Podcasts about img artists

Ep. 62 Sara Barasch: It Doesn't Have to be Perfect  Katie connects with friend of the pod, Sara Barasch. Katie and Sara dive into industry hot topics including block booking, the booking cycle, how to connect with venues/buyers, and how a childhood of dance and musical theatre led her to becoming an agent. Our hosts talk about pivotal show moments in their lives, the importance of relationship building with agents you are working with, and more. Sara Barasch is the Senior Vice President, Booking Manager at IMG Artists (https://imgartists.com/) Follow us on social media and let us know your thoughts and questions - https://linktr.ee/nobusinesslikepod Our theme song is composed by Vic Davi.

The Artis Foundation's mission is to transform lives through the arts by creating magical, high quality learning opportunities to help children flourish. Rebecca Boyle Suh is a passionate advocate of integrating the arts throughout learning and has particular interests in primary education and raising girls. In 2004 Rebecca established Artis, a social business dedicated to transforming education through the performing arts reaching thousands of children every week. Co-Founder & Executive Chair of Artis Foundation, a charity focussed on social mobility and wellbeing through the arts, Rebecca is also Director of a sculptor's studio based in London and Seoul, was previously Co-Chair of Heartlands Community Trust in Haringey, and has set up girls leadership book clubs in her community. Rebecca began her career at IMG Artists, an international arts management company, working in New York, London and Paris. As a Fulbright scholar at Yale University, Rebecca earned an MA in musicology, and prior to that a BMus from Goldsmiths College. Do the arts perform at school? The economic case for delivering a curriculum-based performing arts programme in primary schools. A report for Artis Foundation in association with Amit Kara & Sadia Sheik, June 2022, as mentioned by Rebecca can be viewed https://www.educationonfire.com/wp-content/uploads/2022/10/Do-the-arts-perform-at-school-June-2022.pdf (here). Website https://www.artisfoundation.org.uk/ (www.artisfoundation.org.uk) Social Media Information twitter.com/ArtisFdn www.instagram.com/artis_foundation/ www.facebook.com/ArtisFdn www.linkedin.com/company/artis-education Resources Mentioned https://www.pushkin.fm/podcasts/the-happiness-lab-with-dr-laurie-santos (The Happiness Lab Podcast) Show Sponsor The National Association for Primary Education speaks for young children and all who live and work with them. Get a FREE e-copy of their professional journal at https://nape.org.uk/journal (nape.org.uk/journal) 

Our guest on the Classical Post podcast today is Elizabeth Sobol, president and CEO of Saratoga Performing Arts Center in Upstate New York. The venue is most notably the summer home to the Philadelphia Orchestra and the New York City Ballet. It also presents Live Nation concerts that feature the likes of Josh Groban and the Dave Matthews Band. You will find our conversation insightful simply because of Elizabeth's wealth of experience. She spent three decades at IMG Artists managing careers of glossy names like Itzhak Perlman, Joshua Bell, Renee Fleming, James Galway, Evgeny Kissin, and Kiri Te Kanawa. She also was most recently president and CEO of Universal Music Classics immediately prior to now leading Saratoga Performing Arts Center (or SPAC for short). Listen to our discussion on the magic of synchronicity as a leader; how meditation in the morning and boxing at night helps to sustain well-being; and the important work of the Philadelphia Orchestra programming the works of Florence Price. — Classical Post explores the intersection of classical music, style, and wellness, diving into meaningful conversations with leading artists in the world today. Based in New York City, Classical Post is a touchpoint for tastemakers. Visit our website for exclusive editorial and subscribe to our monthly newsletter to be notified of new content. Follow us on Instagram and TikTok. Classical Post is an ambassador for NED, a wellness company. Get 15% off their products like CBD oil and many other health-based products by using our code CLASSICALPOST at checkout.

In National Geographic's Secrets of the Whales, which debuted on Disney+ this past April, viewers witness the majestic mammalian families whose sense of commitment and loyalty are very akin to our own. Composing this stunning series is Raphaelle Thibaut, whose investment in her craft comes through most beautifully in complementing the amazing visuals with an oceansong score that only enhances the experience. The score ranges from heart-pounding to soothing, and everything in between, and along the way Raphaelle showcases her facility with a range of tools and instruments to accurately convey the emotion. Raphaelle joins host Brett Nachman on Notably Disney to discuss her musical background, unexpected journey to becoming a composer, unique contributions to Secrets of the Whales, and much more. Follow Raphaelle on Twitter (@Raphae) and Instagram (@raphaellethibaut). Check out the soundtrack for Secrets of the Whales on Amazon, Apple, and many other places where you can download or purchase the soundtrack. Learn more about the forthcoming Secrets of the Whales concert experience featuring Raphaelle's score via IMG Artists. Feel free to reach out to Brett via Twitter @bnachmanreports, subscribe to the podcast, and send your feedback at notablydisney@gmail.com New episodes of the podcast debut on the first and third Tuesday of every month.

Jerry Inzerillo has just by named HOTELS 2021 CORPORATE HOTELIER OF THE WORLD. He is a genuine and sincere man whose career started in Brooklyn at age 13 when the kindness of a Judge's scribble (indicating his birth date), allowed him to begin work. Work as a busboy was more festive than his daily life. He was able to "go to parties and get paid for it". Growing up was "more struggle than victory" yet had the love and founding principles of his parents. The 2nd of 5 kids. Now in his life he is able to exhale, and do things noble and items that he wants to do. He is about serving not proving now. In his career, he has found success through working harder and being more sincere than his competition. He never forgets to remember a kindness and continues to serve as a derivative of good deeds and intentions. Congratulatons Jerry on an outstanding life and career! Inzerillo has developed and operated some of the world's most famous and successful lifestyle brands in tourism and entertainment. In June 2018, he was appointed by HRH The Crown Prince Mohammed Bin Salman of the Kingdom of Saudi Arabia to be the first CEO of the newly created Diriyah Gate Development Authority. The authority will turn the UNESCO site of the first Saudi state into one of the world's great gathering places. Upon completion, the $20 Billion USD development will add 27 Billion Saudi Riyals to the Kingdom of Saudi Arabia's GDP, and provide 55,000 job opportunities. The development will be home to a population of 100,000 people, and will aim to attract 27 million visitors annually. As CEO of Forbes Travel Guide from 2014 to 2018, he was successful in the globalization from the company's North American origins to more than 100 countries worldwide. Previously, his leadership led to the conceptual success of breakout brands such as Atlantis, One&Only Resorts, Ian Schrager Hotels, Four Seasons and Hilton Hotels. Inzerillo was president/CEO of IMG Artists, the leader in artist management, performing arts and lifestyle events planning from 2012 to 2014. Inzerillo is the recipient of a host of awards and distinctions, including a cameo role in the James Bond film, ‘Casino Royale' in addition to being featured on the front cover of Forbes magazine. Jerry Inzerillo is married to former CNN anchor Prudence Solomon. Their daughter, Helena Zakade Inzerillo, was named by her Godfather, Nobel Peace Prize Laureate Nelson Mandela. Inzerillo resides in Riyadh, Saudi Arabia and New York City.

Culture makes us better human beings. Music is a great example of culture. In fact, one could argue that music is a necessity—not a nicety. It’s an international language.  Creating music is an elevated act like no other. Performing music connects and bridges human differences. Witnessing a live performance is a vivid multi-sensory experience that combines venue, performer-audience connection and the music itself. But changes in our world are making such rich human experiences harder to come by... and the future (and business) of performance art is uncertain.  In this episode, join Host Craig James and Conductor Wilson Hermanto, the Principal Guest Conductor of Cameristi della Scala. They discuss what Hermanto calls “the higher plateau” and the impact of music on humanity and the future. Listen-in Learn more about Wilson and his work from his website and from his bio at IMG Artists. The music playing during the interview: Haydn Cello Concerto in C Major, Daniel Müller-Schott, cello, Cameristi della Scala, Wilson Hermanto, Conductor Tchaikovsky Serenade for strings in C Major op. 48, Cameristi della Scala, Wilson Hermanto, Conductor Learn more about your ad choices. Visit megaphone.fm/adchoices

Work. Shouldn't. Suck. LIVE: The Morning(ish) Show with special guest Dave Archuletta, Chief Development Officer, New York Lives Arts. [Live show recorded: April 16, 2020.] DAVE ARCHULETTA Since 2015, Dave has served as Chief Development Officer at New York Live Arts, where he is responsible for leading the organization’s fundraising efforts including individual giving, special events, institutional funding, and fiscal sponsorship. He is also responsible for the management and development of Live Arts education initiatives such as its partnership with the local James Baldwin High School and work with youthful detainees on Rikers Island. Prior to joining New York Live Arts, Dave lived in San Francisco where he served as Executive Director of Joe Goode Performance Group (JGPG). While leading JGPG, he oversaw the capital campaign and buildout of the new Joe Goode Annex performance space, its capitalization and its public programs. Previously he was a consultant and producer in Berlin, Germany, and before that he served as Program Director of the Bill T. Jones/Arnie Zane Company (BTJ/AZC) in NYC. In his role at BTJ/AZC he developed the Company's licensing program, increased touring revenue, and under his leadership the Company entered markets in Singapore and Taiwan for the first time. Dave also oversaw the development of the Company's education and community engagement programs and was instrumental in producing the Company's first talk series, Breaking Ground with Bill T. Jones at Harlem Stage, funded by JP Morgan Chase. Dave has also held positions in the dance touring division at IMG Artists, and the performing arts curatorial department at Yerba Buena Center for the Arts. Dave is a UC Berkeley graduate with dual degrees in Art Practice & Rhetoric (film emphasis). He is also an independent music producer, living in the LES with his wife, abstract artist Megan Olson and their senior cat Dandelion.

Jessye Norman is an American opera singer and recitalist.Susanna is from Huntsville, Alabama where she attended Randolph School. She received Bachelor of Music and Master of Music degrees from the Juilliard School. After completing her master's degree in 2004, she became a member of Santa Fe Opera's Apprentice Program for Singers.The Metropolitan OperaMadame Butterfly is an opera by Giacomo Puccini.Leave It to Beaver is a late 1950s black-and-white American television sitcom about an inquisitive and often naïve boy.Susanna originally wanted to attend the following higher education institutions: Northwestern University, Vanderbilt University, Samford University, and Furman University.The New York City Opera (NYCO) is an American opera company located in Manhattan in New York City. The company has been active from 1943 through 2013 (when it filed for bankruptcy), and again since 2016 when it was revived.New York Philharmonic Orchestra(NYPO) or New York Philharmonic-Symphony Orchestra, is an orchestra based in New York City.Carnegie Hall is a concert venue located in Manhattan in New York City.Operalia, The World Opera Competition is an annual international competition for young opera singers. Founded in 1993 by Plácido Domingo, the competition has helped launch the careers of several important artists.The Music Academy of the West is a summer music conservatory located in Montecito, California. Participation is merit-based and tuition free.Marilyn Horne is an American mezzo-soprano opera singer.Matthew Epstein is the Director of Vocal Divisions at Columbia Artists Management, Inc.Cynthia Hoffmann is a member of the voice faculties of Manhattan School of Music, where she also teaches a class in Vocal Performance, and of the Juilliard School, where she served as Chair from 1995 to 2006.Matthew A. Horner is the Executive Vice President - Global Head of Vocal for IMG Artists, New York.Lyric Opera of Chicago Young Artists ProgramCountess Rosina Almaviva is a character in The Marriage of Figaro, an opera buffa composed in 1786 by Wolfgang Amadeus Mozart.Birdie is a character in Regina, an opera by Marc Blitzstein.Musetta is a character in La bohème, an opera by Giacomo Puccini.Fiordiligi is a character in Così fan tutte an opera by Mozart.Agrippina is a character in an opera of the same name by George Frideric Handel.Don Giovanni is an opera by Mozart. Donna Anna, Don Giovanni’s daughter, and Donna Elvira, a lady of Burgos abandoned by Don Giovanni, are characters in the opera.Arabella and Der Rosenkavalier are comic operas by Richard StraussDaphne is a one-act opera by Richard Strauss.Opera Theatre of Saint Louis (OTSL) is an American summer opera festival held in St. Louis, Missouri.Kaija Saariaho is a Finnish composer based in Paris, France.Renée Fleming is an American soprano, known for performances in opera, concerts, recordings, theater, film, and at major public occasions.Julian Bream is an English virtuoso classical guitarist and lutenist. One of the most distinguished classical guitarists of the 20th century, he played a significant role in improving the public perception of the classical guitar as a respectable instrument.Natalie Dessay is a French singer and actress who had a highly acclaimed career as an operatic coloratura soprano before leaving the opera stage on 15 October 2013. She is married to the bass-baritone Laurent Naouri.Violetta is a character in the opera La traviata by Giuseppe Verdi.Cleopatra is a character in the opera Antony and Cleopatra, an opera by American composer Samuel Barber.We Are All Completely Beside Ourselves is a 2013 novel by the American writer Karen Joy Fowler.Fresh Air is a podcast hosted by Terry Gross, the show features intimate conversations with today's biggest luminaries.White Lies is an NPR podcast. More information can be found here.The Eagle OTR and Salazar are restaurants in Cincinnati.Dolly Parton is an American singer, songwriter, multi-instrumentalist, record producer, actress, author, businesswoman, and humanitarian, known primarily for her work in country music.

Sam Snook, VP or Artist Management at IMG Artists chats about what a modern manager does, where he discovers his artists (or how best to approach managers you're interested in), and general industry wisdom. Hear it directly from the man who reps Susan Graham, Ben Bliss, Angela Meade and more. Special Guest: Sam Snook.

Today on the podcast Emily and Lidi sit down for an in-depth conversation with artistic manager Justin Werner! Justin Werner is an operatic professional with extensive experience in production, education, and artist representation. Mr. Werner founded Stratagem Artists in 2018, which cultivates and represents a select roster of classical singers. Between 2014-2018, Mr. Werner was a co-founder and artist manager at Couret & Werner (C&W) Artist Management. Mr. Werner gained his initial Artist Management experience at IMG Artists, where he served as an Artist Management intern. Mr. Werner was the founder and Artistic Director of New York Opera Exchange (2011–2015), which afforded numerous opportunities for emerging singers, directors, and designers to mount critically acclaimed productions. According to Opera Today, "Artistic Director Justin Werner manages to infect others with his enthusiasm through sheer force of charisma and passion." Additionally, Mr. Werner founded the Independent Student Opera Initiative at Boston University. A valued advisor for emerging artists, Mr. Werner is a frequent panelist for Opera America's Career Blueprints and Feedback Audition programs. He has presented masterclasses and workshops for institutions such as Emerging Leaders of New York Arts (ELNYA), the Yale School of Music, Boston University, the New York Opera Alliance, and the Seagle Music Colony. In 2018, Mr. Werner will serve on the juries of the McCammon Vocal Competition, the MetroWest Vocal Competition, and the Classical Singer Vocal Competition. Mr. Werner earned his BM in Vocal Performance from Boston University and his Advanced Certificate in Vocal Performance from the Aaron CoplandSchool of Music at Queens College.

Ronald A. Wilford, once classical music's biggest power broker, died on June 13 at age 87. Wilford was an artist manager of the old school, wielding major control over the business but keeping a very low profile. In 50 years at Columbia Artists Management, Inc. (CAMI), he was the power behind the thrones occupied by James Levine, Riccardo Muti, Seiji Ozawa and Herbert von Karajan, among other conductors. With his legendary client roster, Wilford was able to call the shots and secure bookings for lesser-known artists in exchange for one of his A-listers. But the classical music business has changed dramatically since Ronald Wilford's glory days – and so has the role of the artist manager. This week's episode looks at Wilford's legacy and the future of artist management with Bill Palant, the founder and managing director of Étude Arts, a new artist management agency; until last month he was a vice president at IMG Artists. Also joining us is David Middleton, a managing partner at Alliance Artist Management, and a onetime employee of Ronald Wilford's CAMI. "Mr. Wilford had the benefit of being in a position to shape and drive programming globally," said Palant, by essentially forcing orchestras to take the soloists his conductors wanted. But that style of deal-making has become far less routine. "It's no longer a quid pro quo where you say to the orchestra 'my conductor is coming and he or she wants this quartet for a Beethoven Ninth Symphony.'" Middleton agrees, noting, "In my days at CAMI, there was a sense of heavy-handedness, and that control wasn't felt so well in the industry, particularly on the presenting side." The management business may still exercise some hard-nosed tactics, but Palant and Middleton say that stealing other firms’ clients is a no-no. "In my experience, there is a respect for each other where we try not to poach artists if at all possible, particularly if it's from a manager that we respect," said Palant. But if a major artist approaches another manager, wanting to jump ship, "then it's fair play.” Listen to our guests' comments on the future of artist management at the top of this page and share your reactions below.

The violinist walks through a piece by a lesser-known composer who was once more famous than Mozart. Grammy-winning violinist Hilary Hahn, who has played a few concerts in her day – somewhere around 1,437 of them – talks about Henri Vieuxtemps’ Violin Concerto No. 4, which she plays on her latest CD. Is music composed by a violinist for violinists easier or more challenging to play? How was it that Vieuxtemps was more popular than Mozart at one point and now…not so much? And most importantly, Hahn discusses her violin case’s Twitter account.   Violinist Hilary Hahn. Photo © Michael Patrick O’Leary, courtesy of IMG Artists. Audio production by Todd “Takei” Hulslander with beaming up by Dacia Clay and editing by Mark DiClaudio. Music in this episode, from Hilary Hahn’s CD Mozart 5 Vieuxtemps 4 Violin Concertos (Deutsche Grammophon): – Henri Vieuxtemps, Violin Concerto No. 4 in D Minor, Op. 31. Hilary Hahn, violin. The Deutsche Kammerphilharmonie Bremen. Conducted by Paavo Järvi. For more Hilary Hahn: www.hilaryhahn.com

The conductor an orchestra chooses says a lot about how it sees its mission in the 21st century. Factors to consider include taste in repertoire, age, nationality, race, gender, fundraising skills -- and of course, musicianship. The New York Philharmonic and the National Symphony Orchestras in Washington, DC are about to grapple with all of this as they look for successors to Alan Gilbert and Christoph Eschenbach, who are both leaving their music director jobs in 2017. This week, we ask three industry watchers what are – or what should be – chief considerations for these orchestras as they begin their searches. Joining us are Zachary Woolfe, a freelance classical music critic for the New York Times; Anastasia Tsioulcas, who covers classical music for NPR Music; and Nick Matthias, a senior vice president at IMG Artists, who manages a number of top conductors. Segment Highlights Christoph Eschenbach leads the National Symphony Orchestra (Scott Suchman/NSO)  For Matthias, "chemistry must be evident right from the word go, right from the point the conductor meets the orchestra in a rehearsal. Of course, no one has any control over the chemistry aspect at all. This is something very special. Once the conductor walks out on that podium, it's out of all of our hands." Woolfe emphasizes the importance of fundraising and outreach skills. "Especially with the New York Philharmonic," he said, "you're looking at the prospect of somebody who's going to have to be a key person in the raising of a substantial nine figures for the renovation of Avery Fisher Hall." That person must excite both the musicians and the board. Some observers have suggested that New York or Washington would benefit from a woman or minority conductor in order to better reflect their diverse communities. Tsioulcas notes that while women conductors have made particular strides among regional orchestras, "I'm not sure that anyone – aside from a couple very established [women] conductors – is established enough to pivot into such a prominent role as the New York Philharmonic. We may still be a decade or more away from that, I'm sorry to say." Listen to the full segment at the top of this page, take our poll, and tell us in the comments below: What qualities do you think are most important in selecting a new music director? .chart_div { width: 600px; height: 300px; } loadSurvey( "most-needed-next-ny-philharmonic-c", "survey_most-needed-next-ny-philharmonic-c");  

The absence of women conductors at the world’s top orchestras is no longer news, but it stands out more every year, as women scale male bastions in business, sports and entertainment. Of the 20 largest orchestras in the U.S., only the Baltimore Symphony has a woman music director: Marin Alsop, who last month made history as the first woman to conduct the Last Night of the Proms concert in its nearly 120-year history. In New York this season, women conductors are noticeably scarce, their scheduled appearances countable on one hand. A similar male-to-female ratio can be found in London. But that’s not to say that there's a lack of women conductors in the field. Recently, the British journalist and author Jessica Duchen compiled a list of more than 100 women conductors. “It’s quite clear to me that there are plenty of women conductors but they’re just not getting the top gigs,” she tells host Naomi Lewin in this podcast. Many of the women on Duchen’s list are not recent college graduates or newcomers, but mid-career conductors, well at the point where a major podium is theoretically in reach. Some, like the conductor and harpsichordist Emmanuelle Haïm, have found that the niche of early-music remains an easier entry point. “Early music is more of a collaborative effort,” said Haïm (right), who this Saturday conducts her ensemble, Le Concert d’Astrée, at Lincoln Center's White Light Festival. “Therefore you shock fewer people maybe in that field.” By contrast, when faced with 19th century masterworks, the principal of male power is deeply ingrained in the conductor mythology. “If I had gone that path it would have been much harder for me to conquest those bastions." Some recent, highly-publicized remarks suggest that prejudice is alive and well in the business. The young Russian conductor Vasily Petrenko told a Norwegian newspaper, perhaps ironically, that orchestras simply play better for men, and that “a sweet girl on the podium can make one’s thoughts drift towards something else.” And Bruno Mantovani, the head of the Paris Conservatory, recently made headlines when he said in a radio interview that conducting is too demanding for women: “The profession of a conductor is a profession that is particularly physically testing. Sometimes women are discouraged by the very physical aspect – conducting, taking a plane, taking another plane, conducting again. It is quite challenging.” Duchen believes that this reflects wider obstacles in music schools and conservatories. “Several of the women conductors that I have interviewed say they were deliberately deterred at college level,” she said. “There were people at the institutions where they wanted to study who actively tried to put them off.” Charlotte Lee, a vice president and artist manager at IMG Artists, sees less evidence that sexism is widespread in the classical music business, and believes that hiring boils down to questions of supply and demand. “I don’t feel that female conductors tend to get hired or not hired based solely on anything other than their talent,” she said. “The artistic programmers that I work with, at least, tend to hire you based on your talent.” While many in the classical music business prefer not to talk about gender prejudice, Lee and Haïm both acknowledge that double standards exist. Orchestras have been known to ask woman conductors to change their hairstyle or tone down a style of dress. But Haim believes there are deeper societal questions at work too. “Behind a great man, there is always a great woman – or another great man,” Haim said. “It’s somebody helping out. As a woman, it’s more difficult because it puts the man accompanying you in a difficult position. Socially speaking they are looked at as weird.” Lee believes classical music will ultimately be forced to keep in step with society at large. “As time goes on we’ll have fewer firsts in general,” she said. “I should hope in 10 years we won’t be having this conversation.” Listen to the full discussion above and tell us below what you think: has there been adequate progress for women conductors?

With influenza reaching epidemic proportions in the United States — and the common cold not far behind — opera singers are dropping out of productions at an alarming rate. Of course, cancellations happen for all kinds of reasons. The voice can be a delicate instrument and various personal and professional issues arise. There are also cancellations of a cloudier, more debatable variety. Regardless, with the relative ease of modern air travel comes a more mobile generation of artists, exposed to germ-filled plane cabins and, in the case of foreign-born artists, visa difficulties. On this edition of Conducting Business, host Naomi Lewin talks with three opera professionals about how presenters and opera companies manage cancellations — and the kinds of actions and deals that happen behind the scenes to secure replacement musicians. Perryn Leech, the managing director of the Houston Grand Opera Bill Palant, a vice president and artist manager at IMG Artists who oversees the careers of many singers. Stephen Gaertner, a baritone who has worked as an understudy at the Metropolitan Opera. He recently stepped in during the middle of a performance to replace an ailing Dwayne Croft in Les Troyens at the Met. Weigh in: have you ever discovered a new singer because of a last-minute substitution? Leave your comments below. A few highlights from the segment: Bill Palant: "I do think that with the ease of transport, not only is it easier to pop people in but it also serves the opposite in that singers are spending more time on airplanes and picking up bugs. Flying at 30,000 feat, you’re getting dried up and showing up a day or two before a performance, and you are risking being sick. I think the ease of travel plays both for and against opera companies and not only singers who are engaged to perform but singers who are engaged to cover." Perryn Leech: "If you or I aren’t feeling 100 percent, we can go into the office and do a 70 percent day and probably no one really notices. If a performer goes on and does a 70 percent day, they have an army of critics out there and an army of audience who say ‘oh I saw her, isn’t she getting worse, isn’t he getting worse?" Stephen Gaertner: "Last season I had four assignments [as an understudy] and all were very interesting and challenging roles. And in neither case was I called to replace my colleague. It was frustrating... But a lot of times when you do go on you might be surprised who you end up on stage with. For instance, I went on stage in Les Troyens, and there I was singing a big duet with Deborah Voigt."

ART OF HUSTLE introduces you to the Executive Director of Joe Goode Performance Group, Dave Archuletta. Prior to joining Joe Goode Performance group Dave served as Program Director for Bill T. Jones/Arnie Zane Dance Company, where he built the Company's first education and licensing programs from the ground up, increased earned income revenue by more than 60 percent, negotiated major commissioning agreements and oversaw the Company’s U.S. and international tours. Prior to joining the BTJ/AZ Dance Company, he was Managerial Associate in the Dance Division of IMG Artists, managing the touring and performance operations of major dance companies such as Twyla Tharp, Lyon Opera Ballet, Pilobolus, Miami City Ballet, and more. An honors graduate of UC Berkeley, Dave began his career in San Francisco as Curatorial Performing Arts Production Coordinator at Yerba Buena Center for the Arts. Dave is also an independent musician and producer. Dave "Daveytree" Archuletta has been producing music in the underground scene for over 10 years. He plays several instruments, including piano, bass and drums. Dave is a founding member of the Funk Force Collective, and the visionary SF band Run the Voodoo Down (one of the first live music acts to incorporate turntablism as a primary musical element, featuring DMC Wold Champion DJ Pash "Mackintosh" Kamber on the wheels of steel). He has produced albums for Nidecker Snowboards, LRG clothing, the Mission Burrito Project, the Funk Force Collective, and the independent release "Noah D & B.Ski Soon to Be." In 2009 "Breez Deez Treez" with rapper Breez Evahflowin, was released on Domination Recordings to wide critical acclaim. In October 2011 Dave's productions will be performed by Daniel Bernard Roumain at BAM's Next Wave Festival in New York. Thank you for subscribing! Please rate the podcast and leave comments. I look forward to building with you. More information and tons of free tips on marketing and management at: ArtOfHustle.com.