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international journal music business research october vol regulating artist managers insider perspective guy morrow abstract problematic artist managers international popular music industry currently subject consistent regulatory frameworks particularly given increasing centralisation responsibility role article examines following research question artist management practices consistently reg u lated addition address following sub research questions pitfalls belie attempts regulate betterment musicians music industry self regulation viable alternative keywords artist management regulation code conduct acknowledgement many individuals assisted encouraged throughout research work artist management gratefully acknowledge assistance co manager rowan brand well boy bear band members killian gavin j cob tarasenko david hosking jon hart tim hart without support co pletion article would possible dr catherine moore new york university michael mcmartin melody management also provided val u able advice feed bac k furthermore received macquarie university new staff grant enabled travel conduct research interviews new york university graciously hosted visiting scholar guy morrow visiting scholar new york university studied artist management practices global economy international music managers forum currently macquarie university research development grant resear ch career development strategies within new music industries also manages several australian bands austral ian recording industry association aria awards boy bears november guymorrowmqeduau regulating artist managers introduction problematic artist nagers international popular music industry currently subject consistent regulatory frameworks particularly given increasing centralisation responsibility role article examines following research question artist management practices consistently regulated addition address following sub research questions pitfalls belie attempts regulate betterment musicians u sic industry self regulation via ble alternative article four parts first addresses research questions use participant observer methodology feature case study australian band boy bear boy bear chosen case study band co managed boy bear rowan brand september december therefore first hand knowledge regulatory frameworks impacted impact development project b becau se band australian recording industry association aria awards n vember including album year best group breakthrough artist album breakthrough artist single best adult alternative album therefore ba nd granted position centre australian music business second part makes use qualitative research interviews managers comparative study third fourth sections offer solutions issue la ck artist manag ement regulation study concerning whether artist managers consistently regulated significant amount artist management rela ed entrepreneurship innovation new music industries increased dramat ically due abundance distribution outlets music peltz scope artist entrepreneurshipself agement also increased management role becomes even central ibid due impact new technologies hav e music business without artist management self manage international journal music business research october vol ment included music industry could function however could function without record companies due substantial number altern ative revenue streams distribution outle ts content fur thermore artist manager individual besides artist gets see touch jigsaw puzzle pieces fit gether create artist career therefore immense influence every spect artist career therefore important r esearch regulation artist managers conducted also considering following question pitfalls belie attempts regulate betterment musicians music industry article therefore provide overview regulatory frameworks artist management practices new music industries subject offer sustained focus understan ing processes driven continue drive develo p ment regulation artist managers music industries background sydney based artist managers brand subject ente r tainment industry act act legislation exi sts australian state new south wales nsw regulation useful starting point forms background study form governmental regulation entertainment industry unique exist australian states equivalent uk canada us extent hertz act provides suite laws aimed protecting performers dealings agents managers venue consultants co monly known booking agents therefore locates artist man gers within broader industrial context better regulation office bro nsw argues act introduced performers often poor bargaining position regard c ommercial entertainment industry act accessible via following url httpwwwlegislationnswgovaufullhtmlinforceactfirs tn regulating artist managers relationships agents managers venue consultants theref protected unfair practices key feature act agents managers venue co n sultants must obtain license office industrial lations oir work state nsw license requires compliance set laws governing operations including maximum fees charged money held behalf performers must han led artist manager money n trust behalf artist pay bond period one year office industrial relations oir provisional license trust account audited accountant end period nsw state australia specifically license entertai n ment industry representatives although western australia perth australian capital territory canberra require employment agents includes operating entertainment indust ry licensed south australia adelaide requires representatives registered bro nsw completed review range occ u pational licensing including entertainment industry licenses april response final r eport review produced nsw government conceded licensing scheme protecting performers effectively removed however stage recommendation needs enacted legislation licensin g requir ements artist managers operating nsw still apply october better regulation office part office industrial relations nsw produced final report outlining review entertainment industry act article specif cally concerns recommendation code conduct states entertainment industry act review located following url entertainment industry act review located following url httpwwwdpcnswgo international journal music business research october vol code conduct developed covers ethical beh viour minimum competency requirements person operating performer representative shou ld required comply code penalties misconduct code easy understand targeted particular risks consistent existing common law obligations results comparative study concerni ng issue pr vided part two literature review methodology watson offers definition artist management manager person earns living helping artists build maximise musical careers woodruff states manager job create perception band successful also ev dent thing manager complicates tempts regulate profession watson rogan order illustrate point watson notes managers wear many different hats order build maximise careers artists man gers organisers negotiators motivators counsellors ed itors designers manipulators strategists much watson argument every manager combines different hats different co binations thus creating unique complex style watson rogan argues since management question personality th policy anything else defines perfect n agement candidate inevitably remains elusive ambivalent ideal candidate must cautious yet innovative intuitive yet empirical forc e ful sensitive artists feelings aggressive ba ttle reflective victory wise intellectually ntimidating must also sympathetic listener rogan claims mythical perfect artist manager lies som e hard businessperson medical doctor dedi cated schoolteacher ibid notion one could develop regulating artist managers framework best practice artist management challenging cause various ways managers operate depend ent individual manager personality met hodologies artist managers employ need analysed within specific contexts dis tinct se ctions music industry individual managers oper ate const itute contexts every artist different therefore individual managers differ one anot watson notes understand manager first unde rstand artist managing therefore artist manager behaviour somewhat dictated decision making process artist manage dynamics artist manager form basis study artist management managerial role intricately connected artist work manager fully understood context heshe artists operate contrast common argument strong artist manager relationship analogous good marriage personal n ager th e alter ego artist ibid evident dynamic fact quite different stereotypical good marriage strong ar istmanager relationship unbalanced personal manager ne c essarily function artist unique combin ation needs necessarily vice versa therefore manager alter ego alter ego necessarily subservient power ba lance shifts success relationship become abusive one mandat ry code conduct established artist managers face risk clients could use code power ba l ance shifted favour peter jenner notes nothing forever business relationship marriage see losing act part development nager although another business relationship artist may form frascogna hetherington note person full service personal manager influential force behind artist career effort often critical international journal music business research october vol artist ultimate level success failure assert given critical role manager plays planning execution day today career control essential artist manager waveleng th per sonally professionally therefore need consider artist managers interests examining regulatory options rather focusing needs artist analytical approach needed addition body literature concerns artist manag e ment number researchers examined artist management reg u lation specifically researchers include gilenson hertz obrien frith gilenson examined artist p ersonal manager conflicts interest music industry hertz examined regulation artist representation ente r tainment industry obrien specifically examined regulat attorneys californias talent agencies act presented tautological approach protecting artists work authors informed study frith provides broader analysis p pular music entertainment industry work concerning industrial process pr ovides theoretical framework article frith argues music industry operates reverse direction articulated colonisation argument notes argument co ncerning music making ess ential human activity colonised commerce flawed n volves suggestion music starting point industrial process raw material everyone fights fact final product popular music often located end industrial process attempts regulate affect musicians artistic processes output therefore regulation negative positive impact artists career development reason study code conduct artist managers intern tional pop ular music industry involve case study australian band boy bear addition ethnographic interviews conducted artist managers approached via th e international music managers forum immf september november regulating artist managers total artist managers interviewed study however due scope article material utilised comanaged b oy bear rowan brand septe ber december therefore article uses partic pant observer method research tradition well established qual itative research practices boy bear chosen award wi nning band allocated position centre australian music business co manager unique perspective career development artist manager individual besides artis gets see touch jigsaw puzzle pieces fit together create artist career frascogna hetherington terms participant observ tion artist manager therefore useful position acquiring depth knowledge dynamics texture artists career deve l opment case studies provide ability deal wide variety ev dence within real life contemporary context opportunity gain access explan ation causal links complex survey eisenhardt mitchell walton yin therefore case study artist manager observed broa er interactions regulatory bodies artist managers subject additi interviewing artists managers au tralia canada uk us members immf must noted terms discussion broader regulatory frameworks subject manager boy bear bi ased toward mana gers point view case study managing boy bear boy bear album moonfire released australia via universal music australia island records imprint august boy bear consists band members david hosking lead vocals guitar tim hart drums banjo guitars backing vocals jacob tarasenko bass gu itar backing vocals killian gavin lead guitar backing vocals jonathan hart keys backing vocals international journal music business research october vol reached gold sales status within weeks achieved platinum sales status december released uk via co opv january album released digitally us via universal republic august yet released physically boy bear australian recording industry assoc ation aria awards november including album year best group breakthrough artist album breakthrough artist si ngle best adult alternative album numbe r regul atory frameworks brand band managers nav igate could help band achieve results stated previously artist manager money trust b e half artist pay bo nd period one year office industrial relations oir provisional license trust ccount audited accountant end period audit positive bond returned mana g er issued license went process issued license prior commencement relatio nship boy bear set co management agreement brand brand years old time could afford p ut forth bond band accounting signat ry band partnership account money trust behalf band start phase australian artist business common rtist manager also business manager band becomes established afford business management se r vices artist manager often reli nquish business management responsibilities professional music business manager ar tist manager focuses core areas touring marketing production recordings case boy bear one issue requirement paying bond provisional license done co management agreement brand would technically able work artist manager b e cause could afford pay bond regulating artist managers however many australian artist managers practice without l cense partic ularly based state othe r nsw form licensing requirement may artist managers aware licensing requirement nsw b e cause perception r equirement enforceable meaningful way license perception entertainment industry act much influence artist managers operate brand members association artist managers aam australia ber orga nization immf membership organization curren tly require adherence code conduct comparative study research interviews order examine question artist management practices regulated work boy bear l cated broader context includes perspectives artist managers operate internationally quotations research participants taken interview transcripts much debate amongst members immf concerning establishment code conduct artist managers interviewees argued necessary membe r ship immf tied others argued looser set guid elines woul suitableappropriate one canadian artist manager brian hetherman commented association artist managers australia mmf australia also member organiz ation immf membership mmf australia require dherence code co nduct number years canadian indie label duke street records mca records brian hetherman became youngest director ar artist repertoire mca cords head mca music publishing brian ffered inaugural position executive director radio starmaker fund helming radio starmaker first cou ple years opportunity presented brian make plann ed moved artist management indie label owner shortly thereafter brian started cerberus artist management affiliated label curve music representing artists years garth hudson band holly mcnarland suzie mcneil wide mo uth mason andy stochansky derek miller peter katz brian also president music managers f orum canada vice chair immf board international journal music business research october vol came board heading mmf canada code conduct would make people sign short form agreement stating embers would operate part cular guise think problem sticking people certain position particular way business think particular cases necessarily fair general consensus definitely needs tempt made artist managers increase level professionalism level accoun tability responsibility quite word would enforce challenging experience managing boy bear became evident lawyers often make refe r ence industry standards negotiating behalf clients though became clear study standards exist number artist manager interviewed said felt threa ened idea establishing standards believed la w yers would use st unwarranted way another point made multiple interviewees fiscal responsi bility manager occurring time industry transfo r mation increases need solution regarding regulatory framework also ramifications way indus ry theorized frith argues artist managers largely su b ordinate demands record companies though cha n ging frith traces changes nagerial role argues record companies central ingredient wi thin mix entities needed pop ular music act successful states show biz recipe rock success sufficient talent efficient management enterprising record company central n gredient recipe inde ed company frith frith asserts record companies legal owners master copyright within finished recorded product expect well consultant canadian music week gibson addition brian sits board dire c tors factor wwwcimamusicca accessed august regulating artist managers exercise rights ownership artists artist mana gers subordinate demands however changing organizations featured artists coalition fac encou r aging artists license master copyright recordings record labels rather assigning master copyright addition notion collapsed copyright challenges definitions copyright asserting different copyrights longer make se n se music consumed online song streamed online loaded copy song generated performance copyright song mechanical copyrig ht one morrow online use also involves c pyright actual recording well collapsed copyright therefore includes performance copyright mechanical copyright copyright actual recording merging one creator right ibid centralisation copyrights realised important ramifications structure mu sic industry would involve royalty collecting societies song publishing companies record co panies merging one however issue arising concerns increased workload surrounds creator right functions aforementioned entities rolled one manager creator right would regulated one reasons theorists williamson cloonan frith reconceptualised music industry shifting emph asis away record companies toward holistic view industry considers five key income stream groups live performance song publishing record sales r chandise sponsorship one british artist manager tim prior noted tim prior entertainment industry years former director arista records bertelsmann group company arti st rights manager worked alongside many major artists nagers helping redefine develop international entertainment industry constantly evolving business models tim also chairman uk ticket comparison site tixdaq com music consultant peter gabriel digital streaming service wecom european quarterback us based redlight management board member mmf music managers f orum wwwqmusic comaubigsound accessed august international journal music business research october vol rules engagement changed continue cha n ge dramatically quickly need code think central community people fast becoming gateke e pers relationship would call creat creative client prior noted uk artist managers often discouraged forming agreements clients deeper straight service prov isioncommission generating relationship chang ed artist management involves building systems co n texts environments artistic creativity emerges music business experiencing fundamental change analyt cal reconceptualization possibilities artist mana gement agreements needs take place example manager invested heavily cash well time put proposal together put client become publisher record label lot mistrust frankly th ink stirred inappropriately professional advisors meaning lawyers according prior mistrust subsiding need innov tive management solutions increases allowing artist managers ximum possibilities deal making questioning divisions traditionally exist record labels song publishers artist nagers innovative artist management solutions achieved commerce versus creativity dichotomy informed number music indu stry studies needs reconceptualized context frith negus commented colon sation argument frith noting music located end point industrial process negus positing c reativity r sus commerce dichotomy may clichéd still one ways musicians make sense happening arg u ments form part established debate popular music studies canon concerning rock genre struggle authentic ity relation commodity form see frith adorno pop ular music regulating artist managers often considered unique extent makers form art struggle role commodity producers ho wever radi ohead epitome postmodern art rock band portant release album rai nbows brought artistic sensibility organization commodification morrow assuming oth er artists fo llow lead arguably less perceived tension creati v ity commerce artists managers increasingly organise commodification research interviews statements outlining need code co nduct would enable immf become self regulating body often accompanied arguments one co n cerning centralisation responsibil ities artist artist manager though statements often qualifi ed n agers saying mandatory code would impossible enforce general comments supporting establishment mandatory code conduct follows british artist manager dan dland noted yes definitely mean ive industry six years guess seen many different incarnations managers horror stories occurred actually think probably becoming less professional business becomes ca nadian artist manager rob lanni stated think necessary hoping would never refer people know outset things like see peers adhere profession beca use historically rules managers immf dan medland works global artist management firm iemusic recently moved australia uk manage ladyhawke passenger medland also overseeing new full service artist management venture leading australian music sales marketing comp ny inertia iemusic addition role ieinertia dan continues work existing iemusic ro ster wwwinertia music com accessed august rob lanni co founder toronto based full service artist management co mpany coalition music coalition music manage artists lady peace finger eleven simple plan international journal music business research october vol mmf came existence managers came forms things way familiar rest world us particular b een shady individuals years diversity opinions regarding artist management practices lead novel solutions sawyer therefore interviewees commonly agreed code conduct another c ommonality respondents would pro b lematic enforce mandatory code conduct artist n agement services encompass increasingly diverse range economic activities difficult impossible develop un iform method regulation within territories concerned could lead esta b lishment one consistent international code johnson turner mmf uk attempted establish mandatory code conduct past according one british interviewee keith ha r ris keith harris began work rec ord industry first record company worked small independent uk label called transatlantic records label represented mainly british folk musicians also distributed blue note mil estone jazz labels joined emi records initially worked several house emi labels promotions department labels included rocket worked elton john album blue moves fantasy ariola emi intern ational joined motown emi licensed label worked motown two years ending general nager label period label worked artists marvin gaye diana ross smokey robinson comm dores rick james supremes helma houston stevie wonder left motown moved los angeles work stevie wonder became operations manager st evies companies return uk formed management company involved manag ement various uk based artists since managed junior giscombe junior tucker paul johnson omar keith managed lynden david hall recent death still represents stevie wonder senior fellow university stminster school music film fashion former chairman mmf chairman musictank also chairman african caribbean music circuit music touring organis ation funded arts council england also fellow royal society encouragement arts frsa keith director performer affairs ppl source httpswwwmusictankcoukresourcesspeaker biographieskeith harris keith harris music ltd musictank chairman ppldirector regulating artist managers one things came closest splitting general co n sensus managers different ways managers operate coming marketplace difficult develop mandatory code conduct managers looking diff e rent business models brand managed boy bear traditional way managers service provision agreement band organised band license master recordings universal music au tralia australia new zealand assign copyright master recor dings universal republic new york rest world signed song writing mbers song publish ing sonyatv world engaged separate booking agents australia uk us conflict interest clause code co nduct could arguably applied way working different roles copyrigh ts trea ed separately therefore interests confli cted would difficult code conduct going specif ically cover different business models available artist managers harris ed still people using traditional manag e ment model others effectively going bus ness angels get money effectively act record label people assuming ro le record company behalf artist without going third party investor instead growing business way perfo r ming record company functions without private investor without priva te equity stake holder given three different scenarios difficult mandatory regulation according harris people say differs much therefore code conduct com partmenta lizes profession much may discourage innovation may undermine attempts unify artist n agers canadian artist manager brian hetherman put international journal music business research october vol situation stipulations put something harder group unison less code conduct common sense outline business operate treat artists response question concerning broad code could enforce able hetherman noted thi nk socially enforceable sure honest respects bite legal one know mean even though laws need followed laws business less yea rs kinds shady managers open share stories experiences manager managers peo p le advise may want avoid person dont sign agreement tha looks like dont fall trap think really empowers artist empowers good managers experience managing boy bear however led conclude perceptions good bad managers often subjective managers commission net profits others adjusted gross structures obviou sly artists often argue managers commission net profits agreement sustainable managers ot herwise able provide service artist career suffer solutions guidelines addition socially enforceable broad code conduct com mon su ggestion made interview respondents concerned esta b lishment set guidelines artist management handbooks produced uk australia provided extracts management contracts examples best practice could expanded upon british artist nager keith harri noted regulating artist managers say well standard management contract lot senior managers never done contract artists verbal agreement immf set range guidelines key pointers dos ts artist basically understand various options options mean instance talking splits make sure understand gross profits commissionable expenses management going pay kind stuff like way allows flexibility order addendums new business mode ls come stream common point made interview respondents mand tory code conduct would impossible enforce solution issue involves education solutions education proposed solution put forth harris inv olves publishing clea r ly exac tly guidelines mean allowing artist make decisions want enter artists would also encouraged guided advice lawyers co nsultants previousl discussed rock music often considered unique extent makers form art struggle role commodity producers different industries product artists sometimes actively resist thei r commercialis tion case boy bear example want think business side music money flowing business lead rifts artists service pr oviders helped achieve success later frith notes terms colonisation argument songs singers fetishized made magical reclaim possession via cash transaction market place language rock criticism stake truth international journal music business research october vol music flaw argument suggestion music starting point industrial process raw material everyone fights fact f inal product industrialisat music cannot understood something happens music since describes process music made therefore education needed throughout process order counteract effect commerce versus creativity dichotomy colonisation argument psyche artists set guidelines could also used educate artist managers well ar ists often managed friend rel ative difficul ask new manager comply code conduct set guidelines manager themself may understand british artist manager dan medland put turned industry said right well sort booked tours really management one could really tell largely case learning feet think would massively helped certain guidelines take young manager pr ocess little bit depends acts got rb act rock act co pletely depends artist artist manager relationship commonly pe r sonal one often artist managers come program education first get management artist managers resistant notion code conduct would force operate certain way subject qualifying process therefore n issue buyin n agers within field artist management medland noted id certainly happy go code conduct sign something industry scare know general areas responsibility whereas new managers may case unless embedded curric u lum studied coming non educational bac k ground might quite difficult take maybe two things yregulating artist managers yo u call code conduct educational purposes set guidelines people outside educational institutions p tentially rather letting clichés stereotypes inform n dustrial process operate nu mber british artist managers noted solution would set guidelines produced immf artist managers linked featured artistes coalition fac regard fac harris noted basically good idea actually artist voice th e always problem immf speak former chai r man insomuch time artists rights managers rights co align time need addressed featured artistes coalition kind address therefore harris argued solution would immf another similar body put guidelines agre e ments mean website actually might appropriate featured artistes coalition interpreting guidelines mean artist featured artist coalition organization formed uk constituted artists produce origina l music therefore copyrights license assign manife fair play digital age states music artists control destiny ultimately art endeavours create pleasure emotion enjoyed many believe artist always retain ultimate ownership music agreements conducted fair transparent manner rights holders fiduciary duty care originator f rights consult accurately report creators agreements affect work exploited fac attempting achieve changing artistes approach agreements changing music technology companies treatment artistes changing law administration therefore fac campaigning laws regulations business practices pol icies protect artistes rights note together stand artistes engaging gover n ment music technology companies colle ction societies arguing fair play necessary exposing unfair practices international journal music business research october vol incumbent artists go fac get artists point view managers go immf get managers viewpoint independent advisors actually negotiate pick suitable model got important role play good thing fac encourages artists feel need know new environment exactly business side means longer attitude ok leave nager therefore rather becoming regulatory body immf could work fac fulfil educational role stereotype artist manager although rogan morrow attempted deco n struct prevalent stereotype artist manager familiar caricature c igarsmoking hustler takes advantage star struck adolescents stereotype still existence furthermore stron g ly affects governmental policy discussions concerning establis h ment code conduct andor set guidelines artist managers need critically analytically e ngage stereotype negus couches analysis follo wing terms idea conflict creativity commerce also used illustrate power music industry informed numerous everyday claim musicians sell system one side heroes musicians producers performers creative artists opposing villains record companies entertainment corporations commercial corrupters man ipu lators negus argues opposition implicit many music industry studies problem studies inform legislation based erron eous stereotypes british artist manager keith harris noted regulating artist managers one thi ngs always bothered l ways assumption manager rips artist happens equally well way around unusual artist rip manager going enter working relat ionship whereby agreed things split profits kind stuff artist suddenly realises well actually claim conflicts interest get manager back ge necessarily original agreement harris argued artists smart people gen e rally dummies especially comes getting share money artists problems u n derstand business outset also large number artists opposite end spectrum artists quite successful well financed well resourced terms legal advice rigid rules put place artists actua lly use rules manager unwarranted way however relationship complex balance power relationship artist manager unique artist manager work artist time artist fo l lows manager lead throughout artist career trajectory balance power tends shift success creative comme r cial accumulates rise level success see power ba l ance shift artist favour however period peaks success power balance artist manager favour morrow power balance constantly evolving differs across genres must therefore considered case bycase basis ibid irony artist manager position business better fulfilling role increasing artist commercial success worse bargaining position mselves end certainly brand experienced relationship boy bear means built disincentive artist managers service providers part explains artist mana g international journal music business research october vol ers common desir e control artists assetscopyrights r e garding nsw government engagement afor ementioned stereotype keith harris argued first say weak bargaining position would argue necess arily case usually artists get management commensurate level standing starting offered deal big manag e ment company yes say got lower barga ning pow er however influence management company exert career also disproportionate current achiev e ments like yes lower bargaining power effects management going disproportionatel great furthermore management contract actually management service agreement means artists always able fire manager despite term agreement happen courts decree level f compensation nagement get fired means artist manager effectively end adjudication process anyway artist manag e ment service agreements commonly feature sunset clauses outline post term commission clauses built management agreements protect manager artist management agreement different agreement b e tween artist record company agreement b e tween artist cord company commercial agreement opposed service agreement harris noted commercial agreement enforceable law walk away artist whereas effectively walk away service agreement happen courts dete r mine compensation artist pay comes situation artist highly successful bargaining power completely reversed end management companies working virtual ly nothing regulating artist managers external regulators become involved need careful regard problematic preconceptions harris argued driven television movies manager always bad guy necessarily always case particularly starting level young manager get artist far record deal record company encourages artist take experienced manager young manager done hard graft nd left nothing one reasons according harris shor age entry level managers industry furthermore government attempts regulate industry also gravitate entry level managers n oted state nsw australia legi lation requires artist managers licensed artist n ager money trust behalf artist paid bond office industrial relations oir trust account audited accountant bond returned ho wever brand entry level co manager could afford adhere requirements co management agreement provided solution ssue austra lian artist managers get around setting account artist name become signatories accounts technically trust accounts r e gard legislation harris argued fine ten gravitate entry level nager afford put bond start something see countries well france similar kind system managing two artists commission soon sign third allowed commission regulation obviously put place attempt pr tect artist shortage good entry level managers problem industry harris continued international journal music business research october vol end situation half dozen po w erful senior managers extent tends gravitate artists saying managers going work artists best interests saying much harder artists get managers give attention b e cause bigger management company bigger clients new artist always going bottom pecking order whereas new manager new artist tends work much harder order get first base theoretical perspective legislation may valid detrimental effect artists positive one theory great understand trying protect artist people stealing money forth careful putting entry level high new managers conclusions problematic artist managers international popular music industry currently subject consistent regulatory fram e works particula rly given increasing centralisation res ponsibility role governmental regulation would potentially restrict inn vation times would harm good article exa ined following research question artist management practices consistently regulated swer question artist management cannot regulated uniform way addition article addressed following sub research questions pitfalls belie attempts regulate betterment musicians usic industry self regulation viable alternative number pitfalls belie attempts regulate betterment musicians industry outlined self regulation viable alternative perhaps unsurpris ingly interviews revealed regulation positive negative impact artist career development music located regulating artist managers end point industrial process therefore attempts reg ulate affect musicians artistic processes output task therefore find balance artists position managers posi tion education guidelines would help establish middle ground therefore major part solution fo rming core attempt self regulate regulatory attempts informed assumption ar tists always poor bargaining position one dimensional consider fact managers often put poor bargaining position cl ichés stereotypes artist managers often informed music industry operate negative effect industry pa rticularly extent decreases amount artist management service prov ision available popular music raw material colonized stere otypical villains rather form art often nurtured industrial process passionate practitioners deserve trea ted fa irly references adorno jazz discourse vol eisenhardt k building theories case study research acade management review vol pp frascogna x hetherington l bu siness artist management practical guide successful strategies career development music business mus cians managers music publishers record companies rd edition new york bil l board 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