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G7 music group




Interview with Timothy Hagelstein, President.


Which was your course until the Presidency of G7 Music?

After average studies, I especially very early devoted myself to the music, singer of ball right before my military service with the Belgian Naval force (on the ZINNIA), beater then, guide of artists of varieties, I lived sparely by making music and odd jobs (post-office employee, salesmen of books, operation in a logistic center, insurer, salesman of course by correspondence, manager of brewery, waiter etc) until the day when I meet an assistant programmer of the RTBF which encourages me and presents to me with professionals and there, after having made a small disc without success, I am likely to do one large success MONA LISA (1975) which was sold on the whole with more than 900,000 specimens.

I then not bad recorded, I very quickly left my producer of the time which swindled me and I managed more or less only, I could count on a manager who firmly helped me, Stany Cuvellier and I settled in Portugal where I sold discs enormously (today I am close to the 6 million sold starting from this country). I then could live on my trade of artist, rounds, shows, concerts everywhere in the world (the Portuguese Community is important in many countries), I could visit Israel, Brazil, the Cape verde, the USA, the Azores, Madeira and many other countries, in Lisbon I could carry me out, I made radio, appearances as actor for advertisements, I discovered Fernando Pessoa, the accursed poet who durably marked my way of living, finally this country gave me all that refused me at the time, mine.

But any good thing has an end, I felt that my discs, that I did not have any more the fire crowned for the scene and I quickly said myself that had me to be prepared my reconversion was sold less and less, best in the music if possible and there has emerges a beautiful opportunity, to work as Art director in one of the oldest and production publishers of Belgium. HEBRA. Finally when I say Art director, I make some were all at the same time, secretary, producer, editor, storekeeper, telephone operator, badly remunerated…. But I learned a trade, that of editor and incidentally of producer. I remained four years in this company before assembling my own publisher to Brussels thanks to the copyrights which had poured me the Portuguese Company of the Authors for a title compiled on the album of Lambada and which was sold to several million specimens, I was Co - composer.

I then created Caracol Music in 1990, for the editions of Musical Bookstore, G7 Music for the additional catalogues and K by K Editions for my own production. Today all is gathered in G7 Music. At the beginning I there too exerted all the functions, including “man of load” in order to me leave there, it is a beautiful lesson of life.

Very quickly and thanks to the catalogues Koka Media and Kosinus and especially of the confidence which granted to me at that time Frédéric Leibovitz and his associate Jean Michel Gallois-Montbrun, Caracol Music became impossible to circumvent on the Belgian market of the Music Library (musics of illustrations intended for the cinema, publicity, the audio-visual sector as a whole). Today it is Universal directed to France by Pierre Michel Levallois and Gary Gross in the USA which trusts me by entrusting to me the management of the catalogue Kosinus (Kapagama editions).

I thus manage G7 Group Music where certain activities mix with.


Which activities?

For example catalog management known as traditional, among most qualitative of the sector like Kosinus, Axs Music, also the administration of works for artists of need to take advantage of their rights, control and the collection for labels and independent producers of their neighbourg rights (right the owner of a production – what is different from the copyright – it is a related right). That requires a daily  control and a rather consequent administrative work.

Also music production's of credits for television, the cinema, publicity, research for producers and via our catalogues of musics to illustrate their films or documentaries.

Do you always compose?

It had become rarer but suddenly, I began again myself with the game and I continue to work and compose and especially direct meetings and composers to get the best possible result.

And did your stay in Sabam (Company of the authors and Belgian composers) how arrive?

Very quickly I specialized in the copyright, I thus regularly attended meetings formal or abstract with Sabam and I was noticed there by certain, Paul Louka who was the managing director at that time proposed to me to integrate working groups, I was named in various Commissions of Sabam, I Chaired the Commission of the Editors and finally I presented myself to the elections for the Board of directors where I was elected three times, initially two years like member of the College music and then for two mandates as Administrator, I was secretary of the Council and finally Vice-president.

Why to have left Sabam?

I think that one moment it is necessary to make room for new blood, to avoid reaching its level of incompetence (principle of Peter), I think of having made a good work during these years and to have taken part a little in the improvement of the operation of the Company, the administration in place under the Management of Christophe Depreter does a good job, it is necessary to know to withdraw and let new ideas be born. I am proud to have integrated this often wrongfully disparaged company and especially by people who do not understand anything with the copyright, I know that many artists are happy rights that pours Sabam to them, worthless company is not perfect, there is always average to better do but to have been able to give me an account in the international meetings in which I took part or of the echoes that I receive members of other companies, that Sabam does not make part of the more bad surprise.

Which other sectors did you also explore?

The conventional production, I could publish and produce all the discs of group ABBEY ROAD considered a time as the best cover-group of Beatles. I also produced KHEOPS, a special concept whose sales in Asia were exceptional, a new album is being prepared, and, my principal pride the production of the guitarist of Fados SIDONIO PEREIRA with which I recorded seven album and tied 30 years a long friendship before it leaves us in March 2014.

Which are the images which you keep of your trade? Positive like negative?

Initially I always exerted this trade with passion, as I did it for the song and the composition and today painting, one can nothing make without passion if not that feels, I often say myself when I return in a store and that the employee makes the mouth which it should not be happy to make his trade, it is valid for all the trades, if not it would do it with passion and smile and happiness. Then, the travel which I could make thanks to this trade, almost the world tour, people met, the personal enrichment of all that the fact represents of discovering of other cultures, other manners. I remain tall impassioned for the edition and the production, my life on this professional side is a success, the negative aspect is that always one takes, when one has passions, on his private life, I have not bad failure of things on the personal level, I did not see growing my elder, I were not there when they required for me, the sorrow, even involuntary which one inflicts with others for egoistically continuing to impassion itself. The interested “friends” who disappear as soon as success from goes away. I am sometimes also disappointed attitude of certain artists or composers who when they have success are convinced that nobody of other that themselves of it are responsible but as soon as they do not have success it is always the fault with the others (editors, producers), it is the life, the egos are sometimes oversize in our trade. Anguish before to go up on scene, incomprehension sometimes of small “corporals” responsible for radio programs or for television which throws you of a reverse of hand after you sweated blood and water to carry out an opus in which you believe, the reasons are often unjust but good, it is thus, I do not regret any, I am happy and serene, I found my balance personal and professional.

Your projects today?

I share myself between my house in the South of France, Portugal and Belgium, I work with my friendly musicians with projects of musical illustrations, the digital series production Historia C Fado, a new album for Kheops is in the course of production, undoubtedly a Best box Off of Sidonio Pereira, I manage catalogues of editions and I deal with promotion of Kosinus and Axs in Belgium, work for the labels which entrusted the management of their close rights to me is rather consequent and in my moments of leisures I practise painting, the reading and fast walk. I also deal with my younger son with whom I try not to make the same mistakes of my youth.


Interview carried out by Blandine Marditon for “Particles of the South”.