- 3 months ago
Interscope鈥檚 CEO, John Janick, and Head of Interscope Capitol Miami, Nir Seroussi, on how the brand bet big on Latin music with artists like Karol G, Xavi, and more to build a global audience.
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00:00We had DJ Snake, who had Taki Taki, but then right, I think, after we started Interscope Miami,
00:12Loco Contigo with Balvin, and then I had Selena Gomez, who, you know, has her Mexican roots,
00:20who wanted to do her Latin project, and we had Calliuches, obviously, from Colombia,
00:25who wanted to do her project, and we had one of the biggest hits of her career.
00:38Good morning, buenos dias.
00:43This panel will be mostly in English, so if anyone needs a traducci贸n, in the back,
00:51traducci贸n simult谩nea, fabulous, pero veo que todo el mundo est谩...
00:55Perfect.
00:56So, let me introduce our two panelists.
00:59This is a very...
01:01I don't want to say once in a lifetime, because I hope we do it again,
01:04but it is definitely the first time that we have, first of all, our executive,
01:10Latin Executive of the Year, Nir Cerusi.
01:13He's the president of Interscope Capital Miami, and that, of course, is the home to artists
01:20like Carol G., Javi, Ivan Cornejo, J Balvin, among many others, and next to him is the chairman
01:27and CEO of Interscope Capital, todo, Mr. John Janik.
01:33I don't want to mess up my labels, John, but Billie Eilish, she's yours, Selena Gomez, she's yours,
01:48Lady Gaga, she's yours.
01:51You know, so he has a small developing roster of artists, but what's special about Interscope
02:01is that while all major labels have Latin labels, Interscope has a Latin Miami division,
02:12so we don't, Interscope doesn't call it Interscope Latin, you call it Interscope Capital Latin.
02:19Why is that?
02:20Well, we call it Interscope Capital Miami.
02:22I mean Miami, perd贸n, perd贸n.
02:25You know, so I've had a long journey in the business, I've been around for 30 years,
02:31and I've seen the evolution of the market, of the artists, and obviously at some point
02:39we've officially become global, and I felt that, we both felt that, you know, calling something
02:51Latin, I mean, we don't have Interscope Urban or Interscope Pop, and once you put a label
02:56to it, it just almost like gives it a ceiling or makes you like a second-class citizen or something,
03:03so the whole point is about it being inclusive, right, so if you're signed to the label, you're
03:11not signed to, you know, Latin, you're signed to Interscope or Capital, so it was about inclusion,
03:20about empowering and making sure that our community gets a seat at the table with the Lady Gagas
03:29and the Billys and have the same resources and same tools, and so I kind of, I don't know,
03:34like, forget it, not Latin, so that's really the spirit of it.
03:39I mean, it is a statement, we did it on purpose.
03:42Yeah, I think the importance of understanding a certain genre but not putting it in a box,
03:50and fortunately, I was lucky enough to meet near, it was about six years ago, so us being
03:56able to have the expertise here in Miami, but plugging it in, plugging artists into the
04:02global infrastructure, making sure we get the foundation correct, but not limiting on
04:07what an artist or genre can do.
04:09So, John, what did you want to do?
04:13So you met, well, let me backtrack a little bit.
04:16You're, you know, you're the president, you're the CEO, chairman of a major, you know, of a very
04:23important label, but you started as an entrepreneur.
04:27When you were in college, you created a label that became very successful, and so now you're
04:34heading Interscope, and you say, okay, I want to develop Latin music within Interscope.
04:41Did you know near?
04:42I didn't know near yet, but I think starting off, being in college, not having any connection
04:52to the music business, and really not having any money, and trying to figure out how I was
04:59going to be able to build my company.
05:01I was just passionate about music, so I've always wanted to partner with artists and figure
05:07out how I was going to help them further their career, and I never wanted there to be a ceiling
05:14on what they did.
05:15Everything I did was about trying to move culture and support the artist, so I think moving into
05:20the Latin space, and ultimately why I ended up going to Interscope is Interscope was very
05:25entrepreneurial.
05:27It was always about finding artists that were doing something different and not limiting what
05:32you could do, thinking outside the box.
05:34I think in the Latin space, Interscope was early, working with Daddy Yankee back in the
05:40day, and we were seeing so many great artists coming out of the Latin space, and one in particular
05:47was Bad Bunny, who we were pursuing and going after Noah, and Noah said such nice things about
06:00Nir last night, but we were right on the edge of trying to get it, but Nir continued to lock
06:05him down with Noah and his relationship with him, and then I kept bumping into hearing Nir's
06:13name wherever we would go, and it was from such a positive place of someone who was supportive
06:21of the music, entrepreneurship, building things, and thinking outside of the box.
06:27So I was shocked when he left his prior employment, and I literally heard he had left, cold called
06:38him within two or three days, I think, of when he left, and flew him out to LA within the week,
06:45and then we did a deal within a week, and it was really him just coming out and brainstorming
06:50over a late night dinner of saying, we're going to build this from the ground up and be very
06:55entrepreneurial and think outside of the box and build something that's great for a Latin
07:00artist and not limiting and thinking outside of the box and doing things differently, which
07:06is, again, how I built my label when I was in high school going into college.
07:11It's how I still treat Interscope and Capital now to this day.
07:16My vision was always to be able to dream big and be able to go after and execute on anything
07:24that you think is great for the artist.
07:26So being able to now do that in Miami with NEAR has been incredible.
07:30Do you guys think this would have been possible a decade ago, for example?
07:35At where, sorry?
07:37Would it have been possible to create this concept of a division a decade ago with Latin
07:45music?
07:46It's probably a better question for you.
07:48I mean, look, honestly, maybe, but things happen for a reason.
07:58I really feel that John was the best partner and, you know, the timing happened to be six
08:05years ago, I, and I'm saying this like being honest and not because John is sitting next
08:13to me, but I, if I had to, you know, sit down and write down who would have, I could do this
08:21with.
08:22I mean, it would, it's like John would be the one, the one and only.
08:25So I think, you know, if ten years ago we would have crossed paths, maybe, but it happened
08:32six years ago, but this is just, it's just so unique.
08:37Like I said last night in my speech, I mean, you know, John restored my faith in these big
08:42companies, seeing somebody so passionate and so entrepreneurial and also willing to give
08:49us a playground.
08:50It's like, listen, you know, I respect the culture.
08:54I know it, you know, it's, you guys have your own code, I mean, and within our world is different
09:00subculture.
09:01So having, you know, a powerful executive like John who says, listen, you know, you guys,
09:08you guys build it, but then at the same time, being able to have access to John's wealth of
09:15information.
09:16I mean, listen, you, if, when you have Carol G. and, you know, you get to put her on the
09:23same, you know, the same table as the Billys and the Gagas and, you know, turning to John
09:29and saying, we want to do a, you know, a plan for Carol like you do for Billy and, you know,
09:36it's all in house.
09:37So it's like, honestly, you know, it happened when it meant to happen and this to me is like
09:44the only way it could have happened.
09:46Yeah, I think a decade may have been easier.
09:50Maybe prior to that's tough.
09:52You know, I came to Interscope because I thought the opportunity to shape what the music business
10:00would be for the future was an amazing opportunity.
10:04But, you know, I was probably 33 at the time and it was a big leap of faith leaving the company
10:11that I started from my dorm room.
10:13And I just had, my wife had just given birth to our first child and moving from New York
10:17to L.A. and not knowing what the music business, how I would be treated going into this big
10:24company at the time.
10:25Jimmy Iovine was still the chairman of the company bringing me in to ultimately succeed him because
10:33he was smart thinking about succession.
10:36And within two years he left after selling beats and still to this day is very supportive.
10:41But being in the situation that we're in and Lucien Grange who's the chairman of UMG being
10:48supportive of us being able to do this, I think, I think all the pieces falling into the right
10:54place of, you know, we could have just been entrepreneurial, created something, but plugging
10:59into the major label system and getting the right support and having the backing and the resources was
11:05definitely everything coming together at the right time because nobody else has this infrastructure that you
11:11actually have, you know, our Miami division, which is obviously hyper-focused on Latin artists, but us in L.A.
11:20and the ability to plug in and it being so seamless between the two is very unique.
11:25Yeah, I love that and I wanted to ask you in practical terms, what does that mean for an artist?
11:31So Nir, you just gave the example of Carol, actually, you know, you're making all these plans, but let's do somebody who is not Carol, who's a more developing artist, like a Javi, for example, who is a definite artist, you know, on the rise, he won or best new artist at Billboard a couple of years ago.
11:50So, how does someone like that plug into this ecosystem, let's call it like this?
11:58So, Javi, or someone like Ivan, for example.
12:02Ivan is Ivan Cornejo.
12:03Ivan Cornejo is a perfect example.
12:05I mean, Ivan is an artist that truly, I mean, culturally lives on both sides and you see how we've integrated him into our team or the team we built around him.
12:19It's literally a mix of the Miami team, the L.A. team, I mean, like aesthetically, when it comes to like the creative and visuals, like he's, he has references that are a lot more American.
12:35So, I mean, he has, you know, the creative team from the L.A. office.
12:44So, it's, look, the way I see it is we build a menu that is tailored around the artist's needs.
12:53I mean, if, you know, we sign artists all over the Latin region, so if we have an artist that we sign in Argentina that is, has not broken in Argentina, so, you know, you got to take it one step at a time, you know.
13:05So, you start by being hyper-focused in Argentina, then you build, you expand into the Latin region and listen, and when there's, there's a, when the artist gets to a point where he needs more, obviously in the case of Balvin or O'Carroll, then it's all there.
13:21That's the point, you know, it's like I spend most of my day being a coach, right, so I like to keep it with the artist and tell him this, and this is where you're now, you can't skip steps, because if you don't build the foundation, then you're not going to have a lasting career.
13:36So, you know, the baby steps means, you know, you don't need the full menu, because it's, you know, you're, you'd be skipping a step.
13:45So, we basically have, you know, just, just everything available, and by the way, it's never a perfect science, we, we strive to, you know, like, we think every day, what else do we need to have, what tools do we need to provide our artists so they can be, be bigger and better.
14:08So, I mean, that's what it is, just shaping your business around the artist's needs, not the other way around.
14:12And, and by the way, I think what, what worked about, and what's unique about what John and I have built is that it wasn't transactional, it really came from passion, and caring, I mean, of course, I'm, I'm passionate about our Latin community,
14:26and John is passionate about culture, about moving culture, and, you know, it's, it's, you know, the same way he, he's, you're doing stuff with, you know, with, with Korea, you're, you know, it's, it's, it comes in,
14:43and that passion can translate to any part of the world, any type of genre, as long as the fundamentals are there, right?
14:48I mean, it's, it's about something that's cultural, that is, you know, that's cool, that can translate over bigger audiences, and, you know, being there to kind of trace the path, doesn't matter.
15:01Latin, Korean, so, you know, I, I, again, that's what I think is really unique.
15:07This wasn't just jumping on a bandwagon, it was truly, um, it comes from the, the entrepreneurial and passion place.
15:16Yeah, I think everything we do every day is about being in service of the artist, so finding great artists with visions that we believe in,
15:26and the artists trust us to be able to be their partners and help them build every aspect of their career.
15:33And same with our entrepreneurial partners, whether it's with a label or with a manager.
15:40So, someone like Ivan coming in, seeing that he was selling tickets, you know, the kids at the show singing every word to every song,
15:50but seeing the passion there of saying, we need to think outside the box, we need to think the way we think with some of our artists on the Interscope side,
15:58and think about the D2C play, what are we doing with the merchandise, what are we doing with the sink, and all those other pieces,
16:06um, and not just chasing the business that's right in front of you, so, you know, in order.
16:10Can you give us a concrete example?
16:12Yeah, like, you know, we talk a lot about D2C, um, where I'm not sure, you know, we in the Latin space, uh, with, with, with, in Miami,
16:21we're tackling, um, everything we could do there, so on Ivan, we put up his album in the same way we would
16:29a Billy, or an Olivia, or, um, any of those artists, where we were, we were pre-sailing and selling directly to the fan.
16:39We sold, I think, over 10,000 albums just through D2C first week, which he had never done in the past, right?
16:46Um, and I think we could have sold a lot more. We're going to be much more prepared for the next go-around,
16:52but also building that engagement with the fans, you know, seeing at the shows that all these kids are showing up
16:59and so passionate is making sure that Ivan has the direct connection and knows who those fans are
17:05and can sell his merchandise, can sell, um, his albums, his music, so that, that was a, I think, a big game-changer
17:12and gets us prepared for what comes next with him as well as others.
17:15Oh, that's a great example. And conversely, John, how has your side, let's call it the non-Miami side,
17:24so we're not going to use the word Latin, benefited from having this Miami point of view?
17:30Is there anything that you've learned, like, about taking those artists that maybe had not been to Latin America,
17:36or, I don't know?
17:37Yeah, I mean, we, we saw it right away because I had, right when we did the deal, uh, to start Interscope Miami,
17:46I had just signed myself because he came into the room tiny, um, because he just came in and played music
17:53and I thought he was an amazing producer. You know, we had DJ Snake, who had, uh, um, Taki Taki,
18:02but then, but then, right, I think, after, after we started Interscope Miami,
18:08Loco Contigo with, uh, Balvin, and then I had Selena Gomez, who, you know, has her Mexican roots,
18:16who wanted to do her Latin project, and we had Kali Uchis, obviously, from Columbia, um,
18:23who wanted to do her project, and we had one of the biggest hits of her career on that project.
18:28So, the ability of having those artists that were going to go down those roads and do those things anyways,
18:34but now, you know, we have the expertise in Miami that we were able to benefit of going both ways,
18:42of being able to take the artists that were signed to Interscope out of L.A.
18:46that had some, um, Latin roots, um, or signed brand new artists. Um, I think we were saying
18:53yesterday at, uh, at a celebratory near his lunch, as well as it being, uh, a big birthday for him
18:59this weekend, um, is, uh, happy birthday. It's near, it's near awareness. Exactly, exactly.
19:08Is, uh, signing a great developing artist in CAIA and, you know, continue to move through it,
19:13and then being able to sign big artists like, um, Carol and Balvin. So, it's, all the pieces are coming together.
19:20Anything great in the music business, unless you're lucky, usually takes three, four, five years.
19:26So, it's really been building piece by piece over the long term.
19:29I think that's so important to say because we're all getting used to these,
19:34entre comillas, uh, quick successes. And, uh, and it, it really is not like that.
19:41But let's talk about the signings because, um, I, what I perceive from the outside is that at the beginning,
19:49near you were signing artists who were either developing or, I mean, it's not like you tried to poach stars
19:58from anywhere when you, when you started at all. Um, so what was the strategy?
20:05And what is the strategy now? Because now you have Carol Balvin, which, you know, they finished their contracts
20:12and then they went to you. So, what is the strategy? Did you want to, like, build that foundation
20:18before you got any superstars into the roster?
20:23So, after the fact, I can, I can fool you guys and say, I'm a genius because I had this all planned out six years ago,
20:32but it's just, it's just not true. Uh, fortunately having John, and by the way, the resilience, the, the tolerance of this,
20:44and it's going to take a few years to build, which he has more than me. Like, there'd be moments where I'm like,
20:49like, I'm really getting anxious because, you know, once you've tasted success, you, you want to feel it again.
20:56Quickly. Quickly. But, so the, the first phase was just, like, an artist. We're just exploring.
21:06That's also bringing context as far as, like, the time. This was, like, 2019, getting into a pandemic.
21:13I think 2019, and I saw this happening, I, I, that I kind of predicted,
21:19that a lot was going to change. I didn't know we'd had TikTok, but also musically, what was going to happen from a, a, a, a very clear era of reggaeton and urban,
21:34morphing into where we are today, which is a beautiful world, but I, it feels like mainstream is now
21:42disappearing, and you have amazing artists coming from the left, um, but, going back,
21:52in 2019, when things started moving with the pandemic, yeah, we were trying to find our own path,
21:58and,
22:00you always end up going back to basics, and you're like, hold on a second.
22:05It's not about, you know, chasing a viral song on TikTok, and getting into a bidding war with everybody else, and,
22:14and trying to have the next big, you know, like, streaming song.
22:22It's developing. It's, it's building the foundation for artists, and, like, we did with Javi.
22:27Um, 16 years old, sitting at a Starbucks, just looking at each other, just, like, you're talented.
22:35And we're just getting out, coming out of the pandemic, and, I'm telling him, you're different,
22:42and it's going to take a minute, but, I, I rather gamble, us gamble on that, and you staying true to yourself,
22:54and, what happens most of the time, because when you chase the center, the center moves,
23:00so, you just stick to what you're doing, and, if you're good, and, you know, with time,
23:08the center comes to you.
23:10So, the conclusion has been going back to the basics of artist development, and, listen,
23:16artist development apply even to Balvin.
23:18You know, we, like, you ask him, how do you feel today?
23:21You feel like a new artist.
23:22And, our conversations, our process, as if he's a new artist.
23:28When it comes to the challenges, and what's next, I mean, of course, he's at a different level,
23:34but, um, really, that, the strategy is, we invest in, in, in the vision of artists,
23:43who want to be here for a long time, and, it, it takes time.
23:50You can't skip steps, and a lot has to happen with an individual, that's, I mean, one of our,
23:57you know, when, when you bet on an artist, you bet on a person, and, the person, when they're young,
24:01also haven't, they haven't evolved yet, they haven't grown into themselves, so, a lot can happen.
24:06So, you know, but, but that's the beauty of this, because, every now and then,
24:11everything just clicks, and, you know, like, like, happened with Javi.
24:14We had, three years later, had the Diabla.
24:16Yep.
24:17I think, um, it's, a couple, you, Nir said a couple important things.
24:22One, we treat the, the big artist, uh, with the same energy we would treat a developing artist,
24:29in the sense of, people are fickle.
24:32Um, they, they'll move on easily.
24:34So, how do we have the same energy going into, um, a Balvin, or a Carol, as we would as a Javi,
24:42or an Ivan?
24:43Um, I think, it's also, because you'd asked the question earlier, you know, kind of the cross
24:49between Interscope in LA, uh, and Capital in LA, as well as Interscope Capital Miami.
24:55Javi's an interesting one, because you've talked about it before.
24:57It was actually spotted by the A&R team in LA, and then sent to Nir, Nir, and Jose and team
25:06have a better feel for what it was, but it was spotting it, sending it, and great teamwork.
25:12Um, but...
25:12Yes, that's actually very encouraging to hear.
25:15I mean, to be very technical, um, and it was Emerson, it was nothing to do with our, with our world,
25:23sent me a random video, not because there were crazy stats, it just, it came across his dashboard,
25:29it's like, oh, I thought it was cool.
25:32That, that was it.
25:33Um, and I saw something that just, I don't know, it just, it just clicked, and I looked
25:38for him, and it took me, like, a month, because the kid wouldn't return, uh, my DMs, and flew
25:44him down, five minutes into the conversation, I'm like, okay, like, this is something very
25:50special.
25:50That was it.
25:50It was very, very, very, uh, intuitive.
25:53But, like, it came from, again, it's like, things can come from everywhere.
25:57It came from an A&R sitting in LA, just, you know, having something come across his, uh,
26:02dashboard.
26:03Yeah, one, one other thing, because you mentioned the long term of it, and not poaching artists,
26:08or any of those pieces, you know, when, when I came in to Interscope to start, because Capital
26:13only started, I, I started overseeing that, um, about two years ago, was, I, I had an overarching
26:21goal for the entire company, which was, be a destination for people to work, and for artists
26:27to sign, and I, and I, I've used it a lot, and it's, to do that, it's made up of hundreds
26:34of things that you have to, you have to do.
26:37You have to be a great creative place, supportive of artists, a great culture where people want
26:41to work.
26:42You know, you have to think about, you know, hitting your numbers so people get bonus, which
26:47that's not the more creative thing, but you have to think about all those things where
26:50people are going to be happy.
26:51So, I think, taking that same approach into what we did in Miami, and building it piece
26:56by piece, brick by brick, and having some of those things on the earlier side, um, like
27:01a Selena, and a Cali, and some of the snake stuff, and tiny stuff, and then signing great
27:07young artists, and developing them to where they break, like a Javi, and then, you know,
27:11attracting some of the bigger artists that are coming out of deal, and showing that it's
27:15a great home for artists, and I think that's what's important in the long term, to build
27:19something that's going to last.
27:20So, who is who in this relationship?
27:23Because I have read that John is actually very methodical and analytical.
27:30I don't know if that's true, because I don't know you enough.
27:33Um, but if that's the case, who are you, and who is Nir?
27:37Because I thought it was interesting that Nir was saying that John would say, paciencia, don't
27:43worry, don't get impatient.
27:45Is that what happens here?
27:46Nir is like, this isn't happening, and you're like, it's going to...
27:50I think in this business, it's rare that there's people that are left brain, right brain, that
27:55are creative, and can be very business oriented.
28:00Um, I had to be that, because, you know, again, I'm a... I was a kid who grew up in a small
28:06town who had no connection to the music business, and...
28:10to do everything.
28:11Yeah.
28:12And John, sorry to interrupt, but John, for those who don't know, his college room was
28:17at University of Florida.
28:18Right.
28:19Para todos los que est谩n mandando a los hijos a University of Florida, there you are.
28:25But, um, I had no connection to it, it was just passion, and, you know, so I had to develop
28:32those sides of it.
28:33You know, Jimmy Iovine, who was the founder of Interscope, was the same, which is why I
28:38was connected.
28:39Nir is that also.
28:41Um, you know, it's very creative, but knows, understands the deals and the business, and
28:46you're able to mesh those things the right way.
28:48So, I always say, and I think Nir is the same, is that I'm the most impatient, patient person.
28:54So, like, I'm...
28:55I know things take a long time.
28:57Great things don't happen overnight.
29:00You have to make the right moves for the artist, and you have to think about the totality of
29:04everything you're building.
29:06So it's this weird thing that I don't think you can really explain.
29:09It's like, yes, I understand analytics, and, you know, I always say I'm... I'm personally
29:14a gut person.
29:16I know it moves me, I've done it for a long time, I feel like taste is important, there's
29:25no shortcuts, and I think Nir is the same way, but I think why it works is because we're always
29:34pushing to be better, never, unfortunately, which I think may be a slight character flaw,
29:40but very good for the business, is never happy with where you're at, and always want to do
29:44better and do more for the artist and what we're building.
29:47So what is coming up that we should know about?
29:51Nir, you've signed a lot of homegrown musica mexicana artists, like Javi, like Ivan, like,
29:59this girl, Juteline, so what can you tell us about any of these artists? I heard some of them
30:09are recording in English. Is there anything you can share today?
30:14Ah, so I lied to you, I can't share that. Only you can know.
30:19Really, you can't?
30:20No, I can't.
30:21De verdad?
30:22I can't coerce you here on stage?
30:24You love to just have the gossip, no, I can't. It's only for you for now. For you to know
30:30for now. No, but I'm, as I was saying, there's so many cool things. Other than that, left. I mean, they start from the left. Like, Rosalia started from the left.
30:41Uh, like Rosalia started from the left. Benito started from the left. Uh, Juteline, an amazing artist from Spain.
30:50Um, Bad Gal, who already has, has a career.
30:54That's right, I forgot that Bad Gal is now yours.
30:57Yeah, I mean, she's, she's poised to be a superstar. Um, Sara Malacara from Argentina, I'm obsessed with.
31:08M-H-3-1 from Argentina, Tobica from Argentina. We have, we have just so many, so many, we've got,
31:17we've got, uh, on the regional Mexican side of us, so we're developing more, more things. I mean, we work very closely with
31:22Nathaniel Cano's label. Um, so a lot of artists also from overseas. That's, that must be kind of really interesting for you as well, John, because it's like a whole new stream of A&R that you've tapped into.
31:36You've tapped into?
31:38A hundred percent. Yeah, they've been very great about finding what we think are the best upcoming talent in many markets around the world.
31:45So, any release that we should be super excited about right now, Nir?
31:51This is the part where Leila is asking the questions that she knows she's not going to get the answers to.
31:55Um.
31:56Give me something. Give us, give us something that we can put on the headline.
32:00Something for you.
32:02Near signs.
32:04Um.
32:06And I have no idea, by the way.
32:08I'm joining the flag.
32:09I, I, I mean, look, we're going to have a definitely very busy, our artists are going to have a busy year coming up.
32:18I mean, everybody's coming up with, uh, with, with albums.
32:22Um, I don't know if I can give you any specifics, but, um.
32:27Why don't you both, before I let you go, each of you tell me something upcoming that you're excited about.
32:34Without divulging any secrets, but something that you've been waiting for this music, it's now coming, and you're really gone ho about this.
32:42It's hard because that's like picking your favorite child, right?
32:45Like if you say one that's coming up.
32:47Yeah.
32:48I, I will say to Nir's point, across everything that, um, I oversee, so many of our artists have great music coming out and it's going to be a crazy year next year.
33:02And specifically, I'll let you speak to the Latin side, but I feel the same on the, uh, Miami, in Miami.
33:09There's all the artists, pretty much every artist that we're working with have, should have something coming next year.
33:15I mean, so, I mean, Javi's working on an album, Ivan is working on an album.
33:20Um, yeah, I mean, but Gal is going to have an album early next year, so, you know, it's, it's, uh, it's, it's going to be busy.
33:29Yeah.
33:30Last question.
33:31Is there a particular DNA you're looking for in an artist?
33:36Is, is there, I know it's a very eclectic roster, um, but is there a quality that you definitely look for in an artist that you really need to check a certain box where you say, I love all of this about this artist, but they need this last element for me to make, take the plunge?
33:57Yeah, for me, there's a handful of things, but I think the key thing is that the artist has vision. Um, that they know who they are, and what they want to do, and they're determined to do it.
34:10Now, I always say it could be an artist that's already kind of gone through the ringer, and is, knows it right there.
34:16But, I think even on a younger artist or early, even if it's not fully defined, you can, you can get the germ of it out of them, and understand that they're that artist.
34:27Because what we always talk about is, I'm not great at manufacturing things. You know, we want, we want artists that we're going to be their partners, and we're there to serve them. At the beginning of it, you said, uh, these artists are yours. You know, uh, I guess we are theirs. You know, I always say, you know, they are our boss at the end of the day. Um, you know, we want to be there to help them achieve everything they want to do in their career.
34:54And it's always, for me, kind of that tasteful art meets commerce, and making an artist as big as possible. Um, and we try to understand that. Is that what they want at the end of the day when they come in the door?
35:07And, you know, only partner if, if everything aligns the right way.
35:12Anything you want to add, Nir?
35:14I'll answer it backwards. Um, the, with the undeniable, um, factor that comes in,
35:24that's once in a blue moon, and I felt it when I met, again, it's usually with artists that are starting out.
35:31Because when there's already a name, then there's numbers, you know, it's like you're, you've already been exposed to that individual.
35:41But when I met Javi, when I met Judeline, there's this magic. And it just, it's a, it's an intangible thing that I can't explain it.
35:51But it's like, that's, it's like, don't talk to me about numbers. I don't, I just know that if you stay on the path, the world will follow.
36:02It's gonna work.
36:03Yeah.
36:04Bueno, much铆simas gracias.
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