OUTing The Music Industry
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Showing posts tagged management
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An Overview of Creative Commons Licensing for Music by John P. Strohm
John P. Strohm is a transactional entertainment and intellectual property attorney with the firm Johnston Barton Proctor & Rose LLP. John’s practice focuses on the representation of musicians, songwriters and independent record labels. Prior to becoming an attorney, John was a professional musician and producer for over a decade. He performed and recorded as a member of several notable alternative pop/rock acts, including The Lemonheads and Blake Babies. John is on Twitter @JohnPStrohm.In my law practice I represent mostly copyright owners and rights-holders. Accordingly, I am by no means anti-copyright. Nevertheless, I’m also an adjunct professor of copyright law, and the study of copyright has made me critical in many ways of the expansion and extension of copyright protection. If I had to point to a single ill-effect of the expansion of copyright, it is the depletion of the public domain. I believe that an enriched public domain would likely encourage and facilitate further creative expression.
The Constitutional grant that gives rise to copyright protection in the United States gives congress the power to create laws to “promote the progress of the … useful arts.” Therefore, in essence, the government’s grant of exclusive rights to the creators of works provides an incentive to encourage creative expression. In my opinion, if copyright overprotects to the point of stifling further creativity, then it is not serving its intended purpose pursuant to
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An Overview of Music Business Management by David Rose
An Overview of Music Business Management by David Rose
Posted by David Rose in Management, David Rose, Business View
I’m a firm believer that the longer an artist can manage themselves the better off they will be in the long run. I wrote a blog post last year titled “Build It and The Music Biz Will Come ” I encourage artists to read before rushing out to find a music management “team” early in their career. Once an artist has done all the hard work required to build a dedicated fan base they may want to consider hiring management to help grow and manage their business. Below is an overview of some of the traditional management roles in the music business.
Manager
Traditionally, managers have spent much of their time getting their clients signed to a record label deal then working with their client’s record labels to coordinate publicity, radio promotions and retail marketing budgets and programs. Today, the desirable skills for a manager in the music industry have changed fairly significantly. Managers need to be specialist in direct to fan relationships, social media, online marketing, licensing and sponsorships. They should be generally knowledgeable in ways artists can be successful with and without a record label.
Managers should handle all the artist’s personnel issues with the band and crew members and work with the rest of their management team including the attorney, booking agent, business manager and tour manager as needed.
Managers are typically paid 15% to 20% of the artist’s gross earnings. That means they get paid their percentage on all the artist’s earnings including, royalties, publishing, touring, merchandise, orsponsorships before the artist gets paid. Some managers have multi-year contracts (that can be quite complicated) with the artists they represent and some just work on a handshake.
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Sell Your Music » Band Touring Resources » Touring Books for Sale
The Musician & Performing Artists Guide to Successful Touring
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Martin Atkins of Pigface, PIL, NIN, Killing Joke, and Ministry, shares his tips and advice on how to operate a successful tour in his Tour:Smart book. Having had 30 years of experience and his share of mistakes, Martin reveals everything from routing and geography, to drugs, merchandising, venues and how to produce a more profitable live show.
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Root Music Founder J. Sider explains their value proposition
http://www.rootmusic.com/about
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Music Management Skills: Network in person, not just online.
For most of the past few weeks, I’ve been offline more than online. And those moments I’ve been online, I’ve been working exclusively on client projects instead of mixing in networking and promotion.
I’m not intentionally becoming a social media hermit, though. It seems that Lori and I move about once every two years, on average. And every time we move, it takes us time to get caught back up with our online relationships while we focus on the very physical activity of creating the latest version of our ideal home. (Lori will accurately tell you that she does about 90% of the packing and unpacking, while my very focused contribution to the move included dealing with all the trash at the old house and guarding the moving van while our crew was unloading at the new condo.)
Does that mean I haven’t been building my network during that time? Absolutely not. I’m still meeting new people, but I’m doing it in person: in elevators, in the coffee shop, on the train. Chances are, a few of the folks I met during my “offline mode” will end up being far more valuable members of my network than if I had picked up 100 extra followers.
Nancy Baym has been researching the connections between “online” and “face-to-face” connections. She raises Erin McKeown’s concern that modern musicians must maintain two parallel careers that increasingly diverge from each other.
A strong music manager, therefore, must be ready to close that gap.
To effectively manage affairs for your artist, you’re going to have to master both the ability to rock Twitter and Facebook, while being the “boots on the ground” support to connect with booking agents, press, and street team leaders during the early stages of an artist’s project.
Don’t let social media gurus fool you. Online connections can get you access to some significant advisors, but the face to face connections you make will turn into significant partnerships much faster. This isn’t your excuse to start expensing trips to every music conference under the sun, either. It’s about developing the skills to get the people you meet under everyday circumstances interested in your project and involved in your network, so you can help your artists find their perfect audience.
Can you learn enough about someone you meet to discover whether someone in their network can help your cause? If you’ve been hiding behind e-mail and tweets, force yourself offline and develop the ability to draw other people into your work.
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INTRODUCING THE ALL NEW Official B.Slade™ Website
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Closed Chapter: New Book
My life is no longer the same and for the better. I find it very strange...
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click the pic
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Recloose- Magic feat. B.Slade (Vocal). Slated for release on Rush Hour, early 2012.
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BLACK MONOPOLY
