Exclusive Interview with John A. Sepetys aka Donny Broadway; Sepetys Entertainment Group | Interviews

Exclusive Interview with John A. Sepetys aka Donny Broadway; Sepetys Entertainment Group

Apr

2009

KEY FACTS

VP of artist development at Sepetys Entertainment Group which provides management services.
Wide ranging network of contacts includes BET, Arclight films, EA Sports…
Currently managing a host of clients including Atlanta based producer/rapper Sam Rhansum.

Keys: This is probably one of the most frequently asked questions by a producer. “When should I seek management? Should I wait for them to find me or should I go out and find them”. What is your view on this?

John A. Sepetys: You’re right, this is probably the number one question... and it’s a good one. I feel the manager/artist hook-up is something that usually happens naturally for an artist. Therefore, there’s no need to worry so much about when the “right” time is. When your skills reach a level where you’re hittin’ on all cylinders and you’re getting your name and your work out there, you’ll automatically start attracting some attention. Once a little “buzz” starts, believe me... managers and other industry players will start coming to YOU. They’ll see the talent, smell the opportunity, and they won’t hesitate to come at a. At this level you actually have something for them to “manage” and to work. On the flip side, there’s also the route of finding somebody who’s looking to be a manager, but is still on the “come-up” like yourself. In such a case, two people can help each other out and break each other into the biz. You build off each other and hustle for each other. It can be a great symbiotic relationship. Plus, it’s cool to rise up and conquer as a team. Glory and success are always more fun when you have somebody to share the experiences with.

Keys: For those of us who aren’t sure, take a moment to explain how a management deal works. What, if anything, is the talent giving away in exchange for the services of the manager and his or her resources?

John A. Sepetys: In a standard management agreement, the manager takes anywhere from a 15% to 20% commission on the artist’s gross revenues. This will include every dollar the artist earns, unless certain stipulations are specified in the contract outlining projects or work areas lying outside of the commissionable earnings. For instance, if there have been recordings or projects that were completed prior to the manager’s arrival, these might not be commissioned by the new manager. Management commissions are normally received in perpetuity (for life) for any of the specific deals and projects the manager works on or that occur during the time of the contract. Of course, I’m sure there are many variations on the standards I’ve outlined here. Larger management firms will usually lean towards the 20% side. Since they wield a lot of power and have “the juice,” they can be more heavy-handed with what they’re asking for and what they’re taking.

Keys: Ok, so now we have management; dope! But what exactly can a producer expect from a manager and what does the manger expect from the producer.

John A. Sepetys: All management/artist relationships are different. At one extreme, there’s the type of manager who only steps in when needed to handle contract negotiations and other such business dealings directly related to production deals and opportunities. And at the other end of the spectrum is the type of manager who is balancing both the business and personal areas of the client’s life (since the two areas are often inextricably intertwined). Then –of course- there are all the variations that sit in the middle of these two extremes. Some clients like daily communication and they want a very personal level of involvement from the manager. Others prefer to be left alone to do their thing and just have the manager operate more autonomously. There’s really no right or wrong style. The most important thing is finding a situation that matches up with your own preferences and needs. Finally, however, here’s an important point to understand. What an artist should NOT expect from a manager is that having a manager means they can back off on their own hustle. You know, sit back and let the manager “pull all the strings” and make things happen. A manager only makes 15% to 20% because that’s the amount of work they’re responsible for. The artist still needs to be pullin’ their 85% and providing the manager with “something to manage.”

KEYS: What can you tell us about the industry, what are labels looking for in an artist or producer?

John A. Sepetys: I think the one thing that holds true across the board in the music industry is that whether you’re talking about a label, publisher, manager... nobody is really interested in spending money and time on artist development any more. It’s sad, but those days are gone. They’re looking for something that’s already polished, honed, and market-proven. With the state of the music business and the economy in general, people don’t want to (and can’t afford to) take any chances. This means now more than ever, an artist has to be totally pro-active and step up their hustle and their grind. They have to do their own artist development. I usually tell people not to be so concerned about what the industry is looking for. Trends come and go, so if you’re chasing after them you’ll always be one step behind the band wagon. Just be yourself, work hard, and hang in there. As with other pursuits in life, patience and persistence will go a long way in this industry.

KEYS: Besides placing music on major label projects, what other potential sources of revenue are there for a producer.

John A. Sepetys: If you can keep your tracks free of un-cleared samples and keep the content fairly PG13, then there’s a potential gold mine waiting for you in film, television, and advertising placements. Music supervisors are most interested in two simple things: 1. Great music 2. Music that’s easy to clear and license. And of this two part equation, sometimes the second part (easy to clear) is even more important than the “great music” part. Also, fledgling producers can certainly make money supplying tracks to unsigned artists. They can sell the tracks outright (to make more front-end cash and keep the admin simple) or they offer a lower price for the tracks and retain their publishing on it. At a street level with handshake deals, however, back-end royalties are probably not something you can really count on. Therefore, I’d lean more towards the outright sales approach. Just hand over the track, get the cash in hand, and move on to the next one. You’ll have some money for rent AND you’ll have your work out in circulation for others to hear. Plus, you never know... one of these unsigned artists could become the next huge thing. And if that happens, you’re sittin’ pretty because you’re already in the circle. And then you can pull out that contract with higher front-end fees and your pub on the back-end. Good times.

KEYS: What is one piece of advice that you can offer up to producers who are trying to make a living off of their music.

John A. Sepetys: Do it because you love doin’ it. Period. If you’re in it just to get the girls or the cars or the money or the fame... do yourself a favor and don’t waste your time. You’ll never get there. This is a tough, tough business. I believe the only way you’ll get through all the obstacles you’re gonna’ encounter and the only way you’ll be able to endure all of the shit that’s gonna’ get dumped on you is if you absolutely LOVE making music. If that’s where it’s comin’ from, then your will and your drive will be bulletproof. For love of the game. That’s the key and that’s the only way I know. It’s what’s kept me in the business for over 20 years now.

KEYS: Just curious, where does the alias “Donny Broadway” come from?

John A. Sepetys: Let me try and recall the history on this one. I have a thing for retro 70’s era stuff. I dig the mod interior stylings, as well as, the clothing from that time. I think the stuff from that period is “really ugly in a beautiful way” (if that makes any sense). Anyhow, I often cruise used clothing stores and the Good Will for crazy polyester pants, big collared shirts with laughable patterns, funky shoes, etc... I believe at some point when I was wearing an outfit put together with this kind of stuff, I decided I needed an alter ego name (note: 5 or 6 glasses of Wild Turkey will make you “decide” you need such things). Somehow I came up with the name Donny Broadway that evening and I just started introducing myself that way. I guess I liked it ‘cause it sounded cheezy and sleazy in a Studio 54 kind of way. Anyhow, my client Sam Rhansum heard the moniker and he took to it right way. He championed both the name and the accompanying image. I’ve never been one to take myself too seriously, so I was happy to roll with the whole Broadway thing. I slip into character pretty easily. A little polyester action, a little whiskey action, and boom... here comes Donny Broadway. ; )