When things go wrong in Entertainment Law...

Music Recording Contract Fraud

How important is it to do your research before signing contracts, especially in the music business? I was reading this article I found earlier, about how a well-know R&B singer got screwed over in a music record contract because, his attorney or his self did not research the company they were dealing with. He signed a contract for $1.75 million to record one album under this entertainment record label. Well, according to the article the record label never existed. So what does that do for this artist, because he signed the contract the owner of the “label” has the right to sue him in court for breach of contract if he does not follow through and it can potentially stops him from recording any other music for another label or independently. When dealing with contracts, even though it seems like a great deal, maybe sometimes it is too good to be true. In my opinion his attorney should have done his research before allowing his client to sign a fraudulent documentation. So who is to blame I say both because, the artist is just as much of control over his career has his attorney. When dealing with the music business some people are just looking for the money and some do it for their passion of the music. In cases like these you have to make sure you are doing business with the right person that fits your standards.

Copyright Infringement 

 When it comes to copyrights you are responsible for checking infringements on your accounts of services. But what happens when it is all around you? Who do you go after first? Well some companies go after the most popular because they feel they have a better chance of getting the company to payback losses from the infringement. In this article it talks about copyright infringement with music and film. And with the technology in this century it is easy to upload and download files over the Internet. But a lot of music is downloaded illegal because it is leaked out of the artist’s computer and the same goes for motion pictures. So how do you protect yourself from this happening to you? Be the eyes and the ears of your product or service, you are responsible for copyright infringements not the performance rights organizations.

Music Distribution Deals

With my production company I was looking into music distribution, if I want to distribute the music myself or outsource it to another company. With distributing music myself I run into a few problems such as the networking. You have to know the right person in order to get your music heard in other states. So I would have to travel to network in other states to get my music heard on radios and Internet. Where as the other established distribution companies already have this reputation and does not have to work so hard to distribute music. But I was thinking they had to start off somewhere, so I think I will try my luck and start networking to get my music out to the world. Distribution deals are very important in the music industry it gives that artist or producer the ability to get their music worldwide.

Next stop Artist Management...

So in this month my class was on Artist Management and Product Development. I was very interested in the Artist Management, I have prior experience with managing artist and I wanted to make sure everything I had done was right.  Well turns out I was doing exactly what I was suppose to do and more. I was shocked on how much I knew with out educational experience.

The book we have been reading is This Business of Artist Management by Xavier M. Frascogna, Jr. and H. Lee Hetherington.  This book has given insight on what an artist management job should include. It breaks down what an Artist Management does and how it is important to have management representation. The music business is changing constantly and rapidly.  Someone needs to help navigate new opportunities, revenue streams, technology, and help to create a structure around their art so that the artist can stay focus on the music.

A management company should understand technology, and who is willing to take experiments, risks, and try new things in addition to working non-stop for their artist. Mangers who want to be successful should take a few pointers from this book, like for example, managers must live and die by their artist, their success is your success, there should be teamwork with a equal hand in how the artist is going to be marketed to the industry

In reading this book and learning in class I began to grab the concept of the Artist Management and developing artists careers. I plan on using the knowledge that I already had and putting it together with the things I have learn this month, and creating a Artist Management firm for signed and unsigned artist. I want to make sure that I am the best at representing the best.

Do you have what it takes to become an Artist Manager?

Being an Artist Manager is something that I really want to pursue. I have had a little bit of experience with managing my own artist, but I decided to put that on hold to come to Full Sail University, so I could get a better understanding on how everything operates in the entertainment business. Living in one of the biggest cities that produces a lot of music has its benefits; I have had the opportunity to meet different people in the music industry. I got a chance to work on a small project that involved an artist development deal with a local artist manager Ron Black.

Ron has been responsible for a few major producers careers and some local artist. I had a conversation with him asking a few questions about how he got started managing artist to where he sees his self in the future.

Q: So how did you get started in the music industry?

A: I got started back in 2000, when I came across Fatboi (a local hip hop producer). A friend of mine introduced us and at the time I was running a small club in Atlanta, and we had like an open mic night. I made a deal with Fatboi that if the local talent could use his tracks to rap to, I could help him get to a better place to sell his music.

Q: What do you look for in the artist you sign?

A: I look for where their heart is. If a person has it in their heart that they want to make, that they are going to make, then there is no doubt that they would not give more than 100%. If music is their focus, their motivation, their drive and you can see it. Then that is the artist I am looking for, that I want to sign, because that one just might make it to the top.

Q: How do you feel about the industry change on how promoting new artist have changed?

A: Living in Atlanta and having new artist come out every week unsigned, make it easy and difficult at the same time. When you have the right people behind an artist that artist can go far. With the music industry changing you can get really far based on whom you know versus what you know. Like for example: if you know the radio personalities at a radio station and you slide them a demo and it gets played on the air regardless if the song is a hit or not, you just promoted your self and now have an advantage to further that possibility. 

Q: How do you measure the quality of a singer or producer? How can you tell if they will be a star or make it in the industry?

A: I measure the quality of the artist their music, their voice. Often times you can’t tell a diamond is a diamond until you scrap the dirt of, wash it, and sand it to the shape of a diamond. That is how I measure if that artist will be a star.

Q: What are the top 3 skills an artist should obtain before you even decide to take a listen?

A: One is talent, if you don’t have talent well there is no need for me to have a conversation with you. Two, I would say motivation, you have to stay motivated in this business, it is very easy to get distracted or let the fame and the fortune get to your head. If you stay focused and motivated on your goal there is a chance you can make it. And third, social skill is one of the important ones. If you want to be an artist you have to first self promote yourself. If you can’t sell yourself what makes you think I can, when the talent is all you.

Q: So what do you offer your artist that signs with you?

A: Each artist is different and every contract is different. But for the most part I offer the artist the ability to be creative with their music, have input on how they think their image should come across and I treat them as business partners so they can learn the ropes of the business.

Q: How do you approach the creativity with the artist?

A: There has to be trust between the artist and the manager. My job as a manager is to protect their image, so when developing the music and image. The artist has to be able to trust the decisions that I make for their career, image, and music.

Q: And where do you see your career going in the future?

A: I look forward to managing more artists and building my roster. And continue doing what I love to do the most and that is music.

As my time came to an end with Ron I began to realize some of the qualities he had and compare them to mine. If I continue on the road I am currently on then there is not doubt in my mind at I could not reach the same level Ron is on or higher. Like he said, if you stay motivated and focus you can reach any level you set your mind to.