THIS BUSINESS OF ARTIST MANAGEMENT PDF

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Artist management for the music business / Paul Allen. p. cm. Includes index. ISBN (pbk.: alk. paper) 1. Music trade--United States. 2. THE MUSIC BUSINESS for Artist Managers – Jamie Johnson I've spent the past 5 years of my career working in the artist management world; Ready-to- use excel spreadsheets, so you don't need to re-create annoying PDF's yourself. Download the Book:Artist Management for the Music Business PDF For Free, Preface: With the evolution of the music business and the shifting influence.


This Business Of Artist Management Pdf

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This authoritative reference on artist management in the music industry is the standard for all phases of managing a musician's career from both the artist's and . university for a manager is the University of Hunger and Hard Knocks. The music business has become sophisticated. Successful managers have to possess. importantly, belief, is the single most important person/s in an artist's career. Managers run the business side of an artist or band's career, so that the artist.

Views Total views. Actions Shares. Embeds 0 No embeds. No notes for slide. Artist management for the music business read [pdf] 1. Book Details Author: Paul Allen Pages: Routledge Brand: English ISBN: Publication Date: Artist Management for the Music Business gives you a comprehensive view of how to generate income through music and how to strategically plan for future growth.

The book is full of valuable practical insights. It includes interviews and case studies with examples of real-world management issues and outcomes. Updates to this new edition include the importance of online streaming to music careers, how anyone can effectively network, tools for successful negotiation, ways to identify and manage income sources, and guidance on the ever-changing social media landscape of the music business.

This book gives you access to resources about artist management and the music business at its companion website, http: This book advises and guides artist managers to create plans on behalf of artist clients; however, actively planning for personal time can keep the artist manager refreshed and have them prepared to handle the business of managing careers.

Planning for that balance between work and a personal life can minimize the burnout that can result without it. Plan for longer breaks.

Block out the time and take at least a week away from management responsibilities. Put your watch in a drawer and give your digital assistant to your human assistant for a week. Perhaps the best strategy an artist manager can use to handle the pressures of managing within the music business is to learn to put stressors in perspective. The most effective artist managers are those who are not prone to take the actions or inactions of others personally.

Knowing to expect some of the stressors that accompany a career of artist management can help the manager approach issues professionally and with the aplomb that keeps them from becoming personal. Following are some of the realities in the music business that have the potential to create stress.

Reality one A lot of people will say no and a lot of gatekeepers will seem immovable. This means that there are countless thousands of talented people seeking ways to access gatekeepers who can give career opportunities to artists in the music business. Finding out what the gatekeeper needs and using it as a way to gain access is one strategy. Kragen, For example, personal or executive assistants are essential gatekeepers in any company and they are often underappreciated for their contributions.

They have a need to be recognized for their value to the company, so the manager who takes time for a brief visit with them implies to the assistant their importance and builds an ally who can perhaps open other gates within the company. Build the network and use it. If your telephone calls are not returned or your emails not acknowledged, it is not personal. Reality three Keeping the spirits of your artists up during a continuing career roller coaster will be draining for you.

Understand that the pursuit of opportunities for your artists will include many rejections due primarily to competition within the industry. Knowing that rejections are a regular part of the music business, they can still be defeating for the manager. And then the manager is the one who passes along the news to the artist. Reality four People will string you along.

Some in the industry will tell others whatever is necessary to get them off the telephone or off of their doorstep if they think the individual has nothing to contribute to their business. May I put you into their voice mail? It is not personal. Some who you feel that you can depend upon will disappoint you by not following through with promises or commitments made to you and your artists.

Even the smallest oversight by others can have an impact on the things you are trying to achieve for your artist. Anticipate that people will disappoint you, but be pleased when they deliver on their promises. Advice to artist managers: Reality six The agendas of many people in the music business determine whether you matter to them.

If you are now the former manager of a major artist, you might elicit a faint hello from those same publishers. This is just the beginning of a larger list, but it covers key points that can easily be taken personally, when in fact, they usually are not. Recognizing these points as being realities of the business environment can help the manager step away from an issue, realize that it is not personal, and prevent an emotional response to a business situation.

Managers are inconspicuous Many artist managers are very low key and rarely mentioned or quoted in the press, and so it is important that they actively pursue their own public relations within the music industry. This means attending industry parties, events, conventions, and other networking opportunities.

An understanding of power in the music business In order for the new artist manager to be prepared to navigate the music business, he or she needs to understand where power comes from, who has it, and how it is acquired.

Friendships in the music business are much like those in the world of politics: When an artist manager is without major active clients or is downsized from a management company, it can be shocking to learn how weak those relationships with former associates truly are.

It can also be reassuring when the manager learns how important the few true friends can be in reigniting a career. Major labels, with millions in their annual budgets to promote their new projects, are able to claim considerable space on the weekly SoundScan sales charts and on the trade magazine radio airplay charts. Money makes it happen. ABC, Labels whose 18 Preparing to Manage artists are chosen to perform on awards shows invariably see a short-term boost in sales of their recordings which points to the value of awards shows.

There is an occasional anomaly like the group OK Go, which can use the Internet with a creative video distributed through YouTube to successfully launch a recorded music project. Underscoring this point is to merely look at the Top chart in Billboard each week to see how very few independent labels can sell at the volume of the majors to get to the top—even in this age of new media.

In late , CBS, Inc. The deep pockets of CBS virtually assure that the new label will become a viable player in the music business.

The power of access In the music business the power of access is an important resource for people who have it. This power comes from business relationships and sometimes from associations with others. Too many people wanted access to Brooks and they needed to go through him to reach the artist.

Booking agents have power of access. Their relationships with prominent concert promoters and other talent downloaders can give an artist access to some of the better performance opportunities at the better venues and with the more successful promoters. Radio programmers have the power to give an artist access to their audiences. Radio has the power, and the labels invest heavily into the talents of their promotion staffs to access it. Similarly, cable music channel programmers control access to their viewers and they have the power to include or reject a music video.

Publicists use their power of access to help their businesses. The power of your body of work Those who have the privilege of having an extended career in the music business will have built a considerable amount of success.

The sheer staying power of individuals who have built longstanding careers within this industry that disposes of commercially unproductive talent, possess power simply because they continue to succeed. A strong body of work builds reputations, and that translates into power. The responsibility to give back Those who have had any measure of success in the music business should use their talents to improve the quality of life for others.

The power of music can help to raise money for world hunger or to pay medical bills for a needy family in a rural town or village. As artist careers are managed to success, it becomes the responsibility of the manager to seek opportunities for both the artist and the manager to return some of their success to the public responsible for helping them achieve it.

The manager as an entrepreneur Any person who owns and perhaps manages that business is a proprietor. But the individual who has a view for a new business and a new idea of how to make it successful is an entrepreneur. Iacocca, Lee, William Novak, , Iacocca: An Autobiography, Bantam, p.

Leeds, Jeff, , data provided via personal communication. ABC, , http: For the artist who seeks regional recognition and who records for their own independent label, it is certainly possible to earn a modest income touring and selling their music and merchandise without a manager, though one could be helpful. However, for the artist who seeks national or international recognition, it is essential that they have a manager advocating for them and promoting the growth of their career.

They have elected to become part of the music business, and holding themselves out as commercial artists in the music business becomes an acknowledgment that songwriting, performing, and recording are going to be done with the objective of earning money.

Many young 23 Chapter 3 artists struggle with the idea of becoming commercial until they discover that band members do not want to rehearse without the promise of earnings. Likewise, managers are not interested in working with an artist unless there is the likelihood that they can earn money from a music group or individual that has a commitment to a career in the music business. They resist what they perceive the big label marketing machines will do to their music, because they fear they will be pressured into changing artistically into something they are not.

However, most labels seek artists who are genuine and unique in their own ways, and who have potential for commercial appeal. Labels will sign an artist because of who they are artistically and because they feel there is a commercial market for their music, and most want to preserve the uniqueness of the artist that makes them special. Havighurst, The artist should rely on the strength of their manager to insist that the label not homogenize their unique sound. It is the same in the music business.

Artists will be asked by key gatekeepers what kind of music they perform. An artist must be prepared to describe what they do musically in one sentence with very few words.

In other words, they understand that the label is seeking a business opportunity through the artist, and the artist is ready to deliver it. Preparing to Be Managed Get experience Nothing polishes a performer and builds character as live performance does. Performing regularly in smaller clubs in front of friends, family, and fans can help an artist develop a show in a relatively safe environment. They can take chances by trying new ideas and music to see what works and what should be cut from the show.

The only warning is that friends and family can be very supportive and accommodating when they give feedback on performances, and may be inclined to tell the artist what they think the artist wants to hear rather than what they should hear in order to improve their performance. Experience selling tickets and recorded music can be a strong selling point to both prospective managers and eventually to record companies.

An artist who consistently sells out small venues and sells 6, CDs per year at those performances will always get a conversation with a manager seeking talent to manage. Build a network A network in these terms is a web of supporters with whom an artist regularly communicates about their music. The artist sends regular emails to fans to announce new music or new performance dates and locations.

They also communicate through their e-teams or street teams promoting themselves and their music, and they keep their postings to social networking sites current. This continuous communication about the artist keeps fans coming back to their website, and keeps up the interest in the artist. Another important part of the network for an artist is to get to know those who offer to support their career and offer to be sponsors when the time comes to push their career to the next level.

Be professional When an artist makes the decision to advance their career, it is also a decision to adopt the demeanor of an industry professional from that point forward. Assume that the lucky break is in the audience every time there is a performance, and be prepared to deliver the best show possible. Being professional on the Internet is also important. Potential career supporters will use an Internet social networking site as a reference point about the artist, and the site should look as professional as the artist can afford.

A domain name is merely the location of a website on the Internet, and they can be downloadd inexpensively from a number of sources such as Yahoo and GoDaddy. Using new media also requires the touch of a professional.

The use of convenient communication methods does not mean the message writer should not respect the ways these tools are used by business people. Always use good grammar, accurate spelling, and appropriate punctuation when using electronic communication. Be prepared for management An artist manager will make a number of evaluations about an artist before they decide to offer management.

Certainly the music and preparedness of the artist will be part of those early assessments, but there will be a time when the manager has 26 The Artist: In , Frascogna and Hetherington noted 17 questions that an artist could expect from a potential manager and most of the questions are still relevant today.

What legal entity is the artist doing business as: An ownership entity must be established, especially where the artist is a duo or group. Are there any existing management, booking, recording, publishing, or corporate endorsement or sponsorship agreements in effect?

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If so, what are the terms of these agreements, and what is the status of the artist with regard to the parties to those contracts? If there were previous agreements that are allegedly inoperative, are there proper releases evidencing this? Does the artist own a registered service mark on his or her name? Does the artist have good banking relations? Does the artist have proper insurance coverage?

Does the artist write his or her own material? If so, is he or she a member of a performing rights society? Frascogna, Hetherington, 42— It is clear from these questions and concerns from a prospective artist manager that the artist must be prepared to demonstrate that they are ready for the music business. References Frascogna, Xavier M.

Colonel Parker to Sharon Osbourne Artist management is one of those professions that can be as much art as it is science and business. The artful manipulation of people on behalf of the artist is one of the key functions of the artist manager. Relying on the science of research can be helpful in planning and keeping plans current. This chapter draws lessons from the real world experiences of several veteran artist managers that will help build an understanding of this corner of industry.

Parker was born in Holland and immigrated to the United States as a young man, working in carnivals and eventually promoting country music shows. It was during his promotion work that he was introduced to Elvis and was asked by his parents to manage the year-old singer.

Parker died in January at the age of Lessons learned: Parker was an adept negotiator. Songs that an artist writes or helped to write are entitled to regular payments for the performance of those songs on radio, television, concerts, and other places.

Elvis and Parker both were paid nothing because of this omission. Anselmo, With over 10, commercial radio stations in the United States, the value of performance payments is considerable for the estate of an icon-like Elvis. No one knows how much 30 Lessons in Artist Management: Rene Angelil: This is especially true when parents manage the careers of their childartists as in the cases of Aaron Carter and LeAnn Rimes who had to sue their parents over issues relating to career management.

However, when that family member is a spouse, the results are often positive. That is not necessarily extraordinary except that he is 26 years older than his wife, the international singing star.

Rene Angelil began his career as an artist manager, following his work as a member of a Canadian group called the Baronets. His group built a reputation performing in Quebec in the s. Charlebois, His career transition to artist management ultimately linked him in the early s with twelve-year-old Celine Dion. She had sent an unsolicited recording to Angelil with a request that he consider managing her career.

As Canadian-born Celine pressed Angelil to make her an international star, he knew an image makeover would be necessary for the French-speaking singer. Among the changes he made: The result was a launch into the lucrative American music market that garnered her Grammy awards, helped her sell millions of albums, and made her one of the biggest acts to ever perform in Las Vegas.

Lesson learned: An artist manager must have a keen sense of the target market for a recording artist. Angelil knew that her success in the United States would require that she must have a better command of the English language so she could effectively communicate her art through the American media.

Her image makeover and new language skills were among the keys to her commercial success in the United States.

Michael Jeffreys: Michael Jeffreys and Chas Chandler signed a co-management contract with Hendrix in Hopkins, Two years after Jeffreys and Chandler agreed to manage Hendrix, Chandler wanted out of the arrangement.

In , Michael Jeffreys died in a plane crash in France with his artist management assets passing to his father. Goodman, Lesson learned: In the case of the Jeffries-Hendrix relationship, from the very beginning the manager was drawing more from the income stream of the artist than is customary.

Jeffries owned song-publishing, recordings, royalties earned by the recordings, and a recording studio that would be used exclusively by Hendrix. Peter Grant: Probably there has been no deeper belief and commitment to an artist than Peter Grant was to Led Zeppelin. By his mids, he was driving American bands to London area performances where he became somewhat familiar with the general workings of performing acts.

He became adept at tending to the affairs of artists performing on the road because of his experience, and in part because of his large presence.

He stood 6' 6" tall and weighed well over pounds. His imposing presence and the knowledge that he occasionally carried a gun made him a natural to create order out of the chaos that sometimes accompanies touring. Davis, Grant began a management company with friend Mickie Most and acquired the Yardbirds as one of their acts. The Yardbirds was one of those groups from the s that could boast having had at varying times band members Eric Clapton, Jeff Beck, and Jimmy Page.

Welch, When the Yardbirds broke up, Grant formed a new group using Page and some new band members, calling them the New Yardbirds. This group morphed into what became the legendary Led Zeppelin. In , the death of a member of the group led to the end of Led Zeppelin. In , Grant himself died at the age of 60 from a heart attack.

Clark-Meads, Lesson learned: The most effective manager is one whose belief in the artist is deep enough to be the basis for every decision made on their behalf, whether it is believing in their potential or believing in who they are. Peter Grant was constantly on tour with Led Zeppelin handling most of the tasks associated with tour management 34 Lessons in Artist Management: Colonel Parker to Sharon Osbourne and artist management.

But when the time came to create the words and music, and to assemble the performance, he left these creative responsibilities in the hands of the group. Likewise, the band left the management decisions—including some very unconventional ones—up to Grant.

This shared and deep belief in each other became what many acknowledge as one of the strongest bonds between artists and a manager in the music business. Herbert Breslin: The most effective managers have the knack to know which opportunities are best for their clients, and then know how to turn them into promotional events to build interest in the artist and add to a developing fan base.

Long before he met Luciano Pavarotti, the New York born Herbert Breslin had been introduced to opera as a young boy by his father. He learned to save his money in order to download tickets to see events at the opera house. Among his continuing interests was the opera, and he accepted a nonpaying job handling press and publicity for the new Santa Fe Opera in New Mexico.

He developed his profession with the company and went on to establish his own career as a public relations manager and publicist for classical music.

In he met Pavarotti, which began a thirty-six year professional relationship between the artist and his manager. Initially, Breslin was employed by the opera singer to handle publicity and public relations for him, but later Breslin began to handle most of the traditional management duties of a performing artist.

While Breslin has his critics, few denied his ability to understand his clients and to know what it would take to promote and manage their careers. He is now retired from management. An artist manager should draw from the strengths of an artist and use them to add as many dimensions as possible to their persona and their commercial appeal.

An important talent of a manager is to understand career promotion and have access to the tools to make it happen. He charmed everybody. Joe Simpson: Manage by the Boy Scout motto Joe Simpson has been a psychologist, a youth minister, a record producer, a television producer, and is the father of Ashlee and Jessica Simpson. MTV, It is perhaps his experience as a psychologist that did the most to prepare him to manage and promote two young women in the music business.

Simpson had tried to help Jessica launch a career in Christian music in the mids, but her music never connected with a public that downloads recorded music.

Her music continued for two more albums, but her popularity as a recording artist was beginning to fade. Simpson the manager decided he would try to sell the idea of a reality show featuring newlyweds Jessica and Nick Lachey. The show reignited interest in Jessica, and Simpson was able to leverage it to get his daughter a major role in the movie version of The Dukes of Hazard, followed by work in television commercials and more movies.

Artist Management for the Music Business

Meanwhile, Joe Simpson planned and launched the career of his younger daughter, Ashlee. She, too, has had very successful albums, and now includes a reality television show as part of her resume as an entertainer, for which Ashlee acknowledges that her manager-father was very helpful. Daughter Ashlee was caught on live television, Saturday Night Live, beginning to perform with tracks of her voice, and she walked off the stage.

In late , daughter Jessica performed 36 Lessons in Artist Management: Colonel Parker to Sharon Osbourne a song at a taped television salute to the career of Dolly Parton, but her performance was so bad that it had to be cut from the version that was broadcast.

Moras, Both of these two very public gaffes made their talent the subject of jokes on television, and headlines in the tabloids. A manager cannot over-prepare an artist for a public appearance. Mistakes like those made by the Simpson sisters can erode their images as professionals and can make their fans uneasy about telling others that they are admirers, and that can be fatal for a career.

Be sure the artist is comfortable with performance opportunities, and then be sure they are prepared. Jon Landau: His connection with Springsteen began when he attended one of his shows in in New York City. Springsteen had always considered himself an artist and shied away from the commercial aspects of performing music. Part of this was attributed to the mistakes made early in his career at selling merchandise at performance venues. However, Landau was able to show his client over the years that a career is based on the continued success of the business it generates, and Springsteen began to accept that.

Landau has a style of communication that is able to make his client comfortable with the idea that his music can speak for working people, yet still have a complementary commercial aspect. Cohen, Lessons learned: They say that they want to be true to their art and true to their fans. Commercial music, they say, is cookie cutter and they are unwilling to become something they are not.

An effective artist manager can guide the artist in the business side of their craft yet show them the way to reach a larger fan base. Rather, it takes the guidance of a manager who knows how to expose those creative features of an artist that appeal to a larger audience.

Bob Doyle: Using your network Bob Doyle is a product of the Nashville side of the music business. He worked for Warner Bros.

So Doyle decided to do it himself.

He recruited a new partner, publicist Pam Lewis, to help him manage his new client. Doyle put Brooks with producer Jerry Kennedy to create a music demo. Doyle used his contacts to pitch Brooks to every label in Nashville but failed to get any interest in his client. The lineup for the show was changed at the last minute, and he found himself performing before several record label chiefs with the result that he was signed by Capitol Records.

Mitchell, The career of Garth Brooks continued to be managed by Doyle through the best of times an artist can experience. Along the way Doyle and Lewis parted ways, but Doyle continues to manage the career of one of the most commercially successful artists in history.

Bob Doyle was able to move Garth Brooks through the maze of the music business, in part, because he knew the key gatekeepers—or, he knew those who knew them. Andrew Loog Oldham: His background was limited but impressive. He had been an assistant to Brian Epstein, the manager of the Beatles. His business savvy was quick to show. He signed his management deal with the Stones on May 1, One of the roles of an artist manager is to exploit all of the talent they have. If the artist has the creative side that permits them to write commercially viable songs, the manager has done his or her job by stimulating a creative revenue source for the artist.

A matter of timing Johnny Wright is an artist manager who has also been part of the management teams of some of the most commercially successful pop music acts in history. He began his association with the music industry as a radio DJ, and was recruited to travel with the New Kids for over four years.

During those years Wright learned a considerable amount about artist management and the challenges that go with managing artists. Being on the road with a performing act exposes tour managers and aspiring artist managers to most of the issues one will face in the profession. All of these entities can create a necessary corrective course of action, and being on the road and participating in solutions is among the best ways to learn how to manage issues.

Johnny Wright was able to develop his expertise in artist management for the music business early in his career, in part, because he was able to place himself into the role of problem solver where many of the problems occurred. Because most issues are related to people and how they handle their responsibilities, they all have a human element, meaning each situation is as different as the people who are part of the circumstance.

Learning how to motivate people to assure the success of a performing artist is a critical component of the profession of artist management. Lou Pearlman: Pearlman was raised in Flushing, New York. Among the things he did in his youth was to be a musician in a local band. He eventually found his way into the aviation industry where he became a very successful entrepreneur owning a helicopter and aircraft charter service. His charters provided services to several key music industry people, and this—coupled with the fact that his cousin is Art Garfunkle—opened a network 40 Lessons in Artist Management: Colonel Parker to Sharon Osbourne of contacts that helped him become a major player in the music business.

One of the continuing truths of nearly any industry is that the wealthiest are always prone to being sued. In other cases, the wealthy have left themselves exposed to being sued. The latter was the case between Pearlman and the Backstreet Boys. He put the savings of the group members into investment savings accounts owned by his own company.

Schneider, These issues were settled out of court. Among the key elements of the artist manager relationship is trust, and it is often compared to marriage. Looking at both, some marriages begin with a prenuptial agreement, and likewise, an artist-manager agreement begins with a contract; marriages include the earning of income shared by the partners and, an artist shares income with a manager; managers are often given power of attorney which lets them act on behalf of the artist under certain circumstances, and likewise, marriage partners frequently and unilaterally obligate the partnership.

So, by contemporary standards it could appear that Pearlman took advantage of the Backstreet Boys. When the relationship loses its foundation of trust, it is all but impossible to recover from it. During these early years, Sharon worked for her father in his management company gaining the experience necessary to later launch her own career as manager of Ozzy. So, she bought the management contract from him, began to manage Ozzy, and along the way became Mrs. Rosen, She continues to manage all aspects of his career.

Among the best lessons artist managers can take from Sharon Osbourne are those she shared from her experience in Fortune magazine. Her major points are: I would urge the interested reader to seek a copy of the issue for the complete article. References http: Charlebois, G. Clark-Meads, J. Davis, S. Goodman, C. Hopkins, J. Lebrecht, N. McDermott, J. Mitchell, Rick, , Garth Brooks: Morris, Edward, , Garth Brooks: Platinum Cowboy, St. Nash, Alanna, , The Colonel: Proefrock, S. Welch, C. York, R.

Many young 23 Chapter 3 artists struggle with the idea of becoming commercial until they discover that band members do not want to rehearse without the promise of earnings. Likewise, managers are not interested in working with an artist unless there is the likelihood that they can earn money from a music group or individual that has a commitment to a career in the music business.

They resist what they perceive the big label marketing machines will do to their music, because they fear they will be pressured into changing artistically into something they are not.

However, most labels seek artists who are genuine and unique in their own ways, and who have potential for commercial appeal. Labels will sign an artist because of who they are artistically and because they feel there is a commercial market for their music, and most want to preserve the uniqueness of the artist that makes them special.

Havighurst, The artist should rely on the strength of their manager to insist that the label not homogenize their unique sound. It is the same in the music business. Artists will be asked by key gatekeepers what kind of music they perform.

Artist Management Form

An artist must be prepared to describe what they do musically in one sentence with very few words. In other words, they understand that the label is seeking a business opportunity through the artist, and the artist is ready to deliver it. Performing regularly in smaller clubs in front of friends, family, and fans can help an artist develop a show in a relatively safe environment.

They can take chances by trying new ideas and music to see what works and what should be cut from the show. The only warning is that friends and family can be very supportive and accommodating when they give feedback on performances, and may be inclined to tell the artist what they think the artist wants to hear rather than what they should hear in order to improve their performance.

Experience selling tickets and recorded music can be a strong selling point to both prospective managers and eventually to record companies. An artist who consistently sells out small venues and sells 6, CDs per year at those performances will always get a conversation with a manager seeking talent to manage.

Build a network A network in these terms is a web of supporters with whom an artist regularly communicates about their music. The artist sends regular emails to fans to announce new music or new performance dates and locations. They also communicate through their e-teams or street teams promoting themselves and their music, and they keep their postings to social networking sites current. This continuous communication about the artist keeps fans coming back to their website, and keeps up the interest in the artist.

Another important part of the network for an artist is to get to know those who offer to support their career and offer to be sponsors when the time comes to push their career to the next level.

Be professional When an artist makes the decision to advance their career, it is also a decision to adopt the demeanor of an industry professional from that point forward. Assume that the lucky break is in the audience every time there is a performance, and be prepared to deliver the best show possible. Being professional on the Internet is also important.

Potential career supporters will use an Internet social networking site as a reference point about the artist, and the site should look as professional as the artist can afford.

A domain name is merely the location of a website on the Internet, and they can be downloadd inexpensively from a number of sources such as Yahoo and GoDaddy.

Using new media also requires the touch of a professional. The use of convenient communication methods does not mean the message writer should not respect the ways these tools are used by business people. Always use good grammar, accurate spelling, and appropriate punctuation when using electronic communication.

Be prepared for management An artist manager will make a number of evaluations about an artist before they decide to offer management. In , Frascogna and Hetherington noted 17 questions that an artist could expect from a potential manager and most of the questions are still relevant today.

What legal entity is the artist doing business as: sole proprietor, partnership, Limited Liability Company, corporation, or joint venture? An ownership entity must be established, especially where the artist is a duo or group. Are there any existing management, booking, recording, publishing, or corporate endorsement or sponsorship agreements in effect? If so, what are the terms of these agreements, and what is the status of the artist with regard to the parties to those contracts?

If there were previous agreements that are allegedly inoperative, are there proper releases evidencing this? Does the artist own a registered service mark on his or her name? Does the artist have good banking relations?

Does the artist have proper insurance coverage? Does the artist write his or her own material? If so, is he or she a member of a performing rights society? Frascogna, Hetherington, 42— It is clear from these questions and concerns from a prospective artist manager that the artist must be prepared to demonstrate that they are ready for the music business.

References Frascogna, Xavier M. The artful manipulation of people on behalf of the artist is one of the key functions of the artist manager. Relying on the science of research can be helpful in planning and keeping plans current. This chapter draws lessons from the real world experiences of several veteran artist managers that will help build an understanding of this corner of industry. Parker was born in Holland and immigrated to the United States as a young man, working in carnivals and eventually promoting country music shows.

It was during his promotion work that he was introduced to Elvis and was asked by his parents to manage the year-old singer. Parker died in January at the age of Lessons learned: Parker was an adept negotiator. Songs that an artist writes or helped to write are entitled to regular payments for the performance of those songs on radio, television, concerts, and other places.

Elvis and Parker both were paid nothing because of this omission. Anselmo, With over 10, commercial radio stations in the United States, the value of performance payments is considerable for the estate of an icon-like Elvis. This is especially true when parents manage the careers of their childartists as in the cases of Aaron Carter and LeAnn Rimes who had to sue their parents over issues relating to career management.

However, when that family member is a spouse, the results are often positive. That is not necessarily extraordinary except that he is 26 years older than his wife, the international singing star. Rene Angelil began his career as an artist manager, following his work as a member of a Canadian group called the Baronets. His group built a reputation performing in Quebec in the s.

Charlebois, His career transition to artist management ultimately linked him in the early s with twelve-year-old Celine Dion. She had sent an unsolicited recording to Angelil with a request that he consider managing her career. As Canadian-born Celine pressed Angelil to make her an international star, he knew an image makeover would be necessary for the French-speaking singer.

The result was a launch into the lucrative American music market that garnered her Grammy awards, helped her sell millions of albums, and made her one of the biggest acts to ever perform in Las Vegas. Lesson learned: An artist manager must have a keen sense of the target market for a recording artist.

Angelil knew that her success in the United States would require that she must have a better command of the English language so she could effectively communicate her art through the American media. Her image makeover and new language skills were among the keys to her commercial success in the United States.

Michael Jeffreys and Chas Chandler signed a co-management contract with Hendrix in Hopkins, Two years after Jeffreys and Chandler agreed to manage Hendrix, Chandler wanted out of the arrangement.In , Michael Jeffreys died in a plane crash in France with his artist management assets passing to his father.

This, however, does not stop the manager from rep resen ting more than one client. Like this presentation? The artist and the manager may also include special provisions on how royalties from songwriting, recording, and special licensing will be handled when the contract ends. Finding out what the gatekeeper needs and using it as a way to gain access is one strategy.

So Doyle decided to do it himself. If you are an in demand session player or jingle writer, you may want to try to exclude these activities from the management contract. Drawing from the networking resources of an established management company is a convenient way to become recognized as a manager.

DEBBY from Sunnyvale
Also read my other posts. One of my extra-curricular activities is big-game fishing. I do enjoy exploring ePub and PDF books uselessly.
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