With his educational background in IT and his passion for – and deep knowledge of – the evolving music business, Jason Feinberg is supremely qualified for his chosen profession: marketing music online and managing the web presences of artists. The story of his career path will be very instructive for those YII readers who wish to have a successful career in a branch of the entertainment industry that is struggling to adapt to the new technologies increasingly impacting its bottom line.

Current position: Founder and President, On Target Media Group, a music industry digital marketing firm. I am responsible for finding and retaining artist and record label clients, devising digital marketing plans, interfacing with everyone from technology companies to gossip bloggers, and staying aware of daily trends in the music and technology industries.

College & degree: BA Management Information Systems, Western Washington University

Internship: I did college radio promotion at Nitro Records and I worked at the LA chapter of  National Association of Recording Arts and Sciences (NARAS) doing event coordination.

First job in the entertainment industry: I started as a DJ, but quickly rose to Music Director at the UNLV college radio station KUNV. It wasn’t paid, but it certainly was a job. My first full time paying music industry job was at Favored Nations, the record label run by guitarist Steve Vai.

Big break: That’s a tough call. I’ve had a lot of good people help me along the way, some of who are still giving me breaks. But I’d have to say the biggest boost was Steve Vai offering me a job at his record label at the end of a three-hour guitar lesson and deep conversation. Yeah, that was a pretty amazing day!

Eureka moment: I have a eureka moment every three months or so. They tend to relate to massive successes or mistakes at my company. For example, when I lost a project to a competitor that I thought was a sure thing, I suddenly became well aware of the areas my competitor was stronger, and instantly began working at improving our services there. When an idea I thought was an average one exploded and brought us a bunch of new business, my eureka moment was realizing I am so entrenched in this industry that I understand some things even deeper than I give myself credit for. If I had to decide on one ultimate eureka moment, it was when I realized that being my own boss is the only arrangement that works for a guy like me.

Career path: My career path was almost derailed when I graduated college. Instead of going the hard route and looking for a job in the music industry, I went the fairly easy route and took a high paying computer job. It was at a very formal, corporate company and I was instantly miserable. It paid well and offered a very clear and prosperous path ahead, but that wasn’t enough to get over the stuffy environment that went against everything in me. I quit and took a job at a six-person startup in a basement and loved every second from there on out. However that only lasted a few years, as my music industry calling never went away and I eventually realized I needed to move to Los Angeles and get back on the path that had been clear since I was six years old.

Describe a typical work day in your current position: I start every day by trying to grasp all the amazing things that have happened since I left the office the night before. In the area where music and tech collide, interesting developments happen every single day, and I read many blogs and newsletters to take a current temperature.

I spend the next eight to ten hours alternating between sending and replying to a mountain of email, phone calls, meetings, Photoshop, Final Cut Pro, web development, sending out invoices, finalizing reports, and brainstorming interesting marketing strategies. The benefit of running a small company is I get to do a little of everything; the downside is I have to do a little bit of everything.

Who are your clients? We work with a lot of established artists, and record companies marketing special re-releases and boxed sets. We’ll consider newer artists but only they need to have some level of momentum, already playing shows and building up followers on FB, blogs, Twitter, etc. We can turn up the volume on that, create new avenues for marketing, connect them with some of the bigger players and on-line opportunities.

Worst job (or day) in entertainment industry: The worst job in entertainment is working as an intern or assistant for someone that is neither giving amazing training or has any intention of helping you in your career. When I bring on an intern, I make sure they receive some level of value. If I can’t hire them, I at least make sure they leave here with solid skills that will help them in a future job. A lot of people in entertainment thrive on taking advantage of others without giving anything back; if you are in this position, you have the worst job in the industry.

Best job (or day) in entertainment industry: The best job in the industry is artist management. Managers run the show at a level like never before. It is creative yet structured, requires imagination but also a business sense, and is involved in every influential decision an artist makes. In the past, managers had a far more limited role; these days they act as manager, record label, marketing consultant, merchandiser, retailer, artist development rep, and much more. It’s worth noting however, that all these things can also make this the hardest and most demanding job in the industry.

Best thing about your current job: The best thing about my current job is feeling that I am part of developing an entirely new business model for the music industry. We spend a lot of time working on direct-to-fan initiatives – enabling an artist to market and sell directly to their fans. I am a firm believer that for many artists this is the future of the business and being a part of that is very rewarding.

Worst thing about your current job: The worst thing is that we (as an industry) are still having a very hard time creating a sustainable, quantifiable, scalable business model. It is often frustrating being able to get an artist a tremendous amount of eyes and ears yet not have it translate into tangible results. We’re all still searching for that magic formula, and we’re still quite a ways off. At least I am in the growth part of the industry, versus many of my colleagues in areas that are shrinking.

Brush with greatness: I’ve been fortunate to get to meet and work with many amazing people, from famous musicians to industry leaders. I am often impressed with what they have accomplished, but what always stands out to me is character. I consider my brushes with greatness the times that someone of massive character has seen something in me and offered honest, meaningful advice or direction. You can work for an entire year and not learn as much as when someone far more experienced sums it up for you in three sentences.

Secret of your success/advice to the newbie:  The secret of my success is that I am always thinking two steps ahead. I wish I were thinking four steps ahead, but two will do for now. In an industry as fast paced and as uncertain as entertainment, people that can base today’s decisions on tomorrow’s realities are the ones that will be successful. This is easier said than done – one needs a hefty dose of common sense, a deep reserve of passion for when things get tough, and more important than anything else, relationships and people that believe in you. 

Next move:  For people in my position, there are three primary options (that end well). The first is to do this for as long as possible, hopefully getting better and better all the time. The goal here is to be an industry leader, have influence, make good money, and have a real impact on an artist’s career. The second option is to merge with a different yet complimentary company to enhance each other’s strengths. The third option is sell the company, buy a big private tract of land, become a hermit, and spend the rest of your life growing your own vegetables and thinking about the good ol’ days. Not sure which of those three is for me…

In addition to building his thriving business, On Target Media Group, Jason also finds time to blog about music business issues on the PBS Media Shift blog, which tracks how new media is impacting society and culture. (Here’s a link to one of Jason’s posts that should be required reading for anyone interested in the future of the music biz.) He has also taught at Musicians Institute (subjects include internt and mobile marketing, independent artist marketing, how to start and run a record label) for the past six years.

I am the one who gives permission. As the car drives along the country road, the puma stalks his prey, or the hero gets the girl, that perfect song we rep could be playing on the soundtrack. For the right price. And I’ll let you know what that right price is.

I am the executive in charge of licensing at a music publishing company.

Photos by JannieT and [nati].

Today’s Inside Scoop profile subject is an example of someone who knew from a young age (17!) what he wanted to do. And though it took a long time and a lot of hard work to get where he is today, you can tell by the way he talks about the journey and about his current life and work that the passion for his job exists to this day.

Current position: Independent music scoring mixer for film and television.

College & degree: Loyola Marymount University, BA in Communication Arts

Internship(s): None

First job in the entertainment industry: I worked at a recording studio called Evergreen in Burbank in the late 1980’s. I started when I was a junior in college and hung in there to land a full time job when I graduated.  The studio specialized in recording live music for films and tv shows. It was a great studio with incredible staff engineers, clients, contractors and musicians.  It was hard work being at the bottom but I really learned from the best.  There was a sense of being in a type of boot camp together – many of us who grew up in that studio are all still great friends.

Big break: When I got a call from a scoring mixer Bobby Fernandez, who was a staff engineer at Warner Bros. Scoring.  They were looking for a full-time union stage manager position for the scoring stage. This job entails running mic cables, setting mics, music stands, chairs, and setup and operation during live orchestra sessions. It is a dream job that only a small handful of people get the opportunity to do!  Bobby and I knew each other from working at Evergreen and he trusted that I would do a good job and he stuck his neck out for me.

Eureka moment: When I was about 17 years old, I went to a scoring session at Warner Bros. with my father Tommy Tedesco, who was a studio guitarist. The session was for “Benson” (the TV show) and it looked like the players were having such a great time (and getting paid for it besides!) I was introduced to Shawn Murphy, who was the engineer for that date, and I became fascinated with the technology. I already loved music and I thought, “I could do that!” Nobody told me it would take 20-plus years.

Career path: After a seven year run at Warner Bros Scoring, I was hired at the 20th Century Fox scoring stage as an assistant and had another great seven years. In 2002, I was starting to become busier as an independent engineer doing commercials and films. This was getting hectic because of my full-time assistant job. One day, percussionist Bob Zimmitti came up to me and said, “What are you still doing here?” – with a smile.   That is when I had to make a move. I threw caution to the wind and built a 5.1 mix studio at my home and pursued my goal of becoming an independent scoring mixer.  So far so good.

Describe a typical work day in your current position: Hmmm… A perfect typical day would be to wake up, run at the beach, go into my studio and mix for a few hours, eat lunch in the backyard with the family, go back in the studio and mix some more, realize my hair is growing back and I’ve gotten a few inches taller, then get a call from the clients to tell me to just post the mixes because they trust me.

Worst job (or day) in entertainment industry: Working for 50 hours straight on a set at $4.25 per hour and learning that in the California labor laws the “clock” resets itself after 24 hours. The big double time rate of $8.50 goes back to $4.25 on the 25th hour. That hurts.

Best job (or day) in entertainment industry: I have to say that my favorite client is from Sega Videogames in Japan. They come to Los Angeles to record about twice a year. They are incredible composers and orchestrators and very well organized. They like the “Hollywood sound” that we get here in Los Angeles all with live orchestras. They have always been so appreciative and gracious of my talent of recording and mixing. 

Best thing about your current job: I enjoy working on different projects each and every week, so it keeps it interesting. I have been doing lots of re-recording mixing and sound design of short films and documentaries which has been fun. It gives me the flexibility to mix from home and spend time with my wife and two daughters. 

Worst thing about your current job: The competition is pretty fierce and it seems to be getting tougher as budgets for live players and composers shrink. Everyone seems to be scrapping and clawing for the good gigs.

Brush with greatness: I was very fortunate to assist on sessions and watch great composers such as Michael Kamen, John Williams, Elmer Bernstein, and Jerry Goldsmith craft a score with live orchestras. I was also able to learn from incredible scoring mixers such as Armin Steiner, Dan Wallin, Bobby Fernandez, Al Schmitt, Dennis Sands and Shawn Murphy.

Secret of your success/advice to the newbie: It all comes down to having a strong work ethic. Your clients need to know you have their back. Even if it is a low budget gig, treat it like it is a high budget gig with your attitude.  People choose who they want to spend time to work with. Make it fun and don’t be a kill-joy. When starting out do not lie about your credits. It is a small industry and people can find out if you are bullshitting them or not. Try hard to learn something on each and every gig; a new technique, shortcut or keystroke. Do your best to learn your gear and become an expert at it.

Next move (or next five moves): Well it’s all about getting the next big gig. That comes from your clients getting better work and wanting you to come for the ride. I have a personalized license plate that says “Get ‘D Gig” and that keeps me grounded and motivated.

You can visit Damon’s website here for (even) more information about what he does!

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Michael Perricone started demonstrating his passion for music as a child, playing guitar and bass, and owned a sound rental company in his late teens before finding his niche as a sound mixer in the recording studio. Since then, he has covered a lot of ground in music and TV and film sound, as well as having some interesting sidelines. YII was excited to talk to someone who has mixed his passion for music with his entrepreneurial talents.

Current position: I am a Sound Designer and Rerecording Mixer, CEO of Lotus Post, a Music Producer & the Founder/Owner of OmStream.com.

College: I completed two years of junior college.

First job in the entertainment industry: Assistant Engineer at a Recording Studio. There were about 300 recording studios in Hollywood at that time and I applied to all of them. I figured out when the receptionist went to lunch at the one where I most wanted to work and I rang the doorbell at that time. I got to speak to the owner directly. That’s how I got hired.

Big break: My first job was the big break. I got to work with top people. My first session was with Alice Cooper. This thrust me immediately into a high-profile world.

Eureka moment: I had a PA (sound system) rental company for local bands, but the first time I went into a recording studio, I knew that’s where I wanted to be.

Career path: I started as an assistant and moved up to being a sound engineer there and then after a few years, became an independent engineer. I worked for Saban Entertainment, recording theme songs for their shows. And then I recorded independent music projects and did post sound design on a couple of TV movie projects for producer/director/actor John Schneider (”The Dukes of Hazzard”). I got a job managing a studio in 1984 and focused in on post-production in TV & Film and made the facility profitable. I also worked at Evergreen Studios as a sound engineer for orchestral score recordings.

In 1985, I co-founded a studio called Interlock (now Larsen Studios), doing mostly TV & Film post-production (and about 10 percent music). During the time I owned and operated it, we went from working on projects like “Mad Movies With the LA Connection” (low budget/low profile) to CBS’s “Touched By An Angel.”

After I sold it in 2002, I took a year off and produced a couple of albums (classical crossover) and then started doing some audio post-production again, but mainly I continue doing music post-production (mastering the music for DVDs), including doing ZZ Top: Live From Texas (the largest selling music DVD of last year.) I took over a studio in Santa Monica earlier this year, now called Lotus Post.

Other careers: Being in audio post is the last stage of making film and television. I wanted an opportunity to be on the front end. I was a journalism major in college and I wrote short stories, so I tried my hand at writing a pilot with a friend a few years back. We called 60 agents and managers. Two read it and both wanted to sign us. We pitched episodes of “Star Trek: Voyager” and ended up writing two, one of which was nominated for a Saturn award for writing. Also, we were story editors on a series called “Savannah” and then we got hired on “Charmed” (with the title of executive story editor) and worked on it for one season. We also wrote episodic freelance projects for Disney Channel and Paramount.

Another endeavor came out of being frustrated because the music I would produce was categorized so oddly on iTunes that it would be difficult to find. I started Omstream.com in 2005 as “iTunes for the conscious music market.” We now have over 10,000 titles on the site.

Describe a typical work day in your current position: As the owner of a post house, it might involve coming in, addressing a billing issue, starting a transfer of a session I did over the weekend (I still do mixing), resolving a disagreement between employees, following cables in the machine room to figure out how something was routed from the previous people, signing checks, working on another session. We just did ADR on a Jennifer Aniston film and also on a Lasse Halstrom film using a Skype Connection to NY. We recently finished a country music show for Freemantle (producers of “American Idol”) called “Can You Duet?”

Worst job (or day) in entertainment industry: Got caught in a political situation in one of our writing projects that ended with everyone hired by the creator of the series being dumped by the second season.

Best job (or day) in entertainment industry: When I opened Interlock. It was so exciting and fresh. I was young and not quite so jaded.

Best thing about your current job: I get to help shape and guide a business and make a difference in a business that can get pretty messy. I can work with people who believe in doing things without stepping on other people’s throats.

Worst thing about your current job: So far, there hasn’t been any “worst” thing. I haven’t had to fire anyone yet. It was challenging trying to raise operating capital to start a company in this economy.

Brush with greatness: My favorite brush with greatness was getting a one-on-one impromptu writing lesson from Ray Bradbury. He was doing commentary for a laser disc on “The Martian Chronicles.” I mentioned I had just started writing and got a 20 minute primer.

Secret of your success/advice to the newbie: Ignore anyone that says you can’t do it. Sheer determination wins out over everything else.

Next move: To build Lotus up to the point where it operates globally, because it is a global marketplace. To get to the point where I don’t have to be working it hands-on so much and I get to spend more time with my family.

You can check out Michael’s post facility here, his film and television credits here, and visit OmStream here. Read a profile of his wife, classical crossover artist Jahna, here.

YII’s Making It Happen columns usually feature people in their 20s and early 30s. But after struggling without significant progress during those years, Jahna is seeing her dreams come to fruition in an especially satisfying way. People of all ages can be informed and inspired by her. If you are just starting out on an artistic career path, maybe reading her profile will help you avoid some of the bumps in the road she hit. And if you are an older reader and thought you had to give up on your dreams, Jahna’s story might make you rethink that idea and come up with a way to make them come true now.

College: I graduated from UCLA with a major in Psychology and a minor in Music.

Early Days: Looking back on things, I realize that I was not very sure of myself and did not feel empowered by my choices. I had taken voice lessons privately in high schools and performed in recitals (though my high school didn’t have any musical theater). My family taught me that music was a hobby, not a vocation. I took singing lessons weekly from ages 13 to 19 and I was a soloist with the UCLA a capella choir, along with performing in some opera. But I didn’t feel strong in my choices and my ability to make a living with my musical talent. I felt torn. I started a masters in psychology and quit when I realized that wasn’t what I wanted to do. 

I did a singing waitress job at American Celebration restaurant- I was singing but it wasn’t exactly what I had in mind. I auditioned for “Star Search” and continued to audition and perform in roles with Equity musical theater groups. (Somewhere in here, I met my husband, Michael, when I sent my demo from the “Star Search” audition to a friend of his. He heard it and contacted me.) I started persuing a Masters in vocal performance soon after my son was born, as a way of honing my skills and learning more about what my options were. I got more interested in classical music then, and less interested in musical theater and nightclub singing.

Finding her true voice: Following a challenging period of reflection, I started to think about the actual music I was drawn to. I started hearing a blend of classical music and world music in my head. I was looking for balance with my life and my musical taste. I kept hearing a classical piece, In Trutina, which I found out later means ‘in the balance.’ I turned away from an outward looking view (paying attention to the market) and instead focused on my inspiration and my own insides, what was my own gift. Instead of following the “right way” to go about it, I followed my instinct.

I started making CDs in this genre about ten years ago and, along with that, started doing yoga and being present and mindful, and through that, my husband and I decided to create Omstream.com, an online music store honoring this community of people living through a place of integrity and giving them a place to find the kind of music they made. (We say it’s like iTunes for your favorite spiritual center, spa, or yoga studio!)

I started to perform at Green festivals, events in conjunction with Lululemon athletic stores, and other similar gatherings. I also connected with Nutone Music (the side label for the owner of Network Records, which produces Sarah McLaughlin’s music).

Hardlearned lessons: It’s really important to follow your own instincts and get quiet. One of the biggest negative messages I was telling myself is that if you’re over 20, it’s over. Instead of fighting with and believing the negative voice, I learned to simply follow my true self. (By the way, my father, a doctor, pursued a lifelong interest and got a law degree at age 55 and became an expert medical witness.)

Hitting her stride: My music first got into a small Japanese market and one song charted #2 while the album charted #4. I also was the opening opera singer for designer Sue Wong’s fashion show in the Los Angeles Fashion Week. And in 2005, the producers of “The L Word” found my music online and placed a song in the show. The song was chosen for the third season album and it was the #1 download off the album on iTunes for over a month after it came out.

What’s Next: I have a new album I’m finishing called Furtive Glances. It’s a blend of world and classic, mixed with my own stuff I’ve been writing. I’m shooting a music video and I have a new agent (MSA agency). In January, an interview I did for Glamour Magazine is coming out as part of a section on quieting the mind and dealing with all the input in our modern world. Also, my music is featured on a compilation CD being released by Yoga Journal and Omstream.com as part of a pilot program featuring yoga DVDs.

You can visit Jahna’s website here to read more about her and you can download her music here.

If you enjoyed this post, we suggest you sign up on our home page to have YII delivered right to your email inbox. Also, please visit Your Industry Insider Store to check out recommended books and DVDs. Content will be added regularly as suggestions come in from industry insiders.

I am the recording studio’s techno wiz. I can rewire and rework the system as needed for recording, mixing, sequencing, and mastering, always knowing how to fine tune the sound the client wants. When things go wrong, everyone looks for me. When things go right, it’s music to all of our ears.

I am the Chief Technical Officer.

Photos by JannieT and [nati].

When YII met DJ Erin (Jacobson), we were impressed not only be her passion for music, but how she’d found ways to incorporate that passion into her daily life in college and then into her post-collegiate plans. She was very clear about what she wanted and we think other readers could learn a lot from her focus and commitment to turning music into a long and satisfying career for herself.

Current Situation:  Waiting for Bar results.

College:  USC- Major in Psychology, minor in Music Industry

Internships:  During college, I interned at Capitol Records in catalogue publicity, and with Rick Dees doing the Weekly Top 40. I also DJ’d at USC’s radio station, KSCR. During law school, I interned for a music publishing company and a couple music law firms.

Early Love Of Music:  I was the kid in the 3rd grade that was Elvis Presley’s biggest fan. I got into all different kinds of music because I loved exploring the influences of the artists I already liked. Until I was in college, I didn’t know about the different areas of the music industry and ways to be involved professionally.

Awakening:  USC’s Intro to Music Industry class opened my eyes to the roles of agents and managers, lawyers, all the people who make the careers happen for the people onstage. I loved the contracts and copyrights, the legal side of it, and I started DJing, too. I felt I’d found my niche.

Making it into a career:  I took all the entertainment law and music law classes in college, eventually with an eye toward going to law school. I took a year off and developed my podcast, Electric Effect, which focuses on unsigned and independent artists, mainly in LA. I love finding and then promoting new artists. (A few new, great, and local bands are Kiss the Girl, Run Through the Desert, featuring an artist named Yogi, and The Reigning Monarchs, Greg Behrendt’s band.) I went to law school at Southwestern Law School in downtown LA and really dove into entertainment law. I took as many entertainment electives as I could, was president of my school’s Entertainment and Sports Law Society and was the student liaison to the American Bar Association’s Forum on Entertainment and Sports Law. I also recently took the Bar exam and am awaiting the results.

Dream job:  As long as my career has to do with music, I’m happy. My dream job would probably be at a law firm repping and working with artists, negotiating their deals and counseling them on their careers. I also really like and understand music publishing.

Now: I’m doing consulting for bands, writing reviews and working on my next podcast for Electric Effect. By the way, I’m always looking for new bands to play and good new interns to help me.

Erin can be reached through her website and her podcast can be found through her website or at iTunes.

If you enjoyed this post, we suggest you sign up on our home page to have YII delivered right to your email inbox. Also, please visit Your Industry Insider Store to check out recommended books and DVDs. Content will be added regularly as suggestions come in from industry insiders.

I know who you want to see live and bring them to your local arena. Whether they are Kings of Leon or Katy Perry or U2, my job is to fill the stage with acts who will fill the seats. All the seats. A sold out show is my reward for a job well done.

I am the Vice President, Talent Buying for a promoter.

Photos by JannieT and [nati].

Though it is not the music journalism powerhouse it was when Lester Bangs’ writing was often more entertaining than the music he reviewed and a teenage Cameron Crowe was covering bands on tour (as chronicled in his movie, Almost Famous), this elder statesmen pop periodical still covers mainstream music like no other and a positive write up in its pages is enough to make the industry take notice. So if you are headed toward a career in the music,  you might want to start reading it now.

I am the financial whiz who makes sure the songwriters get paid the right amount every time their song is used, whether on the radio, in a commercial, or anywhere else. I may not be responsible for making them successful, but I put money in the pockets of Miley Cyrus and Bono and Kid Rock. They may not know me like I know them, but those checks they get are music to their ears.

I am the Vice President, Royalties at a music publishing company.

Photos by JannieT and [nati].