As
a new artist manager, it is extremely important to build professional networks
in the music industry. Those contacts can be fostered in various ways,
including online resources such as LinkedIn and Facebook. Another way to build
networks is to talk about your business with people whom you know. You may be
surprised at the linkages that already exist in your circle of friends, family
and coworkers. These conversations can lead to important contacts in your
chosen industry.
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| Figure 1: Six Degrees of Separation |
Six Degrees of Separation is a theory on social
interaction that represents the notion that you are only six contacts from a
person or persons you wish to meet or do business with. I noted in an earlier
posting that I met a musician while having my car serviced at a dealership,
simply because of the musical decal on my MacBook cover. Recently I reconnected
with a local jazz singer because we now share the same hair stylist, and she
was able to provide some great contacts in the local music business. One of the
best contacts I have made was at my local gym. I noticed some media cards on
display at the front desk promoting a local singer. When I asked the gym
manager about the cards, he pointed me to the attorney who represents the
artist, who was also a patron at the gym. That attorney is Stephen Starks.
Stephen A. Starks is an Associate at Kroger,
Gardis and Regas, LLP, located in Indianapolis, Indiana. He has a wealth of
experience in both the sports and entertainment industries. He is also
certified as an agent by the National Football League Players Association and
the National Basketball Players Association. In terms of entertainment, he
works with various artists and artist managers and contributed as an executive
producer on a Gospel/R&B album. Most recently, he assisted Ryan McDaniel in launching his music career.
In 2012, Stephen met with my son and I to provide valuable insight to the music
industry. We have used his suggestions to help launch the band, Three Story Hill. Stephen was kind enough to
provide an interview on his work as an attorney, along with advice on what it
takes to be a good artist manager and the legal liabilities that should be
avoided.
D Leigh: Tell me about your work with athletes and musicians.
S. Starks: I really enjoy representing both athletes and musicians. I
recently began representing athletes seeking to play professionally. Even
though my experience and networks in the industry provided credibility, gaining
the first client was essential to being able to attract a larger clientele.
Takeaways: 1)
Determine how you can best add value to your clients, including additional
education or certifications, and 2) once you have your first client, it will be
easier to attract others.
D Leigh: What are some of the pitfalls of being an artist manager
with no experience in the music industry?
S. Starks: In terms of being an artist manager, jump in and start
doing it. This is the best way to learn. Basically, there aren’t many mistakes
you can’t recover from, as long as you’re willing to put the time and work in
beforehand to make sure you’re covering all your bases and have considered all
the possibilities.
Takeaways: Those
seeking to be entrepreneurs are sometimes paralyzed by the fear of failure. But
research will show that a number of today’s multi-millionaires can recount past
failures, including bankruptcy. Their tenacity spurred them to try again and
believe in their abilities.
D Leigh: There have been some frustrations working with a new,
young band. I have yet to sign a contract with them, but have assisted with
various items. I feel somewhat uncomfortable with the notion of formalizing my
relationship with the band, and have not been paid for any of my efforts,
mostly because they don’t have much discretionary income. Another factor is
that my son is a member of the band. Any thoughts about taking the next step to
signing an agreement?
S. Starks: I’ve assisted other artist managers in taking the
necessary steps to ink management contracts. I developed a management contract
that can be adjusted to fit the needs of the artist and the talent manager.
Every relationship is unique, and therefore, the contracts should reflect this.
The agreement should take a number of factors into consideration, including,
artist experience, overall potential, level of fan recognition
(local/national), etc. Don’t be afraid to sign an agreement with the band.
You’ll find that the relationship will change in a positive manner. Suddenly,
the band is introducing you as their manager, and they’ll begin to see
themselves as a “legitimate” band. You should make sure you are paid for the
work you’ve already done.
Takeaways: It is best to formalize my relationship with the
band I am representing. Therefore, I need to move forward with creating my
business entity, and registering my company name, logo and website with the
USTPO and the USCO. The next step is to create marketing materials including
business cards and informational packets. Finally, marketing the company in a
more direct manner will entice other clients to consider my services.
D Leigh: What items should be addressed in the contract?
S. Starks: The standard commission in today’s market is 20%. Analyze
and understand the income potential of the artist. At minimum, you want to sign
a 2-year deal. It’s distracting to renegotiate deals every year. You also want
to make sure you are commissioned on other work that the artist does where it
makes sense, including commercials, collaborations, producing, songwriting,
etc.
Takeaways: Work
with an attorney to develop a solid contract that protects my interests and
those of my clients.
D Leigh: What happens if the band dismantles?
S. Starks: You should represent each individual band member as well
as the band where possible. There is no reason that if someone decides to
pursue a solo career, you should have to stop managing he or she individually.
Takeaways: This
was an item I had not considered, but very worthwhile advice. There are many
examples of solo artists that started with a group or band, but ultimately
their individual career is what defined their success.
D Leigh: Your recommendation on resources I should use/follow in
order to stay up to date on various legal matters within the entertainment
industry? (books, websites, blogs, podcasts, etc.).
S. Starks: I’m a fan of The Hollywood Reporter.
In summary, the
takeaways noted above will become an integral part of my business plan. I was
extremely appreciative of Stephen’s advice and guidance, and he has offered to
work with me in developing my first management contract. He has also offered to
broker an introduction with another local artist manager to build my network and potentially gain some shared learning. I came away from this interview with a greater sense of
commitment and excitement about being an artist manager!
Thank you for
reviewing my blog article. Be sure to leave a comment if you found this to be
helpful.
Take Care,
D Leigh
