Month Seven – Product and Artist Management
Managing is often one of the first tasks associated with being a leader. Month seven was split into two halves. During the first two weeks of the class we learned about artist management, during the last two weeks of the class we learned about product management.
You might think that artist management does not apply to someone like me who is in the software industry. However, that is not the case. When thinking of an “artist” or “talent” many people automatically assume you are dealing with a singer or an actor. However, anyone, that you manage that you use for their creative talents can be considered an artist. In the gaming industry some of the artists you have to deal with on a day to day basis are graphic artists, 3D modelers, sound effect composers, etc. During this month we were taught many necessary people skills for dealing with talent. We were also introduced to some basic law concepts.
During the second half of the month we learned how to create, package and distribute a product from start to finish.
The Leadership Portfolio assignment for this class was to interview a product or artist manager. I decided to interview Ken Pavia, owner of MMAagents. Through this interview I learned a lot about what it takes to become an artist manager.
Tell me a little bit about your background.
I am the guy behind the guy behind the guy.
I graduated from UCLA in 1989
And the University of Miami School of Law in 1991
But I am a Sports Agent not Lawyer
Get it straight
Representing athletes is my calling.
It is my profession
It is my obsession
When I am not working it is my hobby
A fighter interests are served best by me
PERIOD.
I love to negotiate.
But then again everyone has a plan.
Until they get punched in the face.
Literally or figuratively.
2. How did you get started in the entertainment business?
I went to law school to better prepare to conquer the world as a sports agent. While I often had side deals to help supplement my income and build the practice, I began the agency the first day out of law school in January of 2002.
3. Why did you choose to get into artist management?
It was my calling from an early age. Try as I did to be a pro athlete I was always restricted by natural ability, hard work can only take you so far. With more brains then brawn, a knack for stats, and the gift of gab it was my calling. It chose me.
4. Who was your first artist that you managed?
The first few clients were football players that were fringed guys at best. They were a lot of work. I think my very first was a Tight End out of Miami that never really made it. My first real clients were hockey players.
5. Who have you managed in the past, who are you currently managing?
I represented primarily baseball and hockey players for 12 years. I also had football players, basketball players, and golfers. No really big names even though they made quite a bit of money: Jerry Spradlin, Terry Yake, Rick Burleson, Brian Warren, etc. Now I own the biggest agency in MMA, MMAagents. We represent 55 elite level fighters. Our roster is available at www.MMAagents.com. We are the best AND second best MMA agency in the business.
6. What have you learned as an artist manager?
The lessons are too numerous to describe. The most important lessons in my 18 years of management are… teach the client that it is not going to last forever so enjoy it and save, be humble, listen always, and most importantly DON’T LIE EVER. The repercussions of being caught in a lie are much worse then the short term benefits realized from that lie.
7. What are some of the mistakes you have made?
Again the mistakes are too numerous to list. The ones that come to mind are don’t get too close to your employees because they will get complacent and comfortable, get everything in writing, and don’t lie. I made the mistakes that led to these conclusions.
8. What skill sets does an artist manager have to possess?
The most important is interpersonal skills. You have to be a people person, an actor, educated so as to be able to adapt to all situations, and you have to have a marketing gene in you body.
9. What are some of the daily tasks that you have to deal with as an artist manager?
Everyday I make a To Do and Phone call list yet everyday it seems like I spend my time reacting to problems and opportunities. This requires organization, and the ability to adapt on the fly.
10. How do you resolve conflicts with your artists, for example if there is a disagreement.
We as agents are more mediators then advocates. Part of the skill set necessary to succeed in this business is the ability is the ability to solve problems on the fly. This crosses over with the interpersonal skills though.
11. If you could manage any artist in the world, who would you manage and why?
Probably A-Rod. He makes 250 million over 10 years so the commission on his contract alone would be 12.5 million. But the ancillary opportunities associated with him would probably double that. It is nice to be at the top of the food chain because instead of finding and cultivating opportunities you field them because they are coming to you. The ones that are not suitable can be passed to your other clients. We have that now in out firm but our sport, while growing like no other in our lifetime, is not at the level of baseball. We are still missing a few zeros at the end of the checks.
12. What makes you stand out from the competition in entertainment management?
Experience. I have created departments in my firm that model some of the bigger firms in other sports. We have a legal department, a sponsor department, a compliance department (commission compliance, contract and travel), and a PR department. We are staffed to handle any issue and we are efficient.
13. What is your biggest accomplishment in the entertainment industry?
Running the biggest firm in my chosen sport.
After compiling the Questions and Answers I prepared a presentation for class:
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