Panel 6: Drug Cost and Access III

Moderator: Keith Hatscheck, Professor and Program Director for Music Management and Music Industry Studies, University of the Pacific, Conservatory of Music

Biography: Arriving in California as a teenager in the summer of 1965, Keith Hatschek used his birthday money to make a down payment on a red Orpheus electric guitar (with whammy bar) and 4-watt Kay amplifier. His passion for music and technology has continued unabated over his four decades in music. After fourteen formative years of musical performing, recording and songwriting, he built his own commercial recording studio, Bayshore Studios. Four years later, he joined one of the leading recording studios in the U.S., Music Annex, Inc.

During his twelve-year stint with Music Annex, Hatschek worked as recording engineer, producer, project manager, Director of Client Services, and Vice President of Sales and Marketing. He also produced albums, music for radio and television advertisements, and the soundtrack for Apple Computer’s first CDROM. He led Music Annex’s diversification efforts from traditional recording services into duplication and digital audio post production. During this same time, Music Annex grew from 10 to 75 employees and into multi-million dollar annual revenues.

From 1995 to 2001, he headed Keith Hatschek & Associates, a San Francisco-based marketing and public relations firm serving the entertainment and media technology industries. Agency clientele included an international list of firms in the broadcast, post production, music, recording and consumer electronics industries.

Hatschek began teaching part time in 1994 at San Francisco State University and found the work both challenging and rewarding. In 2001, he accepted a full time appointment as Director of the Music Management program at University of the Pacific in Stockton, California. During his time leading the program, it has evolved to offer an innovative mix of coursework that features experiential learning throughout all four years of studies. Pac Ave Records, the student led record label finds and develop local talent, learning to navigate the nuanced artistic and business boundaries along the way. Upper division students conceive and develop a Senior Project as a calling card to demonstrate their readiness to enter industry. In addition to teaching a regular rotation of classes, Hatschek serves as the convener for the program’s Music Management Advisory Board, which is comprised of leading practitioners from the music, broadcast, and technology sectors. These eighteen individuals serve as program curricular advisors and mentors to students.

Professor Hatschek is the author of four books on the music industry: How to Get a Job in the Music Industry, The Golden Moment: Recording Secrets from the Pros, The Historical Dictionary of the Music Industry and most recently, The Hitchhiker’s Guide to the New Music Industry. His main areas of research focus on the intersection of jazz and civil rights, sound recording, arts entrepreneurship, and entertainment career development. He has presented his research at conferences and festivals across the U.S. as well as Canada, England and Poland.

He has taught online classes at Berkleemusic.com in music industry PR and career development, and from 1995 to 2018 he contributed a regular column with advice and tips for performing and recording artists in the popular DiscMakers music blog. Hatschek is a member of the editorial review panel for the Journal of the Music and Entertainment Industry Educators Association (MEIEA). New creative projects in the pipeline include finishing up a book manuscript on Dave Brubeck and Louis Armstrong’s jazz musical, The Real Ambassadors, which challenged the inequity of segregation at the height of the Civil Rights Movement. He’s also just embarked on a new project to help document a largely unreported part of the history of the iconic independent record label, Motown Records. Titled Behind the Motown Sound: An Oral History of the Motown Sound Engineers, this work aims to interview the surviving Motown sound and technical engineers who built their own recording equipment and helped usher in the modern era of record production.