Juno Reactor (Ben Watkins)
Role:
All-round Artist Manager
Duration:
August 2016 - September 2021
Type:
Hybrid
Address:
worldwide
Main responsibilities:
bookings and touring, negotiations and on location support, promotion, marketing and social media management, content creation and creative consulting, licensing, contracts and negotiations with external parties, travel organisation and support, choreography and stage management, music distribution handling and platforms management, royalty dunning and copyright infringement handling, historical and publishing research, personal and psychological support
The world is very big and very strange...
6 years of circling the planet through 25+ countries, exploring cultures and traveling to the most bizarre corners of the world
5.5 years of rotten music industry politics, abusive systems and "difficult" personalities
6 years of musical indulgence, euphoric highs and ptsd inducing lows, running through Paradise with a knife in your back
5.5 years of management, branding, research, administration, logistics, negotiations, marketing, psychological and creative consulting and everything else nobody else bothered with...
The Prolog
After 6 years of online co-existence merging into a "Lost in Translation"-style friendship, catching up here and there around the world, and after myself having decided to move back to Europe from Japan permanently, I was asked to come and help out by stage managing this new project of his, "Juno Reactor and the Mutant Theatre", which he was premiering at the Ozora Festival in Hungary in 2016. Little did I know that this marked the start of 5 peripatetic years with intense highs and traumatic lows as I transformed from a Japanese Jill of all Trades to "Hello my name is Sanja, I'm Juno Reactor's Manager..."
The Menu
Touring .................................... family life
Administration ........................ nerves
Marketing ................................ eye sight
Negotiating ............................. headaches
Lisaising ................................... insomnia
Personal assistance ................. anxiety
Creative directing ................... that was fun
Contracts & Administration
Drawing up event and licensing contracts, overseeing and overworking license, label and publishing documents, negotiating performance and licensing deals, working through old royalty statements and agreements, enforcing justice.
Creative Advising & Content Creation
Researching and coming up with new solutions to existing problems and adding various creative outlets and products to the main project. Creating graphic and promotional material, filming shows, documenting the artists travels and creative journey of searching for inspiration and writing music
Liaising & Negotiations
Reaching out to providers for any 3rd party services, quality checks, negotiating terms and conditions, obtaining promotional material; seeking alternatives and adjustments if needed. Trying out activities, networking and socialising in person as well as in the virtual world building new bridges and fixing old ones.
Research & Implementation
Researching new platforms, new technologies, new tools for presentation and art creating,; staying up to date with the official and unofficial happenings and movements in the music industry, new technologies and connecting with the people behind them. Keeping oversight over the ever changing music market and systems to obtain the best deals and conditions for the artist.
Consulting & Problem solving
From psychological assistance to negotiations and mediation with 3rd parties, strategical consulting, as well as pursuing wrongdoers (sometimes for years) until major issues are solved or paid back. Personal advice, out of work scope research such as gift research for relatives, renovation works of studio, interior design visualisations, car part research, pet training and anything else "random" that needs to be taken care of.
Organisation & Travel Support
Organising all logistics from obtaining new events through liaising, negotiations of conditions and fees, overseeing of light and sound requirements, looking up and overseeing visas, permissions, insurance requirements, organising all international and local transport based on specific requirements and making sure funds are available in time. Accompanying artist(s) on travels, making sure from start to finish that everything goes smoothy.
Contracts and Licenses
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drawing up (from scratch) licenses for labels, collaborations, and TV/film/video game productions´
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negotiating with publishers, agents, lawyers and labels to achieve the best and fairest deal for the artist
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providing customer service and support over email, phone and in person
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drawing up (from scratch) event booking contracts and negotiating with agencies and promoters on negotiable and no negotiable conditions significantly raising the financial security and confront standard of the artist
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handling other agreements such as cover art, permissions, other agreements
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researching and re-negotiating decades old publishing contracts and outdated conditions
During my time as an artist manager, I had to witness and deal with the aftermath of countless so-called "2 am contracts", "gentlemen's agreements" or just plainly thoughtless decision, which more or less always came around to bite the involved in the ass - sometimes immediately, sometimes for prolonged periods, and sometimes after decades, yet with the same ferocity.
The 2 am contract: Usually happening somewhere in the backstage of a festival, substances might or might not be involved and things might or might not get signed. Terms and conditions certainly aren't read or discussed beyond a few grunts among the throbbing stage music.
The gentlemen's agreement: Doesn't involve gentlemen, and doesn't come in paper form. Lots of promises, lots of grand ideas and assurance, until the reality of things sobers up the involved and turns the situation into a "(s)he said (s)he said" mud-fest.
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Semi-joke aside, LET NOBODY EVER PUSH YOU INTO SIGNING SOMETHING before you thoroughly read and understand it and negotiate your conditions and safety mechanisms in an educated and organized manner.
Red flags to look out for:
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"Sign it quickly cause I can/will only offer you the deal now/any other pushy or time-limited offer with bad excuses."
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"Are you reading the fine print? Don't you trust me?"
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"Everyone else is signing it, only you are making problems."
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"Don't worry about this paragraph/the lack of it, the situation will never happen."
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"I know it's written like that in the contract but we don't do it like that in real life."
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"I am doing you a favor/You should be grateful/Trust me/believe me/ It will be fantastic (and any variation)"
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I have written my agreements from scratch, tailoring them specifically to our risk appetite and safety standards. It doesn't deviate too far from the standard, but based on experience it perhaps has a few more details included, as the lack of each has a back-story.
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When I started working for Juno Reactor they didn't have the habit of using contracts and it was the continuous source of a myriad of problems (that's basically how my job started, solving those with zero experience or authority).
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For a full dissection of some of my documents, (coming soon)...
Being the "evil artist manager" in the Sunset Marquis, West Hollywood
Administration, Royalties and Copyright Infringements
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researching, locating and assembling a repository of several hundred music pieces from the last 40 years of artist's career, tracking down expired licenses and old contracts form partly vanished labels
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researching and enforcing labels to clean up unlicensed material, out of license material (renewing license -> researching, drawing up and enforcing fair licenses for artist), out of permitted territory sales, research on all the "back-end" of music platforms and historical verbal or unclear permission giving by artist
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periodically combing through platforms such as Youtube, Soundcloud and Facebook going through the process of copyrighted music removal, tracking down illegal remixes and other for profit derivates of artists work and having the work removed
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clearing up license claims and misuse by old and dysfunctional labels, royalty dunning (2 year long process of research and "negotiations" resulting in upper 5 figures of repayments dating back up to 20 years in favour of artist)
Music Portfolio and Platform Management
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setting up and maintaining (or regaining control of and updating) various music media platforms and DSPs such as Spotify, iTunes/Apple Music, Soundcloud, Bandcamp, BandsInTown, Youtube, Vimeo... due to lack of action on the side of responsible parties (sometimes for decades)
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regaining control and permissions (licenses) for some of the platforms due to artists historic irresponsibility and gullibility
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assembling a full musical catalog through research, meetings and inquiries as well as scavenging the internet for good two years; researching, correcting and cleaning up musical works metadata, tags, release year and involved artists/performers as well as duplicated (or more, up to 5!!) ISRCs and UPCs, lots and lots of more research...
<- Royalty reports
at blind mercy ->
at blind mercy ->
<- Royalty reports
<- blame shifting a la carte ->
Label Creation
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researching and interviewing best (and invitation only) digital distribution services, negotiating terms and conditions on historic and new catalog including all details
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researching and arranging transfer to a new digital distributor (with consulting and help of lawyers)
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finalising agreement and contract with new distribution service
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creating a year long marketing and release plan for the label
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researching and negotiating the remastering process for historical works
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finding and setting up interviews and connections for a successful start of promotion
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creating a 3D VR (virtual reality) world for the label launch, connecting with people from the VR and music industry and organise a VR event
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researching and negotiating with block-chain music platforms for parallel releases to traditional platforms (and successfully negotiating this condition with the main digital distributor)
Merely days before signing the final, multiple times reworked DSP contract, and after already establishing a new company for the label and working on this project for over a year, everything went to hell due to yet another change of mind of the artist and this was the death of it. Unfortunately this dynamic was not uncommon.
Filming "Lets Turn On" in the
outskirts of Moscow, Russia in 2017
Social Media (Marketing)
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​setting up and managing various platforms, engaging and responding to fan messages and requests (Facebook, Instagram, Twitter, Youtube, Clubhouse, ...)
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socialising with fans and implementing their requests and wishes in creative fan related activities (premieres, chat-rooms, VR meet-ups, Q&A, fans stories related to the artists work etc)
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creating captivating and engaging content based on current work and historical stories, events, and work; digging through the internet for long forgotten material and artistic work
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filming and photographing artist on travels, creating interesting situations, socialising opportunities and experiences and sharing these on social media
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researching and introducing artist to new platforms (clubhouse, blockchain based platforms, anything else thats new and exciting) and researching and implementing the knowhow of succeeding on them, inviting fans and others to join, creating events or any other activities on the platforms
I never thought of myself as much of a writer but when I started co-writing instagram captions, press releases, working on the main website or pitching the project to 3rd parties, I found myself enjoying the verbal creativity of story telling, excitement sharing and hint dropping as a great tool to engage with fans as well as clients.
AR - Instagram Filters
Ben and I both disliked the trend of paid advertisement, bought likes, following some sort of trends, stats, monetization, and "gamifying" everything with the sole purpose of profit. So instead I thought to dive into the world of augmented reality and make use of my knowledge in 3D modeling and graphics.
Studied up how Spark AR (the program used for making Instagram filters) works, the ins and outs of ... quite literally the ins and outs - particularly format compatibility and potential bridges between other graphic and 3D programs, and started experimenting.
The first, of course, was to be the UFO. Then I went for the signature Pistolero mask (there is another variation of it on my Instagram when I made the updated make-up version in real). The third one is inspired by the cover of Shango, where Mabi, the African band member from the past wore that makeup. It was around the time when we were hosting Clubhouse sessions with former members as well as when Mabi passed away.
The last one, as the mask itself says (and the reminder of corona times) was for the Poland Castle Festival show in summer 2021.
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I do enjoy making these as it is a perfect balance between creativity and social media promotion, allowing you to experiment and engage with fans and followers (there is a ton more you can do, such as interactive games and whatnot. Sadly administrative work and internal issues often forbade spending more time on things like these).
What else can be done to make fans social media experiences more interesting?
Well, when posting stories, especially of JR related things and events, why not have an assortiment of stickers to go along with it? And again it was a creative research rabbit-hole of how to acquire privilege and access to create own stickers, how to create them and upload via Giphy, and implement them in a creative way. For that I remade Bens Vivienne Westwood hat in Cinema 4D and rendered out a few versions for people to play with, as well as various animated and still images to make the social media experience more entertaining.
Instagram Stickers
Storytime: The way it'd usually go is that I would find a new platform/tech/creative opportunity and research and test it out myself, and if promising, present it to my artist. When I got into Clubhouse at the start of 2021 I spent about 8 hours every day(/night) on top of daily work on the app, networking, chatting, being mind-blown and blowing minds. But that has been more or less everyone's experience in the "early days" of Clubhouse, where the quality of the members and conversations was still exceptionally high. Extremely low on sleep but with a bazillion new project opportunities and ideas as well as interesting and useful connections, I then pulled in the artist, introduced him, connected him, and started to set up our own base, The ReactorLeak, where we started hosting rooms with past Juno Reactor members, people from the industry and even having an actor read the biography I have been working on for Ben through the years with adjoining Q&A. We connected with other musicians and producers, diving into collaborative real-time music production streamed to Clubhouse, or beaming into a VR event of Imogen Heap, through which we again got to meet a lot of friendly and creative people. I even ran into Darude one evening and got a glimpse of how contracts and licenses can prevent evergreen classics from being rereleased or evolved.
The benefit of Clubhouse was that you didn't need to sit at the computer, be presentable, or have 43 spreadsheets and documents open. A lot of sessions were done from the bed, at every ungodly hour, working through the day on gigs, label and royalty research, logistics and administration, and in between and through the night waking up for different clubhouse sessions from around the world, sometimes just listening, sometimes being on the board and sometimes hosting. Your head was buzzing, your eyerings were growing but your brain was on fire.
When Bitclout came out Clubhouse turned into the pub everyone excitedly chatted in about the upcoming release of yet another platform, just to then run out and place their bets on if this one will for once pull out the good and genuine in people, or will it go down the NFT route of manipulators, middlemen and shallowness (spoiler alert, it was the second, despite genuine attempts of some genuine people, just like with the NFT craze). Unfortunately, the world is too populated with opportunists to make genuine people keep the image of a new technology in the green. Same when blockchain started to be used for music releases - being a brilliant technology with all the potential to truly clean up the publishing and royalty world, just to be overshadowed by people uploading music that doesn't belong to them and other opportunistic scammers and manipulators.
This is a very low quality sped up version of the original 8 with a twist that I always preferred over the "to be published" version, because reality can sometimes be very twisted.
Meanwhile, we were working on our first NFT release - a combination of the UFO I've made and used for various little social media posts a lot earlier, and the thought of being able to combine and play with various parts that would all fit together. An unknown future, scary and mysterious, just like life was during Corona (and my everlasting love for the X Files).
Anyway, a lot of render hours, days, weeks (volumetric fog), connections made, invitation-only platform account obtained and negotiated, research, networking, etc .. just for all of it, along with the VR world I was working on "on the side", fall into water at the artist's change of mind/attention.
Anyway, thank you for coming to my sob-story, thoughts and prayers accepted. Do I sound bitter? You bet!! The amount of work, nerves and time that went into all this for it to die at 99% yet again while you sacrificed sleep, family life, health etc to make it work...
I learned A LOT but would have wished it wasn't so psychologically draining/damaging.
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Here's an interview that fell through in the end as well, which would be our first openly joint one about the projects we have been working on through Corona.
VR - Virtual JR Space
Having been to a couple of VR events and world experiences, I naturally started thinking about how I could learn enough to create our own little VR space. Being familiar with 3D modeling was of course of substantial advantage, and having connected with people from that industry who were glad to collaborate, any issues or back-end unknowns would be well taken care off all well.
Thus I embarked on another hyper-focus odyssey in between meetings and through long nights, creating a grand stage, an upper balcony for stage viewing as well as gallery space for the NFTs (with adjoining portal to go to the sales page as well as a potential virtual Merch store with real life articles in 3D) as well as an area for photography and art exhibitions, and little socialising spaces for people to have private conversations in (not in the final render). Of course, there were a lot of limitations, and ideas such as entering the VR space by spinning UFO were tested but soon abandoned as they presented a too high chance that half the people would puke by the time they'd get to the event.
Nevertheless, creating VR worlds (or game worlds for that matter) was always something that massively interested me - especially with the potential of 3D scanning real-world objects, collecting textures around the world, and implementing all kinds of little interactive games and tricks.
But for starters, and due to the workload of everything else, I had to try and keep it simple from the start...
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Cinema 4D, Substance Painter, various little material creation programs, and subsequently Unity - to turn it into a compatible space. Due to having extremely limited knowledge and skills in Unity, that was to be taken over by a collaborator (for the time being) who specialized in the creation of VR events.
Take a deep breath,
visual stimulation is coming...
a.k.a. the 20% of this job that makes it look so great on Instagram
and is insanely intense in both directions.
Ready?
Guest
01 UK - Brighton
Tel Aviv - Israel 01
01 Jordan - Aqaba, Petra
LA - USA 02
03 Israel - Tel Aviv, Nazareth
Strasbourg - France 03
04 UK - Brighton, New Forest
Bonistock, Zurich - Switzerland 04
05 UK - England
LA, SF, MN, LA - USA 06
07 Switzerland - Lostallo
Siofok - Hungary 08
08 Sweden - Stockholm
Algarve - Portugal 08
09 Slovenia - Ljubljana
Porto - Portugal 09
10 UK - Brighton
Tel Aviv - Israel 10
10 UK - England
Delhi, Goa, Jaipur, Hyderabad, Delhi, Bangalore, Goa - India 11
01 UK - Brighton
Jungle - Costa Rica 01
03 Russia - Moscow
Brighton - UK 09
10 Finland - Helsinki
Krakow, Bolkow - Poland 07
07 Spain - Barcelona, Girona
London, Brighton - UK 02
03 UK - Birmingham, Stratford
Liege - Belgium 04
04 UK - Brighton
Eforie - Romania 06
07 France - Audincourt
Siofok - Hungary 08
08 Iceland - Somewhere
Las Vegas, LA - USA 08
08 Brasil - Sao Paulo
Casablanca - Morocco 08
09 Belgium - Ghent
Amsterdam - Netherlands 10
10 Serbia - Novi Sad
SF, LA - USA 10
11 Australia - Melbourne, Brisbane
Osaka - Kanazawa - Hakuba - Tokyo - Sapporo - Fuji - Japan 12
12 Greece - Athens
09 Slovenia - Ljubljana
Maribor - Slovenia 12
01 Japan - Tokyo
Tokyo - Japan 08
05 Japan - Tokyo
Ozora - Hungary 08
08 Sweden/Estonia - Stockholm/Tallinn
08 Hungary - Ozora
Leeuwarden - Netherlands 08
10 Slovenia - Maribor
Budapest - Hungary 11
04 Japan - Tokyo, Osaka, Okinawa
Emmaboda - Sweden 07
07 Poland - Lublin
Ozora - Hungary 08
08 Slovenia - Izola
Tel Aviv, Hamat Gader - Israel 09
09 France - Paris
Moscow - Russia 10
12 Croatia - Zagreb
Whether by plane or car, embarking on long, dreamy road trips, or navigating nightmarish logistical challenges, sometimes staying in one location for weeks while other times just for barely a day, the world of touring never ceases to provide both adventure and challenges.
(There is a bunch of gigs I didn't travel along to, which aren't on the list such as the majority of Brasil and odd ones here and there so this isn't the full JR gig list and a few UKs were meetings/liaising/research/inspiration/fun-only trips.)
Japan tour December 2018: 7 gigs in 10 days, only possible due to the excellent public transportation system (planes and trains)
Event Management
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researching through various mediums and "cold calling"
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independently finding and liaising with 3rd party event promoters, agencies and organisers
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contract draw-up and negotiations (deposit, travel expenses, rights, all other details)
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managing and overseeing the budget and expenses
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creating promotional material and sharing it on social media platforms
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overseeing the payment and promotion process
Tour and Stage Management
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organising travel logistics and writing itineraries
(international and local), budgeting, overseeing visa processes
and any other required permissions and insurances -
enforcing all contract approved light/sound/stage agreements,
equipment hire, safety standards -
overseeing everyones real-time travel and assisting 24/7 during travel and tour
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accompanying artist to all events, ensuring all contract conditions are met
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creating video and photo content as well as live filming for social media and promotion
during show, as well as being on call for any needs of the artist during the performance -
stage managing a choreographed performance of up to 15 people in led light costumes, partly on stilts, with confetti and CO2 guns; helping with changing of costumes between performances, loading up confetti guns, leading performers in bigger costumes onto stage, timing everyone to stay completely in sync
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accompanying and filming pre and post performance walks, fan meet and greets and photo sessions
Stage management was the first task I started out with back in 2016, and slowly, being confronted with all the other issues, it morphed little by little into more and more (tour management and budgeting was next, then everything else came little by little)...​
USA 2018, first time with Juno Reactor and the Mutant Theatre - at the Defcon in Las Vegas! From then on we revived the habit of small DJ tours as well
Travel Management & Logistics
From the initial contact over the negotiations, contracts and riders and finally to travel logistics and management, the "how to get everyone from A to B (sometimes continuing to C etc)" was always an exciting and creative challenge. DJ shows/tours were fairly easy and the emphasise was more on overseeing the entire tour process to ensure enough time for local transport, social activities, any kind of potential delays, extra adventures etc. but when it came to the full show itineraries, that was usually a conglomerate of variables, with the promoters slow deposit payments being the main worry, as well as the limited options of transport that would tick off all the boxes:
a) doesn't charge by KG
b) allows transport of batteries, confetti guns and other "dodgy looking" equipment
c) is a direct flight or has a stopover of over 3 hours (so to minimise lost luggage chances)
d) brings everyone to roughly the same city in roughly the same day
e) local transport is available
f) as cheap as only possible
It involved researching alternative paths of oversized luggage transportation, navigating through the web of customer supports and airline policies, finding loopholes or even digging up airline policies regarding delays, natural disaster and refunds, as more often than not seemingly hopeless situations were saveable with the right knowledge and approach.
Monitoring arrivals and local transport, rescheduling and rerouting stuck team members, remotely handling flight cancellations and delays, extra requests and needs, last second sourcing of broken equipment or making sure the local pickups went as agreed (which was a little bit of a wild west in some parts of the world), one was on call and in action pretty much the entire time of the engagement/tour.
You grow up as a kid looking up at all these big institutions, and systems. The great responsible and wise adults. You believe the world is "sorted out" and functional ... until: your luggage gets lost.
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And suddenly, just like that, these preconceptions turn into misconceptions and while you are being forwarded from outsourced calling center to outsourced calling center, chasing in circles while airlines blame shift and evade as if it was a national sport, you eventually - at 3 am - gain information that your "lost"luggage has made a more extensive travel trip than the average family in a year. (Italy to London to the Netherlands to USA - LA to USA - SF and back. Im not joking!)
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That being said, travel logistics are a very exciting things for an over-thinker. To the degree where others might go death-scrolling through social media, you find yourself on flightconnections.com, setting up hypothetical flight itineraries and hunting for that incredibly cheap and direct flight fare (eg. UK - Australia - Japan - UK for 800EUR incl. luggage! We used that gem of a price on our 2018 December tour).
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But travel logistics are not always that smooth. If you have 18 people from 8 different countries - yet I enjoyed such challenges. The only issue was, that usually the deposits for the flights kept being delayed, which in turn put the entire project in jeopardy as sometimes there was exactly one flight combination that would safely bring everyone to the location in time without spending 5 figure amounts on just the luggage (airlines charging by KG, or having different luggage dimensions and limitations, prohibitions and whatnot), and then it was a daily persuasion and liaising game, as often responsibility and farsightedness weren't written with big in this industry niche.
So it remained a delicate balance between enforcing the contract, ensuring the event would happen, and still being booked again next year or recommended to other promoters. Unfortunately, there are A LOT of foul players in this business, an open secret as well as seemingly necessary evil. It took good two years to convince my own artist to start using proper contracts despite the obvious benefits, especially with bigger shows where more is at stake (no-brainer for me) but the world is very big and very strange sometimes.
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Do you know the game of cabbage, rabbit and fox?
We had our own version - 2 arrival airports, 8 people (with and without driver's license) from 2 departing airports, 1 rental car at one airport, 1 rental van at another airport, and over 300kg of oddly shaped luggage to land and drive to the neighbouring country all on a delayed super thin shoestring budget because *Michael Scott voice* Parkour! That was the early days when I was still just delegated the crisis management tasks ...
India 2019, a nausea inducing convolution of continuous contract and agreement breaches and last second crisis managing resulting in a 5 week being-somewhat-stranded stay and suspected PTSD but the country itself is amazing...
Merchandise
A merch store has been in the talks for a while, and I have done extensive research on various providers, their coverage sustainability, the modification of the garments, and especially the quality, the latest perhaps making the research extra long.
What I strived for were garments of Patagonia (or similar) quality, which was of course entirely out of reach or doability, however, they would have to at least pass a certain standard, making them items for actual daily use, and not just "a band t-shirt that's useless in every weather beside 26.5 degrees celsius and the art starts peeling off on the 3rd washing". This took me down a research rabbit hole about materials (leaning on my fashion college knowledge) as well as weight, thickness, various manufacturing, and pattern variations but on top of all the sustainability and what they call ethical/eco-fashion. This resulted in various meetings, and inquiries about quality, production, location, modifiability etc.
Besides clothing - some for daily wear, some more artistically extreme for "fashion statements" - I also wanted to expand on useful daily items. Not making the merch items you bought and then collected (put on the shelf to catch dust) but useful items such as USB sticks, belts, rucksacks, and even iPhone cases or towels (which again pretty much everywhere scored awfully in terms of thickness or rather the lack of it).
Unfortunately, all this was mainly a solo crusade despite the repeated complaints of having no merch store by the person in charge and serious interest from the fandom, and it all went down the drain along with the label in mid-2021.
Storytime: We did, however, more by chance than by plan, produce a limited amount of t-shirts while being stuck in Goa during the India tour as we befriended an embroiderer (next door shop helped us sign up for prepaid sims, and will forever be grateful for that) whom we assigned with the work. The shirts certainly weren't eco, as he sourced them from the nearby town (we went there once by car and it was a true anxiety-inducing hell trip navigating the mad traffic coupled with the seriously dangerous random holes and canyons - never rely on getting a SIM on location when coming to India, even if the promoter promises it'll be ready and organized) but at least the work was done locally and without middlemen.
What does the client say?
Head of Business and Development
August 2016 - September 2021
Stephen Benedict (Ben) Watkins
Owner of Juno Reactor
August 2020
"It is my pleasure to introduce you to Sanja Music who single-handedly has made an impressive turn around in the development of my main project Juno Reactor. I have known Sanja for over 5 years during which time she worked as a Tour manager to an 18 piece show (not an easy task even for the most experienced tour manager), Stage manager, and finally Manager for Juno Reactor.
I have been consistently impressed with Sanja’s ability to pinpoint problems, research alternative paths, find and these new possibilities with a great attitude solid workflow.
Sanja is highly intelligent and equally motivated. Sanja is a fast learner and has shown the ability to digest large volumes of information & data. Miss Music has demonstrated the ability to articulate information and ideas in both the verbal and written forms, speaking many languages has also helped enormously when we have been touring Europe and Japan.
Sanja has also been effective in her efforts to engage the media, Promoters, agents, TV and Film companies we outreach to. She has been able to not only write interesting press releases, but she is also a skilled Photographer, edit in 3D and 2D, her computer skills are not only knowledgeable but also artistically creative in all media. Writing up contracts, budgeting tours, and film sessions, travel arrangements, organizational meetings are all within her purview.
She is willing to take risks. She will reach out to people and involve them with projects. I particularly appreciate Sanja’s willingness to take the initiative and come up with so many new pathways and ideas.
Sometimes work colleges can become bland and ordinary, this will never be the case with Sanja, as for conversation and subject matter is as sharp as a knife, witty and also insightful."