What Are the Jobs of Industry Professionals?
Looking back on me being forced to take part in Career Day, an American Education practice wherein you’re escorted between tables and fold out presentations of various professions and professionals, I don’t recall there ever being a table for Music Industry Professionals. We’re all raised in music consuming households and children are typically pushed towards an instrument in the 4th or 5th grade if they don’t naturally gravitate towards one. Even as far back as 2003, a NAMM (National Association of Music Merchants) study on Instrument presence in American households revealed that 54% of homes have at least one consistent instrument playing member. Suffice it to say Music is everywhere, whether played or appreciated, so why is there such an astringent lack of knowledge regarding paid positions in the Music Industry? Saving the hobby-fication of music itself which in turn creates misinformation about its practice for another article, there are many jobs in the Music Industry in terms of quantity and diversity. The RIAA boasts a strong 1.9 Million jobs internal to the Industry, not including adjunct positions, as well as a $143 Billion contribution to the Economy, as of 2016. It’s common knowledge that Professional Artists receive a lot of help and the requirements for Commercial Music are very high, but knowing what those actual jobs are that support the Recording Artist is rare. Amongst beginner or amateur musicians there is an enigmatic nature to the very regular Business Professionals you should be aware of, especially considering these individuals will help you make the real money. In exchange for payment and equity of course. Some of the most important of these positions are compiled below.
A&R: A&R stands for Artists and Repertoire and is actually a subsection of a Music Label or Publishing Company that finds, grooms, and markets talent. The A&R as an individual shares the same namesake and has the responsibility of enacting these tasks. Typically these Professionals are younger and are Journalists or Musicians themselves, considering what’s required is a fundamental understanding of what can and will be commercially successful. A&R’s have authorization to offer record deals, but the actual signing of the contract is handled by Entertainment Lawyers. If you accept a Recording Contract the A&R will oversee this process, find you Songwriters, Engineers, and Producers, and crafting your release alongside you. They’ll also help you select a single. Famous examples of A&R are Irv Gotti, Dame Dash, Jimmy Iovine, LA Reid, Rick Rubin, Diddy, and Dre.
Publisher: A Music Publisher collects your money when someone uses your compositions or your content. When you sign a Publishing Contract, Songwriters and Composers allocate their copywriter to the Publishing Company. In exchange for equity, they’ll monitor where your compositions are being used and distribute the associated royalties to you. A Publishing Company’s copyrights are the second most significant instance of intellectual property in the Music Industry, second only to Masters, which are owned by the Record Company. Alongside this, good Publishing Companies will find opportunities for their artists to have their work used or even pair Beats, Songs, and Artists together. The five largest Publishing Catalogues are Sony/ATV, Kobalt, Warner/Chappell, BMG, and Universal.
Talent Manager: Your “Manager”’s full title is Talent Manager, and occasionally it can be a company, not just an individual. This entity provides counsel to the Recording Artist, oversees day to day operations and logistics, and creates plans for longevity in the Music Industry. This is of course done on commission, typically between 15 – 25%. In the Hip-Hop Industry, these individuals tend to be family or someone close, as they’re responsible for and are often involved in not just the Industry but also the personal life of the Recording Artist. Contemporary Recording Artists often hire this person themselves to ensure a functional relationship with their Manager. Because of this, many Managers have no real qualifications and as such, often employ:
Talent Agents: Similar to the Talent Manager except for the authority to negotiate deals on behalf of the Recording Artist, whereas the Talent Manager can usually only develop relationships and connections. This can vary depending on the qualifications of your Talent Manager or who your Talent Manager is to you. A Manager position itself is an umbrella term for an overseer and as such, relevant Music Industry Managers also includes:
Business Managers: Your Business Manager is your Qualified Manager. It’s standard for their background to be in Personal Finance, Public Relations, Marketing, or Accounting and should be specialized and seasoned if possible. Your Business Manager will teach you how to invest your income to ensure financial longevity, recover unpaid royalties, and is your star player in regards to being your face when you’re not around.
Entertainment Promoters: Promoters are Companies or Independent Contractors that market live events, gigs, and performances. These guys belong to the Venue’s pocket typically, and in exchange for a cut of revenue generated from an Artists Performance or a predetermined fee, they create the event as it’s known to the public. Promoters retain autonomy in choosing their employers and occasionally circumvent them entirely by simply renting out the space of the venue for a fee and hosting the event in its entirety. Many Artists or their managers are de facto Promoters by just being themselves, but the best Promoters are connections you’ll find indispensable as performance is a massive part of the Recording Artists income.
Entertainment Lawyer: Your entertainment Lawyer is your best friend. He’s your legal representation and any and every Recording Artist who can afford this kind of professional should invest in one. Their legal background should typically overlap with Intellectual Property Law to be adept at handling the nature of representing an Artist. Most of their job involves mediation, negotiation, and your contracts. Pay them hourly. Make sure they’re getting paid for when they’re working for you, especially considering their cost.
The most striking thing about these jobs is how few amateur artists know what these individuals do considering how fundamental they are to Commercial Music. It’s also disappointing because these are valid paid positions in a huge industry that fly under the radar for many individuals who love music but aren’t necessarily interested in being in the limelight. The most successful of these Professionals have seen the same acclaim and notoriety that their Artist counterparts have. If you’re looking to find success as a Recording Artist, ensure that your hire these individuals efficiently and that you trust them. If you’re looking to play one of these parts, know that your job in the Industry is just as important as the performers.