Berklee today is the official alumni publication of Berklee College of Music in Boston, Massachusetts. It is a forum for contemporary music and musicians.
Issue link: http://berkleetoday.epubxp.com/i/452858
24 Berklee today and earned an engineering degree from George Brown College in Toronto and worked in the welding and electronics industries in Germany and Japan before enrolling at Berklee. "I'd been traveling in my previous jobs and thought if I stud- ied music business I might end up working for a record label," he says. But as he was about to complete his studies as a music busi- ness major at Berklee, the record business was in turmoil and Czajkowski started rethinking his plan to work for a label. "As I was about to graduate, I spoke with Jeff [Dorenfeld], who told me that with my language skills [in German and Japanese] I'd be a valuable person on the road," Czajkowski recalls. "That's how it all started." He moved to New York and started working as a production manager for the Jazz at Lincoln Center world tour in 1998. Next, he worked as the road manager for Shania Twain's Come on Over tour in 1998 and 1999. He started moving toward the money end of things as the tour accountant for a Ringo Starr tour in 2000. "My analytical brain started thinking about the costs involved with tours," he says. "First, small opportunities and then bigger ones started to come my way." As tour accountant, Czajkowski analyzes contracts and bud- gets. He frequently advises management about the feasibility of adding in a one-off show. "A lot of times, I have to tell them even for a gig that looks like it pays a lot of money, because of the freight and other costs, sometimes an offer doesn't make sense fnancially," he says. Rather than the work a certifed public accountant (CPA) would do, Czajkowski's job requires a comprehensive knowledge of the touring industry. "It's not about putting together the art- ist's tax returns," he says, "it's about the nuts and bolts of the touring side of the business. A tour accountant needs to under- stand the people who are out on the road and how they expect to be paid. Not many CPAs would be willing to travel, pack road cases and push them down hallways, and do other things that are part of my job. It's kind of a weird skill set I've developed over the years." On tour, Czajkowski has daily responsibilities whether or not it's a show day. "Every Monday I make sure the transportation companies and tour vendors for sound, lights, video, and staging are paid. Every Tuesday I'll do payroll for the band and crew. Each day is busy," he says, "but on show days aside from the other stuff, at the end of the evening, we get the box-offce settlements in and go over the fnal invoices for the show. That part is almost routine; the other stuff is more of a wild card." In settling the show, Czajkowski looks for mistakes that ben- eft the artist. "I look at their money as my money," he says. "So I am looking to manage things wisely and fnd savings to justify my position. I have been lucky to be part of the crew for a lot of artists who treat me well. That motivates me to do all I can for them. "The live music industry is one of the strongest revenue streams for artists. If you are interested in the music industry, you have to recognize this. Over the years, I've gotten to meet a Beatle and stand in the wings watching Springsteen play in front of thousands of fans, and Liam and Noel Gallagher play a sold-out show in Manchester, [England]. I've been fortunate to have a lot of those moments. This—rather than unwrapping a new calcu- lator—is the coolest part of the job!" Corporate Energy and Support Stephen Canfeld '07 always wanted to tour with a rock band, though in his vision it was with his guitar. Today, his axe in its case, he travels the United States for festivals and concerts, and works many events near his home in Los Angeles. "I had an awakening and a realization that it was probably better for me to be working with and supporting musicians rather than being one myself," Canfeld says with a laugh. "That's some- thing that I feel uniquely able to do working in the career I'm in." He is now the national culture manager for Red Bull Sound Select, an artist development program and event series that works to deliver curated new music to fans. The company works with about 40 tastemakers who keep the pulse of the music scene in 14 cities across the United States, Canada, and New Zealand, and identify emerging artists in those markets. These tastemakers include radio station KCRW in Los Angeles, Sub Pop Records in Seattle, and Afropunk in Brooklyn, for example. Red Bull Sound Select then supports these artists through some 200 live shows and festivals it sponsors annually. In addi- tion to producing concerts, Red Bull provides marketing support through its network and properties. Canfeld oversees its signa- ture event, 30 Days in LA, which features a new artist playing at a different venue in Los Angeles every night throughout the month of November. "I've always loved the idea of being able to support musicians, and this job gives a really unique opportunity to do that in a kind of nontraditional space," Canfeld says. Given Canfeld's background, his role at Red Bull seems a per- fect ft. Originally from Virginia, Canfeld was a business student at Virginia Tech but wanted to combine his business acumen with his passion for music, so he transferred to Berklee in January 2005. He graduated two years later with a degree in music business/ management. "I found Berklee's music business curriculum to be a lot more specifc in terms of the basic stuff you needed to know: how to navigate effectively, how to make money in music, and what dif- ferent types of deals and splits look like," he says. But the biggest advantage he got from Berklee, besides what he calls the "very, very real" asset of its network, was learning how to operate in a structured system that is also wide open. "Generally speaking, that's how the corporate world works and how career development works," he says. "There are a lot of things that you can tap into, but it's your own ambition and net- working that helps you navigate to the next step." His frst job after graduation was at Sonicbids, where he worked until November 2012 and eventually became its director of brand partnerships. One of his clients at Sonicbids was Red Bull. After working with Canfeld, Red Bull asked him to come in-house. He had been planning to leave Sonicbids to start his own com- pany, and Red Bull made the case that he could do so under its umbrella. "Red Bull is a place where it's easy to get support for ideas that are good for the marketplace and good for those the com- pany works with," he says. "One of the bigger things Red Bull can do is bring together a bunch of people that are interested in sup- porting emerging music, point everybody in the right direction, and fgure out how we can support a broader community." And that community is embracing support from corpo- rate sponsors more and more. Gone are the days when artists shunned corporate sponsorship. Today, Canfeld says, the music industry is less about distribution and more about getting no- ticed, and that's what a company like Red Bull—which sees itself as a media house as much as it is an energy drink company—can do for artists. "People are seeing the resources of companies as some- thing positive that can help musicians. Corporations can help the touring business as long as they have the right intentions and are striving to do things the right way by putting the artists frst." Who's on First Since leaving Berklee in the spring of 2013, Australia-born Betty Who (aka Jessica Anne Newham '13), has gracefully handled a steep learning curve in touring protocols. She was "Atouraccountant needstounderstand thepeoplewhoare outontheroadand howtheyexpectto bepaid." —JohnCzajkowski'98 "Corporationscan helpthetouring businessaslongas theyhavetheright intentions." —StephenCanfeld'07