Simon Renshaw is an artist manager and the founder of Strategic Artist Management, which is based in Los Angeles. Renshaw himself is best known for managing the Dixie Chicks.
In this panel discussion held at a 2008 meeting of the AIMP (Association of Independent Music Publishers Forum), moderator Don Passman and panelists Peter Paterno, Simon Renshaw and Jonathan Haft discuss the recent vogue for so-called “360 deals” in the record industry, where a label seeks profit participation in all revenue streams an artists’s work generates (including touring, merchandise, publishing, likeness rights, etc., in addition to traditional income streams). Passman discusses the origin of 360 deals, why they have become popular, and poses a question for the panel: are 360 deals a naked land grab by record labels, or a legitimate and measured strategy by record labels to continue to offer artists the services they render in such a way as to keep the bottom line in the black? Passman then addresses the question of whether 360 deals are good for artists and labels by posing a hypothetical situation about an artist seeking a deal, and asking the panelists to justify their position for or against a 360 deal – and the need for a record deal at all – in this specific instance. This evolves into a frank, funny, and sometimes shocking discussion of how record deals are negotiated and payments made in today’s music industry.
Linda Newmark (board member of AIMP) introduces the panel: Peter Paterno, Simon Renshaw (manager of Dixie Chicks, et al.), Jonathan Haft (SVP of biz affairs at Hollywood Records), and moderator Don Passman.
In this segment of a panel discussion held at a meeting of the AIMP (Association of Independent Music Publishers Forum), moderator Don Passman discusses the recent history of the music industry with an eye toward the structural changes within the industry which have brought about the need for companies to innovate and find any way to generate revenue that they can – in the case of record labels, the so-called “360 deal.” Passman discusses the origin of 360 deals, why they have become popular, and poses a question for the panel: do 360 deals amount to a naked land grab by record labels, or are they a legitimate and measured strategy by record labels to continue to offer artists the services they render in such a way as to keep the bottom line in the black?
In this segment of a panel discussion held at a meeting of the AIMP (Association of Independent Music Publishers Forum), moderator Don Passman addresses the question of whether 360 deals are good for artists and labels by posing a hypothetical situation about an artist seeking a deal, and asking the panelists to justify their position for or against a 360 deal – and the need for a record deal at all – in this specific instance. This evolves into a frank, funny, and sometimes shocking discussion of how record deals are negotiated and payments made in today’s music industry.
In this segment of a panel discussion held at a meeting of the AIMP (Association of Independent Music Publishers Forum), moderator Don Passman addresses the question of whether 360 deals are good for artists and labels by posing a hypothetical situation about an artist seeking a deal, and asking the panelists to justify their position for or against a 360 deal – and the need for a record deal at all – in this specific instance. This evolves into a frank, funny, and sometimes shocking discussion of how record deals are negotiated and payments made in today’s music industry.
In this segment of a panel discussion held at a meeting of the AIMP (Association of Independent Music Publishers Forum), the panelists sum up the previous hour with some thoughts about whether 360 deals are here to stay, how is making them, and what flavors and subclasses of 360 deals are beginning to evolve.
