ABSTRACT
The most recent books about the music industry, especially those that discuss “the future of music,” stress the notion that today the artist must take a large amount of responsibility for his or her career. These authors contrast the old model of “making it,” where the artist played local gigs, made a demo recording, and then acquired a lawyer and/or manager to shop the demo to a label. The intent was to make a good enough demo that the record company would then sign the artist, and finance a full album of material. The manager would also negotiate an advance, allowing the artist to actually bank some income, buy equipment or a vehicle to tour in. Following the release of the album, the artist would acquire an agent, often through her manager, and tour in support of the album. Often these tours were partially or entirely financed by the record label. The plan was to have one or more hit singles on the record, which would garner the artist radio play. When the single became a hit, the album would be stickered with the copy “contains the hit single XYZ.” As the money started to roll in, the artist would acquire a business manager to invest her money. Additional helpers would then be contracted, such as a publicist, a stylist, a road manager, and whatever other personnel is required to operate a major tour. Assuming that one or more members of the band wrote songs, part of the manager’s job was either to retain the publishing rights for the artist, or to sell half or all of them in return for additional money.
