A talent manager, also known as an artist manager, band manager or music
manager, is an individual or company who guides the professional career of
artists in the entertainment industry. The responsibility of the talent manager
is to oversee the day-to-day business affairs of an artist; advise and counsel
talent concerning professional matters, long-term plans and personal decisions
which may affect their career. 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 actors, writers, or directors. A
manager can also help artists find an agent, or help them decide when to leave
their current agent and identify who to select as a new agent. Talent agents
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. History
Modern talents managers are associated with all artistic fields, sports, as
well as various fields in business. Talent agents have at times been covered
in the music or art press almost as intently as artists themselves, for
example the various talent agents who spearheaded the British Invasion of The
Beatles and Herman's Hermits in the 1960's such as Brian Epstein, Allan
Williams, Harvey Lisberg. Infamous examples in the music press include
Allen Klein, manager of both The Beatles and The Rolling Stones. For a list of
talent agents deemed notable by Wikipedia's general notability
guidelines, see Category:Talent agents. For notable agencies and businesses, see
Category:Talent agencies. 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.
Music managers A music manager may handle career areas
for bands, singers, and DJs. A music manager may be hired by a musician or
band, or the manager may discover the band, and the relationship is usually
contractually bound with mutual assurances, warranties, performances
guarantees, and so forth. The manager's main job is to help with determining
decisions related to career moves, bookings, promotion, business deals,
recording contracts, etc. The role of music managers can be extensive and may
include similar duties to that of a press agent, promoter, booking agent,
business manager, tour managers, and sometimes even a personal assistant.
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, songwriters, and
instrumentalists in molding a career, finding music producers, and developing
relationships with record companies, 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. He or she 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.
Management strategies Despite the dominant presence of digital
media in the music industry, there are many typical strategies that even the
most modernized managers must adhere to in order to reach the managerial goals
effectively. Most of these trick-of-the-trade strategies are
employed to establish and maintain connections with booking agents, promote
the activities of the artist, and manage finances in order to optimize the
artist's ability to book gigs, establish a fan base, and ultimately bring in
revenue from their work, respectively. = Booking gigs =
Among the more traditional responsibilities of music managers are
booking and promoting gigs for their artist(s). Managers often become known
for establishing ongoing relationships with specific venues, booking one artist
at the venue regularly, or several artists on their roster. A large number
of 'how-to' books have been published on the topic.
= Internet strategies = As technology has advanced, the music
industry has consequently undergone a drastic change in the way it operates.
The internet has made it both easier and harder to attract the attention of fans
and the press, as both outreach increase but industry saturation increases. “The
sale of pre-recorded music has diminished, but there’s so much more
that’s going on. You can’t focus on what’s not working when there are so
many other opportunities.”. Social media is a common form of online networking
for managers, and platforms such as MySpace, Facebook, Beatport, Bandcamp,
Soundcloud, and YouTube have been noted in the press for their use in networking
in the music industry. Other fields such as business may use more common websites
such as LinkedIn or Google+, while networking on behalf of a client.
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.
= Digital case Study: Lady Gaga = In an article titled, “Case study:
Making money from music” by Martin Kupp, Jamie Anderson and Joerg Reckhenrich,
the effects of technological advances on the music industry are recognized,
analyzed, and utilized through an online marketing strategy that led to the
incredible success of Lady Gaga. Troy Carter of Coalition Media signed Gaga
with the intention of making her into a star with the help of some clever
marketing. Recognizing that digitalization was the cause of the
almost 33% decrease in the music industry’s total revenue between the
years 2000 and 2007, Carter decided to find a way to use digitalization to his
advantage with his newly signed artist. Coalition Media, with the help of
marketing company ThinkTank Digital, invested large amounts of time and money
into developing Lady Gaga’s global presence through social media.
They set up many interviews with online 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.
Compensation striking a tentative compensation
agreement that can be renegotiated after three or four months is recommended, and
the rate of pay is generally based on commissions of 80 percent or more of
performance and commercial incomes. According to an article by Media
Positive Radio, this amount depends on the level of development the band or
artist is at and the experience, networks and resources of the manager.
The artist or band should never agree to circumstances that cannot be terminated
or negotiated within a short period of time.
Photography Managers usually secure the services of
a professional photographer while the artist is recording. Different 8x10
pictures of the artist can be used for websites, CD labels/jackets, posters,
and the press kit. Cost for high quality shoots vary from $500 for a basic shoot
to thousands for several looks. Photographers are not expected to cover
material cost. It is important that the manager obtains an agreement upfront
confirming license to use the images which will cover the uses necessary, in
addition to high resolution digital images on CD. Managers are also advised
to have photographs taken before CD designs or artwork goes into production.
Managers are also responsible for hiring additional staff when necessary.
References