Artist/Manager Vs. Partnership Negotiation

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1. Give an example of how you separated the character you negotiated against from the problem you were trying to solve with that character (i.e., how you focused on just the problem instead of the other negotiator’s attitude) in either the Artist/Manager or the Partnership Dissolution negotiation. (10 points)

The artist in the scenario was flighty and seemed to have had another offer. The “problem” was to make sure that both of our interests were being met. In this scenario, I was very accommodating and willing to work with the Artist. I tried to suggest mutual beneficial interests. Probing and clear communication proved to be beneficial in determining what exactly the artist wanted. With that knowledge and looking at the issue from his perspective, I could try to
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Firstly, I was able to focus on trying to determine a solution for the issue and not a battle of personalities. Second, It let me see that we both had similar interests. Stability was important to both the artist and I. With this knowledge, we were able to come to a mutually beneficial agreement.

3. Give an example of how you used objective criteria (such as what specific statistics, precedents, industry standards, etc. you used/researched) to get what you wanted in either the Artist/Manager or the Partnership Dissolution negotiation. (10 points)

After reviewing the article,” The Management Contract That Every Artist, Songwriter, and Producer Should Have” (Gordon, 2015) I was able to see some generic points in a contract. I used it as a reference tool to learn what a term actually represented. It also allowed me to understand how long I would be working with the artist, and what was expected of him. Determining what I should base the percentage of his income on was key in working out the specifics of the negotiation.

4. How did using objective criteria affect the outcome of that particular deal? (10

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