Arlette Hovinga: How to Build Relationships in the Music Industry a review
The book, by international arts publicist, is one of two essential elements of study for every artist either emerging or established and ascending in the world of arts. Emerging, because it gives a clear understanding of the rudiments necessary for studious attention and for the established artist because repeated A “relationship” is a connection, association, or feeling between two or more people, organization use of these rudiments can only make them stronger and more aligned for success and growth.
The first order of business, of course, is understanding the business thoroughly. For that there is that other book: How Music Works by David Byrne [Todo Mundo, 2012, McSweeny’s, 2014]. The book by Mr Byrne presents the whole new world view of contemporary music. It is based, of course, on the celebrated arrival of musician, his experience as he grew out of the seminal band Talking Heads and then through his solo flights. Mr Byrne’s sharp analysis of things seen, perceived under the skin of music, piercing its secrets, which, as Beethoven once said gives us greater knowledge of things music and brings us closer to things divine.
For the less mystical, I suppose, there is much to dig and delve into the book by Arlette Hovinga, How to Build Relationships in the Music Industry [Rowman & Littlefield, 2023] as well. To begin with for those with memories as long as mine, I see Ms Hovinga’s figure of the chair that symbolises That resembled Music Girl – her new and vivacious persona – as a memory of the Icelandic personality, Magnus Magnusson’s infamous ‘black couch’ that warned and celebrated of 25 years of difficulties in answering his grueling show Mastermind.
In many ways, answers to the questions that arise in Mr Byrnes’s book will be found from scouring for knowledge there – the answers of which may be initiated in Ms Hovinga’s book, A Guide for Musicians. Of course, this descriptor may also be extended to other kinds of artists – painters, dancers and others.
That chair – in an irreverent sort of way – has come to symbolise the world for Glenn Gould, who roamed his world with his chair, which in a funny sort of way, resembled the off-kilter one that the great pianist used as a performer. And so, Ms Hovinga has built her reputation on that chair, to carve out for herself a life merchandising her craft as That Music Girl.
The fact that Ms Hovinga uses the term – ‘relationships’ – insists upon equating that word with human relationships. In real terms this grows into ones that encompass even familial, professional connections. These transcend healthy relationships typically involve mutual respect, communication, and trust and root out ones that can become toxic and less trusting.
Ms Hovinga’s book does not burst myths, but it does pulverise some of those that have been hardened into the brickwork of the music business. It clearly defines characters in the business and deals with these stickier characters. From the agenda inside [p vii] these may seem like a simple list of ‘things to cover’ when you are rappelling down the slide that brings you down to ground zero.
One of the most noticeable in this list is how to navigate the digital side of things. For instance, the whole idea of social media has brought a series of new aspects of negotiated settlements relating to things digital. On page 45, for instance, is a key chapter: Your Website. While the book does not instruct you on how to build one for yourself it does ask you the right questions and some of the key ones lead you to asking the right questions of experts closer to the artist – the questions that lead you to the right kind of people or at least to people like Lydia Liebman, who runs one of the most successful companies that promotes artists – other than Arlette Hovinga, That Jazz Girl, for instance.
The whole digital realm flows out from page 45. If one pays close attention to the questions and answers that flow from there are a series of chapters that ask and answer key elements that drive the digital universe. Chapter 4 – Your Website – to Chapter 11 are key to understanding this digital world. What chapter 11 deals with is the question of TRUST. If you have reached that spot in the book and can answer each question that pops into your head honestly that you have reached THE BEGINNING of your search.
Now it is up to you to find the right person and organisation to stand behind you and find your proverbial Stairway to Heaven. These, of course, culminate in a Licensing Agreement Template, or what should be the right one upon which to ‘Build’ your ‘Relationship.’ Such aspects as Copyright and other prominent issues are addressed in the last 6 chapters of this book.
Some might say that it is almost crucial to memorise these chapters. I would not go as fat as to say that these need to be memorised. However, by the time you get here, Ms Hovinga would surely have convinced you that That Jazz Girl is the right place to start. If you plant your flag here the changes of being successful are greatly enhanced.
A really good lead would be to ask the questions of one of the most successful people that Ms Hovinga has built a relationship with and that would be to study the details of Ms Hovinga’s relationship with the Grammy Award-Winning and Emmy-Nominated producer, keyboardist and composer Jason Miiles. Mr Miles has, throughout his sterling career, collaborated with trumpeter the late Miles Davis, bassist Marcus Miller, and singer Luther Vandross, as well as maintained a successful solo career.
Mr Miles puts the book in perspective. He says of it, “Arlette Hovinga creates a modern-day Bible for those who are new And want to start a career in music and even for those with experience. Whether you are an artist or a band, she provides a blueprint with valuable advice from solid industry professionals, that will help you build a career while avoiding the minefields. It is a valuable resource for the twenty-first century musicians and artists.”
This is the first step, the first valuable testimony that can help you grow from the first tentative steps into a business laden with giant steps and pitfalls; to reach a place where you are more comfortable about ‘understanding the key characteristics of effective, professional communications in the music business which will ultimately lead to better relationships, more bookings and a stronger following.” The rest in the script that your and business partner will eventually write. Perhaps that will be with Ms Hovinga and That Jazz Girl after all…
Arlette Hovinga: Originally, I produced and programmed events in The Hague, where I lived most of my life. I’ve also toured with bands such as The Four Tops and The Temptations. In 2015, I decided to spend more time in The Netherlands than on the road and shifted my focus back to PR and marketing. Since then, I’ve worked with clients in The Netherlands, Belgium, France, Poland and Russia.
When I have time, I enjoy having beers with unsuspecting jazz musicians and check out shows at my favorite local jazz bar, Dizzy in Scheveningen.
Some Humble pie; I was honored to win a Netherlands Music Industry Award in January 2020, awarded at Eurosonic Noorderslag. In 2021 I joined the 7 Virtual Jazz Club competition as a juror. I was a jazz juror for the first time in 2019, at Jazz Across Borders in Saint-Petersburg, Russia, and enjoyed it very much. I’ve also had the pleasure of being invited as a speaker at the Why DIY Music Podcast and by Gail Boyd at Alternative Venues for Jazz.
A relationship is a connection, association, or feeling between two or more people, organizations, or things, encompassing familial, friendly, romantic, professional, and even logical or physical connections. Healthy relationships typically involve mutual respect, communication, and trust, while unhealthy ones may have problems like toxic behavior.
The book:
No of pp: 215 with indices
ISBN: 978-1-5381-8407-3
Hardcover: 135.45 [amazom.ca]
Softcover: 47.00 [amazon.ca]
Kindle: 44.65 [amazon.ca]