the artists we represent as people first and talent second.  We believe in planning, persistence and hard work.” (jenn-rod.com 2010).

Before you begin negotiating for your artist, you need to know what your product (artist) is worth and put a fair price on that. What will your artist be able to draw (according to past history in venues)? Then add 20-30% to that price. 

Mr. Harris gave the example:

Set up the contract for the artist, and then call the buyer at the venue you want to fill. You would tell the buyer: my artist will be in that area and would like to perform on a certain date for X amount of dollars. Can you put him in?  Harris’ objective is to negotiate a “fair deal for everybody concerned” (Harris, 10 Nov 11).  That speaks highly of his character and falls back to his Business concept he has posted on his website!

Harris related some information about “riders” to contracts that artists frequently ask for when they are negotiating. From just green M&M’s, to ungodly amounts of food, booze and amenities to the simple, and realistic of just enough for X amount of people. First of all, I would object to the waste and second, yes the artists are away from home; but they chose this life so there is no need to throw their “importance” around.

Toward the end of our conversation, Mr. Harris related a negotiating experience. He had booked an artist in a venue in North Carolina for three nights. He was also working with replacement bass and lead guitar players.  During the first night’s performance, there was trouble with the sound system. Not enough volume, they blew a fuse (Harris took one out of his car) and it turns out, one cord was plugged incorrectly.  Even through all the difficulties, the show turned out well and had a good crowd.

The owner decided to fire them after that first show and only paid them a portion of the contract. Harris related the owner was very arrogant and told Harris “We don’t want you tomorrow.”  The owner left before the show went down so Harris told the band to not break down. At that point, the manager kept insisting they would have to load out; told Harris the owner went to a party. Harris refused to leave without getting paid. The manager threatened to lock the door with them inside. When Harris told her “I’ll call the FBI for kidnapping”, she immediately called the owner who arrived shortly. Harris stood firm on the contract, and asked the owner what he would propose. They finally agreed on cash, all expenses paid plus 50% of the contract with 10% added for the booking agency.

After this conversation, I realized how many parts of negotiating Mr. Harris actually used:  Objective Criteria-by working with the venue owner to create a “win-win” situation for both and dealing with Dirty Tricks/Tactics in which the owner left before paying them for the remainder of the contract. 

This conversation was a great way to start my day and to hear first-hand how negotiating can be handled in the industry. It was a pleasure meeting Mr. Harris during our phone interview and I hope to meet him face-to-face soon.

References:

Contract Rider. (n.d.). Greg Osby Press Kit. Retrieved November 10, 2011, from www.gregosby.com/press_kit/go5rider2008.doc

Fisher, R., Ury, W., & Patton, B. (1991). Getting to yes: negotiating agreement without giving in (2nd ed.). New York, N.Y.: Penguin Books.

Harris, R. (n.d.). Jenn-rod home. Jenn-rod home. Retrieved November 10, 2011, from  http://www.jenn-   rod.com/index.html

  

The A>B>C's of an A&R...

 Who creates the buzz at writer’s rounds, concerts, showcases and clubs? The knowledge that an A&R rep is in the house!

A&R stands for Artist and Repertoire  (BizzTalk, 2009).  Someone working for a record label traditionally holds that position.  They are responsible for finding and signing new talent as well as locating songs for the talent they have signed.  Once an artist has created a “buzz” in the industry, A&R reps will go watch them perform and research their history.  If an artist is good enough to have created talk around town- the “buzz”, that means they have been seriously honing their craft and working the business consistently.

The major recording cities in the US are New York, Nashville and Los Angeles. Even in the smaller major cities across the US have branches of major labels or independent labels that employ A&R reps. 

I found out from some contacts in the industry that an education with an emphasis in business, music business, branding with a background in music is highly desired.  It is important as an A&R rep to know music history as far as knowing past artists and bands- the “ancestry”, if you will, of modern music.  They also need to be aware of the trends in their genre to better guide the artist they are working with. Because as the artist goes, so goes the label; the stronger the artist, the better revenue stream they will produce for the label. 

A&R reps tend to be very social people and love meeting the new artists and bands. Typically, they are seen at concerts, showcases, competitions, writer’s rounds, etc. scouting out new talent. 

By the way, it is not a good idea to send someone in the industry material that has not been asked for…. it will probably go in the trash!  What better position to be in than be a rep and know the new songs and artists about to break. This job is exciting, hard and rewarding all at the same time.  Next time you’re at an event, watch for the person the artist or band flocks around…that might be the A&R rep in the house.

Burton, M. (2002, February 20). Career Profile:  Artist and Repertoire  Representative - Entertainment Management Online at MSU. Entertainment Management Online at MSU. Retrieved October 7, 2011, from http://www.entertainmentmanagementonline.com/vnews/display.v/ART/2002/02/20/3c17ea272a6b9

McFarland, R. (2001, September 7). Career Profile: Artist and Repertoire Representative. Entertainment Management Online at MSU. Retrieved October 7, 2011, from www.entertainmentmanagementonline.com/vnews/display

Rhodes, C. (2009, September 16). The A&R Representative. Songwriting Tips & Tools - The Muse's Muse. Retrieved October 7, 2011, from http://www.musesmuse.com/col-bizztalk-a&r.html

Schisler, E. (2002, February 19). Career Profile: Artist and Repertoire Representative -Entertainment Management Online at MSU. Entertainment Management Online at MSU.Retrieved October 7, 2011,from http://www.entertainmentmanagementonline.com/vnews/display.v/ART/20 02/02/19/3c1150da9d86d

Networking 101...

In the typical life of any music industry professional or artist, networking is a daily routine.  There is an article by Constantine Roussos about how to network that, I believe, should be read by people new to the business or as a review.  This business is all about people, from the songwriters to the artists and the people in between. 

According to Roussos, no one is an expert in every aspect of this industry (Roussos, 2009).  Therefore, networking is fundamental in putting experts together to fill in our areas of weakness. That leaves us the opportunity to do what we do best.  It is also a business network built on mutual respect and exchange. Everyone’s time is valuable; respect that and show your appreciation for his or her time spent helping you. 

If I could list several aspects of networking, they would be:

·      Networking is built on trust and relationships,

·      Know what you are trying to accomplish,

·      Be genuine and honest,

·      When meeting someone for the first time, talk about them first,

·      Be able to clearly communicate who you are, what you represent,

·      Be good at small talk and chitchat, and

·      ALWAYS follow up with people you meet: thank them for their time, information, help, etc.  Let them know what you are doing. 

There are so many more opportunities in this industry to meet someone that can help your artist get up the ladder than say, 10 years ago.  Social media, online journalists, bloggers, chat rooms, podcasts, dj’s, and the myriad of people connected with concerts, venues and the music industry.  Everyone you come in contact with has the potential to know someone that can help.

Look at networking as similar to building with Jenga blocks.  Every person involved in an artist’s career is vital.  Remove one, and there is a danger of collapse of the infrastructure. 

Roussos, C. (2009, December 17). How to Network in the Music Industry:    Successful Business Networking Tips, Basics & Career Advice. MusicMusic.com - Constantine Roussos Blog - Music Business/Industry Articles, Marketing/Promotion Advice, DIY Tips. Retrieved October 1, 2011, from http://musicmusic.com/articles/how-to-network-in-the-music-industry-successful-business-networking-tips-basics--caree

"Don't Worry, Be Happy..."

Instead of re-telling Bobby McFerrin’s bio, I would rather just list his many accomplishments and then talk about how he has inspired me in the entertainment industry by discussing his passion and inspiration.

·      Bobby McFerrin has won 10 Grammy’s,

·      Vocal visionary,

·      Vocal improviser with a 4-octave range,

·      Classical conductor,

·      Vitally interested in music education,

·      Collaborated with musicians, dancers and actors,

·      “Ambassador of both the classical and jazz worlds.” (Pittsburg Symphony, 1988),

·      Family man.

Chris Anderson, TED’s Executive Director, talks about the TED movement, which is impacting so many industries, including music, around the world. When I checked out hit “Best of the Web” on the TED site, I found Bobby McFerrin.  Having heard McFerrin’s music for years, I was pleasantly surprised to find a clip of him participating at the World Science Festival in June of 2009.  He demonstrated the allure of the pentatonic scale to the audience by engaging them in a vocal exercise and also showed his improvisational skill by singing harmony and an improvised melody above them. 

McFerrin’s style has blended folk, jazz and a plethora of world music inspirations in a cappella, choral and classical styles.  With his trained ear as an orchestral conductor, his singing expanded to encompass instrument-type parts as demonstrated in his 1984 album The Voice and his chart topping hit “Don’t Worry, Be Happy”.   Jazz improv piano soloist, Keith Jarrett, inspired him; from there, he and his manager, Linda Goldstein, sought to develop his vocal career in a different way.

What impresses me most about Bobby McFerrin is the fact that he is constantly changing and evolving. Nothing is ever the same from concert to concert.  He is constantly pushing the envelope of where WE think music should go and finding his own mountains and valleys of excitement.  He is blessed and fortunate to have a manager, Linda Goldstein, who never tried to fit him into one genre.  Instead she worked to create one for him. 

“Bobby brings all the ingredients of life to his music, in audiences, in time and space, all the    colors and all of the cells and molecules, and light and history; everything gets supercharged in Bobby’­s presence. He can create something out of nothing, the way the alchemists would try to create gold out of lead.”  (Goldstein, BobbyMcFerrin.com, 2011). 

Bobby McFerrin is not merely a musician, or performer, or conductor…he is a student of life’s music!  He inspires me to push the boundaries of where I want to go as a musician and manager; to be that creative when it comes to my clients.  His enthusiasm jumps out: 

"I love to sing and I love to be adventuresome. It's like the thrill of your first hang-gliding experience, standing on top of a mountain and getting ready to jump off--you've got faith in this big kite in back of you. With me, it's the same way with singing, especially a cappella."

(Musicfolio.com, 2011)

References

 Bobby McFerrin: album reviews and ratings. (n.d.). Musicfolio.com: music reviews and ratings. Retrieved September 23, 2011, from http://www.musicfolio.com/jazz/bobby_mcferrin.html

1988., Asia., & album, t. s. (n.d.). Bio for Bobby McFerrin. Heinz Hall | Welcome to the Pittsburgh Symphony. Retrieved September 23, 2011, from http://www.pittsburghsymphony.org/pghsymph.nsf/bios/Bobby+McFerrin

Bobby McFerrin hacks your brain with music | Video on TED.com. (n.d.). TED: Ideas worth spreading. Retrieved September 23, 2011, from http://www.ted.com/talks/bobby_mcferrin_hacks_your_brain_with_music.html

Music News, Reviews, Articles, Information, News Online & Free Music | Billboard.com. (n.d.). Music News, Reviews, Articles, Information, News Online & Free Music | Billboard.com. Retrieved September 23, 2011, from http://www.billboard.com/#/artist/bobby-mcferrin/chart-history/7030

Oeser, M. (2011, June 7).   Bobby McFerrin Headlines 2011 DC Jazz Festival - eJazzNews. EJazzNews » The Number One Jazz News Website Since 2001. Retrieved September 23, 2011, from http://ejazznews.com/2011/06/07/bobby-mcferrin-headlines-2011-dc-jazz-festival/

TED Blog | Who let this guy on the TED stage?. (n.d.). TED Blog. Retrieved September 23, 2011, from http://blog.ted.com/2010/09/14/who-let-this-guy-on-the-ted-stage/extended bio « bobbymcferrin.com. (n.d.).  bobbymcferrin.com. Retrieved September 24, 2011, from http://bobbymcferrin.com/whos-bobby/press-kit/extended-bio/

NSAI: A Songwriter's Friend

The Nashville Songwriters Association International (NSAI) is a non-profit trade association for songwriters. This organization is the “watchdog” for songwriters, in every genre of music.  Their mission statement is clear in its purpose to support the amateur and professional songwriters by offering classes, events and as a cohesive force within the music industry and in the local community as well.

The first purpose of NSAI is to protect the rights of the songwriting industry including how artists are paid and taxed (NSAI 2011).  Their second purpose is to teach songwriting craft, instruction and leadership during the songwriting procedure.  The best part of this organization: They listen to your songs!

With a paid membership of $150/year, you get 12 song evaluations, 2 sessions with a professional songwriter, and workshops as well as access to their archives of recorded classes.  You do not have to live in Nashville to take advantage of this organization; they cover the United States and 6 countries. Online services put them squarely in your home or office with access to regional workshops, online classes, a song evaluation service and even discussions.

What I find so amazing about this group, it is a great place to network with other songwriters. Sometimes, you need another set of eyes to get past a writer’s block or just the creative juice to flesh out a song hook.

NSAI does not negotiate the sale of songs but they can introduce you to publishers to discuss contracts by networking, programs and events.  Their website pointed out that publishers are focused on finding songs that can create revenue. Most songs will not do that unless it has been recorded by a major artist and has been heard on the radio. 

The process for getting a song published has many steps.  Publishers cannot accept songs that have not been requested or from writers they do not know because of legal problems.  Each publishing company has their own stable of writers and they typically only solicit material from known sources or copyright organizations such as ASCAP/BMI/SESAC.

I had the opportunity to tour BMI and SESAC several years ago and was impressed with their passion for songwriters and their devotion to legal issues surrounding their craft.  Because of this, they are able to pitch their member’s songs to major publishers and A&R people from major labels on a quarterly basis. 

The most exciting part to a songwriter of NSAI is The Bluebird Café. It acquired the venue in 2008 and seems to be a perfect marriage of a songwriting organization and a “listening room”.  When I was in Nashville, the man that wrote “The Grundy County Auction” was performing with 3 other writers.  My youngest son had performed that song many times, it was a great opportunity to meet and talk with the songwriter.  This venue features 3 or 4 songwriters taking turns performing their original material while singing backup and playing for the others.

NSAI also sponsor a festival called “Tin Pan South”.  This is an annual event in Nashville featuring a week of writer’s rounds in virtually every café, bar or listening room.  It is an amazing opportunity to hear writers and artists perform their songs acoustically and “up close and personal”.   My family and I had the opportunity to see Jeffery Steele, at Douglas Corner, who wrote/co-wrote several songs for Rascal Flatts and other major artists. He is a dynamic, very charismatic singer-songwriter who is an amazing performer. 

I highly recommend every songwriter interested in improving their craft and wanting to expand their network and contacts get involved with NSAI.  Songwriters are the basis from which the music industry operates. Without them, there are no songs…  

References:

Jeffrey Steele. (n.d.). Jeffrey Steele. Retrieved September 15, 2011, from http://www.jeffreysteele.com

NSAI - It All Begins With A Song. (n.d.). NSAI - It All Begins With A Song. Retrieved September 15, 2011, from http://www.nashvillesongwriters.com

The Bluebird Cafe | Nashville, TN. (n.d.). The Bluebird Cafe | Nashville, TN. Retrieved September 15, 2011, from http://www.bluebirdcafe.com

Tin Pan South. (n.d.). Tin Pan South. Retrieved September 15, 2011, from http://www.tinpansouth.com

There is more to the job than babysitting...

 There is so much to consider when an artist or band begins thinking about hiring a manager. Two ladies from Nashville, one was a former exec from Sony and the other, owner of Alexander Management, mentored me for a couple of years. My association with a prominent agent from Creative Artist Agency also enhanced my knowledge and business acumen.

My sons were motivated to continually improve their abilities and hone their craft. It was strongly recommended they contact venues and book performances, and this in itself would place them in front of potential fans and improve visibility. In other words, give the record labels a reason to offer them a deal.

            Initially, I learned the artist (band) has to know who they are.  An artist must develop, understand and present the persona he is presenting and above all, be comfortable in his own skin.  It is important to be confident in the music he is producing, to know that music is a product and when it is ready to be marketed. Jeff Dorenfeld, former manager of the group, Boston, said in an interview, “An artist needs a vision of where they want to go and a manager will orchestrate that path.” (Berklee, 2009). 

Scott Austin, CEO of Authentik Artists, goes into great detail on his podcast about where artists need to be before they approach hiring a manager.  An artist must have a solid fan base, consistent ticket sales, and must be able to maintain both a stage and an individual connectivity to his fans.  

Much of my inspiration and what I consider my go-to guide is The Real Deal by Daylle Deanna Scwartz (2002).  I have spent hours studying and learning everything I could about the music business. This resource along with my contacts in the industry jump-started my interest in artist management.

Artists need to prepare for their career by doing their research.  They need to know what publishers do; copyrighting their music; the different organizations that protect them and their music such as ASCAP and BMI; and most importantly, how these impact their career. Managers have the ability to recognize and build undeveloped aspects of the performer. But, they expect the artist to have done everything possible before needing a manager. 

As a manager, I can give credible guidance and advice to the artist.  My job is also to function as a representative for the artist to the label and agent and as access to contacts they wouldn’t normally have.

The fact is: the music industry is a business.  Artists need to be savvy in the business and fearless in their pursuit of their dream!

Austin, S. (2008, October 9). QUIT ROCK: 10 Reasons To Give Up Your Dream Of Being In Music. QUIT ROCK: 10 Reasons To Give Up Your Dream Of Being In Music. Retrieved August 20, 2011, from http://www.QuitRock.com

Austin, S. (2008, November 2). QUIT ROCK: 10 Reasons To Give Up Your Dream Of Being In Music. QUIT ROCK: 10 Reasons To Give Up Your Dream Of Being In Music. Retrieved August 20, 2011, from http://quitrock.com

Howard, G. (2009, August 10). Study Music Online With Berklee. Interview with Jeff Dorenfeld Boston. Retrieved August 20, 2011, from www.youtube.com/watch?v=oKTmYPVtU0U

Schwartz, D. D. (2002). Seeking the Right Personal manager at the Right Time. The Real Deal (pp. 25-33). New York:

Billboard Books.

Tour Manager Extraordinaire

07 August 2011

 While working on this week’s assignments for Full Sail University, I came across personal interviews with tour managers.  I am familiar with many of the jobs associated with a tour, but not the in-depth day-to-day activities of the manager.

It seems of the three tour managers I found to research, all of them found their way into their position by accident. Basically, their journey began because of their love of music and/or friends in the business. 

Jonny Ellett had an interview on July 14, 2011, “The Christian Music Junkie” blog, discussing his job as tour manager.  He talked about his “normal” workday being 16-17 hours long.  Ellett mentioned some of his favorite things about his job being learning new things, traveling and meeting new people.  I was most impressed when he said he enjoyed being part of the group that created a great concert experience.  Like me, Ellet has a hard time telling people “no”.  Dealing with conflicts and making decisions don’t always make you a popular person.

Another fascinating interview I read was with Thomas Reitz (Eventric, 28 September 2010) who was tour manager for Luciano Pavarotti, Nelly Furtado and Rihanna.  He started out as a translator for a friend who was a promoter.  What was interesting, he started a photography business during all of this.  Reitz met Pavarotti during a concert in Berlin where he was working as a photographer for that concert.  Pavarotti like what he did and from there spent many years working for Pavarotti even through the Three Tenors tours.  The article mentioned how Pavarotti became dependent on Reitz not just as tour manager, but some personal managing as well.  Reitz talked about how much Pavarotti treasured family; their daughters were one year apart.

A YouTube video, “A Day in the Life of a Tour Manager” by Josh Chambu (4 Mar 2008) also bravely recorded his activities in the middle of a tour.  He described much the same as Ellett and Reitz, but because it was a video, put a tired face on the job of tour manager.

Concerts and music events that seem seamless are the result of a tour manager’s or project manager’s devotion to detail, professionalism and inner drive.  My hat goes off to every road manager out there making the artist look great!