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Launching the artist´s career
Transcript of Launching the artist´s career
The only practical advice we´re willing to give on the subject of talent is this:
1. Be yourself, and be original. If you sound too much like anybody else on the radio, chances are that no record company will be interested.
2. Your competition is whoever is currently on the charts. You had better be a little bit better and more original than ther are.
3. Cds and concert tickets are expensive. You had better give pontetial fans some very good reasons to lay down their hard cash to see and hear you. Talent Simply means that the artist will mange his or her own carrer rather than retain the services of a separate individual or firm, may often be the most suitable alternative to a new artist who is in the "break - in" pahse of a career. Another obvios advantage of self - management is that it´s less expensive than hiring someone else. The principals contained in this book provide the self - mangement with the vasis for developing a personalized program. With the development of a career, he or she may eventually abandon or modify the self - management approach by utilizing a form of limited management or securing the services of a full - time personal manager. Self - Management Regardless of the tlaent or specific goals, the artist will need to employ management principals to fully develop that talent and to realize those goals.
"No management" means no planning, no organization, and no attention to the day - to - day details of the artist´s career. Unfortunately, no artist can have a realisitc chance to suceess by taking this approach unless, of course, the lead singer´s rich uncle owns controlling interest in a record label or booking agency. It´s probable, but we imagine it´s happened.
Let´s take a look at your options when it comes to launching and maintaining your career.
Total mangement Management options available to the artist The first step for any artist who wants to launch a successful career in the music business is to evaluate and recognize his or her particular management needs. We have already established that every act needs some form of management.
The purpose of his chapter is to help artists take a good, hard look at what their management needs are. For every solo artist or group who makes it to the charts, there are a lot more who end up doing their tour of duty in Los Angeles, New York, or Nashville before finally giving up and moving on to something that will do more than pay the rent on a dream that will never be realized. The dream of wealth and fame and doing what you enjoy touches us all. But before we accept rock and roll as a ready - made ticket out of tthe nine - to - five world of adult reality and into the dream world money and fame, it is essential for any would - be artist and his or her manager to ask four questions:
- Do I have the talent?
- Do I have the desire?
- Do I have the belief in myself and my abilities?
- Do I have the commitment? We have already alluded to the personal sacrifice, the thankless long hours of hard work, and the years of rejection and frustration that go into making it to the top and staying there. Every record company in (New York, L.A., Nashville - choose at least one) passed on (fill in the name and you´ll probably be right). But even assuming that an artist is willing to give the effort, make the sacrifices, and put up with the rejection, there´s no guaratee that years of dues - paying will finally pay off. Desire If you are considering a music business career, you should balance your dream against the downside of fleeting fame, elusive financial reward, and the personal toll the road can extract from even the most driven and creative artist. The desire to take all this and more had better be burning in you soul. Otherwise, you are on a collision course with some serious disappointements, and worse. You think you ( or your pontential artist - client) have the talent to make it. Belief is the intangible quality that separates stars from talents. WIthout it, an artist anda manager may achieve a measure of success but will never sustain it at the highest leveles. Belief The degree of commitment to a show - business career is a factor that can be controlled only by the artist. Some are willing and able to throw themselves totally into a full - time career. But many more artists are unable financially to support themseleve solely with their enterteinment - oriented income, especially at the outset. Commitment This approach involves retention of a person other than the artist to provide certain specific management services. The artist performs all other management functions not delegated to the manager. Limited management could be a booking agent, promoter attorney, accountant or other person with music business experience who would be willing to act as a consultant without undertaking total responsability for development of your career.
This approach is often an effective bridge between the two extremes of self - management and total management. It should be considered as a pontential solution to the artist´s individual management needs, especially in the early stages of career development. Limited Management This approach to artist management usually involves and individual or managemente firm tha is completely involved in the creative and business development and maintenance of an artist´s career. The personal manager is in charge of day - to day operations ranging from mayor policy decisions to seemingly trivial details. Total management is preferable to the other management opritons, providede that the artist´s career requieres this full - time attention and the artist can pay for it.
The key to sucees in any endeavor is to make things happen rather tha just letting things happen. Total Management