I originally designed this blog, thinking that I wanted to be a tour manager, hence The Tour Life name. Now I look back and think, that’s not what I’m good at. Road life would probably chew me up and spit me out. I was determined yes, but misguided. I should have stuck with what I was always skilled at, Artist Relations. I learned skill sets needed for that area throughout my four years at Mansfield University of Pennsylvania. I learned how to talk to people, how to mediate, how to deal with pressure, and how to deal with difficult people. I didn’t realize it then, but I was learning important lessons about negotiating.
The other day, I was speaking to my mentor Clarence Crisp (former Director of Student Activities at Mansfield University), about the artists we worked with and how we dealt with situations. “Miller, you were always my second in command,” Clarence said. He knew he could count on me because I would be professional and work as long and hard as needed. We met some terrific acts where the biggest negotiation was booking the artist and finalizing the rider based on Mansfield policies. Other artists, such as Third Eye Blind, and their manager gave us a rough time. But with the combination of “good cop” (me) and “bad cop” (Clarence), there wasn’t a situation we couldn’t smooth over. He’d always send me in first, all dressed in my security shirt and “war paint,” to make the first impression. Really, who wants to yell at a young, polite blonde? Then if I didn’t have the authority or needed assistance, Clarence would come through. Yet, Clarence rarely had to be “bad cop” because he towered over everybody. Yet, his interpersonal skills were what smoothed over any problem. He was kind-hearted and cooperative, as long as the other person wasn’t unreasonable. There were some high demands during the course of 3EB, but we stood strong. Clarence’s philosophy was always “this is their home for one night, so treat them right, show them the best hospitality you can, and they’ll put on a great performance.” This of course was within reason.
After talking with Clarence, I decided to interview someone currently in the field: Dale Rock, Full Sail University Artist Relations Director. I was also able to interview Jen Tackett, Full Sail University Artist Relations Coordinator. I wanted to compare my past experiences with how the professionals dealt with negotiating. Some background about my interviewees: Dale Rock came to Full Sail University after gaining experience on the road and owning his own business. He became a lab specialist in audio and then became a course director for Show Production while also taking on the role of Artist Relations Director. Jen Tackett graduated from Full Sail University with an Entertainment Business Bachelor’s Degree. She was hired to help Michelle Bunker (who was Artist Relations Director at the time) with booking. When Bunker left the position, Rock was hired and Tackett began booking both studio sessions and live sessions. She became interested in the field after being involved with performing arts. Tackett felt that if she “wasn’t going to be in a band, she wanted to work around them.”
Rock and Tackett tend to use the “good cop, bad cop” tactic when dealing with artists. Credited toward his military background, Rock never let’s emotions get in the way of a deal because it affects decisions. They deal with a variety of musicians, so they all need to be handled similarly. “I let them vent, but I stand my ground. I let them know it’s my decision because I’m responsible for the students. Policies need to be followed so it doesn’t go against student’s curriculum or put student’s at risk,” Rock said. “Artists either do what I want, or don’t do [the session] at all. Student’s curriculum needs to be met first. If Full Sail is left vulnerable, then I didn’t do my job.”
Artists that do no cooperate with students, whether it is in the session rooms or at Full Sail Live, may not be invited back. “A small temper is okay because it’s like the real world, but we want them to be reasonable, not over the top,” Rock said. Tackett added, “material is for students and use for educational purposes.” Coming to Full Sail means that artists get free studio time. This saves them on tracking expenses because students do all the hard work. “If something’s wrong they’re welcome back, if they had a good attitude,” Rock said.
Rock’s strategy is one that is beneficial for Full Sail University and students. Since Full Sail is an educational setting, negotiations within a college are different than negotiations with a label. Yet mutual gain for both artist and Full Sail lies in the deal that has been set. Free sessions; money saved for artist to invest in other areas. Full Sail obtains a range of excellent clients and its students gain hands-on experience. The value of standing your ground as a negotiator still leaves room for mutual gain, and strong individuals working on behalf of Full Sail University and its students.
