Bon Jovi by Margaret Olson

Author:Margaret Olson
Language: eng
Format: epub
Tags: undefined
Publisher: Scarecrow Press
Published: 2012-05-15T00:00:00+00:00

Music Business and Publishing

Most successful songwriters take some part in the publishing side of the music business. Not only did Bon Jovi eventually start publishing their own music, but they also were responsible for the development of other bands. Early in his career, Jon Bon Jovi realized he was in a position to help struggling bands, especially ones he knew from home. There has long been a rumor that he had a pact with friend Dave Sabo of Skid Row that whichever of them made it first would help the other. Jon made it, of course, and he did not forget his friend. In an excellent business move that took Skid Row from unknown band to hit maker and escalated Jon Bon Jovi to the role of business entrepreneur, he facilitated Skid Row’s representation with his own manager, Doc McGhee, and established the Underground Music publishing company to promote their music.

Later in his career, Jon would fire Doc McGhee and take over control of all of the band’s activities by establishing Bon Jovi Management. This business model has allowed Jon to pick and choose the people with whom he works in all aspects of music production, publishing, and touring and provides protection for the band, which works with only known entities. The team includes co-managers David Munns and Paul Korzilius, attorney Jerry Edelstein, and touring company AEG Live. The model that Jon created has protected the band and ensured its longevity.

In When We Were Beautiful, Jon Bon Jovi famously mentions that he is the “CEO of a large corporation.”[8] This is most certainly true. In the world over there are very few performing artists who find themselves in Jon’s position. The most common scenario is the music corporation handling the artist and telling him what to do. From the earliest days of rock and roll music touring (Elvis, Buddy Holly), corporate control has been the model. The Bon Jovi organization has turned this model on its head.

The documentary reveals much about the tour production itself. It gives an interesting insider’s view into a world where millions of dollars are spent on glitzy aspects of production, like moving digital panels and multilevel movable stages; where hauling expensive gear in cargo planes all over the world is normal; and where hundreds of people depend on the work ethic of four guys for their livelihood and to support their own families.

It is also instructive to consider how much time, money, and effort is spent taking a rock concert on the road. It seems that even in countries of political unrest and relatively strict religious laws (United Arab Emirates and Ireland, for example), people will still come out for a concert. In the United States they will pay hundreds, even thousands of dollars for a premium ticket and a close look at their favorite band.

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