Ben Mawson

You've been wasting my time
While you're taking what's mine, with the things that you're doing
Talk that talk, well now they all know your name
And there's no coming back from the place that you came
Baby don't do it
 
I'm laughing as I'm taking my prisoners
And taking down names

Is that account actually Ben? 

ben ravage me daddy

@ me next time 
 

You seem to have dick on the brain when thinking about me. 
 

@ me next time 
 

You seem to have dick on the brain when thinking about me. 
 

@ me next time 
 

You seem to have dick on the brain when thinking about me. 
 

@ me next time 
 

You seem to have dick on the brain when thinking about me. 
 

@ me next time 
 

You seem to have dick on the brain when thinking about me. 
 

yeah this is more-so of what i meant to say 
 
meh i think interscope/Polydor is best for her. if she gets out of them shell have to go to labels that'll definetly not promote her or labels that will push her over the edge with promo

her managers are good tbh
they made Dua Lipa a thing
it's not their fault that she is reluctant to do anything

agreed, they're messy sometimes but whose artist isn't ?? Leaks are unpredictable and happen with every single big artist out right now, it's not just Lana's managers' problem
They both said in a recent interview that they're happy with Lana but they have to find alternative ways to promote her work since she refuses to do live television

I dont really like Ben he seems like an asshole sometimes, like when Dua went towards her fans and he pulled her back

That's for me to know and you to make up.

I'm a barrister.

Anger translator: Why don't this bitch make me hits like Dua Lipa?
 
 
 
I have to rest my hand on this table to balance myself because I drink a lot.

Anger translator: Why don't this bitch make me hits like Dua Lipa?
 
 
 
I have to rest my hand on this table to balance myself because I drink a lot.

Anger translator: Why don't this bitch make me hits like Dua Lipa?
 
 
 
I have to rest my hand on this table to balance myself because I drink a lot.

Anger translator: Why don't this bitch make me hits like Dua Lipa?
 
 
 
I have to rest my hand on this table to balance myself because I drink a lot.

Transcript of Lana's speech https://www.musicbusinessworldwide.com/lana-del-rey-pays-tribute-principled-managers-ed-millett-ben-mawson/
 
I am very happy to be here tonight to give my managers this award and I wanted to share with you what they did for me that no one else could do.
  They were able to see in me all of the things that people around 2006/2007 said were unmarketable, not pop enough, too abstract. They were able to see these traits as assets and to have the wisdom to see that some of the peculiarities of my writing style were relatable.    They could actually make my record translate in a universal way that other bigger managers and bigger labels that I had met hadn’t been able to understand up until that point.    My melodies, choruses and songs weren’t four to the floor, and my sentiments were not always cheerful… like having a debut record called Born to Die! But I was able to communicate my feelings in a way that was different from other artists at the time. I had my own unique vocabulary and I had ambitions to be a great American writer. They saw that value in that.    By the time I met Ben in 2009 I had already been playing in local bars and auditioning for major and indie labels for about four years. Although my experiences with open mic nights and playing on the lower east side of New York City was generally positive, my experience playing for labels was mostly the same.   Every meeting ended with the question, Where are the hits? To which I would indignantly reply, I’m sharing my life story! I guess I expected people to see the value in that and to have an a-ha moment.   On some level I think people did love the music, I got a lot of positive feedback, just no calls back. That was probably because nobody knew what to do with the tone of the project and songs, and they couldn’t really envision what my career would look like long term.    But when I met Ben and shortly after I met Ed, I moved to London where they lived, and we did start to get calls back after making the rounds for a few years.   They were the first people who could see the big picture and they loved my music as much as I loved making it. Which I think is the most important thing for a manager: to truly love the projects that they are working on and to want to make the personal and professional commitment it takes to make an artist successful.   Once an artist becomes famous, it really does become a commitment and a shared life between everybody involved. The artist’s ups and downs and the layers of the complexities in the ways that the managers need to be involved, especially in a younger artist’s life, can be extensive.   Crazy ex-boyfriends, complex family histories to work through, previous indie record deals gone wrong, eleven record publishing commitments made at a young age to unwind. All of that before you even think about what the style of the first record should be.   The most valuable thing a manager and an artist can share is to be on the same page as each other for the most important things like principles, ethics and goals.    Eight years ago I told my managers upfront that there were going to be more parts of me that were not for sale than would be for sale. That having a real private life was going to be as big a priority to me as it was to write thoughtful records. I had to fight that a little bit, but we’ve kept them at the forefront of all of our decision making.    On a side note, I’d also just like to say that there is a real cultural shift happening this year with women coming forward telling their stories about experiences in the entertainment business. It’s a real cultural moment.    Me and my managers called each other up the same day that some of these revelations started to be divulged and I felt really lucky that we were on the same page about the fact that we felt like this is going to be a really good thing for artists like me and younger. I had a moment in those weeks thinking about how important it is to have those shared principles.    So to finish, I really am one of those artists who wouldn’t be where I am now without these two people because it does take a village to make an artist go far. They’ve helped find the right people to support me as I travel around the world sharing my music.   I also wanted to say that Dave Chumbley was my booking agent and he passed away this year while we were doing shows in the UK. I feel like if I mention his name, he’d be smiling because he loved stuff like this.    So congratulations, you really deserve it, Ben Mawson and Ed Millet, managers of the year.

i love her outfit so much that face reminds me heavy of 2012 lana w her gold tooth  
 
+ is there a video of her presenting the award? 
 
@@Ben Mawson gratz ! x

Lana presented the "Manager of the Year" award to her managers Ben Mawson & Ed Millett from TAP Management at the AM Awards (Artist & Manager Awards) held at The Printworks in London, UK




 
 
 
 
Video:

 
 
Speech:
I am very happy to be here tonight to give my managers this award and I wanted to share with you what they did for me that no one else could do.
  They were able to see in me all of the things that people around 2006/2007 said were unmarketable, not pop enough, too abstract. They were able to see these traits as assets and to have the wisdom to see that some of the peculiarities of my writing style were relatable.    They could actually make my record translate in a universal way that other bigger managers and bigger labels that I had met hadn’t been able to understand up until that point.    My melodies, choruses and songs weren’t four to the floor, and my sentiments were not always cheerful… like having a debut record called Born to Die! But I was able to communicate my feelings in a way that was different from other artists at the time. I had my own unique vocabulary and I had ambitions to be a great American writer. They saw that value in that.    By the time I met Ben in 2009 I had already been playing in local bars and auditioning for major and indie labels for about four years. Although my experiences with open mic nights and playing on the lower east side of New York City was generally positive, my experience playing for labels was mostly the same.   Every meeting ended with the question, Where are the hits? To which I would indignantly reply, I’m sharing my life story! I guess I expected people to see the value in that and to have an a-ha moment.   On some level I think people did love the music, I got a lot of positive feedback, just no calls back. That was probably because nobody knew what to do with the tone of the project and songs, and they couldn’t really envision what my career would look like long term.    But when I met Ben and shortly after I met Ed, I moved to London where they lived, and we did start to get calls back after making the rounds for a few years.   They were the first people who could see the big picture and they loved my music as much as I loved making it. Which I think is the most important thing for a manager: to truly love the projects that they are working on and to want to make the personal and professional commitment it takes to make an artist successful.   Once an artist becomes famous, it really does become a commitment and a shared life between everybody involved. The artist’s ups and downs and the layers of the complexities in the ways that the managers need to be involved, especially in a younger artist’s life, can be extensive.   Crazy ex-boyfriends, complex family histories to work through, previous indie record deals gone wrong, eleven record publishing commitments made at a young age to unwind. All of that before you even think about what the style of the first record should be.   The most valuable thing a manager and an artist can share is to be on the same page as each other for the most important things like principles, ethics and goals.    Eight years ago I told my managers upfront that there were going to be more parts of me that were not for sale than would be for sale. That having a real private life was going to be as big a priority to me as it was to write thoughtful records. I had to fight that a little bit, but we’ve kept them at the forefront of all of our decision making.    On a side note, I’d also just like to say that there is a real cultural shift happening this year with women coming forward telling their stories about experiences in the entertainment business. It’s a real cultural moment.    Me and my managers called each other up the same day that some of these revelations started to be divulged and I felt really lucky that we were on the same page about the fact that we felt like this is going to be a really good thing for artists like me and younger. I had a moment in those weeks thinking about how important it is to have those shared principles.    So to finish, I really am one of those artists who wouldn’t be where I am now without these two people because it does take a village to make an artist go far. They’ve helped find the right people to support me as I travel around the world sharing my music.   I also wanted to say that Dave Chumbley was my booking agent and he passed away this year while we were doing shows in the UK. I feel like if I mention his name, he’d be smiling because he loved stuff like this.    So congratulations, you really deserve it, Ben Mawson and Ed Millet, managers of the year.  
 
Getting some BRIT Awards 2013 Vibes.. I feel like 2017 has been the year of 2013 throwbacks.
 
 

not ben & I having the same bday

Lana looks SUPER beautiful in this pic. And so happy late birthday to Ben!

The Young & Beautiful Lana & friends were celebrating her manager Ben's birthday last week.