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Paul Allen's Artist Management For The Music Business (Second Edition) Reviewed By Norm Goldman of Bookpleasures.com
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Norm Goldman


Reviewer & Author Interviewer, Norm Goldman. Norm is the Publisher & Editor of Bookpleasures.com.

He has been reviewing books for the past fifteen years when he retired from the legal profession.

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By Norm Goldman
Published on April 20, 2011
 

Author: Paul Allen

Publisher: Focal Press

ISBN: 978-0-240-81501-5



Author: Paul Allen

Publisher: Focal Press

ISBN: 978-0-240-81501-5

Click Here To Purchase Artist Management for the Music Business, Second Edition

If you peruse the shelves of your local library or online book stores, you probably won't find many books that are intended to be a definitive guide to the student of management of artists in the music business, as well as to those seeking to become professional artist managers. However, fret no longer, as Paul Allen in his Artist Management For The Music Business has put together an array of tools that will prove to be invaluable for artist managers as well as for the musicians that have to deal with these individuals to further their music careers.

Allen's credibility is beyond reproach. He is Associate Professor in the Department of Recording Industry at Middle Tennessee State University and is the co-author of another outstanding book, Record Label Marketing. He also frequently lectures at other universities on artist management as well as other music business subjects. His career work has included radio, TV, political management, and the music business.

One of the striking features of this book is that Allen translates what he knows into applicable advice, and he certainly is a trustworthy guide wherein he explores thirteen important issues that are spread over the same number of sections dealing with the professional artist management and its principles, preparing to manage, the artist preparing to be managed, lessons in artist management from Colonel Parker to Jonnetta Patton, the artist management contract, a primer for the artist manager, the artist as a business, income from live performances, songwriting, and recording, conducting business for the artist, the artist career plan, and coaching and leadership. In addition, there are included an artist management contract form, partnership agreement for members of a band, a recording contract, Ke$ha's artist management contract and a code of conduct as adopted by The Music Manager's Forum in Australia.

The information contained in the book is drawn from the experiences and wisdom of many who work or have worked as artist managers, as well as from Allen's career managing people, assets, companies, organizations, projects, performers, and performances. As Allen shares this information with us, we can very well conclude that he brilliantly excels in bringing life to a subject matter that could easily have been dry and mundane by allowing us to see and appreciate all the facets that comprise the art, business and science of artist management.

One of the chapters I found particularly interesting was Lessons in Artist Management where lessons are drawn from the real-world experiences of several veteran artist managers to understand this corner of the music industry. It is here where we learn about some intriguing and entertaining insights concerning a few well-known artist managers and their famous clients. One such example is that Elvis Presley's manager, Tom Parker's failure to register Elvis with a performing rights organization(PRO). As a result, Elvis lost a substantial amount of money due to this oversight. We also learn about Rene Angelil and his business relationship with Celine Dion. Other fascinating tidbits of information concern Michael Jeffrey's conflict of interest, Peter Grant, manager for Led Zeppelin, Herbert Breslin and Luciano Pavarotti, and several others.

Another chapter that I am sure will prove to be of immense practical value is Chapter Six that provides an introduction to the general principles of planning and an appreciation of the value of plans in guiding an artist's career. It is here where we learn about setting and achieving goals, budgeting, planning and event budgeting, event planning, promotion, and planning tools. As a musician has a product to sell, we can readily understand that he or she is in reality a business. Consequently, an extremely enlightening chapter is Allen's discourse concerning the artist manager's role of promoter and advocate for the artist and their talents. Topics covered in this section include understanding and defining target markets, ways to view market segments, branding and image, the artist's support team, and alternative forms of business for the artist. And for musicians that are in the process of seeking management or even those who have manager but are unsure if they are getting the biggest bang for their buck, the chapter dealing with preparing to be managed will definitely be of tremendous help in understanding the core elements of artist management.

Everything considered, the book's comprehensive approach to artist management finds a welcome home on the bookshelves of artist managers, musicians and anyone directly or indirectly connected to the music industry. It is a book that cuts away the fat from the bone and focuses primarily on those points that need attention. It is a rare opportunity to learn at the feet of such a knowledgeable person.


Click Here To Purchase Artist Management for the Music Business, Second Edition