8.5.11 Adam News & Info
Aug 5, 2011 23:12:26 GMT -5
Post by smokeyvera on Aug 5, 2011 23:12:26 GMT -5
This good info written by Iceni_queen, but there appeasrs to e some conflicting info per Q3
The way the industry works; a breakdown of LABEL, MANAGEMENT, and PUBLICITY.
Label: (In Adam's case, RCA - under the umbrella of Sony Music Global) An artist sings a recording contract with a major label and hands in his or her recordings. The company then gives those recordings to a distributor (wholesaler, digital distributors, etc). The record company gears up its advertising, promotion, and marketing to propel the artist into the public eye using the following major divisions:
A&R: the people who work creatively with the artist, act as liaison with writers/producers/etc. Are the "ears" who nurture a sound with the artist.
SALES: this division gets the album to stores and on digital sites.
MARKETING: Advertising, publicity, album-cover artwork, promotional videos, in-store displays, promotional merchandise, etc.
PROMOTION: This is the division in charge of radio. They spend their days "jamming" radio stations with sweet talk and deals.
PRODUCT MANAGEMENT: In charge of whipping up all the other departments and getting them to work together in synchronicity.
NEW MEDIA: The masters of all things digital and the new frontiers of music delivery.
PRODUCTION: Manufacturing, cover printing, assembling and shipping physical CDs to distributors.
FINANCE: Compute and pay all artist royalties and keep track of label's income and expenses.
BUSINESS AFFAIRS/LEGAL: Execs responsible for all contracts/licensees, etc. They negotiate deals and make decisions on what deals to pursue and which to terminate.
INTERNATIONAL: Co-ordinates the release of albums around the world and oversees all the functions of all other division activities in foreign territories.
An artist’s MANAGEMENT is separate from the label, to prevent conflict of interest on an artist’s behalf. (In Adam’s case, 19 Entertainment, formerly owned by Simon Fuller, who is currently president of XIX Entertainment)
A good manager is the SINGLE MOST IMPORTANT factor in an artist’s processional life. A good manager can expand a career to its maximum potential, and a bad one can plummet an artist into oblivion. Here are the main aspects of their role:
1) Helping with major business decisions, such as whether to take a publishing deal, how much to negotiate for, etc.
2) Helping with the creative process, such as selecting photographers, hiring band members, etc.
3) Promoting a career by hyping an artist, coordinating a publicity campaign with other entities, artists, etc.
4) Assembling and heading an artist’s professional team: lawyers, business managers (who handle an artist’s bank account), agents (who book appearances but have a limited sphere of influence), etc.
5) Coordinating tours by working with an agent to make deals with promoters, finalizing logistics, budget, assembling a road crew, etc.
6) FIGHTING the label on an artist’s behalf to maximize advertising and marketing campaigns, making sure the artist’s albums are treated as a priority, and SCREAMING at them when they do wrong.
7) Being the buffer between an artist and the outside world; they field inquires for commercial endorsements, personal appearances, etc.
PUBLICITY (PUBLIC RELATIONS)
In most cases a PR team is on the music label. (In Adam’s case, it appears the publicity is handled partially by RCA and partially by Roger Widynowsky, who is with XIX Entertainment. On a personal note, I am not sure this arrangement suits Adam’s need on a global level.)
An artist’s PR team can make or break them. The biggest artists in the industry are backed by the most comprehensive PR machines; they are ALWAYS in the news, whether for good or ill. They DOMINATE the media.
PR generates value above and beyond tangible sales. It generates audience, and it generates influence/power. PR creates and builds the image of an artist. The team molds their distinct brand, making them a recognizable product in a sea of competition. This image should be malleable and adapt as an artist grows, and should ALWAYS leave the fans and public wanting more. PR is also responsible for redirecting negative press to suit the needs of the narrative they have built around an artist. This narrative should humanize a star, making them relatable on a personal level, but always keeping them JUST out of reach.
The way the industry works; a breakdown of LABEL, MANAGEMENT, and PUBLICITY.
Label: (In Adam's case, RCA - under the umbrella of Sony Music Global) An artist sings a recording contract with a major label and hands in his or her recordings. The company then gives those recordings to a distributor (wholesaler, digital distributors, etc). The record company gears up its advertising, promotion, and marketing to propel the artist into the public eye using the following major divisions:
A&R: the people who work creatively with the artist, act as liaison with writers/producers/etc. Are the "ears" who nurture a sound with the artist.
SALES: this division gets the album to stores and on digital sites.
MARKETING: Advertising, publicity, album-cover artwork, promotional videos, in-store displays, promotional merchandise, etc.
PROMOTION: This is the division in charge of radio. They spend their days "jamming" radio stations with sweet talk and deals.
PRODUCT MANAGEMENT: In charge of whipping up all the other departments and getting them to work together in synchronicity.
NEW MEDIA: The masters of all things digital and the new frontiers of music delivery.
PRODUCTION: Manufacturing, cover printing, assembling and shipping physical CDs to distributors.
FINANCE: Compute and pay all artist royalties and keep track of label's income and expenses.
BUSINESS AFFAIRS/LEGAL: Execs responsible for all contracts/licensees, etc. They negotiate deals and make decisions on what deals to pursue and which to terminate.
INTERNATIONAL: Co-ordinates the release of albums around the world and oversees all the functions of all other division activities in foreign territories.
An artist’s MANAGEMENT is separate from the label, to prevent conflict of interest on an artist’s behalf. (In Adam’s case, 19 Entertainment, formerly owned by Simon Fuller, who is currently president of XIX Entertainment)
A good manager is the SINGLE MOST IMPORTANT factor in an artist’s processional life. A good manager can expand a career to its maximum potential, and a bad one can plummet an artist into oblivion. Here are the main aspects of their role:
1) Helping with major business decisions, such as whether to take a publishing deal, how much to negotiate for, etc.
2) Helping with the creative process, such as selecting photographers, hiring band members, etc.
3) Promoting a career by hyping an artist, coordinating a publicity campaign with other entities, artists, etc.
4) Assembling and heading an artist’s professional team: lawyers, business managers (who handle an artist’s bank account), agents (who book appearances but have a limited sphere of influence), etc.
5) Coordinating tours by working with an agent to make deals with promoters, finalizing logistics, budget, assembling a road crew, etc.
6) FIGHTING the label on an artist’s behalf to maximize advertising and marketing campaigns, making sure the artist’s albums are treated as a priority, and SCREAMING at them when they do wrong.
7) Being the buffer between an artist and the outside world; they field inquires for commercial endorsements, personal appearances, etc.
PUBLICITY (PUBLIC RELATIONS)
In most cases a PR team is on the music label. (In Adam’s case, it appears the publicity is handled partially by RCA and partially by Roger Widynowsky, who is with XIX Entertainment. On a personal note, I am not sure this arrangement suits Adam’s need on a global level.)
An artist’s PR team can make or break them. The biggest artists in the industry are backed by the most comprehensive PR machines; they are ALWAYS in the news, whether for good or ill. They DOMINATE the media.
PR generates value above and beyond tangible sales. It generates audience, and it generates influence/power. PR creates and builds the image of an artist. The team molds their distinct brand, making them a recognizable product in a sea of competition. This image should be malleable and adapt as an artist grows, and should ALWAYS leave the fans and public wanting more. PR is also responsible for redirecting negative press to suit the needs of the narrative they have built around an artist. This narrative should humanize a star, making them relatable on a personal level, but always keeping them JUST out of reach.
