BrightShop

Digital marketing is necessary in all aspects of the entertainment today. Digital technology has been an asset to the artist and talent management industry. It is one of the largest tools used to propel artist from one plateau to the next in the area of marketing in order to ensure the artist’s growth, transition and sustainment in the business of entertainment.

One of the leading artist management companies is Primary Wave Music. Prime Wave Music is an independent music publishing, marketing and talent management company founded in 2006 by Larry Mestal. They handle the careers of major artist like CeeLo Green, Trina Braxton, Eric Benet, and Busta Rrymes. Recently, Primary Wave merged with Violator Management. In doing this they also acquired the management team of Michael “Blue” Williams who is well known for managing artist in the area of hip-hop and R&B. Blue was also the partner of the owner and CEO of Violator Management, the late Chris Lighty who suddenly pasted away last year. Lighty was very influential in making the rapper Fifty-Cent a millionaire with the well-publicized deal with the energy drink Vitamin Water.      

Robert Dippold heads the senior director of Primary Wave Music’s marketing department along with his two digital marketing managers Melissa Berlin and ReVal Davis ensure the advancement of the artist managed by Primary Wave Music. One of the major tools used by Primary Wave Music marketing team is called BrightShop. This group over-sees BrightShop within the marketing department; it is a production and digital marketing shop based within Primary Wave Music located in New York City. The staff is looked upon as the “super group” of digital marketers with brand and entertainment client experience. This group makes sure the talent and artist represented by Primary Wave Music reach their goals as well get them executed properly though as many channels as possible like digital media products, services, and marketing campaigns necessary to get that artist to the next level.


These are screenshots displaying the demographic measurements of visitors of this site and filter as a demonstration of digital marketing.

References:

Primary Wave Music http://www.primarywavemusic.com/partner/MTUtZDJhMjgw#/partner/NzMtNmE5ZDNl

Music Distribution

In a time not so long ago an artist had to basically get signed to a record label before they could get their music distributed. Technology has evolved so quickly that independent artists can do for themselves what they used to need music labels to do for them instead. Most of the assistance comes from something called a music aggregator.  An aggregator helps artists get their work distributed using mainstream platforms though digital content distribution.

The music industry had to find a way to recoup the slump in CD, record and album sales. It will continue to change because the industry as a whole has started figuring out ways to fix the problem of lost sales. Some retail sites like iTunes and Tunecore require their customers to go though one of these channels before making a purchase.

Digital distribution is becoming the new normal in the music industry. This is great for new artist; it allows them more control over their work then ever before. The times of waiting to get picked up from a label in order to get an artists career started is no longer standard. An artist only needs to develop a fan base in order to get their music purchased.

Some of the aggregator sites like Taxi.com, ReverbNation.com and Sound Cloud.com provide things like virtual showcases. A showcase is used to introduce a new artist to influential individuals in the music industry.

Digital warehouses like Nokia Music, MediaNet and RedDotNet are just some of the distribution centers for Media and retail. These warehouses are so huge they service 

a large portion of the music industry. Some of the ways they are able to do this is by selling music to the public by virtual means. Every time a customer purchases a ringtone or download they are accessing what is called a digital jukebox.

References:

Craft, Kimberly M.M J.D, Entertainment Media Publishing and Distribution second edition

Publishing your Own

The traditional ways of music or literary publishing are quickly fading. Artists who may have attempted to publish their work in the past took the risk of their material appearing homemade or unprofessional. The Internet access available today has changed the publishing industry forever and sent new artists in a another direction.

Publishing was and is probably the furthest thing from any artist’s mind initially. For the most part, it would have been considered lucky for an artist to be allowed to focus on just their talent. Since most artists are not that fortunate, most of them learn something about publishing when it is time to get their work displayed for an audience to view. Times have changed, most artist today, understand they will have to research the industry in order to be a successful independent artist. These artists do not have the resources to even consider looking for someone to help them publish their work.

For any artist who intends to attain a publisher or for an artist who is seeking resources in order to publish work on their own. The first thing an artist needs to do when seeking assistance from a company is to get a publishing agent in the artists area of interest. In order to get an agent you need to submit a query letter expressing information about the artist and a sample of the artists work. Doing this will hopefully peak the interest of the agent and encourage the agent to represent the artist. Once the artist acquires an agent successfully, the agent will guide them the rest of the way.

Self-publishing is the other way an artist can get their work published. Being an independent artist is a challenging and humble experience. The advantages for artists who choose to publish their work are achieved by cutting out the middleman. When an artist uses a POD (Print on Demand) it allows the artist to keep most of the royalties and own their copyrights.

References:

Craft, Kimberly M.M J.D, Entertainment Media Publishing and Distribution second edition

Entertainment Law Review

Entertainment Law update Podcast with Gordan P. Firemark, Esq. and Tamera Bennett

Podcast Episode 36

Netflix Inc. Settles

The class action case brought on by the National Association of the deaf were successful in getting 100% closed captioning on Netflix streaming movies within the next two to four years. To some degree I feel a little sorry for Netflix. The whole time I was reviewing this case I felt like I was reviewing a boxing match with Tyson annihilating one of his opponents in the ring. Each time Netflix gave a little, the class action group wanted more and punched Netflix even harder. They got exactly what they wanted, and then some. Netflix also was ordered to pay attorneys’ fees to the tune of $755,000 as well as an additional $40,000 for the closed captioning process to be monitored. The discussion ended with the last comments about what happens next, both Gordan and Tamera posed questions pertaining to the Movie Theater and Broadway show procedures on closed and open captioning.  In my opinion, we should remove all aspects of "Dis-Ability". It is unfortunate, but when situations do not affect us personally we have a bad habit of taking our "Abilities" for granted.

Podcast Episode 33

Tove & Hayden Christensen Forest Park Pictures v. Universal (USA Networks) Royal Pains

The brothers Forest Park Pictures claim they developed the idea for the show Royal Pains. Their version of the show was called Housecall. It was about a doctor who could no longer practice as medicine in the city, so he moves to Malibu. He becomes a doctor who caters only to the very rich and famous. In 2009, USA Network, which is under the umbrella of Universal, broadcasted a show with the same basic story line. The only difference was where the doctor moved. The new location was the Hamptons instead of Malibu. The Second Circuit sided in favor of the brothers AKA (Forest Park Pictures) on the bases of Copyright Act Preemption.
In my opinion, the brothers should have been a bit more careful about who they were shopping their treatment to. But overall I am glad the court sided with them this time.

In conclusion, I have learned some valuable lessons from both podcast updates for my business plan. The first lesson is to consider as many types of demographic as possible when considering product distribution and never exclude one over another. It might not be worth the court fees. The second lesson I learned was not to trust anyone with my industry literary works before I register them as trademarks, patents, trade secrets, and copyrights so they are protected because everybody might not have your best interest at heart.

References:
Entertainment Law Update Episode 36, 33 http://www.entertainmentlawupdate.com/2012/08/episode-33-cease-and-desist-but-nicely/

Google Images http://www.google.com/webhp?hl=en&tab=ww#hl=en&sugexp=les%3B&gs_nf=3&gs_rn=0&gs_ri=hp&gs_mss=images%20of%20tov&qe=aW1hZ2VzIG9mIHRvdmUgYW5kIGhheWRlbg&qesig=_Xt1JXdShxSEfDij54BCxQ&pkc=AFgZ2tk1xYDdzaI3YBQKFZamUxCpE4L2OHbRzN_dHdmf9Jo9XteQlsbOXRnxjJDreDXKwXbWsZhvAPGZMHTd1yCgLWPxkgitDA&pq=images%20of%20netflix&cp=25&gs_id=4h&xhr=t&q=images+of+tove+and+hayden&pf=p&tbo=d&sclient=psy-ab&oq=images+of+tove+and+hayden&gs_l=&pbx=1&bav=on.2,or.r_gc.r_pw.r_cp.r_qf.&fp=189034c2ca497c3d&bpcl=39650382&biw=1047&bih=786

Industry Liabilities

Personal Managers Group is suing to stop the enforcement of the Talent Agencies Act also known as the (TAA). The California laws that prevent managers from securing employment for their clients is becoming increasing hard to avoid. Presently, if a manager wants this task completed, the manager has to get an agent to perform it or get a license to become an agent.

In my opinion, the California law needs to catch up with the times. Managers are responsible for more now, in order for an artist to become successful, opposed to when this law was originated. The job description back then of both titles was clearly defined but today personal managers are wearing several hats including the one previously worn by an agent. 

The Star of “ Flipping Out” Jeff Lewis is suing his co-star Jenni, who has been his executive assistant for the past ten years, for breaching her confidentiality agreement that she signed in 2008. Jeff filed the lawsuit in L.A Superior court on Wednesday, November 14^th, 2012. Mr. Lewis’s complaint states that his co- star plans to write a book titled “Hang in there, baby, —What One of the World’s Most Difficult Bosses Taught Me About Life, Work, and Love”.

In my opinion, this is just a publicity stunt. Jeff and Jenni are both stars of this reality show. She is the Yang to his Yin. He is only acting out because she will not give him an advanced copy. On the other hand, it may be the same kind of situation like the “Red Hot Chili Peppers” v. Showtime regarding Californacation. Jeff just might be covering his bases to make sure he protects his business from being tarnished from what could be insinuated in the book, even if he really does not have a problem with it.

Britney Spears and her parents won their court case against her former manager Sam Lufti who was suing her for breach of contract. Sam claimed that he was owed 15% of Britney Spears shared earning because he became her Manager after her head-shaving meltdown when she fired her whole team. Unfortunately, The courts did not think he had enough evidence to support his claims and the case was dismissed.

In my opinion, there was probably some truth to Sam Lufti’s claim but he did not present it well to the court. I am just a little concerned that if he could not provide documentation to prove his claim, than I would question his organizational skills as a manager.

In conclusion, I believe all three court case articles will assist me in becoming more aware of the dirty tricks talent, artist or people in my employ will play that can alter my career path, business, and/ or my reputation. I will have to be conscious of the pitfalls and the legal ramifications that come along with this industry in order for me to be successful in the business of the entertainment.

Reference:

Google Images http://www.google.com/webhp?hl=en&tab=ww#hl=en&tbo=d&sclient=psy-ab&q=images+of+Talent+agency+act&oq=images+of+Talent+agency+act&gs_l=serp.3..33i29l3.11753.37998.1.39159.22.21.1.0.0.0.126.1474.18j3.21.0.les%3B..0.0...1c.1.RdX1b3Mo2mA&pbx=1&bav=on.2,or.r_gc.r_pw.r_cp.r_qf.&fp=ce3035b6e2c7a37&bpcl=38897761&biw=1119&bih=721

THR http://www.hollywoodreporter.com/thr-esq/flipping-outs-jeff-lewis-sues-390845

THR http://www.hollywoodreporter.com/thr-esq/personal-managers-group-sues-stop-389786

THR http://www.hollywoodreporter.com/thr-esq/britney-spears-trial-sam-lufti-385597

Managers backstage

The Ross Report used to be where we looked for industry reference. Today a website called backstage is how we direct new talent to start in the industry. The raines have been passed to backstage magazine for talent to use in search for a lifeline into the entertainment industry. There are several websites used by artist managers in the business but the best resource for information evolving what matters in entertainment is the backstage. 

This magazine is considered the entertainment bible in the industry. Backstage has been the best source for talent since the 1960’s; it is updated every two weeks to keep the industry’s information current. It provides information about pre and postproductions of films, television, stage, commercials, and web series from New York City to LA. Auditions, castings and all other industry positions or job opportunities in the entertainment business can be found in backstage.  

Backstage is used as the directory for anyone who is interested in working in the entertainment industry. Talent who are currently seeking management representation will find at least 658 managers listed in backstage to choose from. The list is categorized in areas of representation. It provides background information regarding the person or company, contact information and submission policy if necessary. In most cases information is not available unless the talent becomes an account member of backstage magazine. It is well worth it, so many jobs and networking opportunities have paved the way to success from these resources.

Backstage also keeps their subscribers updated on celebrity interviews, news, and audition calendars. This information is important because it keeps the talent in the loop of what is happening in their area of interest. I would recommend any talent or interested industry hopeful to begin their career by getting a subscription to backstage magazine to start their quest of entering into the business of the entertainment.   

















References:

Google images http://www.google.com/webhp?hl=en&tab=ww#hl=en&sugexp=les%3B&gs_nf=3&qe=aW1hZw&qesig=RUIF_q-Ofq6zretaa9_cHg&pkc=AFgZ2tk62xupPoF9ms727d6DV0OwB-vGTjkdNueAM8V10MZdc01Z2sD_iEo51AgHzUAvblJ9_4GODaYqDz-81qkn_r3Cvt0kFQ&cp=4&gs_id=d&xhr=t&q=images+of+iron+man&pf=p&tbo=d&output=search&sclient=psy-ab&oq=imag&gs_l=&pbx=1&bav=on.2,or.r_gc.r_pw.r_cp.r_qf.&fp=65a6ecd9ee5d3679&bpcl=38093640&biw=1193&bih=755

backstage http://www.backstage.com