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bmsgMusicman had an interview with the chief manager of MAZZEL (Kida Junpei) and one of the managers of HANA (Nasu Taeko).
They shared a lot about the company culture at BMSG, what BMSG is looking for in their new hires, and what it's like working with the artists they manage.
Interview link here: https://www.musicman.co.jp/interview/678089
Summary of what they discussed below!
Kida Junpei 木田 順平 (きだ じゅんぺい)
- Born 1990
- Hometown: Osaka
- Graduated from Kansai University
Career
- Joined a entertainment production company as a new graduate in 2013 (role: artist manager)
- TV media liaison (organizing, analyzing and coordinating schedules and appearances)
- Artist manager for soloists and groups
Joined BMSG in 2023, chief manager of MAZZEL; also acting as head of BMSG Management Section 3
Nasu Taeko 那須 多恵子 (なす たえこ)
- Born 1989
- Hometown: Tokyo
- Graduated from Waseda University
Career
- Managed a KR group in Japan for five years (starting 2016) – schedule management, promotional activities, event planning when the artists were in Japan
- Entertainment production company – manager for a group (schedule management, accompanying artists on site, negotiating media and event appearances)
- Training and management of staff as a leader
Joined BMSG 2024, current manager of HANA; also acting as head of BMSG Management Section 4
- The company is currently at 85 staff
- There are currently 5 managers for HANA, Taeko manages their schedule but there's no specific role for anyone; they all work together
Junpei was first hired by BMSG to be field manager (accompanying artists on site), but was promoted to dept. head after 3-4 months (he isn’t sure what the company’s thoughts were on the decision 😂)
Taeko was in the JP company managing KR artists fresh after graduation and worked there for almost 5 years. Before applying for BMSG, she was wondering if she should continue being a manager or switch careers. She felt like she was burnt out from working too much. She was torn between what the artists wanted to do and what she could allow them to do within her role. She was in a dilemma and gave herself a break. During her break she thought about whether she should continue being a manager and she felt like she wanted to do it again. Around this time, she came across boss’s book (Management no Hanashi) and BMSG’s statement on reducing plastic waste from bonus CD sales, she thought BMSG might be a company that could let her do what she wanted for the artists and she gave it a try and applied.
Junpei wasn’t really thinking of changing jobs, he has always been an artist manager. He heard from an acquaintance that BMSG is looking for manager(s). While he was researching BMSG, he learned of boss’s idea of wanting to change the rules “that are unique to Japanese entertainment industry”. It made him think about how the job of a manager often, inevitably conflicts with a company and its artists, so when he saw boss’s slogan for BMSG is, “To not kill talent”, it resonated with him and so he decided to apply. He resonated with boss’s ideas and he could feel a certain level of respect from boss too.
Junpei doesn’t think simply by joining BMSG means he can make a difference right away, because it’s not something that can happen that easily. There are times when they struggle but they’re all working on it every day. Hidaka is also leading them by having a consistent mindset so they are all working hard everyday with the feeling of following him.
Taeko says even though as managers they can listen and sympathize with their artists it can sometimes be difficult to give answers or advice that shows they fully understood what the artist is going through. At times like this, boss’s experience as an artist himself helps managers a lot. Taeko feels like her dilemmas as a manager before disappeared the longer she worked with boss, who can give honest guidance
Junpei says artists and managers use different parts of their brains in their work, and their thought processes and perspectives are completely different. Boss can speak from both the artist and manager’s perspectives so Junpei feels he is able to communicate with his artists confidently
- Junpei also mentions that boss often listens attentively to their “will” before giving them his answer, so he feels it isn’t a conversation that is coming from the top to down, so Junpei feels conflicts (between managers and artist) decreased
Junpei feels like the people who are in BMSG all agree with the company’s philosophy and goals that boss has set out. He thinks there is BMSGism in everyone that works at the company so there is a sense of unity when appearing at events like the G&G.
- Junpei’s impression of everyone who works at the company is that they are serious, honest people who are detail-oriented
Taeko feels like the people at BMSG are people who truly love entertainment. Although she and Junpei have managerial backgrounds, there are people at BMSG who came from completely different fields. What they all have in common however, is that everyone feels like they have been “saved by entertainment” and they have all gathered at BMSG with the strong desire to be a part of [entertainment] and provide that for others.
- She says it’s really fun to go to work every day and see people who share the same passion, though boss is the most passionate of them all. BMSG is a group of people who share the same passion and a company full of passionate people.
Although Junpei and Taeko are both bucho (部長) they both have different ways of doing things so there is no right answer or way of how to be a manager
- Their end goal is the same: To show their artists a beautiful view or make them happy, just that the process leading to that is different. Each person thinks of a different way of how to reach that goal. (Junpei)
Taeko only sees Junpei at weekly meetings since most work by managers are usually on site or accompanying artists, so she always thinks “Ah, they’re busy” and finds BMSG’s managers very serious people so she feels she has to get serious too because she jokes around a lot.
Junpei doesn’t have a lot of chances to meet Taeko either so he doesn’t really know the details of what Taeko does. Whenever he sees Taeko at the office he gets the impression Taeko is a very energetic and cheerful person
Every time HANA performs to an audience is what gives her the most energy and helps her forget how hard it is. For a manager 80% of their work is the preparation leading up to an artist’s performance. It is mostly communicating with people, in HANA’s case, she hears from Chanmina and SKY-HI many times. With that many people it can get difficult, but the moment HANA goes on stage and performs and she hears the cheers from the crowd she forgets everything. The cycle repeats itself in every new event or appearance and she is able to refuel herself
- But Taeko believes that if the people working behind the scene aren’t having fun then the audience won’t enjoy it either so she always looks for ways to make her job enjoyable even when it gets difficult. She gives the example of talking with the A&R team at Sony, when she talks about their dreams together but something doesn’t come true, they will reset by saying, “Let’s go for ramen” and that keeps her going LOL
Junpei’s biggest source of energy is seeing MAZZEL on stage and the faces of fans watching them. The preparation is hard work but it’s fun to see it all unfold when the artists perform, for him it’s like seeing what he worked so hard on out there in the world.
- Like Taeko, if something isn’t going well he will get something to eat to reset LMAO
Junpei thinks boss’s message “To not kill talent” is not only a message to artists but also to staff. He thinks BMSG is unlike other companies where they can say they want to take on a new challenge with enthusiasm and logic and BMSG will help you make that a reality [T/N: For some context and perspective, in any other conventional Japanese company, the immediate response may be “That’s impossible (muri desu)” or their opinions would be disregarded because they are not in a position high up in a company hierarchy]
Taeko feels BMSG highly values “societal common sense over rules of the entertainment industry” – there are many things that cannot be done or said because they are dismissed as “this is just how the industry is” but this has not happened in the company. She thinks boss has created a managerial system where communication is open and flows
Junpei’s role is to accompany artists to their gigs. He’s there to create an environment where the artist can interact comfortably with the people they are working with
Taeko’s role is mainly preparing 80% of everything for HANA; mostly thinking ahead and planning in advance – before HANA heads to a gig; managing the time once they arrive on site etc. Her main job is to be considerate and she thinks a manager’s job is to look around and notice things
There are many different kinds of artists and they are all humans with ups and downs. He thinks an artist’s performance changes depending on how stress-free and comfortable a manager sets up the preparations. Communication can turn positive or negative so even small details like being attentive to the timing of your convo with the artist is important. (Junpei)
HANA’s in a situation where they debut right after an audition and have become stars. They have no experience, so it’s Taeko and the HANA managers’ jobs to praise them and help them grow and point out when they do something wrong
- The HANA managers have a rule with the girls that they should “Always keep their dressing room clean” and greetings are a given. Humans tend to stop doing things once they let their guard down, so Taeko is very strict with them. She hopes that once HANA becomes more independent, they can be girls she can be proud of as people.
Junpei is the same – he believes if he doesn’t tell them things that are important “as people” they might become complacent. He wouldn’t put it as “warning” them but he will tell mazz when it’s necessary
BMSG values their artists as human beings first, so all BMSG managers don’t really like scolding or saying negative things to their artists, but when they think about the end goal, it’s for the artists’ sake.
About a year into mazz’s debut, the boys started talking to their managers about advice regarding creative work: songs they wanted to try, ideas for MVs, etc. The first year after mazz debut, the managers didn’t know what to do, all the managers were doing their best to complete the work that’s in front of them, but once they started understanding the work flow and moves, mazz managers started forming “will” and that’s when they started talking more with the MAZZEL members
HANA isn’t at a stage where they have been asking their managers about creative work. At this point of their career, Chanmina is in charge of anything creative, so HANA and their managers trust her judgement and want to meet her expectations. They try to ask mina in advance on her wishes regarding the girls’ costumes and hairstyles, etc.
- Taeko adds that there are many things they can’t do in the same way as before, so she thinks worries like these will come up in the future
Junpei thinks being a manager is skills you acquire from working in the field, rather than skills that you’re “born with”. When he interviews people, he particularly values whether they are enthusiastic, honest, and flexible in their work ethic. Having a background as a manager is a plus because it helps you understand the flow and procedures of the work but you can gain those skills when accompanying artists to their gigs, so he thinks a good foundation is important
Taeko thinks people who love entertainment are the best, being observant to what’s going on around you is a great strength. People who can put into action what they think will be helpful will be suitable as managers, and if they can “create a comfortable environment”. Different people have different experiences, even if someone says they have been a manager for a long time there can be things they have and haven’t done, because each day is a learning experience. So she doesn’t think there’s necessarily things “you mustn’t be able to do”.
Takeo says if you are someone who is caring, you might be suitable but she says it’s important to remember your artists are your teammates and partners, they are not your family or friends and understanding that relationship is a must. If you don’t draw a clear boundary, you’ll be the one who suffers
- Of course it’s important to be caring and understand the relationship you have with the artist in a positive light, and to see the artists as artists.
- Both Junpei and Taeko say that this is the most difficult part of being a manager
Obviously, Junpei knows in his head how to keep a certain distance between him and mazz, but when they’re together emotions obviously come into play. They see each other every day, more often than their family and friends. It’s difficult for him to put into words but maybe it’s finding the balance between pampering and educating them. Managers are humans too, so they don’t want to say things that are difficult either, but he thinks it’s the implication that “it is difficult” that makes it hard to find the right balance
- Taeko agrees that it’s difficult, since you get emotionally attached but the relationship with the artist is also something they want to cherish.
When Junpei joined there were about 20 employees, the number has now increased 4-5 times of that; in a good way BMSG is more like a company now.
Previously, there were many managers who held multiple positions across different departments but now each department has a manager and they function as a team
There is now a HR team and positions that didn’t exist before, such as: Customer Service (CS), Legal Affairs, and the company’s functions are now established down to the smallest details
BMSG meetings are like any other meeting, they have an agenda and proceed according to the agenda
- Though Junpei says there is also lots of brainstorming, “Hey it might be fun if we do this”. In terms of planning, it’s the same in any company but it’s broader in BMSG and one team can share their ideas across many areas and he thinks that’s the most unique thing about the entertainment industry
Taeko has been with the girls since NNG, the auditions started soon after she joined the company, so she thinks she was hired with the idea of having her in charge of HANA.
- It’s Taeko’s first time managing girls. She was a little worried whether she would be able to do it, because she thought she might be better suited to managing boys
- Takeo finds managing girls fun. The girls being wonderful people themselves is of course the main premise. She has been with the girls since the auditions so it’s easy to talk to all of them. It’s a different kind of fun from when she was managing boys.
BMSG is looking for people across the board and across various fields, but the purpose and goals are the same for all of them – an empathy and resonance for BMSG’s philosophy and values and wanting to see the artists grow and see new sceneries. Obviously, the path and method to achieve that will differ, but Junpei is sure there will be a department in BMSG that matches the person’s aptitude
MUST: Empathy for BMSG’s values and philosophy and you like entertainment! Junpei and Taeko will look at your character and career as a whole and proceed with the hiring / selection process
BMSG is actively recruiting, besides working with the current roster of artists, BMSG is also working on TLP and other projects that are coming up in the future
Obviously there are some roles where few people apply or they are unable to focus on new things unless there is an application, but it’s important that BMSG replenishes their resources so hiring managers is their top priority because they are the only roles that cannot be outsourced
“Kiai, konjou, passhon” according to Junpei XD:
“Kiai” – believing in the artist’s potential and without a doubt that they will see something beautiful with this artist / group;
“konjou” – perseverance and determination to never give up even in the face of unpleasant or difficult situations;
“passhon” – acting out of love and enthusiasm and for the sake of the artist.
Taeko thinks because they are the people closest to their artists and sees their best side the most, and they believe in the them. As managers, they are the ones who believe in the artist the most, so she wants to always be able to speak unabashedly about the great things about their artist
- Selling their artist is important as a manager but it can’t be done without “love” nor can it be done without understanding
Taeko believes if you do your job half-heartedly, it won’t come to you, so she’s always conscious of being HANA’s biggest fan. Not just her, the other HANA managers still manage to be moved to tears whenever HANA performs even though they watch the girls do it everyday, haha. But Taeko thinks that’s the kind of “enthusiasm” and “love” that helps the artist grow and builds their self-confidence. The managers liking them and being on their side is their greatest strength and creates an environment where they can give back to their fans and those who have been watching them, so she wants to keep that in mind. Taeko thinks it’s not just her, but everyone at BMSG who shares this belief: the MD (merchandise); SNS-sans, FC staff-sans, and of course boss himself. Boss has the most love for his artists, and staff sees this everyday. The staff all grow watching Hidaka leading the way, and they respect him and thinks he’s cool as they work. It all comes naturally and Taeko thinks all of this is a good cycle.
Taeko thinks BMSGism is something she wants applicants to remember most of all and at the same time something she doesn’t want her or her team to forget
Junpei wants to grow together with MAZZEL and move to the next level with them. He’s not really thinking about what he’s doing as his “career” or “next steps”
Taeko remembers when she joined the company that she said she wanted to try producing. She now realizes that [producing] wasn’t something she should do, Chanmina and SKY-HI are artists and their experience is what makes them great at what they do (producing), so she felt like she shouldn’t overstep there.
- But, Taeko wants to demonstrate what she can do in her role with what she’s been given. She wants to do her job carefully, but if she was honest she’s quite overwhelmed right now. She hopes she can solve everything one by one and realize that HANA has become even more amazing and there are plenty more different people at BMSG
Junpei thinks a major characteristic of BMSG is that they are embodying “societal common sense over the rules of the industry” and making things “ordinary”. He hopes this article reaches people who are questioning their current work environment and people who feel like they want to do things differently
Taeko hopes this article reaches people who matches with the way BMSG thinks. BMSG isn’t perfect; they often talk about ideals and work towards them. They’re not in a situation where they have achieved their goals so there may be gaps still. Having sid that, she hopes this reaches people who have doubts or discomfort about their current situation
Junpei thinks BMSG would be a good fit for someone who has had the same conflict he and Takeo experienced, and are aiming for a position like theirs. He wants to see new hires at BMSG where they can overcome the doubts and conflicts they felt while working
Changing the industry is not the end goal but a result. There are artists of all kinds at BMSG. BMSG believes in their artists’ talents and provides them with the appropriate support. It isn’t about creating a buzz or standing out because it’s something new or unique, they are doing what is right and “thought to be right” in the industry and questioning them. Boss often says entertainment has a wider connection to society and Junpei thinks BMSG is an environment that absorbs that.
Hope you enjoyed!
Please note I translate these for free and I'm not a professional, so they may not be 100% accurate.
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They shared a lot about the company culture at BMSG, what BMSG is looking for in their new hires, and what it's like working with the artists they manage.
Interview link here: https://www.musicman.co.jp/interview/678089
Summary of what they discussed below!
Profiles
Kida Junpei 木田 順平 (きだ じゅんぺい)
- Born 1990
- Hometown: Osaka
- Graduated from Kansai University
Career
- Joined a entertainment production company as a new graduate in 2013 (role: artist manager)
- TV media liaison (organizing, analyzing and coordinating schedules and appearances)
- Artist manager for soloists and groups
Joined BMSG in 2023, chief manager of MAZZEL; also acting as head of BMSG Management Section 3
Nasu Taeko 那須 多恵子 (なす たえこ)
- Born 1989
- Hometown: Tokyo
- Graduated from Waseda University
Career
- Managed a KR group in Japan for five years (starting 2016) – schedule management, promotional activities, event planning when the artists were in Japan
- Entertainment production company – manager for a group (schedule management, accompanying artists on site, negotiating media and event appearances)
- Training and management of staff as a leader
Joined BMSG 2024, current manager of HANA; also acting as head of BMSG Management Section 4
General
- The company is currently at 85 staff
- There are currently 5 managers for HANA, Taeko manages their schedule but there's no specific role for anyone; they all work together
Their background in more depth and how they found BMSG; what attracted them to BMSG
Junpei was first hired by BMSG to be field manager (accompanying artists on site), but was promoted to dept. head after 3-4 months (he isn’t sure what the company’s thoughts were on the decision 😂)
Taeko was in the JP company managing KR artists fresh after graduation and worked there for almost 5 years. Before applying for BMSG, she was wondering if she should continue being a manager or switch careers. She felt like she was burnt out from working too much. She was torn between what the artists wanted to do and what she could allow them to do within her role. She was in a dilemma and gave herself a break. During her break she thought about whether she should continue being a manager and she felt like she wanted to do it again. Around this time, she came across boss’s book (Management no Hanashi) and BMSG’s statement on reducing plastic waste from bonus CD sales, she thought BMSG might be a company that could let her do what she wanted for the artists and she gave it a try and applied.
Junpei wasn’t really thinking of changing jobs, he has always been an artist manager. He heard from an acquaintance that BMSG is looking for manager(s). While he was researching BMSG, he learned of boss’s idea of wanting to change the rules “that are unique to Japanese entertainment industry”. It made him think about how the job of a manager often, inevitably conflicts with a company and its artists, so when he saw boss’s slogan for BMSG is, “To not kill talent”, it resonated with him and so he decided to apply. He resonated with boss’s ideas and he could feel a certain level of respect from boss too.
Boss's experience as both artist and CEO helping managers
Junpei doesn’t think simply by joining BMSG means he can make a difference right away, because it’s not something that can happen that easily. There are times when they struggle but they’re all working on it every day. Hidaka is also leading them by having a consistent mindset so they are all working hard everyday with the feeling of following him.
Taeko says even though as managers they can listen and sympathize with their artists it can sometimes be difficult to give answers or advice that shows they fully understood what the artist is going through. At times like this, boss’s experience as an artist himself helps managers a lot. Taeko feels like her dilemmas as a manager before disappeared the longer she worked with boss, who can give honest guidance
Junpei says artists and managers use different parts of their brains in their work, and their thought processes and perspectives are completely different. Boss can speak from both the artist and manager’s perspectives so Junpei feels he is able to communicate with his artists confidently
- Junpei also mentions that boss often listens attentively to their “will” before giving them his answer, so he feels it isn’t a conversation that is coming from the top to down, so Junpei feels conflicts (between managers and artist) decreased
What it's like working at BMSG; the type of people at BMSG
Junpei feels like the people who are in BMSG all agree with the company’s philosophy and goals that boss has set out. He thinks there is BMSGism in everyone that works at the company so there is a sense of unity when appearing at events like the G&G.
- Junpei’s impression of everyone who works at the company is that they are serious, honest people who are detail-oriented
Taeko feels like the people at BMSG are people who truly love entertainment. Although she and Junpei have managerial backgrounds, there are people at BMSG who came from completely different fields. What they all have in common however, is that everyone feels like they have been “saved by entertainment” and they have all gathered at BMSG with the strong desire to be a part of [entertainment] and provide that for others.
- She says it’s really fun to go to work every day and see people who share the same passion, though boss is the most passionate of them all. BMSG is a group of people who share the same passion and a company full of passionate people.
What brings them joy and keeps them going
Although Junpei and Taeko are both bucho (部長) they both have different ways of doing things so there is no right answer or way of how to be a manager
- Their end goal is the same: To show their artists a beautiful view or make them happy, just that the process leading to that is different. Each person thinks of a different way of how to reach that goal. (Junpei)
Taeko only sees Junpei at weekly meetings since most work by managers are usually on site or accompanying artists, so she always thinks “Ah, they’re busy” and finds BMSG’s managers very serious people so she feels she has to get serious too because she jokes around a lot.
Junpei doesn’t have a lot of chances to meet Taeko either so he doesn’t really know the details of what Taeko does. Whenever he sees Taeko at the office he gets the impression Taeko is a very energetic and cheerful person
Every time HANA performs to an audience is what gives her the most energy and helps her forget how hard it is. For a manager 80% of their work is the preparation leading up to an artist’s performance. It is mostly communicating with people, in HANA’s case, she hears from Chanmina and SKY-HI many times. With that many people it can get difficult, but the moment HANA goes on stage and performs and she hears the cheers from the crowd she forgets everything. The cycle repeats itself in every new event or appearance and she is able to refuel herself
- But Taeko believes that if the people working behind the scene aren’t having fun then the audience won’t enjoy it either so she always looks for ways to make her job enjoyable even when it gets difficult. She gives the example of talking with the A&R team at Sony, when she talks about their dreams together but something doesn’t come true, they will reset by saying, “Let’s go for ramen” and that keeps her going LOL
Junpei’s biggest source of energy is seeing MAZZEL on stage and the faces of fans watching them. The preparation is hard work but it’s fun to see it all unfold when the artists perform, for him it’s like seeing what he worked so hard on out there in the world.
- Like Taeko, if something isn’t going well he will get something to eat to reset LMAO
Treating artists as human beings first
Junpei thinks boss’s message “To not kill talent” is not only a message to artists but also to staff. He thinks BMSG is unlike other companies where they can say they want to take on a new challenge with enthusiasm and logic and BMSG will help you make that a reality [T/N: For some context and perspective, in any other conventional Japanese company, the immediate response may be “That’s impossible (muri desu)” or their opinions would be disregarded because they are not in a position high up in a company hierarchy]
Taeko feels BMSG highly values “societal common sense over rules of the entertainment industry” – there are many things that cannot be done or said because they are dismissed as “this is just how the industry is” but this has not happened in the company. She thinks boss has created a managerial system where communication is open and flows
Junpei’s role is to accompany artists to their gigs. He’s there to create an environment where the artist can interact comfortably with the people they are working with
Taeko’s role is mainly preparing 80% of everything for HANA; mostly thinking ahead and planning in advance – before HANA heads to a gig; managing the time once they arrive on site etc. Her main job is to be considerate and she thinks a manager’s job is to look around and notice things
There are many different kinds of artists and they are all humans with ups and downs. He thinks an artist’s performance changes depending on how stress-free and comfortable a manager sets up the preparations. Communication can turn positive or negative so even small details like being attentive to the timing of your convo with the artist is important. (Junpei)
HANA’s in a situation where they debut right after an audition and have become stars. They have no experience, so it’s Taeko and the HANA managers’ jobs to praise them and help them grow and point out when they do something wrong
- The HANA managers have a rule with the girls that they should “Always keep their dressing room clean” and greetings are a given. Humans tend to stop doing things once they let their guard down, so Taeko is very strict with them. She hopes that once HANA becomes more independent, they can be girls she can be proud of as people.
Junpei is the same – he believes if he doesn’t tell them things that are important “as people” they might become complacent. He wouldn’t put it as “warning” them but he will tell mazz when it’s necessary
BMSG values their artists as human beings first, so all BMSG managers don’t really like scolding or saying negative things to their artists, but when they think about the end goal, it’s for the artists’ sake.
What do mazz and HANA talk to their managers about?
About a year into mazz’s debut, the boys started talking to their managers about advice regarding creative work: songs they wanted to try, ideas for MVs, etc. The first year after mazz debut, the managers didn’t know what to do, all the managers were doing their best to complete the work that’s in front of them, but once they started understanding the work flow and moves, mazz managers started forming “will” and that’s when they started talking more with the MAZZEL members
HANA isn’t at a stage where they have been asking their managers about creative work. At this point of their career, Chanmina is in charge of anything creative, so HANA and their managers trust her judgement and want to meet her expectations. They try to ask mina in advance on her wishes regarding the girls’ costumes and hairstyles, etc.
- Taeko adds that there are many things they can’t do in the same way as before, so she thinks worries like these will come up in the future
What kind of person is suitable to be a manager?
Junpei thinks being a manager is skills you acquire from working in the field, rather than skills that you’re “born with”. When he interviews people, he particularly values whether they are enthusiastic, honest, and flexible in their work ethic. Having a background as a manager is a plus because it helps you understand the flow and procedures of the work but you can gain those skills when accompanying artists to their gigs, so he thinks a good foundation is important
Taeko thinks people who love entertainment are the best, being observant to what’s going on around you is a great strength. People who can put into action what they think will be helpful will be suitable as managers, and if they can “create a comfortable environment”. Different people have different experiences, even if someone says they have been a manager for a long time there can be things they have and haven’t done, because each day is a learning experience. So she doesn’t think there’s necessarily things “you mustn’t be able to do”.
Takeo says if you are someone who is caring, you might be suitable but she says it’s important to remember your artists are your teammates and partners, they are not your family or friends and understanding that relationship is a must. If you don’t draw a clear boundary, you’ll be the one who suffers
- Of course it’s important to be caring and understand the relationship you have with the artist in a positive light, and to see the artists as artists.
- Both Junpei and Taeko say that this is the most difficult part of being a manager
Obviously, Junpei knows in his head how to keep a certain distance between him and mazz, but when they’re together emotions obviously come into play. They see each other every day, more often than their family and friends. It’s difficult for him to put into words but maybe it’s finding the balance between pampering and educating them. Managers are humans too, so they don’t want to say things that are difficult either, but he thinks it’s the implication that “it is difficult” that makes it hard to find the right balance
- Taeko agrees that it’s difficult, since you get emotionally attached but the relationship with the artist is also something they want to cherish.
Changes to the company over the past 1-2 years
When Junpei joined there were about 20 employees, the number has now increased 4-5 times of that; in a good way BMSG is more like a company now.
Previously, there were many managers who held multiple positions across different departments but now each department has a manager and they function as a team
There is now a HR team and positions that didn’t exist before, such as: Customer Service (CS), Legal Affairs, and the company’s functions are now established down to the smallest details
BMSG meetings are like any other meeting, they have an agenda and proceed according to the agenda
- Though Junpei says there is also lots of brainstorming, “Hey it might be fun if we do this”. In terms of planning, it’s the same in any company but it’s broader in BMSG and one team can share their ideas across many areas and he thinks that’s the most unique thing about the entertainment industry
Taeko on managing HANA
Taeko has been with the girls since NNG, the auditions started soon after she joined the company, so she thinks she was hired with the idea of having her in charge of HANA.
- It’s Taeko’s first time managing girls. She was a little worried whether she would be able to do it, because she thought she might be better suited to managing boys
- Takeo finds managing girls fun. The girls being wonderful people themselves is of course the main premise. She has been with the girls since the auditions so it’s easy to talk to all of them. It’s a different kind of fun from when she was managing boys.
What is BMSG looking for?
BMSG is looking for people across the board and across various fields, but the purpose and goals are the same for all of them – an empathy and resonance for BMSG’s philosophy and values and wanting to see the artists grow and see new sceneries. Obviously, the path and method to achieve that will differ, but Junpei is sure there will be a department in BMSG that matches the person’s aptitude
MUST: Empathy for BMSG’s values and philosophy and you like entertainment! Junpei and Taeko will look at your character and career as a whole and proceed with the hiring / selection process
BMSG is actively recruiting, besides working with the current roster of artists, BMSG is also working on TLP and other projects that are coming up in the future
Obviously there are some roles where few people apply or they are unable to focus on new things unless there is an application, but it’s important that BMSG replenishes their resources so hiring managers is their top priority because they are the only roles that cannot be outsourced
“Kiai, konjou, passhon” according to Junpei XD:
“Kiai” – believing in the artist’s potential and without a doubt that they will see something beautiful with this artist / group;
“konjou” – perseverance and determination to never give up even in the face of unpleasant or difficult situations;
“passhon” – acting out of love and enthusiasm and for the sake of the artist.
Taeko thinks because they are the people closest to their artists and sees their best side the most, and they believe in the them. As managers, they are the ones who believe in the artist the most, so she wants to always be able to speak unabashedly about the great things about their artist
- Selling their artist is important as a manager but it can’t be done without “love” nor can it be done without understanding
Taeko believes if you do your job half-heartedly, it won’t come to you, so she’s always conscious of being HANA’s biggest fan. Not just her, the other HANA managers still manage to be moved to tears whenever HANA performs even though they watch the girls do it everyday, haha. But Taeko thinks that’s the kind of “enthusiasm” and “love” that helps the artist grow and builds their self-confidence. The managers liking them and being on their side is their greatest strength and creates an environment where they can give back to their fans and those who have been watching them, so she wants to keep that in mind. Taeko thinks it’s not just her, but everyone at BMSG who shares this belief: the MD (merchandise); SNS-sans, FC staff-sans, and of course boss himself. Boss has the most love for his artists, and staff sees this everyday. The staff all grow watching Hidaka leading the way, and they respect him and thinks he’s cool as they work. It all comes naturally and Taeko thinks all of this is a good cycle.
Taeko thinks BMSGism is something she wants applicants to remember most of all and at the same time something she doesn’t want her or her team to forget
Their goals from here
Junpei wants to grow together with MAZZEL and move to the next level with them. He’s not really thinking about what he’s doing as his “career” or “next steps”
Taeko remembers when she joined the company that she said she wanted to try producing. She now realizes that [producing] wasn’t something she should do, Chanmina and SKY-HI are artists and their experience is what makes them great at what they do (producing), so she felt like she shouldn’t overstep there.
- But, Taeko wants to demonstrate what she can do in her role with what she’s been given. She wants to do her job carefully, but if she was honest she’s quite overwhelmed right now. She hopes she can solve everything one by one and realize that HANA has become even more amazing and there are plenty more different people at BMSG
Final Words
Junpei thinks a major characteristic of BMSG is that they are embodying “societal common sense over the rules of the industry” and making things “ordinary”. He hopes this article reaches people who are questioning their current work environment and people who feel like they want to do things differently
Taeko hopes this article reaches people who matches with the way BMSG thinks. BMSG isn’t perfect; they often talk about ideals and work towards them. They’re not in a situation where they have achieved their goals so there may be gaps still. Having sid that, she hopes this reaches people who have doubts or discomfort about their current situation
Junpei thinks BMSG would be a good fit for someone who has had the same conflict he and Takeo experienced, and are aiming for a position like theirs. He wants to see new hires at BMSG where they can overcome the doubts and conflicts they felt while working
Changing the industry is not the end goal but a result. There are artists of all kinds at BMSG. BMSG believes in their artists’ talents and provides them with the appropriate support. It isn’t about creating a buzz or standing out because it’s something new or unique, they are doing what is right and “thought to be right” in the industry and questioning them. Boss often says entertainment has a wider connection to society and Junpei thinks BMSG is an environment that absorbs that.
Hope you enjoyed!
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