Product Code Database
A talent manager (also known as an artist manager, band manager, or music manager) is an individual who guides the professional career of Entertainer within the entertainment industry. The responsibility of a talent manager is to oversee the day-to-day business affairs of an artist. This frequently involves how they advise and counsel talent concerning professional matters alongside the making of long-term plans and other personal decisions that may affect the entertainer's career. MusicBizAdvice Q&A January 2008
An artist manager is also a person responsible for hiring and managing the employees in a company. Depending on the nature of the organization that the individual administers, they may play a comparatively active role in both the day-to-day lives of musicians as well as contribute in some fashion to recording related choices. For example, the British talent manager Brian Epstein received popular attention as a celebrity alongside his artists, which included the Beatles, and has been referred to as the "Fifth Beatle".
The roles and responsibilities of a talent manager vary slightly from industry to industry, as do the commissions to which the manager is entitled. For example, a music manager's duties differ from those managers who advise , , or film director. A manager can also help artists find an agent or help them decide when to leave their current agent and identify whom to select as a new agent.Garrison, Larry. Breaking Into Acting for Dummies, Wiley Publishing Inc., 2002, p. 34. have the authority to make deals for their clients while managers usually can only informally establish connections with producers and studios but do not have the ability to negotiate contracts.
The industry of talent management has been unionized or organized in several forms throughout history. In the United States, a notable early example was the Association of Talent Agents, which was formed in Los Angeles, California in 1937. The ATA comes out of the Wagner Act upheld by the Supreme Court which established many of the unions and guilds that regulate people who work in the entertainment industry such as the Screen Actors Guild, Directors Guild of America, and Writers Guild of America. Association of Talent Agents
Manager's contracts, however, cannot license those responsibilities unto the manager in the same way a state license would empower the agent to do so. Therefore, conflicting areas of interest may arise unless those are clarified in the contract. That said, a manager should be able to read and understand and explain a contract and study up on the long-term implications of contractual agreements that they, the bands, and the people they do business with, enter into. Before the manager enters into an agreement with the band, their relationship may be regarded as competing for interest; after a good contract is signed, their interests, obligations and incentives are aligned, and the interest in success is shared.
Responsibilities of a music manager are often divided among many who manage various aspects of a musical career. With an unsigned act, music managers may assume multiple roles: graphic designer, publicist, promoter, and handling money and finances. As an artist's career develops, responsibilities may grow, and because of their percentage agreement with the band, the manager's income may grow as well.
A music manager becomes important to managing the many different pieces that make up a career in music. The manager can assist singers, , and instrumentalists in molding a career, finding Record producer, and developing relationships with Record company, publishers, agents, and the music-loving public. They should carefully consider when certain contributions have been made which would also entitle them to cowriting credits, Executive Producer credit, or Producer credit should they become involved in songwriting, financing works, or actually producing demos and recordings, and should carefully know these jobs and these fees should be considered either as separate from the contract, in addition to the contract, or as free to the musician as clarified in emails and the contract.
The duties of an active music manager may include supporting the band's development of a reputation for the musician(s) and building a fan base, which may include mastering and launching a demo CD, developing and releasing press kits, planning promotional activities, creating social network identities for bands, and booking shows. A music manager may be present during recording sessions and should support the artist during the creative process while not interfering between the artist and the producer, but musicians may also find valuable feedback in the extra pair of ears, and this should be carefully considered as well. The manager may gain access to a recording studio, photographers, and promotions. The manager will see that CD labels, posters, and promotional materials appropriately represent the band or artist, and that press kits are released in a timely manner to appropriate media. Launching a CD with complementary venues and dates is also a music manager's responsibility.
Among all the business and professional responsibilities that music managers assume; they also become a pseudo parent for the group and help with personal matters usually. This is both for the psyche of the group and to ensure that things are running smoothly.
Early on in an artist's career, the different facets of management and marketing fall upon either the band itself or, if they have one, their manager. Because the band or artist is relatively unknown initially, promotion, booking, and touring are minimal. A new music manager begins by establishing a clear understanding of what the artist(s) want. This can be accomplished through either a written or verbal contract. A music manager's first task is to solidify all artist development aspects and then concentrate on product development.
Not everyone is so optimistic about the role of social media in the music industry. In his article, “Why Music Won’t Be Saved By Social Media”, Wes Davenport suggests that the role of social media in the industry “has been grossly inflated”. In the article, Davenport quotes Jon Ostrow saying, “Social media is a conversation tool – that’s it”, acknowledging that there is potential for sparking conversation and building a fan base, but suggesting that social media does not necessarily live up to the potential for success that people in our modern culture seem to give credit.Davenport, Wes. Why Music Won’t Be Saved By Social Media. Hypebot.com (2013): Accessed March 9, 2013.
They set up many interviews with Bloggers, established a large following on Myspace through “constant news updates, as well as exclusives, interviews and special features” and Gaga personally handled her Twitter account, building a very personal connection with many of her fans. This strategy demonstrates the massive success that skillful online marketing can produce. The article focuses on Coalition Media and Lady Gaga’s utilization of the “Four E’s”: Emotions, Experiences, Engaging, and Exclusive. By personalizing her online activity, creating an experience, engaging, and providing exclusivity to her fans through social media marketing, Lady Gaga was able to achieve incredible levels of success with her music career.Martin Kupp, Jamie Anderson and Joerg Reckhenrich. Case Study: Making Money From Music. The Financial Times LTD (2011): Accessed March 7, 2013.
|
|
