May 14th and 15th, 2005
@ The Times Square Arts Center
303 West 43rd Street, New York City

The Global Entertainment and Media Summit
November 6th & 7th, 2004 @ Spirit, NYC
By Luis M. Soler

Everyone’s looking for their big break. If you’re that creative type who wouldn’t mind a little fame and fortune along with visits from the muse, then just as much effort can be put into sniffing out opportunity as actually creating. And if you have even the slightest inkling of what’s going on in the entertainment industry, then you recognize that it’s going through some serious growing pains right now. Those in the know, from “just-trying-to-get-my-foot-in-the-door” to “gas-up-my-personal-jet,-will-ya?” are all scrambling to find that Holy Grail, that scheme/strategy that’s either going to rocket them to the top or keep them from crashing hard. Thankfully, the first weekend of November 2004 saw the Global Entertainment and Media Summit roll back into town hosted by Spirit, in NYC’s Chelsea.

The brainchild of Steven Zuckerman, who originally brought you the NY Music & Internet Expo, this biannual event provides seminars and question/answer panels on such subjects as managing your own career, getting yourself noticed, and navigating the murky waters of the entertainment business. With a mission to explore new and alternative avenues to success in the entertainment industry, GEMS always brings out some heavy hitters and mavericks in the biz (previous GEMS panelists have included Chuck D, John Waters, Les Paul, and Bob Ezrin, who returns this May to give a Keynote Address), allowing the average schmo like you and me, squirrels out there just trying to catch a nut, some valuable “face-time” to network and promote our projects. These seminars, coupled with vendors promoting their products and services, and participants eager to shake hands and expand their careers, all constitute one of the most forward thinking events in the biz.

Eddie Kramer, Steve Zuckerman, and Les Paul.

Featuring discussions on subjects such as “The Record Company of the Future and How Independent Artists Can Work With Them,” “Maintaining Autonomy and Independence,” and “Developing the Artist Within You- and Utilizing Your Art to be Good in Business” it’s clear that GEMS is dedicated to empowering the artist through knowledge and contacts. Film and emerging technologies have a place at GEMS, too, as panels entitled “DV or Not DV,” “New Innovations for Distribution,” and “Blogs & Webcasts: The New Artists Outreach” illustrated. All panels pointed to digital technology as the conduit to a brighter future, as broadband Internet connections continue to multiply in the U.S. and around the world, and though it was widely recognized and accepted that what was once the “entertainment business” is slowly but surely crumbling under the weight of its own archaic practices, optimism abounded. In fact, it was the palpable theme: as broadband continues to establish itself in the world, artists are becoming freer to distribute their works and maintain as much control over their art as possible. And who couldn’t be happy about that? Fortunately, panelists tempered their optimism with very practical and pragmatic advice. Eric Bryan Slavin, Artistic Director of NYC’s RIPFest (an independent film festival) was quick to point out that “You have to have business intelligence.” Phil Nicolo, of the producing duo known as the Butcher Brothers, also commented that “You have to have a realistic approach.” And reality is exactly what someone who, filled with the dreams and hopes of becoming a rock star or a maverick filmmaker, needs.

One particularly nice feature was the time allotted for performances, as it broke up the constant flow of speakers and questions. Lucinda and Katrina Chester performed nice sets, and no doubt May’s GEMS will have similar performances by other past alumni.

Unfortunately, as with any event involving large groups of people on a schedule, things didn’t always go so smoothly. Panels ran long, or sometimes went off the topic. Considering that the election had just taken place, people had a lot to say on that subject, and they weren’t afraid to speak up when given the chance. The venue wasn’t exactly ideal, either, as some panels had to be hosted in the main area, where everyone was milling about and networking, distracting the panelists and the attendees. And, regrettably, sometimes the panels didn’t include all of the guests that were promised. But, new panel discussions sprang up which were not originally advertised, special “interactive workshops” were held, and generally speaking a wider range of issues were addressed than would seem at a first glance of their schedule. Any problems encountered at GEMS were easy to forgive, considering the caliber of guests that did speak, the opportunities afforded for pitching and promotion, and the desire on the part of Mr. Zuckerman and crew to inform artists on how to best protect themselves and their investment while still getting out there and making the scene.

This May’s GEMS is again presenting a wide range of topics, perhaps with even more diversity than November’s event. A peek at the schedule reveals such panel subjects as “Peer-to-Peer: Threat to Artists or Threat to Business Models?”, “The Future is On-Demand”, and an especially important topic, “Securing Financing for Your Entertainment Project”. Of particular interest to filmmakers are the “New Opportunities in Distribution”, “Digital Filmmaking Outside the Box”, and “Marketing an Independent Release in the 21st Century.” “Music Meet Film, Film Meet Music: Creative Alternatives for Music Placement in Entertainment,” should provide a nice opportunity for filmmakers and musicians to connect and collaborate, and “Blogs, Webcasts, and Podcasts: The New Artist Outreach” returns to further illuminate the possibilities of these exciting new media.

Now, I know what you’re thinking. You’re going to ask, “Will I find the answers?” Well, yes and no. Of course, there is no “answer,” as any one of those panelists would be quick to point out. Especially in these times, when the nature of business in the entertainment world has been turned on its ear, the path to success has to be carved out by each individual in his or her own way. Some people have characterized GEMS as a revolution, and it is, in a manner of speaking; but one in which a grassroots movement is creating a vibrant web of contacts that no longer needs the vestigial offerings of the major labels and studios. I asked one attendee why he’d decided to register for GEMS; he told me he was there to “Make some connections, promote some of my projects. It’s better than just trolling the Internet.” And of course he’s right. The Internet can’t provide the face to face contact that establishes trust in relationships. Remember, this is a business built on relating- between the artist and subject, the artist and the industry, and the audience and the art. In an interview from 2004, Mr. Zuckerman himself stated, “You're putting a face to something. I think that's one thing artists get wrong -- they think the net is going to be the be-all and end-all for them, and they can do every deal over email, and I think they're wrong. I think they have to get out and press the flesh and meet people and network.” GEMS can help you connect with likeminded individuals who are looking to get behind something. Conversely, you’ve got to be willing to get out there to press the flesh and prove that you have a vision that you are committed to bringing to life.

So do yourself a favor and go to www.globalentertainmentnetwork.com for more on GEMS and for registration (if you’re on the West Coast, keep an eye out as GEMS usually hits LA, too). If you are serious about your work, and are serious about making it work for you, then GEMS is undoubtedly a valuable learning tool and networking opportunity. Take the weekend off from your Mcjob and make a reach for that brass ring. After all, as the panelists were wont to remind us, “Try everything.”