Making it happen behind the scenes

I like to refer to artist managers as the engine under the hood. They are the power horse of the operation. Artist managers stand in the shadows of their artist most of their entire career being the artist alter ego. That’s because it’s all about the artist and advancing them to the next level not the manager. Making the necessary moves behind the scene so that the artist appears to be perfect. If you are a jealous person then artist management is probably not the job for you.  It’s the type of job where as you only get attention and acknowledgement when you make an error. Most artist managers in the music industry that are successful have a team effort mindset with a humble attitude. The quiet storm it’s a secret race trying to get to the top and doing it quietly. Giving credit when credit is due is just a phrase in the profession of artist management. Many times fans of superstars listen to their favorite artist from childhood and never know who manages their career. When it’s because of the jack-of-all-trades these artist are able to maintain and have an outstanding career. In the past a lot of artist felt an artist manager was getting paid to do nothing. Also in the past many artist managers was vindictive and conniving. They would actually use the artist to get money. Once the artist discovered that out got token advantage of enough artists to become untrustworthy. Today more contracts are being utilized and enforced so the betrayal has decrease a bit. Although the work that the artist manager does is still a mystery for some people it is clear that they play a major role. The relationship between an artist and a manager must have trust and great communication in order to succeed its like a marriage so its always a working progress. 

Source:

http://www.artistshousemusic.org/videos/getting+started+with+artist+management

http://www.artistshousemusic.org/videos/artist+management

   

History and Trends

Do history really repeats itself in the entertainment industry or how new is our current trends?  I feel no matter how much progress or growth is accomplished returning back to the roots and basic fundamental is inevitable. For example when was the last time you saw a great movie with a new story line. When I say new, I mean a brand new story line not a sequel or prequel. To bring it to your attention here are a few X Men, Spider Man, Planet of The Apes and Captain America. No wait I have better examples like vampires, zombies, love story or somebody gets kidnap and one-person try to find them.  My point is that what’s new to us is ancient. Is it that Hollywood writers and directors are running out of fresh ideas or just to lazy to create new material? What ever the case may be the people that make these films always return back to the product origins. It’s the same pattern with fashion these days. Hairstyles, clothes and shoes are all brought back from the dead. Like Mohawks, Snapback hats, Throwback jerseys and all of Michael Jordan shoes. Although, I must say that the first time when these trends came on the scene was the good ole days. I guess by bringing them back it replicates a sense of good feeling we experience at that point in time. With music it also takes place when producers use sampling in their productions.  Sampling is when apiece of music is taken and use in another creation. Some producers use current songs when sampling. Although, one of the hottest trends in beat production is sampling an oldie song pattern or vocals incorporating it with another beat. What this does is revives the out dated song and give the creation a groovy feel like the old days. So to answer the question history does repeat it self and our current trends are ancient like our ancestors.   

Source:  Passman, D., (2009). All you need to know about the music business. New York: Free Press. Frascogna, X., Hetherington, H., (2004). The business of artist management. New York: Random House Inc. 

Music Distribution

Getting music distributed without a record deal use to be nearly impossible. Now due to technology advancements online music distribution channels has made it possible for independent labels and artist to generate revenue from their music. Today there are many different types of business models packages and platforms that cater to the needs of an artist. Industry professionals did not always look upon it as a positive thing. Illegal file sharing sites like Napster caused problems in the music industry and some say is the reason for a 31 percent revenue drop in physical album sales back in 2000. Music consumers did not complain because they downloaded plenty songs of their favorite artist free of charge. Then record labels started fighting back attacking those types of websites that condoned digital piracy until they were banned and filed lawsuits against music fans that were caught on the websites. Music consumers complained that the quality of the songs on the albums being produced was not worth the retail price. So they downloaded only songs that appealed to their interest. A business model was desperately needed in the music industry. Apple answered with itunes and it was a great success. They are many positives about online music distribution. Artist and songwriters get a higher royalty percentage, its very cost effective, convenient and allows music consumers to purchase songs at the click of a button. Some online distributors offer licensing services.  Although, online distributions has been a primary music outlet for independent artist and labels because of financial reasons this particular business model has become quite attractive to the major labels. Reaching the masses or a target market is more achievable due to the number of Internet users. Technology has evolved and now mobile devices are Internet capable keeping us connected anywhere we dwell. Viral marketing has become essential for the success of both independent artist and major labels. 

Source:  Passman, D., (2009). All you need to know about the music business. New York: Free Press Frascogna, X., Hetherington, H., (2004). The business of artist management. New York: Random House Inc. 

       

Entertainment Attorney Expert Blog

This blog is an interview between a professional Entertainment Attorney and me. The purpose of the interview is to get advice from an expert that has the necessary skills and experience in my sector of the entertainment industry. As an artist manager there are times where I will need to seek legal advice from a industry professional not only for my clients but also for myself.

The Entertainment Attorney I chose to interview name is Gregory P. Eveline. The founder and head attorney at NOLA Entertainment Law has provided his services to many known famous acts. So his creditability is not an issue for the most part. To make this interview go smooth as possible I prepared some question relevant to my field to ask Mr. Eveline.

J: Tell me a little about yourself and how you got started in the Entertainment Industry?

Mr. E:  Okay where do I start? I was a record retailer, distributor and producer before I became a successful manager and concert promoter for 10 years. I’ve worked with artist such as R.E.M., Billy Idol, Marianne Faithful and the Dead Kennedys, to name a few. As time went on I felt my wealth of knowledge would make me a great Entertainment Attorney so I became one.

J: So what type of services you provide that’s relevant to Artist Management?

Mr. E: Entertainment Law, Copyright and Trademark Protection, Contracts, Licensing, Advertising, Merchandising and Branding.

J: What are some common mistakes or trends of Artist Managers that you have notice recently?

Mr. E: The most common mistakes I’ve noticed from Artist Managers are errors on copyright paperwork.

J: Are there ways I can protect myself in a written agreement between my artist and me?

Mr. E: Yes there are a number of clauses you can put in an agreement to protect yourself like option periods, having all monies coming from the label instead of the artist and earnings after the term.

J: What are some things to look out for when licensing Intellectual Property?

Mr. E: Yes the assignment of the copyrighted material. Never give full rights or ownership. Licensing the material for use would be the appropriate action to do.

J: What is a conflict of interest and how does it apply to Artist Managers?

Mr. E: Conflict of Interest is when two parties have the same person representing them. In most case this is not a problem until a legal issue arises. It depends on the professional field and preference. This applies to an Artist Manager because that role requires you to be just that. For example you can’t be the Artist Manger and the Booking Agent. 

J: Are there any other legal liabilities that may be of my concern being in the field of Artist Management?

Mr. E: Yes be prepared to be sued if your artist misses a show or uses copyrighted material without permission as long as you represent artist.

J: Well, thanks for taking time out of your busy schedule to conduct this interview. The information that you have shared with me was very informative. I really appreciated and look forward to doing business with you in the future.

Mr. E: You’re very welcome Jamar anytime. I love helping ambitious individuals that have the desire to learn more about their field or the Entertainment Industry.       

Industry Liabilities

Copyright infringement, starting up a studio and being an Artist Manager are things I see as a liability at this current time. There are options and other ways to protect you from liabilities. Hopefully after reading this will help and enlighten the people that need this type of information.   

Sampling music is a problem in today’s Entertainment Industry. Sampling is taking a piece of work that’s copyrighted and using it with another creation. Many people frown upon sampling because the work is looked at as a knock off and not authentic. Although, numerous hits have been created with sampling. Nevertheless if you are sampling parts of copyrighted material it’s a liability if you don’t obtain the permission or the proper license. The copyright owner/holder may file a lawsuit against you for infringement for millions.

Starting your own studio in the music industry is a liability. For one the economy is messed up and the big four has pretty much brought every successful independent record label. I feel it’s a monopoly between the four and even if you still manage to start a label you better have a good plan. Like lower prices than the competition, better equipment and a good list of clientele in order to pay the bills to keep it up and operating. Not to mentioned you would need to pay a staff to manage the sessions. For financial purposes and limited resources it’s better to rent at this time. It will save you time and money to allocate to other projects.

I feel being an Artist manager is a liability especially working with a new artist. It’s a lot of work, time and money invested into exposing an upcoming artist in the Music Industry. Time and money that you may never get back because there’s no guaranteed that the artist is going to make it. It’s not out of the norm for an Artist Manager to come out of their own pocket to help artists to accomplish a goal. Also if you don’t take the necessary steps like having a written agreement to protect yourself an artist can drop you right before they blow up. Then it’s back to square one.  

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Is Artist Development relevant in the Music Industry?

How relevant is Artist Development in the Music Industry? There are two answers to this question it is and its not. There are so many talented unknown artists undiscovered simply because it is relevant. These unknown artists typically try to handle all their affairs by themselves. So in most cases they are not represented by a manager and lack the business side of the Music Industry. Also with good not being good enough well that doesn’t help their situation at either. What these artists fail to realize is that without proper guidance and the absence of knowledge in their field actually reduces their chances to get into the Music Industry. Just like the juggernauts in the game the decisions these unknown artist make affect their preexisting career. Now lets examine the superstars that’s already established in the Music Industry. More specifically live acts and performances. Due to the advanced technology society we live in today music engineers have made artists that can’t sing hits records. Although, I’m not pointing fingers the engineers are just doing their job and are only a small element responsible for this issue. The issue is that after these hit records are created and its touring time or the artist have to perform live their performances are horrible. Leaving millions of their fans disappointing because they now know the truth. It might don’t be a problem in the beginning of the artist career because their spending majority of their time recording but later album sales will reflect. Labels can careless about an artist bettering him-self or her-self all they care about is the numbers so Artist development is not a priority. So with that being said these artists should take initiative instead of knowing and ignoring the truth. I propose that all the artists that have this issue find the time and seek vocal coaching after all they already have the income.


Source:

Passman, D., (2009). All you need to know about the music business. New York: Free Press.

Frascogna, X., Hetherington, H., (2004). The business of artist management. New York: Random House Inc.