Nir seroussi biography of abraham

I got fully immersed in it. I learned a lot. I mean, I came in with almost zero knowledge about Latin music. But for a long time, I was looking for a starting point that would then take me to the American side. I wasn't thinking about stationing myself in Latin, early on. And then Latin music kept pulling me in. You know, speaking Spanish and understanding the culture.

When I went to Berklee, all my friends, my roommates, were Mexican. I was surrounded with Latinos, and I felt really comfortable with Latinos. But again, I was thinking, I'm more American. I think I romanticized it but it wasn't the definite end game. After a few years in L. And I remember why. If it makes the album, hopefully, it gets the proper marketing push, and hopefully the song is a single and hopefully You have no control.

I have no control of the product. And you can have them both. And to make matters quote-unquote worse, it was in Regional Mexican music. I had no idea about it. I had to gain their trust and had to become kind of an expert in that world, and I learned enough to navigate it and do it pretty successfully. I loved being able to infiltrate myself into the culture and having them accept me as one of their own.

I even ended up writing songs for a lot of these artists. That's how deep I went into understanding it and just living and breathing it. There are so many things that I learned, such as the criteria of an artist that has potential. I think in genres that come from under—it could be anything, it could be country, it could be hip-hop—anything that comes from the masses, or from the grassroots, it's not about being the best-looking, having the best vocals.

You just go to a show and watch how an artist connects with the audience and that's it. That's what you're looking for. Not the qualifications on paper. And that connection can come from something very rustic and something very unsophisticated, but there's passion. Maybe it's two chords and a broken voice, but it connects.

Nir seroussi biography of abraham

That experience allowed me to have a blueprint of a conversation I could then have with people from different walks of life and from different cultures and from different countries. We built [Sony Music Latin] to be the number one label in the market, and we had the biggest, most powerful roster that was housed under one roof ever in the Latin industry.

But once you get to that point, how do you grow? You fall into a maintenance mode. I felt it was time for a change. Music is changing. There's a wave of new artists. I think I'm going to be able to provide more for them than for artists who are already set. It's different when you're grabbing an artist that has zero followers, zero subscribers, zero nothing, and then a year later you go back and, wow, now you have a million fans.

That's my passion, that's what I chase. Interscope came along and it was a match made in heaven. I want our artists to have those tools at their disposal, where you have the Latin experts who can help you build your base, and then you've got the muscle of a U. So when it's time to grow and become international or collaborate with an American artist, it's already part of the nir seroussi biography of abraham.

It's a big challenge; you're starting from scratch, you're building a team, you're signing new artists. But I've got the best partner I can imagine, so it's pretty cool. It looks like it's booming because it is booming. I mean, hey, Bad Bunny—who would have thought three years ago that he'd land 14 tracks simultaneously on the Global 50? So, we're there, we are a global player.

And I think we'll definitely see more and more convergence with the American market, with different markets, whether it's Europe, Africa, or Asia. I think that there will be more collaborations. They have to be smart collaborations because we fell a bit as an industry into this mathematical equation o f putting this artist with that artist because they have X amount of monthly listeners on Spotify, and thinking that means it's going to be a hit.

Not necessarily. You can be scientific behind the scenes but on the consumer front, it has to feel organic and culturally relevant, which is not always easy. There's a blurring of genres happening all across music. Even in American music. Like Post Malone: It's very melodic but it's urban. The same thing is happening in Latin: The genres are getting very blurry.

You have artists come in every day who don't identify with a specific genre. I can totally jump on that record. Even though we're here in Miami, our playground is Latin America and Spain. What I can tell you, perhaps differently from other folks, is that it's not about the numbers for us anymore. Israeli-American music executive. Ramat GanIsrael.

Early life and education [ edit ]. Career [ edit ]. Recognitions [ edit ]. References [ edit ]. Retrieved ISSN Bad Hits Daily Double. The Hollywood Reporter. Chai Lifeline. Archived from the original on January 10, Hidden categories: Articles with short description Short description matches Wikidata Articles with hCards. David Sales. Kimiko Yo.

Broc Raiford. Avraham Aviv Alush. Martin Engeset. William Lukuvi. Adrian Cooper. Fran Huck. Igor Stanojevic. Rebecca Grote. Moshik Galamin. Paul Ashworth. John Nyberg. Olli-Pekka Ojansivu. Oleh Zhurka.