Product/Artist Management

After hearing a number of accounts about the course director formally known as Cassandra Willard, Esq., I felt I was set on equal footing entering her class. There were just as many horror stories as there were rave reviews. After concluding the class, I can say with a particular degree of certainty, instructors like Cassi are the reason I decided to pursue a Master’s Degree in the first place.

The curriculum was balanced between product and artist content. I found the product side to be most practical, which is ridiculous when I say it out loud (because I’m an event coordinator). The product management sector has a lot less twist and turns, as it doesn’t have to deal with the practice of managing something that was born with free will. Lots of bare numbers and analytical marketing in this area as well.

The artist management track is for a special kind of saintly person who has Gandhi’s patience, only on steroids. Landmark talent managers like Rene Angelil and Shep Gordon come to mind when discussing people who literally have seen it all, on account of having music royalty as clients. It also takes an incredible degree of self-control to function as a talent manager. The greats have come to know when appropriate to take a little extra time to review a deal. Endorsements and sponsorship agreements need to be gone through with a fine-toothed comb, to ensure that the deal will showcase the client’s strength and be conducive to their longevity in the industry.

To a degree, the same can be said about the product management sector. Project leads and product management specialists must work hand-in-hand in order to find more enticing ways to get products and their associated content in front of their consumer base. In many cases, pairing products accomplish this with celebrities (usually, recording artists). In these instances, the product and artist management fields meet. And that, my children, is the beginning and end of the universe.