My best freind essay

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technology gives all of us the power to do things which historically have been done by record companies. most executives can’t write and perform, but they loved music and used to get excited plotting artist campaigns. some artists are wired to think about building their own career with the kind of thoughtful and deliberate framework crafted by the label guys (of past), but most artists fare much better at writing and performing than they do at “self-management” (., those annoying business aspects).
In the past, Managers typically earned a 20% commission for getting a record deal and managing relationships with the label, pub, and agent. In many cases, the commission got pushed down to 15%. Many good managers were forced to look for better paying work because there just weren’t enough money-making artists to feed the kids.
How about this? For the likes of the managers mentioned in your post, the commission should be at least 30%. No shit! We give publishers 35% for “procured syncs,” why not give similar percentages to to the people who dedicate themselves (as adjunct or alter-ego for an artist) to help figure it out, make it happen, and build a sustainable career. We should encourage and reward the best and brightest to make a career in “band management.” The tools are many, and they’re complicated (even with aggregators and service companies), but the work (previously dispersed among many) is definitely shifting away from the big companies, into our hands.
Especially for artists who stay primarily focused on their music, or who largely depend on their managers to handle day-to-day affairs, think about the skill and motivation you’re missing out on if you aren’t willing to significantly reward those people who share in the heavy lifting of the new music industry order.

My best freind essay

my best freind essay

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