Essay Example - Historical Aspects of Artist Management

Artists have a raw talent that needs to be nurtured to result in a desirable end product that can enable them to be considered professionals in their respective fields of expertise. Some artists start their careers while young and receive a lot of money, and fame, and are invited to different shows and exhibitions. However, for them to have a straightforward career development, they need guides who should keep on training, encouraging, and creatively criticizing them on their work ethic and professionalism. Due to their fame, most of their social life is strictly monitored as they become influential role models in society. As such, they must be fluent in the artist industry right from their daily activities, to stage performances and productions. That is why artists need managers for effective transitions in their career paths. Even so, due to the incremental rate of transformation and incorporation of modernized artistry tools in the industry as well as societal awareness, the roles of an artist manager have been changing over time. There exist some differences between contemporary and 1950-1980 artist managers based on industry dynamics and societal expectations of the roles of artists.

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Music Management Between 1950 And 1980

The management of artists was mainly centered on the benefits that the managers could get as a result. Little consideration was given to the career and goals of the artists. For instance, Allen Klein used to be a negotiator and a businessperson for Rolling Stones Music Band and The Beatles. However, he did not expressly represent the interests of the musicians (Greene, 2015). Notably, he had an inflexible managerial style that only fit his version of demands and financial rewards. The issue could eventually lead to a division with most of his clients as they complained of their interests being overlooked. In some of his quotes, he could expressly talk of the music industry as being a valley of the shadows of evil where he could walk without fear, given that he represented the devils in the sector (Mcmillian, 2013). As such, his primary interests were to gain financially at the expense of the musicians.

The companies that he had managed, such as The Rolling Stones, did not expressly benefit from the business partnerships. In most cases, he acted fraudulently and falsely represented them in various forums for personal financial gains. For instance, in 1971, The Stones sued him for false representations. He could receive money on behalf of his clients, but instead of deducting his commission and remitting the rest of the cash to the company, he could focus on taking everything (Hepworth, 2016). This is a clear manifestation of the roles played by music managers in the artist industry.

Music managers of the 1970s exhibited a trend of toughness and changed the game of money management in the industry. Their direction and focus on financial gains resulted in an incremental rate of lawsuits as the artists demanded their money using legal means. Like other managers in the industry, they changed the rules of management (Laing, 2017). For instance, they could take an active role in looking for new business opportunities, and sponsorships, and taking part in various advertisements. Having a narrow focus on money management and making the most significant share became a trend in the industry. The managers did not consider it vital to encourage artists to take an active role in their career development and the eventual possible gaining and maintaining their fame. When signing the agreements, musicians could initially feel that most of their interests could be addressed by the managers who had the necessary expertise and financial management knowledge (The Independent, 2011). Given that some of the artists were young, they thought that they could find a father figure from the managers they had decided to work with, but this never happened.

Contemporary Music Managers

The high rate of commercialization of the music industry and the incremental need to foster professionalism has changed the scope of its management. Artists always want to work with reputable organizations that can strategize and focus on their career development. They want to have an incremental assurance of some of the key strategies used to share revenue generated over time, as well as proposed investments. Unlike in the 1950s, when the managers single-handedly handled the business without having to link their practice to specific companies, the trend has now changed (White, 2020). Across the world, there has been the formation of artist management companies used to oversee various processes, including talent development, collaborations, and financial management. One of the notable companies in this case is

Among the renowned companies that have now changed the landscape of artist management is Abrams Artist Agency, determined to take the pride of artists to the next level. The administration mainly ensures that the client's needs are met through tailor-made regulations to fit them based on their unique needs (Morgan, 2020). As such, the company is determined to ensure professional and personal growth in their respective industry niche. This practice is relatively different from the previous exercises in the 1970s when artists relied on egocentric managers. The music management companies have a vision of prosperity in the competitive business environment, and they are determined to enlighten their clients on the possible areas of improvement, and the maintenance of quality practices.

To facilitate the bonding between the company and its clients, the administration considers it necessary to adjust its service delivery and comply with the Writers Guild of America West. This strategy can also allow clients to opt not to disclose their contractual information to third parties (Lee, 2019). This is meant for the best interests of the clients; given that they have a chance of remaining secretive if they consider some of their contractual obligations private. The breaking up of ranks with the Association of Talent Agents adds some motivation to how business processes should be conducted between the company and its clients.

One of the notable music figures that the company has immensely assisted in fostering his career is Braxton Beckham. The actor benefited from the innovative strategies commissioned by the company to enhance consistency and professionalism in its respective base of performance. In terms of commerce and development, the artists that the company models and sends out to perform become more of American, thus massively gaining the attention of the local audience. Unlike the previous managers of the 1970s, the current set of businesses embraces professionalism and have ensured that their clients gain massively in terms of revenue stream and talent development (Haring, 2020). Given that the commercial activities generate massive amounts of money, the companies still stand to benefit in terms of embracing consistency and gaining trust for upcoming and current artists.

The company looks at the commercial aspects of the music industry, and other factors such as the entire landscape and its future. As such, the clients do not have to worry about what will befall them in the future. The firm is determined to make their life better through effective financial management practices, commercial expansion, development of their fame, and making their names household, as well as becoming dominant in the American music landscape. That is why the company has been gaining massive influence in the industry, resulting in attracting some notable artists such as Ryan Potter and Paris Smith (Friedlander, 2017). For the company, artists have a chance of being highly creative and consistent in their levels of service delivery and professionalism; thus, it must consistently encourage them to perform better.

In conclusion, the rate of business transition in the contemporary world has made it possible for artists to change their focus on choosing appropriate managers who can drive their agenda. During the 1950s to 1980, such managers mainly focused on personal gain without consideration of the welfare of their clients. They could take massive financial benefits from their business practices, leaving the artists struggling in abject poverty. A notable example of such leader was Allen Klein. However, the commercialization of the music industry, there has been an incremental rate of professionalism and consistency. The high rate of the organizational framework has now resulted in the formation of management companies based on professional ethics and the desire to promote their clients' activities. For instance, Abrams Artist Agency pieces of advises its clients on the need to focus on a particular niche market and how to increase their levels of dominance. This goal is made possible through high levels of consistency, professionalism, and the need to meet the client's interests.

Reference List

Friedlander, W., 2017. Abrams Artists Agency Celebrates 40 Years and Looks to the Path Forward. Variety. https://variety.com/2017/biz/news/abrams-artists-agency-40th-anniversary-1202603808/

The Independent. 2011, October 23. Allen Klein: Notorious business manager for the Beatles and the. https://www.independent.co.uk/news/obituaries/allen-klein-notorious-business-manager-for-the-beatles-and-the-rolling-stones-1732780.html

Mcmillian, J., 2013, December 23. You Never Give Me Your Money: How Allen Klein Played The Beatles and The Stones. Newsweek. https://www.newsweek.com/sympathy-devil-how-alan-klein-played-beatles-and-stones-224703

Greene, A., 2015, June 26. Reconsidering Music-Business Boogeyman Allen Klein. Rolling Stone. https://www.rollingstone.com/culture/culture-features/reconsidering-music-business-boogeyman-allen-klein-48969/

Hepworth, D., 2016, February 9. The biggest bastard in pop: how Allen Klein changed the game for music revenue. America's Current Affairs & Politics Magazine. https://www.newstatesman.com/culture/books/2016/02/biggest-bastard-pop-how-allen-klein-changed-game-music-revenue

Laing, D., 2017, July 14. Obituary: Allen Klein. the Guardian. https://www.theguardian.com/music/2009/jul/06/obituary-allen-klein

Lee, W., 2019, November 14. Abrams Artists Agency agrees to WGA's code of conduct. Los Angeles Times. https://www.latimes.com/entertainment-arts/business/story/2019-11-13/abrams-artists-agency-agrees-to-wgas-code-of-conduct

Haring, B., 2020, January 9. Abrams Artists Agency Ups 12 Employees, Including Three To Partner, Six To Senior Agent. Deadline. https://deadline.com/2020/01/abrams-artists-agency-promotes-12-including-three-to-partner-1202825401/

White, P., 2020, January 15. Abrams Artists Agency To Open First International Office In London; Hires Jody Flanagan & Amy Newman. Deadline. https://deadline.com/2020/01/abrams-artists-agency-international-office-london-1202831046/

Morgan, J., 2020, February 28. Abrams Artists Signs TikTok Stars Avani Gregg, Andre Swilley, And Tayler Holder. Tubefilter. https://www.tubefilter.com/2020/02/28/abrams-artists-signs-three-tiktok-stars/