Index

A

AAA, 123

advances, 15, 52, 72, 99, 114, 116–7, 121, 127, 137–9, 142, 145, 192–3

advertising, 3, 148–9

AEG Live, 63–4

AFM. see American Federation of Musicians

AFTRA. see American Federation of Television and Radio Artists

American Federation of Musicians (AFM), 101, 111, 123

American Federation of Television and Radio Artists (AFTRA), 101, 111

American Music Awards, 21

American Society of Composers, Authors, Publishers (ASCAP), 21, 56, 127, 130

Anderson, Chris, 13–14

Angelil, Rene, 49–50

angels, 42, 90

the Animals, 52

Anselmo, Mick, 49

Arden, Don, 52

Arden, Sharon Rachel. see Osbourne, Sharon

AristoMedia Group, 34

artist as business

alternative forms, 102–3

brand/image, 95–7

corporation, 103

Internet, 104–7

limited liability company/partnership, 103

market segmentation, 94–5

partnership, 102–3

proprietorship, 102

support team, 97–102

target market, 94

artist management

building a career, 11–12

coaching, 7–8

communication, 9–10

conflicts of interest, 174

controlling, 6

creative, 10

decision making, 16

find best music, 193

functions, 4–6

goal-/results’oriented, 10–11

importance of, 38

inconspicuous, 20–1

leadership, 7

leading/directing, 5–6

nature of, 16–21

networking, 8

organizing, 5

part of big business, 13–16

persistent, 10

planning, 4–5

problem solving, 11

as profession, 1–4

relationship with artist, 46

relationship with record label, 136, 146

salesmanship, 10

skills/personal traits, 6–11

social, 8–9

SWOT analysis, 173–4

understanding people/business, 3–4, 7, 10

artist-songwriters, 126, 128, 129, 130–1, 132, 152, 192

artist/s

artistic self-knowledge, 39

background, 37–8

be patient, 46

be prepared for management, 43–5

be professional, 42–3

being commercial, 38–9

biography, 170

communication methods, 43

consistency in selling tickets/music, 40

creative work, 40

demo recording, 40

evaluation/SWOT analysis, 172–3

expenses charged to, 142–3

experience, 171–2

fan base, 41

funding, 38

get experience, 39–41

getting attention of a manager, 40–1

helpful questions/answers, 44–5

Internet presence, 42–3

live performance, 39–40

musical genre, 170

as part of music business, 38

partnership agreements, 43

planning personal budget for, 83–5

preparing to be managed, 37–46

relationship with manager, 46

social media/networking, 41–2

statistics concerning, 38

talents, 171

uniqueness, 172

ASCAP. see American Society of Composers, Authors, Publishers

Ash, Chris, 28

Association of Artist Managers, 20

Atlantic, 95

attorney, 2, 29, 37–8, 45, 48, 49, 59, 68, 70, 98, 10–3, 105, 121, 136–7, 144, 164, 174, 179, 182

Australia, 177

B

Backstreet Boys, 58–9, 122, 164

Ballen, Carolyn, 152

Barnet, Dr Richard, 124

the Baronets, 50

the Beatles, 57

Beck, Jeff, 52

Berne Convention (1989), 126

Beyoncé Knowles, 152

Big Machine Records, 10

Billboard, 2, 8, 22, 61, 68, 149, 150, 158

Black Sabbath, 59

Blackstock, Narvel, 50

Blockbusters (Elberse), 14

Blue Bird Café (Nashville), 56

BMG Music Group, 16

BMI, 60, 130

BMI Live, 130

Bob Doyle & Associates, 56

Bocelli, Andrea, 4

booking agent, 6, 14, 22, 29, 56, 69–70, 97–8, 111–12, 116, 123, 152

bootstrapping, 33–4

Borchetta, Scott, 10

The Borderline (Soho, London), 87

Boyz II Men, 58

Bradley, Connie, 21

brand/image, 95–7

Brazil, 177

Breslin, Herbert, 53–4

Brighton Music Conference (UK), 110

Brooks, Garth, 22, 56–7

Brown, David Darnell (aka Young Buck), 85

Buddy Lee Attractions, 56

Budgets, 3, 5–6, 10, 21, 32–33, 99, 141, 143, 147, 149, 157

artist, 83–5

career plan, 180

events, 85–6

live performances, 6, 112, 113–4, 116–7, 119–21, 123, 129, 132

personal budget for the artist, 180

sample, 89–91

business advisors

accountant, 101

banker, 100

business manager, 101–2

insurance manager, 100–1

business framework

form of business, 179

insurance, 179

membership of unions/professional organizations, 180

personnel requirements, 179

business plan

artist management, 28–31

recording artist, 169–70

C

California Talent Agency Act (TAA), 69, 70

Canada, 48, 103, 113, 122, 123, 130, 149, 177

Canadian Mechanical Rights Reproduction Agency (CMRRA), 128

Capitol Records, 56

career plan

artist focus, 170–2

background, 167–9

business framework, 179–80

evaluation of artist, 172–3

evaluation of manager, 173–4

exit strategy, 181–2

financial aspects, 180

goals/timelines, 174–6

marketing plan, 176–8

outline/template, 183–5

recording artist business plan, 169–70

carnet, 122

Carter, Aaron, 49

Cassetty, Todd, 20

CCCS. see Consumer Credit Counseling Services (of San Francisco)

Chandler, Chas, 51

charts, 22, 61, 68, 149, 150–1

Chesney, Kenny, 152

Chess, 95

Chrysler, 5

Clapton, Eric, 52

Clear Channel, 49

CMRRA. see Canadian Mechanical Rights Reproduction Agency

coaching, 187, 188–90

Coaching: Evoking excellence in Others (Flaherty), 190

code of conduct, 164

Music Manager’s Forum in Australia, 293–4

College Music Journal (CMJ), 8

college radio, 8, 151

college tours, 123–4

The Colonel: The Extraordinary Story of Colonel Tom Parker and Elvis Presley (Nash), 49

Combs, Sean “P Diddy”, 58

conflict resolution, 30

Consumer Credit Counselling Service (CCCS) (San Francisco), 83–4

contract, 60–1, 67

all-in, 142

artist management form, 195–210

assignment of responsibility, 74

current trends for recording artists, 144–6

disagreements, 74

earnings following contract period (sunset clause/blackout period), 72–3

example, 195–210

exclusivity, 70–1

groups, 75

income/expenses for artist from recording contract, 137–41

insurance, 74

Kesha’s artist management contract, 287–92

length, 68–9

manager’s expenses, 73–4

manager’s payment for services, 71–2

manager’s services to artist, 69–70

Michael Jackson’s Final Artist Management

Contract, 76, 77–9

minors, 75–6

modifications, 74–5

negotiating, 68

performance, 118–19

power of attorney, 71

record label cost provisions, 143–4

recording, 237–85

transfers, 74

contract meeting

budget the time, 160

dress appropriately, 161

ending the meeting, 163

flow of, 159

going for record deal, 156

key points, 158–9

participants, 159

planning for results, 158–60

practice the meeting, 160–1

prepping, 158

presenting artist for, 155–63

purpose of meeting/do homework, 156–8

sequence of events, 161–2

should artist attend, 162

support material, 159–60

visit building/room beforehand, 159

copyright, 126, 128–30

compulsory license, 126

foreign countries, 126

law, 126

mechanical license, 126

royalty rate, 126

things that cannot be copyrighted, 127

Copyright Solutions, 129

corporation, 103, 179

Country Radio Seminar (Nashville), 8

Creative Artists Agency, 152

Cruzan rum, 152

Curb Records, 63

Cyrus, Miley, 152–3

D

DAS management, 60, 61

Davis, Clive, 16

Decca Records, 57

Def Jam, 95

digital media manager, 99–100

Digital Millennium Copyright Act (1998), 126

Dill, Stuart, 81

Dion, Celine, 4, 50

Disney Corporation, 152

domain name, 43

Doyle, Bob, 22, 56–7

Dr. Luke. see Gottwald, Lukasz

Dreamweaver, 107

The Dukes of Hazard, 54

E

earnings, 14–15

expenses charged to artist, 142–3

following contract period, 72–3

live performance, 109–24

recording, 135–53

songwriting, 125–32

education, 26–7

Egan, Sean, 57

Elberse, Anita, 14

Elsevier/Butterworth-Heinemann, 190

Elvis, Inc. (O’Neal), 48–9

email, 41–2, 148

Eminem (aka Slim Shady), 62

The Marshall Mathers LP2, 62

Recovery, 62

endorsements, 151–2

entertainment law, 136–7

entrepreneurs

background, 25–6

bootstrapping, 33–4

business plan, 28–30

education, 26–7

experience, 27

managing disagreements/conflict, 30

money management, 31–4

negotiations, 30

outgoing personality, 30–1

proactive, 31

risk, 30

skills/characteristics, 30–1

suggestions for, 34–5

tools, 26–30

vision/mission, 27–8

Epic records, 162

Epstein, Brian, 57

ethics, 163–4

event plan

background, 85–6

food/beverage, 88

invitations, 87–8

performance, 88–9

promotion, 89

sample budget, 89–91

when/where, 86–7

exit strategy, 181

artist in mature career, 181

planning by manager to end relationship, 181–2

Expression Web, 107

F

Facebook, 8, 41, 106–7, 116

Federal Deposit Insurance Corporation, 100

financial plan. see budgets

Flaherty, James, 188–9, 190

Fortune magazine, 60

Foster, David, 4

Franklin Covey, 91

G

Galante, Joe, 17

Garfunkel, Art, 58

gatekeepers, 7, 10, 18, 20, 22, 28, 39, 48, 56, 83, 90, 99, 149, 163–4, 176

goal setting, 82–3

career plan, 174–5

checkpoints, 176

goals supporting major goals, 175

major goals, 174–5

revisit, 176

sample strategies/tactics, 174–5

timelines, 175–6

GoDaddy, 43, 104

Godfrey, M.P., 100

Gottwald, Lukasz (Dr. Luke), 60–1

Grammy, 4, 50

Grant, Peter, 52–3

Groban, Josh, 4

H

Harris, Joe, 56

Harry Fox Agency, 128

Harvard Business Review, 14

Hendrix, Jimi, 51–2

Hilley, Donna, 131

Hip Hop conference (Atlanta), 8

hospitality, 88

House of Blues (Los Angeles/New York), 87

Hutchison, Dr. Thomas, 104

I

Iacocca, Lee, 5, 16

ICANN. see Internet Corporation for Assigned Names and Numbers

IFPI. see International Federation of Phonographic Industry

income. see earnings

Indie Music Forum, 152

Instagram, 41

insurance, 74, 100–1, 179

Internal Revenue Service (IRS), 84–5, 123

International Federation of Phonographic Industry (IFPI), 14, 38

international touring, 122–3

Internet Corporation for Assigned Names and Numbers (ICANN), 104

Internet/Worldwide Web, 104

content, 106–7

domain name, 104–5

hypertext markup language (HTML), 107

mining digital media for information, 107

uniform resource locator (URL), 105

web hosting services, 105

IRS. see Internal Revenue Service

J

Jackson, Michael, 63–4, 76

Jagger, Mick, 57

Japan, 177

Jay-Z, 146

Jeffreys, Frank, 51

Jeffreys, Michael, 50–2

Jonas Brothers, 58

K

Kay, Dean, 158

Kemosabe Records, 60

Kennedy, Jerry, 56

Kesha (Kesha Rose Sebert), 60–1

“Animal”, 60–1

artist management contract, 287–92

“TiK ToK”, 61

Kiss, 121

knowledge acquisition, 15–16

Kouzos, James, 190–1

Kragen, Ken, 2, 18, 83

Kraski, Mike, 39

KZLA, 148–9

L

La Face records, 61

Labor Code section 1700.4, 69–70

Lachey, Nick, 54

Lameier, Jack, 9

Landau, Jon, 55–6

leadership, 187, 190–2

Led Zeppelin, 52–3

lessons learned

business focus, 55–6

challenges of iconic performer, 63–4

conflicts of interest (importance of trust), 50–2

exploit artist’s talents, 57

family experience, 59–60

having it in writing (contracts), 60–1

manage by boy scout motto (properly prepared), 54–5

managing artist’s image, 61–2

negotiation skills, 48–9

networking, 56–7

promotion (drawing/using strengths of artist client), 53–4

reinvention, 62–3

shared beliefs, 52–3

targeting (knowledge of target market), 49–50

timing, 57–8

trust, 58–9

Lewis, Pam, 56, 57

Life is a Contact Sport (Kragen), 2, 83

Life (Richards), 20

limited liability company (LLC), 103

limited liability partnership (LLP), 103

LinkedIn, 8

Little Richard, 52

Live Nation, 14

live performance

background, 109–11

booking the performance, 111–12

business management of, 112–14

college tours, 123–4

contract, 118–19

income stream, 109–24

international touring, 122–3

merchandise, 119–22

promoting, 116–18

soft/hard ticket sales, 110–11

tour management, 114–16

Live Performance Notification System, 130

LLC. see limited liability company

LLP. see limited liability partnership

LMFAO electro-pop group, 70

Logan, Lee, 148

London, 86, 87

The Long Tail (Anderson), 13–14

Los Angeles, 86, 87, 121, 148

Ludacris, 152

M

McEntire, Reba, 50

McGraw, Tim, 62–3, 152

McNamara, Dr Carter, 5

Madonna, 146

Major Bob Music, 56

market segmentation, 94–5

behavioristic, 95

demographic, 94

geographic, 95

psychographic, 95

marketing plan, 176

detailed plans to reach target, 178

state of the industry, 176–7

target market for artist, 177–8

merchandise, 119–20

awareness of Pollstar magazine, 121–2

bootleggers, 121

fulfillment of orders, 121

hall fees/house rate, 120

handling, 120

licensing contracts, 121

Michelangelo, 82

Microsoft Outlook, 91

middle agent, 123–4

money

basic knowledge, 31–2

Cash Flow Statement, 33

funding the artist, 38

funding company at startup, 33–4

Income Statement, 33

management of, 31–4

power of, 21–2

tracking company finances, 32–3

Moore, Joyce, 189

Moore, Sam, 189

Most, Mickie, 52

motion pictures, 152

Motown, 95

multiple rights recording contract. see 360[o] deal

Music Managers’ Forum (Australia), 20–1, 293–4

contract, 21, 164, 293–4

MusicTank, 8

MySpace, 38

N

‘N Sync, 58

Nash, Alanna, 49

Nashville, 10, 56, 85, 86, 87, 101

network, 41–2

New Beginnings, 61

New Kids On the Block, 58

New Yardbirds, 52

New York, 86, 87, 122

Nielsen Audio audience ratings, 148

Nielsen Company, 48

O

Oldham, Andrew Loog, 57

On-Stage, 130

O’Neal, Sean, 48

online sales, 2

online streaming, 29, 69, 107, 137, 145, 150, 177

Osbourne, Ozzy, 59–60, 162

Blizzard of Oz, 162

Osbourne, Sharon (Sharon Rachel Arden), 52, 59–60, 162

P

P Diddy. see Combs, Sean “P Diddy”

Page, Jimmy, 52

Palmer, Christopher, 124

Parker, Tom, 48–9, 73

partnership, 102–3

Partnership Agreement for Members of a Band, 211–35

Parton, Dolly, 55

Patton, Jonnetta, 61–2

Pavarotti, Luciano, 53–4

payola, 164–5

Pearlman, Lou, 58–9, 122

Performing Right Society (PRS) Limited (UK), 130

performing rights organization (PRO), 49, 109, 130, 131

Peters, Tom, 190–1

Philips, Randy, 63–4

planning, 81

budgeting an event, 85–6

event plan, 86–9

personal budget for artist, 83–5

sample budget, 89–91

setting/achieving goals, 82–3

tools, 91

Poetic Justice, 61

Pollstar, 2, 8, 121–2, 158

Posner, Barry, 190–1

power

access, 22

body of work, 23

latest success, 23

money, 21–2

responsibility to give back, 23

understanding, 21–3

power of attorney, 71

PPD. see published price to dealers

Presley, Elvis, 48–9, 73

PRO. see performing rights organization

producer, 141–2

promoter, 116

budgets, 117

as a casino, 118

payment/split point, 117–18

risk, 117

proprietorship, 102

Psy, 22

publicist, 22, 99

published price to dealers (PPD), 139

publishing, 127–8

controlled compositions, 129

income, 129–30

as negotiating asset, 132

Q

Queen Latifah, 152

R

radio

charts, 150–1

college, 151

performance fees, 130

role in recording artist’s income, 147–51

satellite/online, 149–50

terrestrial, 148–9

radio programmers, 22, 100, 142–3, 148–52, 164–5

radio promotion manager, 100

RCA, 49, 60

record labels, 1–2

cost provisions in contract, 143–4

effect of Internet on, 25–6

fiduciary relationship, 146

independent, 146–7

large, 136–7

Recording Contract, 237–85

recording income

artist income, 139–41

artist management, 146

artists who own/record for independent labels, 146–7

background, 135–6

business aspects, 147

charges on artist’s statement of account, 142–3

creating/paying for recording, 138–9

current trends in artist contracts, 144–6

income/expenses from recording contract, 137–41

radio, 147–51

record label provisions, 143–4

recording for large labels, 136–7

role of producer, 141–2

sponsorship, endorsements, TV, motion pictures, 151–3

Recording Industry Association of America (RIAA), 38

Reid, John, 74

Resound, 130

RIAA. see Recording Industry Association of America

Richards, Keith, 20, 57

right of publicity, 96–7

Rimes, LeAnn, 49

Rolling Stones, 20, 57

Rosenberg, Paul, 62

Rowe, Dick, 57

royalties, 126, 131, 136, 139–41

RPM Entertainment, 63

RPM Management, 62–3

Rudolph, Larry, 153

S

San Francisco, 85

Sant Fe Opera (New Mexico), 53

Saturday Night Live, 55

Sebert, Kesha Rose. see Kesha

SESAC, 130

Siman, Scott, 62–3

Simpson, Ashlee, 54–5

Simpson, Jessica, 54–5

Simpson, Joe, 54–5

Slim Shady. see Eminem

Small Business Administration, 28

SOCAN. see Society of Composers, Authors and Music Publishers of Canada

social media, 41–2

Society of Composers, Authors and Music Publishers of Canada (SOCAN), 130

software, 91

sole trader, 179

Sonenberg, David, 60, 61

songwriting, 14

copyright, 126–7

income, 125, 128–30

publishing, 127–8

publishing as negotiating asset, 132

song performance income, 130–2

Sony Nashville, 17

Sony/ATV, 131

SoundExchange, 130

SoundScan, 21, 48, 61–3, 68, 150, 158

South by Southwest (Austin, Texas), 38, 110

Spears, Britney, 58

sponsorship, 3, 42, 73, 97, 102, 109, 145, 151–2, 157, 202

Springsteen, Bruce, 55

stress/pressure

agendas/pecking order, 20

getting past gatekeepers, 18

grudges against gatekeepers, 20

keeping up artists’ spirits, 18–19

life/work balance, 17

managing, 16–20

necessity for hard work, 20

people will disappoint you, 19

people will string you along, 19

put in perspective, 17

relevance as a player, 18

sunset clause/blackout period, 72–3

support team, 97

attorney, 98

booking agent, 97–8

business advisors, 100–2

manager of digital media, 99–100

manager of radio promotion, 100

publicist, 99

Swift, Taylor, 10, 75

SWOT analysis, 44, 172–3

T

T J Martell, 17

12th & Porter (Nashville), 87

360[o] deal (multiple rights recording contract), 3, 37, 94, 138, 144–6, 157

TAA. see California Talent Agency Act

target market

for artist, 177–8

defining, 94

knowledge of, 49–50

understanding, 94

taxes, 84–5, 113, 117, 112–3, 143

television, 152

Tennessee Protection of Minor Performers Act, 75

ticket sales, 3, 22, 40, 110–13, 117–9, 121, 155, 158, 174, 177

Timberlake, Justin, 58, 152

Tohme, Tohme, 63–4, 76

tour management, 53, 58, 74, 117, 119, 145, 179

advancing a performance, 115

duties, 114–15

promoters, 115–16

settlement meeting, 115

tour support money, 72, 114, 143, 147

trademarks, 96, 104–5, 121

Twitter, 41, 106–7, 116, 147

U

United Kingdom, 103, 123, 177, 179

Universal Music Group Nashville, 105

Urban, Keith (graphic artist), 105

Urban, Keith (recording artist), 105

U.S. Copyright Act, 126

U.S. Copyright Office, 126, 128

U.S. Copyright Royalty Board, 128

U.S. Department of State, 122, 123

Usher Raymond IV, 61–2

Confessions, 61

My Way, 61

V

videos, 22, 41, 58, 61, 105, 116, 125, 137, 142–3, 145, 147, 150, 161, 181

W

Wald, Melissa, 129

Walker, Jeff, 34–5

Warner Bros. Records, 56, 60, 100, 124

Web Marketing for the Music Business (Hutchison), 104

websites, 2

AllAccess.com, 2, 158

artistmanagementonline.com, 107

billboard.biz, 2, 158

cccssf.org, 83–4

fdic.gov, 100

GoDaddy.com, 43

sba.gov, 28

themnf.net, 20–1

Welch, Jack, 192

Welch, Suzy, 192

Wheat, Alynda, 60

Wild Horse saloon (Nashville), 10

William Morris Endeavor Entertainment and Creative Artists Agency, 97, 152

Wright, Johnny, 57–8

Y

Yahoo!, 43, 104

the Yardbirds, 52

Ylvis, 22

Young Buck (David Darnell Brown), 85

YouTube, 22, 41, 107

Z

Zeppelin, Led, 52–3