Ver la versión en Español: “¿Cómo manejar la producción de un artista? Lo que a mí me gustaría" – por Roberto “Toto” Imperatore.
First thing, I must say that I am not an artistic
producer, not an artist manager either, nor a representative or a “press
manager”. I am just an observer who, during relatively short periods of my life
–current days for instance– have accompanied friend musicians and
collaborated with them as an
amateur on grounds that have to do with artistic production. Let me also make
clear that, when I say “artist”, I point centrally to the musical arena,
and more specifically to that of popular music. However, I believe that several
of the concepts I intoduce here may apply to other disciplines.
Next, I want to recall a conversation I held
with Martin Rea late in the 2000s, when
I attended his Rock Management course at Artilaria, a training institute
in Buenos Aires. I told him then that, if artists’ management were my “metier”
(which, I insist, is not), for sure I would prefer not to be a band’s
or an artistic act’s “Manager” but, in a broader sense, their “Producer”. The
teacher weighted my arguments and answered that the broader I attempt to map
the scope of my involvement the higher is the risk to invade grounds that the
artist would claim as his/her own. Grounds on which he or she, even for ego reasons,
would not accept third party interference. Martín used to teach management,
but in his own professional life he goes much further, and real facts to come
soon would demonstrate that.
From my point of view there are four areas
in an artist’s production management. Two of them are mostly “soft” areas, where
concepts, ideas, contents predominate. Two of them are mostly “hard” areas, action
oriented, where physical, tangible activity predominates. The four of them are
closely interconnected; decisions made in one area influence the other three.
The “concept” areas are basically preparation areas; they condition what
happens in the “instrumental” ones. The latter operate to directly reach the
public; they provide the former with feedback from experience and the necessary
“reality check”. Managerial processes flow across the four areas. In the header
chart, the functions I detail under each area may be, in more than one case,
interchangeable.
The first area is a soft one and covers the artist's Ethical-aesthetic Orientation. I think this was what my teacher Martín felt as something under the artist's exclusive domain. In fact, the artist positions him/herself "naturally" on these grounds; his/her postures are the result of his/her identity, his/her inspiration, of what sprouts out from his/her interior, of his/her beliefs, his/her experience with the "outisde", what he/she receives from the interaction with the audience. Can anyone else, even a person who is very close to the artist, add anything to that? Furthermore, would the artist be open to accept such contribution? I say yes; I believe that the "producer" can propose, and propose a lot. Decisions on this field, besides the artist's subectivity and his/her intuition, besides his/her emotions, take into account rational components. Propose is not to impose the way the old recording labels used to do. That was why I chose the word "orientation" which is valid in the sense of route, course, as well as in the sense of the contribution the producer can make: to orientate, not to grab the steering wheel and drive.
The first area is a soft one and covers the artist's Ethical-aesthetic Orientation. I think this was what my teacher Martín felt as something under the artist's exclusive domain. In fact, the artist positions him/herself "naturally" on these grounds; his/her postures are the result of his/her identity, his/her inspiration, of what sprouts out from his/her interior, of his/her beliefs, his/her experience with the "outisde", what he/she receives from the interaction with the audience. Can anyone else, even a person who is very close to the artist, add anything to that? Furthermore, would the artist be open to accept such contribution? I say yes; I believe that the "producer" can propose, and propose a lot. Decisions on this field, besides the artist's subectivity and his/her intuition, besides his/her emotions, take into account rational components. Propose is not to impose the way the old recording labels used to do. That was why I chose the word "orientation" which is valid in the sense of route, course, as well as in the sense of the contribution the producer can make: to orientate, not to grab the steering wheel and drive.
The selection of the
repertoire, for instance: what themes is the artist going to approach,
romantic, intimate, metaphysical, traditional, social, environmental, issues of
gender, aboriginalism? How much of each ingredient in the mix? Some artists
make of their adherence to a political movement, of even to a political figure,
the axis of their career. Others avoid a direct political reference when tackling
social themes. Own compositions, if high quality, reinforce the artist’s
identity; so, how many of his/her own songs in the repertoire, and how many
covers? Mercedes Sosa was the greatest singer in Argentina and she was not a
composer, but she was brilliant in choosing beautiful songs that leveraged her
outstanding interpretation skills. Along time, how does the artist plan to develop
his/her own capabilities to improve what he/she does, or to do new things?
¿What image does he/she project, and how does he/she defend and enhance his/her image with behaivour through his/her trajectory?
The second area is a soft area too, Press and
Dissemination. Introduce, publicise and position the artist in mass media,
social networks, merchandising. Manage his/her communications and his/her
public and institutional relations.
The third area is a hard one: the artist’s Management
in the specific sense that my teacher Martín meant. That is, how to place the
artist on stage, manage his/her schedule of shows, organise tours, negotiate
and administer his/her contracts (including cash collection as agreed in each
contract) and all the aspects of the shows of which he/she will be part.
Finally, the fourth area is a hard area too. It
consists in the generation of Deliverables, the specific products to be
distributed and marketed to the public. Audio track albums in the form of CDs,
EPs or the most suitable platforms for distribution and marketing. Videos. All
the graphical art and literature associated to each deliverable. And of course to
make available facilities, staff, supplies and organisation as needed to
produce each deliverable –from recording studios and video makers to support musicians, guest artists, technicians, etc.
What is described above belongs to the aspirational
world. Efforts and money are limited resources, not everything (only a few
things, truly) can be done at the same time. The environment is cruel and abusive,
the artist is expected to resign the compensation he/she fairly deserves for the
job, and to accept to perform for free or for miserable economic rewards, just “to
gain exposure”. Priorities must be set and decisions made on where to start in an
environment of shortage. What is really important is that those who are in
charge of an artist’s production keep in sight the broad picture and understand
how every effort made, every step ahead, articulate with the general scheme. That
is the only way to decide what comes next.
Ver la versión en Español: “¿Cómo manejar la producción de un artista? Lo que a mí me gustaría" – por Roberto “Toto” Imperatore.
