Music Artist Managers

Following the discussion in Part 1 (Dance Research 32.2 2014, 185–207) of the use made by the Jacobean court of Le Balet Comique ( McGowan 1982 ) to frame innovation in the masque, this article will explore two further examples of the continuing use of the text. The overt adoption of features of Le Balet Comique for Tempe Restored (1632, Aurelian Townshend and Inigo Jones) brought French practice into play once more for the Caroline masque. Following in his father's footsteps, Charles 1 was able to bring to the masque his personal skill as a dancer and the participation of his young and beautiful French queen Henrietta Maria. From the re-launch of the court masque in 1631, until the break-up of the Whitehall court in 1640, both retrospective and innovative practices were pursued. Although this was a new reign, a strong element of continuity prevailed in the court personnel serving the masque. Acting as artistic director, Inigo Jones was now firmly in control of masque concepts, pursuing a design process of imaginative imitation based on Renaissance practice. In collaboration with individuals among the music and dance artists, Jones had been intimately involved in adapting features of the ballet in devising The Masque of Queens of 1609. 1 That Le Balet Comique formed the basis for Tempe Restored is made very plain in the published text. The influence of the 1581 ballet on A Masque presented at Ludlow Castle 1634 (known as Comus) by John Milton can only be discerned by analysing the performance conditions of a work that is now published as a poem. Once again the Circe persona takes the stage, this time in masculine form as Comus. I argue here that the link between the two is the personnel of Tempe Restored. An analysis of the original performance of Comus draws on understanding of elite dance practice of the day leading to new insights into this innovative masque.

Manthous as Campursari Musician and Composer. The study reveals that in his early age Manthous wasnurtured in a highly disciplined environment, and he had a strong determination to become a reliable fi gure in theart-world. Before composing Campursari Manthous had dealt with Pop Krontjong which was well-recognizedworldwide. In addition, Manthou’s also served as a recording programmer in several well-known recording studios.Through years Manthous has developed his musical skills as music player, singer, composer and artist manager. Hiscompositions contain simple lyric, diction, and rhyme. They have been composed in accordance to his personalmoods, marketing strategies and orders. By composing Campursari, he expects all groups of people, especially theyoung generation, can accept and enjoy Javanese musical performance (karawitan) in different form

It’s agonizing to realize that someone spent months if not years of sleepless nights compiling, composing and committed to produce a piece of music art. In most cases before it gets into the market officially it is deplorable that thousands of copies would have been sold illegally and at a bargain price like R10-00 in South African currency (US$1-00) and US$1-00 in Zimbabwe currency. This on-the-street cheap pricing cannot remunerate the effort of the musicians neither does it benefit to the pirates. The issues of Intellectual Property Rights (IPRs) need to be respected in all forms of art. Before the 1990s, the music industry used to be lucrative for music artists but now some view it as unrewarding because fake artists copy their music (and also some films) and sell it on the streets before it reaches music stores. Copy right laws are no longer observed seriously. This paper seeks to answer the following questions: What should be done to improve music production and supply processes in Zimbabwe and South Africa? Who is to blame for this rampant music piracy in the Southern African countries - the information technologist who reproduces a music CD illegally or the musician? Management of art is complex and a number of musicians are not educated enough and thus have no basic business management knowledge and skills. This paper critiques the illegal act of music piracy in Zimbabwe and South African, and seeks to establish a music industry model of musical art marketing and sales towards profitability for music composers and producers. The article attempts to offer possible solutions to the music piracy challenge. DOI: 10.5901/mjss.2014.v5n15p272

In the 2019 documentary Chasing Happiness, recording artist/musician Joe Jonas tells audiences that the band was “living the dream”. Similarly, in the 2012 documentary Artifact, lead singer Jared Leto remarks that at the height of Thirty Seconds to Mars’s success, they “were living the dream”. However, for both the Jonas Brothers and Thirty Seconds to Mars, their experiences of the music industry (much like other commercially successful recording artists) soon transformed into nightmares. Similar to other commercially successful recording artists, the Jonas Brothers and Thirty Seconds to Mars, came up against the constraints of the industry which inevitably led to a forfeiting of authenticity, a loss of creative control, increased exploitation, and unequal remuneration. This work will consider how working in the music industry is not always a dream come true and can instead be viewed as a proverbial nightmare. Living the DreamIn his book Dreams, Carl Gustav Jung discusses how that which is experienced in sleep, speaks of a person’s wishes: that which might be desired in reality but may not actually happen. In his earlier work, The Interpretation of Dreams, Freud argued that the dream is representative of fulfilling a repressed wish. However, the creative industries suggest that a dream need not be a repressed wish; it can become a reality. Jon Bon Jovi believes that his success in the music industry has surpassed his wildest dreams (Atkinson). Jennifer Lopez considers the fact that she held big dreams, had a focussed passion, and strong aspirations the reason why she pursued a creative career that took her out of the Bronx (Thomas). In a Twitter post from 23 April 2018, Bruno Mars declared that he “use [sic] to dream of this shit,” in referring to a picture of him performing for a sold out arena, while in 2019 Shawn Mendes informed his 24.4 million Twitter followers that his “life is a dream”. These are but a few examples of successful music industry artists who are seeing their ‘wishes’ come true and living the American Dream.Endemic to the American culture (and a characteristic of the identity of the country) is the “American Dream”. It centres on “a land in which life should be better and richer and fuller for every man, with opportunity for each according to his ability and achievement” (Adams, 404). Although initially used to describe having a nice house, money, stability and a reasonable standard of living, the American Dream has since evolved to what the scholar Florida believes is the new ‘aspiration of people’: doing work that is enjoyable and relies on human creativity. At its core, the original American Dream required striving to meet individual goals, and was promoted as possible for anyone regardless of their cultural, socio-economic and political background (Samuel), because it encourages the celebrating of the self and personal uniqueness (Gamson). Florida’s conceptualisation of the New American dream, however, tends to emphasise obtaining success, fame and fortune in what Neff, Wissinger, and Zukin (310) consider “hot”, “creative” industries where “the jobs are cool”.Whether old or new, the American Dream has perpetuated and reinforced celebrity culture, with many of the young generation reporting that fame and fortune were their priorities, as they sought to emulate the success of their famous role models (Florida). The rag to riches stories of iconic recording artists can inevitably glorify and make appealing the struggle that permits achieving one’s dream, with celebrities offering young, aspiring creative people a means of identification for helping them to aspire to meet their dreams (Florida; Samuel). For example, a young Demi Lovato spoke of how she idolised and looked up to singer Beyonce Knowles, describing Knowles as a role model because of the way she carries herself (Tishgart). Similarly, American Idol winner Kelly Clarkson cited Aretha Franklin as her musical inspiration and the reason that she sings from a place deep within (Nilles). It is unsurprising then, that popular media has tended to portray artists working in the creative industries and being paid to follow their passions as “a much-vaunted career dream” (Duffy and Wissinger, 4656). Movies such as A Star Is Born (2018), The Coal Miner’s Daughter (1980), Dreamgirls (2006), Begin Again (2013) and La La Land (2016) exalt the perception that creativity, talent, sacrifice and determination will mean dreams come true (Nicolaou). In concert with the American dream is the drive among creative people pursuing creative success to achieve their dreams because of the perceived autonomy they will gain, the chance of self-actualisation and social rewards, and the opportunity to fulfil intrinsic motivations (Amabile; Auger and Woodman; Cohen). For these workers, the love of creation and the happiness that accompanies new discoveries (Csikszentmihalyi) can offset the tight budgets and timelines, precarious labour (Blair, Grey, and Randle; Hesmondhalgh and Baker), uncertain demand (Caves; Shultz), sacrifice of personal relationships (Eikhof and Haunschild), the demand for high quality products (Gil & Spiller), and the tense relationships with administrators (Bilton) which are known to plague these industries. In some cases, young, up and coming creative people overlook these pitfalls, instead romanticising creative careers as ideal and worthwhile. They willingly take on roles and cede control to big corporations to “realize their passions [and] uncover their personal talent” (Bill, 50). Of course, as Ursell argues in discussing television employees, such idealisation can mean creatives, especially those who are young and unfamiliar with the constraints of the industry, end up immersed in and victims of the “vampiric” industry that exploits workers (816). They are socialised towards believing, in this case, that the record label is a necessary component to obtain fame and fortune and whether willing or unwilling, creative workers become complicit in their own exploitation (Cohen). Loss of Control and No CompensationThe music industry itself has been considered by some to typify the cultural industries (Chambers). Popular music has potency in that it is perceived as speaking a universal language (Burnett), engaging the emotions and thoughts of listeners, and assisting in their identity construction (Burnett; Gardikiotis and Baltzis). Given the place of music within society, it is not surprising that in 2018, the global music industry was worth US$19.1billion (IFPI). The music industry is necessarily underpinned by a commercial agenda. At present, six major recording companies exist and between them, they own between 70-80 per cent of the recordings produced globally (Konsor). They also act as gatekeepers, setting trends by defining what and who is worth following and listening to (Csikszentmihalyi; Jones, Anand, and Alvarez). In essence, to be successful in the music industry is to be affiliated with a record label. This is because the highly competitive nature and cluttered environment makes it harder to gain traction in the market without worthwhile representation (Moiso and Rockman). In the 2012 documentary about Thirty Seconds to Mars, Artifact, front man Jared Leto even questions whether it is possible to have “success without a label”. The recording company, he determines, “deal with the crappy jobs”. In a financially uncertain industry that makes money from subjective or experience-based goods (Caves), having a label affords an artist access to “economic capital for production and promotion” that enables “wider recognition” of creative work (Scott, 239). With the support of a record label, creative entrepreneurs are given the chance to be promoted and distributed in the creative marketplace (Scott; Shultz). To have a record label, then, is to be perceived as legitimate and credible (Shultz).However, the commercial music industry is just that, commercial. Accordingly, the desire to make money can see the intrinsic desires of musicians forfeited in favour of standardised products and a lack of remuneration for artists (Negus). To see this standardisation in practice, one need not look further than those contestants appearing on shows such as American Idol or The Voice. Nowhere is the standardisation of the music industry more evident than in Holmes’s 2004 article on Pop Idol. Pop Idol first aired in Britain from 2001-2003 and paved the way for a slew of similar shows around the world such as Australia’s Popstars Live in 2004 and the global Idol phenomena. According to Holmes, audiences are divested of the illusion of talent and stardom when they witness the obvious manufacturing of musical talent. The contestants receive training, are dressed according to a prescribed image, and the show emphasises those melodramatic moments that are commercially enticing to audiences. Her sentiments suggest these shows emphasise the artifice of the music industry by undermining artistic authenticity in favour of generating celebrities. The standardisation is typified in the post Idol careers of Kelly Clarkson and Adam Lambert. Kelly Clarkson parted with the recording company RCA when her manager and producer Clive Davis told her that her album My December (2007) was “not commercial enough” and that Clarkson, who had written most of the songs, was a “shitty writer… who should just shut up and sing” (Nied). Adam Lambert left RCA because they wanted him to make a full length 80s album comprised of covers. Lambert commented that, “while there are lots of great songs from that decade, my heart is simply not in doing a covers album” (Lee). In these instances, winning the show and signing contracts led to both Clarkson and Lambert forfeiting a degree of creative control over their work in favour of formulaic songs that ultimately left both artists unsatisfied. The standardisation and lack of remuneration is notable when signing recor

Minóy is a rescue operation with several life rafts. Minóy-the-book provides an introduction and overview to the important noise music artist Minóy — the pseudonym of American electronic art musician and sound artist Stanley Keith Bowsza (1951-2010). Minóy’s audio compositions, often conjuring up an enigmatic world of almost dreadful depth, earned him a key position in the homemade independent cassette culture scene of the 1980s. Minóy-the-CD (available HERE) makes available nine of Minóy’s audio compositions that span the years 1985 to 1993. These were drawn from recently discovered archival material and selected by the editor and artistic director of the project, Joseph Nechvatal, in collaboration with composer Phillip B. Klingler (PBK). Klingler (co-producer and sound engineer) houses the Minóy archive and has re-mastered the tracks, most of which have never been heard before (it was thought that Minóy stopped recording in 1992). Minóy-the-book contains two written monograms of Minóy, one by close friend Amber Sabri and one by artist and art theoretician Joseph Nechvatal. There are three additional essays by Nechvatal, the first of which, “The Obscurity of Minóy,” recounts the history of the recovery of the audio material from obscurity. In the subsequent essays (“The Aesthetics of an Obscure Monster Sacré” and “Hyper Noise Aesthetics”), Nechvatal reflects on the artistic benefits of obscurity and situates Minóy’s deep droning palimpsest soundscapes within an original aesthetic-theoretical context of an obscure monster sacré, and also examines Minóy’s legacy in terms of current aesthetic responses to the surveillance state, couching Minóy’s mysterious and excessive compositions in terms of a general art of noise. In total, Minóy’s work undergoes a critical intricacy in terms of a contemporary art practice engaged in the fragile balance between production of, and resistance to, perceptibility. Nechvatal brings a subversive reading to Minóy’s work by presenting it as a form of hyper-noise artistic gazing, based in the flipping of figure and ground. The book also contains sixty black and white portrait images from the Minóy as Haint as King Lear series that photographer Maya Eidolon (Amber Sabri) created before his death in collaboration with Minóy (then known as Haint) and Stuart Hass (Minóy’s lifetime partner).

PurposeThe purpose of this paper is to explore the implementation of equity crowdfunding (ECF) within the record industry in terms of challenges and opportunities, in addition to the marketing and financial implications for independent music artists and major record labels.Design/methodology/approachThis study adopted a qualitative methodology consisting of two-stage interview-based research methods. A total of 44 semi-structured in-depth interviews were conducted with the CEOs of ECF platforms in the record industry, other related record industry informants, independent artist managers and senior executives from major record labels.FindingsThe loyalty aspect of ECF may have significant marketing potential in terms of inconspicuously using the equity platform as a “prosumer” identification mechanism. As this early career stage of artists is delicate in terms of establishing trust and patronage from their fans, these early marketing and ECF ventures should be implemented directly from the artist without external third-party involvement.Research limitations/implicationsThe implications of this paper’s findings and theoretical model are not limited to the two studied stakeholder groups of the record industry. The insights in relation to the obstinate lack of understanding and clarity (particularly for independent artists) which surround ECF are likely to influence short-term strategic approaches by other players throughout the wider music industry.Practical implicationsThe insights regarding negative approaches towards ECF by the labels may influence future “coopetition strategies” for independent labels, as they seek to navigate the changing industry dynamics.Originality/valueThis paper is the first study to empirically explore the predominantly under-researched area of ECF implementation in the record industry in terms of marketing and financial consequences for artists and labels.

What is music artist management?

This paper examines how the transformative role of the consumer in co-production is affecting key stakeholders within the music industry. The study explores the changing consumer role in co-production, how it is affecting content quality, the implications for music artists and record labels, and how they are approaching (and should approach) co-production. The research methodology consists of a three-stage interview design of 52 in-depth, semi-structured interviews with senior members of music organisations (including artist managers and major labels). An inductive, data-driven four-phase constant comparison analysis technique is used to analyse the data. The findings contribute to the co-production research domain by offering new insights from a music industry context and presenting new theoretical models for how co-production is affecting industry stakeholders. Implications for industry, policy and future research are also provided.

New models for music artist manager retention

Foreword - Stan Cornyn Part I MUSIC IN THE MARKETPLACE 1. Overview More Than Pop Art Versus Commerce Historical Development: Finding a Paying Audience Influence of Mass Media The Arts and Entertainment Industry 2. The Music Business System Getting Through the Maze Music Business Studies in Higher Education Help Wanted! Part II SONGWRITING, PUBLISHING, COPYRIGHT 3. Professional Songwriting The Market Predictors of Success The Craft The Business of Writing Income Sources Publishing Options Evaluating Publishers The Songwriters Guild of America Contract Reassignment or Default Breaking In 4. Music Publishing Types of Publishers Administration Contracts With Writers Split Copyrights, Copublishing Copyright Protection: Sampling Promotion, Advertising Income Sources Trade Associations 5. Music Copyright Background Essential Provisions Key Terms Coverage Exclusive Rights Fair Use of Copyrighted Material Copyright Ownership Transfer or Assignment Work Made for Hire Musical Arrangements Sound Recordings Compulsory Mechanical License Royalty Payments Duration of Copyright Formalities Infringement, Remedy Record Counterfeiting, Penalties Changing Laws Rights in Names and Trademarks A Final Note on Law Part III BUSINESS AFFAIRS 6. Music Licensing Music Rights: An Overview Performing Rights Organizations Keeping Track of the Music Membership Options Mechanical Licenses Synchronization Licenses Cable Television Licenses Video Licenses Transcription Licenses Jukebox Licenses Dramatic Music Rights 7. Agents, Managers, and Attorneys Agents Managers Attorneys Business Management Techniques 8. Artists' Recording Contracts AFTRA Agreements AFM Agreements 9. Unions and Guilds American Federation of Musicians American Federation of Television and Radio Artists American Guild of Musical Artists American Guild of Variety Artists Actors' Equity Association Screen Actors Guild International Alliance of Theatrical Stage Employees Other Unions and Guilds Part IV MANAGING, PRODUCING, AND MERCHANDISING 10. Artist Management Discovering Each Other The Financial Relationship Manager's Commission Advancing the Career Personal Management Agreement 11. Record Production Record Producers Matching Producer to Artist Production Deals The Recording Studio: Operation and Selection The Five Stages of Record Production Getting Started as a Producer Professional Associations 12. Concert Promotion Getting Started Booking the Artist Making an Offer The Art of the Deal Contracts Marketing Publicity and Public Relations Sponsorships Ticketing 13. Arts Administration The Classical Music Market Perspective Representative Organizations Symphonic Music Funding the Arts State Arts Councils Administration 14. Music Products Music Retailers Sales Leaders Promotion of Musical Products Financial Management in Music Retail New Trends in Music Retail Trade Associations Opportunities for Employment Part V THE RECORDING INDUSTRY 15. Scope of the Recording Industry Perspective Major Labels Independent Labels Specialty Labels Do-It-Yourself Recording Recording Company Structure National Academy of Recording Arts & Sciences 16. Record Promotion, Distribution, and Retailing The Marketing Plan The Elements of a Marketing Plan Record Distribution Retail Merchandising 17. Record Markets Research Methods The Charts Data Collection Market Research Record Categorization Stylistic Preferences 18. The Digital Age The Double-Edged Sword Internet Synergy Labels Lay Seeds of Self-Destruction Smaller, Cheaper, Faster, Better (?) The Economics of Digital Distribution: Change and Evolution The New Economic Order The Digital Future Part VI MUSIC IN BROADCASTING AND FILM AND THEATER 19. Music in Radio Types of Stations Audience Identification and Market Research Spectrum of Formats How Commercial Radio Stations Work 20. Music in Television Variety and Talk Shows Music Specials/Events/Awards Shows Theme Songs Background Music and Foreground Spotlights The Singer/Actors The Commercials The Evolving TV Picture TMTV and the Rise of the Music Video Producing Short-Form Videos 21. Dramatic Scoring for Motion Pictures and TV Background The Craft Music Scoring for TV Library Music Hiring Practices 22. Music in Advertising Influences on Style Jobs Music Uses Budgets Station Logos The Agency Role Spot Production 23. Music and Theater Types of Musical Theater Broadway Musicals Theater Associations Production Components 24. Business Music Foreground and Background Music Service Companies Production Music Libraries Part VII CAREER PLANNING AND DEVELOPMENT 25. Career Options Creative Careers Producing/Directing Careers Performing Careers Teaching Careers Broadcasting/Film/Video Game Careers Music-Related Careers Entrepreneurs/Starting Your Own Business 26. Starting Your Own Business Getting the Process Started Choosing a Name Forms of Ownership Permits and Legalities Raising Funds Marketing Web Promotion Accounting and Finance Keeping Track of the Money Operations Management Management Where to From Here? 27. Career Development Defining Goals Climbing the Ladder Finding Work Part VIII CANADIAN MUSIC INDUSTRY AND INTERNATIONAL COPYRIGHT What You Need to Know About Canada's Music Scene - Richard Flohil International Copyright: The World Market Outside the United States - Phil Hardy and Dave Laing Appendix A: Membership and Copyright Forms Appendix B: Selected Readings Appendix C: Professional Organizations Glossary Index About the Author and Editor

Music Artist Managers

The ever-expanding role of music artist managers