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Posted by angela On December - 3 - 2012 0 Comment
Prendo spunto dal commento di Giulia nel post: “What is Success?” per proporvi un testo preso dal  New Yorker Magazine (O9/03/2012) che ho qui semplificato per invogliarvi a leggere.
Vorrei sapere cosa ne pensate.
Ciao Angie.
GIULIAIn my opinion success is that moment of your life where you’ve reached the top in everything ( like work, school, sport ect. ect.)   But success is the result of a hard work and faith.Success could even be interpreted as an realization of a big dream …. For example one of my big dreams is to be a singer and if it realizes  it’ll be a big success for me . :)

 

The man who made Justin Bieber.

BY 

 

Part 1

When Scooter Braun, the manager of Justin Bieber and a stable of other pop stars, was growing up, his favorite comic-book hero was Superman. “I liked everything he stood for,” Braun, who is thirty-one, told me recently. He liked that Superman had been created by two Jewish men, which made him “the Jewish superhero.” Braun played basketball, and he dreamed of one day joining the supermen of the N.B.A.—the Magic Johnsons and the Michael Jordans. When it became clear that he didn’t have the talent to play professionally, he began to think about the entertainment industry. But there, too, not all lanes were open to him…….

..“Justin Bieber was born with the Superman powers,” Braun said. “He could sing, he could dance, he could play instruments. I wasn’t born with those gifts, so I had to become a different kind of superhero.” ….

Bieber is the only superstar to have emerged from YouTube so far, and, as he pushes his new album, “Believe,” his online power and off-line marketability are seamlessly intertwined. His YouTube channel is approaching three billion views, and on Twitter, where he acquires a new follower every other second. [..]

Braun took on the management of a British boy band called the Wanted, and he signed Carly Rae Jepsen, a Canadian singer, to his label, Schoolboy Records. Bieber had brought Jepsen to Braun’s attention after he heard her song “Call Me Maybe” on Canadian radio. This summer, with Braun’s encouragement, Bieber made a video of himself and some teen celebrity pals prancing around to the song, which was leaked to YouTube; the song shot to No. 1 on the U.S. singles charts, and has spawned hundreds of other YouTube tributes. (There is a clip of Colin Powell singing it.) During the summer, three of Braun’s acts—Jepsen, Bieber, and the Wanted—reached the top three slots in the Billboard Hot 100. It has become impossible to walk into a drugstore, a dentist’s office, or a slumber party without hearing some emanation from the Bieber-Braun empire […]

Read more:http://www.newyorker.com/reporting/2012/09/03/120903fa_fact_widdicombe#ixzz2DKyf0hLb

Esercizi di comprensione


 

Part 2

“You know what it is?” Braun asked me one day this summer. “My friend put it best. I’m a camp counsellor for pop stars.” Braun was in Los Angeles, where he lives, looking after his growing talent roster. His manner is amiable but volatile—half frat boy, half impresario—and he cuts the burly profile of an athlete during the off-season: he has large lips and a toothy mouth, and he has lately been wearing a close-trimmed beard. He had on his usual uniform, of a Yankees cap, jeans, and a Mickey Mouse T-shirt purchased at Disneyland, where he gets many of his T-shirts. “It’s a nonthreatening thing,” he said. “The whole world loves Mickey.”

At 10 A.M., he got into the passenger seat of a black BMW that belonged to his assistant, a twenty-four-year-old named Teddy Riley, and reviewed his schedule. […]

Staffing at record companies has decreased almost sixty per cent in the past decade, and managers now perform many of the functions traditionally handled by label executives—suggesting a producer, scheduling release dates and media appearances, and devising marketing strategies. Braun sees part of his job as developing revenue streams that labels wouldn’t think of. “This isn’t a dying business, this is a changing business,” he told me. “CD sales have declined drastically, but the over-all business has grown: licensing, merchandising, digital sales. Ten years ago, a pop star might not have a fragrance that does a hundred and twenty million dollars in business in a year.” He went on, “My job is to make sure a client doesn’t have any ‘what if’s—to make sure, when you look back, you don’t say, ‘What if I had done this? What if I had done that?’ ” Among Bieber’s other revenue streams: “Never Say Never,” a 2011 movie that Braun produced about Bieber’s life, which was the highest-grossing concert film in U.S. history; a line of watches, backpacks, and singing dolls; a “home” collection that includes comforter sets and shower curtains; and an endorsement deal with Proactiv, a purveyor of acne remedies. All this has made Bieber rich—his annual income is estimated to exceed fifty million dollars—and has given Braun a unique economic power. A big part of a manager’s job, one industry veteran told me, is “getting an artist to say yes to things.”

Read more: http://www.newyorker.com/reporting/2012/09/03/120903fa_fact_widdicombe#ixzz2DL0ITfqj

 

Part 3

Bieber pulled up his pant leg to show, on his calf, a large tattoo of Jesus with hands clasped in prayer. (Bieber and his mother are devout Christians.) The Wanted members looked a little stunned.

Braun mentioned that Bieber was interested in English soccer.“Have you got a team?”“Not really,” Bieber said. “I like Chelsea.”Carson Daly, the host of “The Voice,” walked by. Braun called out, “Hey, Carson!” Daly and Braunbegan to review a script detailing stage patter. […]

 

Wherever there’s talent, there’s a talent manager. When Mozart was a child piano prodigy, his father, Leopold, travelled around with him, booking tours and stoking his son’s reputation in the Salzburg court. Danny Goldberg, who managed Nirvana before going on to run various record labels, told me that there are two ongoing stories about what a music manager is. One is the underappreciated visionary: “the manager who gives everything to the artist, sacrifices for them, and then, once the artist becomes successful, is cast aside” (Andrew Oldham and the Rolling Stones, for instance). The other is the manager as Svengali: a scheming puppeteer who exploits a star to satisfy his own greed or ambition (Lou Pearlman, the impresario behind the Backstreet Boys and ’NSync, whom Justin Timberlake later accused of “financial rape,” and who went to prison for conspiracy and money laundering).

Braun is sometimes compared to Colonel Tom Parker, the onetime carnival barker who masterminded the transformation of Elvis Presley, from country bumpkin to rock-and-roll icon. Parker, a Svengali type, embodied the concept of the manager as capitalist, constantly pushing for more lucrative deals for his client, turning him into a movie franchise and a merchandising industry worth millions. But he took a fifty-per-cent cut of Presley’s earnings, and kept Presleypsychologically isolated and dependent, denying access to anyone who could threaten his all-controlling power over the star he called “my boy.”Braun is similar to Parker in that he is a businessman and not a music coach, and he plays a major role in his young client’s life. Like Parker, who signed his letters “Elvis and the Colonel,” Braun likes to cultivate his own celebrity. He constantly updates his Twitter account, which has 1.8 million followers. And he can frequently be seen on TV, acting as Bieber’s mouthpiece. Prepubescent Bieber fans often mob Braun in public, screaming “Scooter! Scooter!” When he turned thirty, he threw a star-studded birthday bash for himself; at the party, according to the Los Angeles Times, Bieber roasted Braunby doing an impression of him pitching a “Never Say Never” sequel, insisting, “My name has to be on the poster!”

 

Part 4 

“What you see is what you get with me,” he said. “It’s not a manipulation thing.” Braun emphasizes that he takes a standard management fee, “between fifteen and twenty per cent,” and, unlike some managers, he doesn’t “double-dip”—that is, collect both royalties and a management fee from an artist who is signed to his label. “If you’ve got to gouge someone, then that’s very short-term thinking,” he said.

Colonel Parker treated Elvis as his private property. Braun, who has “Family” tattooed on his wrist, treats Bieber more like a ward. His name for Bieber, around the office, is “the kid.” Braun is very close to Bieber’s mother, Pattie Mallette, who gave birth to Justin when she was seventeen—“We’re like brother and sister,” she told me of Braun—and Braun often assumes a quasi-parental role with Justin. “Justin’s and my relationship is not a manager-artist relationship,” Braun said. “When he was thirteen, I said, ‘If you stop singing, if you never dance again, if you never play again, I’m going to be in your life.’ ” Before every concert, Bieber prays to Jesus and recites the Shema, a Jewish prayer, with Braun and the rest of his team. Braun’s Twitter feed is filled with cheerleading (“He killed it!!! #Proud”), but he takes a tough-love approach when he needs to. “I’ll curse his ass out if I think it’s necessary,” he said.

Before one performance, I was whisked into Bieber’s dressing room, where the teen star was leaning back on a couch, strumming a guitar. Braun had prepped Bieber before my arrival and had asked him to think of three qualities that his manager possessed.  Bieber strummed his guitar and began to sing his response, plinking a string with every phrase. “Three things that describe Scooter,” he said. (Plink.) “He is persistent.” (Plink.) “Intelligent.” (Plink.) “And good-aggressive.” He stopped playing, and said, in a more earnest voice, “Like, when he wants something, he’s aggressive to get it done. He’s not, like, going to beat around the bush.” I asked what role Braun played in his life, and he said, “He’s like a close uncle.”

Soon, Bieber’s attention drifted. He held down the strings on the neck of the guitar and began strumming it fast, making an irritating, buzzing noise.

Braun ignored him. “He’s just too much like me,” he said. “It’s really annoying. He has the same temper I had at that age, but he doesn’t have the years of wisdom, so he makes my temper come back out.” He turned to Bieber. “O.K., now my favorite. What’s my biggest fault?”

Bieber looked at me with a pleading expression, and said, in a way that seemed sincere, “He’s too hard to impress.” He went on, his voice cracking, “He’s too hard on me. In life. Like, he wants me to be . . .”

High standards?

“Yeah.”

Read more: http://www.newyorker.com/reporting/2012/09/03/120903fa_fact_widdicombe#ixzz2DMZDuSE7

 

Part 5 – to be continued…

Questions for parts 1-4

 

 

This text is from The NewYorker magazine and it is used her for didactic purposes only. All the rights belong to The New Yorker magazine. Read more: http://www.newyorker.com/reporting/2012/09/03/120903fa_fact_widdicombe#ixzz2DKxIK01l

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