Index

Page numbers followed by f indicate figures and t indicate tables.

A

AAA, 98

Access, power understanding, 20–21

Advances, advice, 166–167

Advocate, 150

AEG Live, 93

AFM, 76

AFTRA, 76

Airplay, 124

Altruism, power understanding, 22

American Federation of Musicians, 98

Anderson, Chris, 13–14

Angelil, Rene, 33–34

Animals, 36

Arbitron, 151

Arden, Don, 36

Artist management

career-building tips, 10–11

evaluation of manager, see Career plan, artist

functions

controlling, 6

leading and directing, 5–6

organizing, 5

planning, 4–5

rationale, 1–4

requirements

coaching, 7

communication skills, 9

creative, informed, and connected, 2

human nature understanding, 6–7

leadership, 7

miscellaneous skills, 9–10

networking, 7–8

people and business understanding, 3–4

social skills, 8–9

ASCAP, 39–40, 103, 105–106

Attorney, functions, 74

B

Backstreet Boys, 41–43, 97

Ballen, Caroline, 125–126

Band, partnership agreement, 191–216

Baronets, 33

Billboard chart, 8, 20, 123, 124

Biography, creation, 144

Blackout period, 52

BMI, 105–106

Body of work, power understanding, 21

Booking, performance, 87–88

Booking agent, functions, 73–74

Bootlegger, 96

Borchetta, Scott, 9–10

Boyz II Men, 41–42

Bradley, Connie, 19–20

Brand, 71–72

Breslin, Herbert, 37–38

Brooks, Garth, 39–40

Budget, see Career plan, artist; Event; Personal budget

Business advisor, functions, 76–77

Business manager, 76–77

Business plan, see Career plan, artist

Business types

corporation, 78

limited liability company, 78–79

partnership, 78

proprietorship, 78

C

California Talent Agency Act, 49, 50

Canadian Mechanical Rights Reproduction Agency, 104

Career building, tips, 10–11

Career plan, artist

artist evaluation

action points, 147

opportunities and threats, 146–147

strengths and weaknesses, 146

biography creation, 144

business framework

insurance, 153–154

personnel requirements, 153

business plan outline, 143–144, 156–159

exit strategy

artist in mature career, 155

manager resignation, 155–156

experience assessment, 145

financial plan

career plan budget, 154–155

personal budget for artist, 59–61, 154

goal setting

major goals, 148–149

supporting goals, 149

timeline setting, 149–150

manager evaluation

conflicts of interest, 148

opportunities and threats, 147–148

strengths and weaknesses, 147

marketing plan

detailed plans to reach target, 152–153

state of industry, 151

target market, 151–152

music genre defining, 25, 70, 144

overview, 141–144

talent range, 145

uniqueness of artist, 146

Carnet, 97–98

Carter, Aaron, 33

CCCS, see Consumer Credit Counseling Service of San Francisco

Chandler, Chas, 34–35

Checkpoint, timeline, 150

Clarkson, Kelly, 44

CMJ Conference, 8

Coaching, manager, 7, 162–164

Code of conduct, Music Manager’s Forum, 273–274

College, radio, 124–125

College, tours, 98–99

Combs, Sean, 41–42

Communication skills, manager, 9

Conflict of interest, 148

Consumer Credit Counseling Service of San Francisco (CCCS), budget guidelines, 59–61

Contracts, see Management contract; Performance; Recording contract

Controlled composition, 104–105

Conversation, types in coaching, 163

Copyright, 101–103

Copyright Royalty Board, 104

Corporation, 78

Country Radio Seminar, 8

Creative Artist Agency, 126

D

DAS Management, 44

Davis, Clive, 16

Day-Timer, event planning, 67

Def Jam, 71–72

Digital Millennium Copyright Act, 102

Dill, Stuart, 57

Dion, Celine, 4, 33–34

Dr. Luke, see Gottwald, Lucasz

Domain name, 26, 79–80

Doyle, Bob, 21, 39–40

E

Elberse, Anita, 13–14

Endorsement, 125–126

Entrepreneur, manager as, 22

Ethics, 137–138, 273–274

Event, see also Performance

budget sample, 66–67

planning

food and beverage, 64

invitations, 63–64

overview, 61–62

promotion, 65–66

requirements for performance, 65

tools, 67

when and where, 62–66

Exit strategy

artist in mature career, 155

manager resignation, 155–156

Expenses, contract, 53

F

Facebook, 83

Fiduciary relationship, 120

Financial plan

career plan budget, 154–155

personal budget for artist, 59–61, 154

Flaherty, James, 164

Form 1099, 60–61

Foster, David, 4

Fox Agency, 104

Franklin Covey, event planning, 67

G

Genre, see Music genre

Goal setting

major goals, 148–149

overview, 57–59

supporting goals, 149

timeline setting, 149–150

Godfrey, M. P., 76

Gottwald, Lucasz, 44

Grant, Peter, 35–37

Groban, Josh, 4

H

Hall fees, 96

Hannah Montana, 126

Hard ticket, 87

Harris, Joe, 40

Hendrix, Jimi, 25, 34–35

High School Musical, 126

Hilley, Donna, 106

Hip Hop Conference, 8

Hospitality, event planning, 64

Hosting service, Web site, 80–81

House rate, 96

HTML, see Hypertext Markup Language

Human nature, understanding by artist manager, 6–7

Hutchison, Tom, 81–82

Hypertext Markup Language (HTML), 82

I

Iacocca, Lee, 5, 16

IFPI, see International Federation of Phonographic Industry

Image, 71–73

Independent label, 120–121

Insurance, 153–154

Internal Revenue Service (IRS), 60–61

International Federation of Phonographic Industry (IFPI), 24

Internet

domain name, 79–80

mining for information, 82–83

uniform resource locator, 80

Web hosting service, 80–81

Web site content, 26, 81–82

Invitation, event, 63–64

IRS, see Internal Revenue Service

J

Jay-Z, 120

Jeffreys, Michael, 34–35

John, Elton, 53

Jonas Brothers, 41–42

K

Ke$sha

management contract, 267–272

management by Dr. Luke, 44

Kennedy, Jerry, 40

Key man clause, 54

Kragen, Ken, 2, 58–59

Kraski, Mike, 24–25

L

Labels, see Recording

Lameier, Jack, 9

Landau, Jon, 39

Leadership, manager skills, 7, 164–165

Led Zeppelin, 35–37

Lewis, Pam, 40

Licensing, 96

Limited liability company (LLC), 78–79

Limited liability partnership (LLP), 78–79

Little Richard, 36

Live Nation, 120

LLC, see Limited liability company

LLP, see Limited liability partnership

M

Madonna, 120

Management contract

earnings following contract period, 52–53

example, 175–190

exclusivity, 50

expenses, 53

Ke$sha’s management contract, 267–272

length, 48

manager’s services to artist, 49–50

minor artist contract, 54–55

miscellaneous sections, 53–54

negotiation, 47–48

payment for services, 51–52

power of attorney, 50–51

Market, see Target market

Marketing plan

detailed plans to reach target, 152–153

state of industry, 151

target market, 151–152

Marketing/Publicity Report, Take 6, 121, 169–174

Market segmentation, 70

Mayer, John, 71

McEntire, Reba, 33

McNamara, Carter, 4–5

Meeting for recording contract

artist attendance, 136

characteristics, 135–136

ending, 137

overview, 129–137

planning for results, 132–134

practice, 134–135

purpose of meeting and research, 130–132

research and preparation, 132

time budgeting, 134

Merchandise, concert, 95–97

Michelangelo, 58

Microsoft Outlook, event planning, 67

Middle agent, 99

Minor artist, contract, 54–55

MMF, see Music Manager’s Forum

Money, power understanding, 20

Movies, music artist opportunities, 126

Multiple rights recording contract, 3

Music business

overview, 13–15

power understanding, 19–22

segments and market, 14t, 70–71

state of industry, 151

understanding by manager, 3–4

Music genre, defining, 25, 70, 144

Music Manager’s Forum (MMF)

Britain, 19

code of conduct, 273–274

MySpace, 24, 82–83, 119

N

Networking

artist, 26

manager skills, 7–8

New Kids on the Block, 41–42

New media manager, functions, 75–76

’N Sync, 41–42

O

OK Go, 20

Oldham, Andrew Loog, 40–41

Osbourne, Ozzy, 36, 43–44, 136

Osbourne, Sharon, 36, 43–44, 136

Overage, 93

P

Palmer Chris, 121, 169–174

Parker, Tom, 32–33, 53

Partnership, business, 78

Partnership agreement, band members, 191–216

Patton, Jonetta, 45

Pavarotti, Luciano, 37–38

Payola, 138–139

Pearlman, Lou, 42–43, 97

Performance, see also Event

booking, 87–88

business management, 88–90

college tours, 98–99

contract, 94–95

earnings in United States, 86t

hierarchy of personnel, 87f

international touring, 97–98

merchandise, 95–97

promotion, see Promotion

requirements in planning, 65

tour management, 90–91

Performing rights organization (PRO), 106

Personal budget, setting for artists, 59–61, 154

Personnel, requirements, 153

Pollstar

convention, 8

resources, 97, 132

Power of attorney, 50–51

PPD, see Published price to dealers

Preparing for management, artist

experience acquisition, 25

music style, 25

network building, 26

patience, 29

professional presence, 26–27

questions to ask, 27–29

selling out versus being commercial, 24–25

Preparing to manage, artist manager

entrepreneur function, 22

knowledge acquisition, 15

music business

overview, 13–15

power understanding, 19–22

understanding nature of career

decision making, 16

inconspicuous nature, 19

pressure management realities, 16–19

Presentation of artist, see Meeting for recording contract

Presley, Elvis, 32–33, 53

PRO, see Performing rights organization

Producer, role, 115–116

Promotion

event planning, 65–66

overview, 91–94

promoter function, 92–94

Proprietorship, 78

Publicist, functions, 74–75

Published price to dealers (PPD), 113

Publishing, song, 103–104, 107–108

R

Radio

charts, 124

college radio, 124–125

online radio, 123–124

satellite radio, 123–124

terrestrial radio, 122–123

Recording

labels

changing model, 120

expenses, 117–118

independent labels, 120–121

large labels, 110–111

contract, see Recording contract

producer role, 115–116

business perspective, 121–122

Recording contract

creating and paying for recording, 112

expenses charged to artist, 116–117

income for artist, 113–115

meeting for artist presentation see Meeting for recording contract

overview, 111–115

sample, 175–190

trends, 118–119

Recording Industry Association of America (RIAA), 24

Reid, John, 53

RIAA, see Recording Industry Association of America

Rimes, LeAnn, 33

Ringtone, royalty, 104

Rolling Stones, Oldham as manager, 40–41

Royalty

basis, 113t

earnings and net earnings, 114t

ringtone, 104

songwriting

performance of song, 105–107

writing of song, 104–105

S

Satellite radio, 123–124

SESAC, 105–106

Signature song, identification, 167

Simpson, Ashlee, 38

Simpson, Jessica, 38

Simpson, Joe, 38

Social skills, manager, 8–9

Soft ticket, 87

Sonenburg, David, 44

Songwriting

copyright, 101–103

income

performance of song, 105–107

writing of song, 104–105

negotiating asset, 107–108

publishing, 103–104

Spears, Britney, 41–42

Split point, 93

Sponsorship, artist, 125–126

Springsteen, Bruce, 39

Straight No Chaser, 20

Success, power understanding, 21

Sunset clause, 52

Support team

attorney, 74

booking agent, 73–74

business advisors, 76–77

new media manager, 75–76

publicist, 74–75

T

Take 6, 121, 169–174

Target market

branding and image, 71–73

defining, 33–34, 70, 146

marketing plan, 151–152

segments and market size, 14t, 70–71

understanding, 69–70

Television, music artist opportunities, 126

Tennes, see Protection of Minor Performers Act

360 deal, 118–119

Ticket, breakdown of price, 89t

Timberlake, Justin, 41–42

Timeline, setting, 149–150

Tour, see Performance

Trademark, 93

U

Uniform resource locator (URL), 80

URL, see Uniform resource locator

Usher, 45

V

Vevo, 71–72

Video, artist charges, 116–117

W

Wald, Melissa, 105

Web site, see Internet

William Morris, 126

Wright, Johnny, 41–42

Writing, see Songwriting

Y

Yardbirds, 36

YouTube, 71–72, 119

..................Content has been hidden....................

You can't read the all page of ebook, please click here login for view all page.
Reset
18.220.78.64