Abstract
There aren’t many “one man bands” anymore. There is a physical limit—two hands, two feet, one mouth—that makes it difficult to play more than two or three instruments at a time. It also requires skill in playing multiple instruments simultaneously [91]. However, the drawback of a multiple member band is that the band members must cooperate to produce the sound and also decide how to divide up any income earned. The music produced by a band is of necessity a joint product. The reason music is produced by a duet, trio, quartet or orchestra is presumably because you cannot get the same music output without the combination of instruments and performers. The problem of remuneration for each member is also an important aspect of a band. Since the singer cannot perform the song unless someone also plays drums or guitar, most rock groups have begun with a reward structure that compensates every member with an equal share of the band’s income. This is where the trouble begins in keeping a group together. Though each is necessary to produce the sound, some members may view themselves as more necessary than others. If good drummers are hard to find, then drummers will have to receive a greater share of the band’s revenue. If it is the lead singer who provides the unique sound of the band, he or she will have to be given additional compensation in some manner.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
References
Alessandro Balestrino and Cinzia Ciardie, I wish someone help me write this song.
Samuel Cameron, Rock, pop and judicial efficiency: Economic considerations in the spandau ballet decisions, Journal of Interdisciplinary Economics 17 (2006), no. 3, 327–344.
Amy E. Knaup and Merissa C. Piazza, Business employment dynamics data: survival and longevity, ii, Monthly Labor Review (2007), 3–10.
Roland J. Kushner and Arthur C. Brooks, The one-man band by the quick lunch stand: Modeling audience response to street performance, Journal of Cultural Economics 24 (2000), 65–77, 10.1023/A:1007585518269.
Richard A. Peterson and David G. Berger, Entrepreneurship in organizations: evidence from the popular music industry, Administrative Science Quarterly 16 (1971), 97–107.
Kerry Segrave, Payola in the music industry: A history, 1880–1991, McFarland and Company, Jefferson, North Carolina, 1994.
David Sköld and Alf Rehn, Makin’ it, by keeping it real: Street talk, rap music, and the forgotten entrepreneurship from ’the ’hood’, Group & Organization Management 32 (2007), no. 1, 50–78.
Heidi Westerlund, Garage rock bands: A future model for developing musical expertise?, International Journal of Music Education 24 (2006), no. 3, 119–125.
____________ , The billboard hot 100 annual, 1955–2005, 7 ed., Record Research, Inc., Menomonee Falls, Wisconsin, 2006.
Author information
Authors and Affiliations
Rights and permissions
Copyright information
© 2013 Springer Science+Business Media New York
About this chapter
Cite this chapter
Phillips, R.J. (2013). So You Want to Be a Rock and Roll Star?. In: Rock and Roll Fantasy?. SpringerBriefs in Business, vol 35. Springer, New York, NY. https://doi.org/10.1007/978-1-4614-5900-2_1
Download citation
DOI: https://doi.org/10.1007/978-1-4614-5900-2_1
Published:
Publisher Name: Springer, New York, NY
Print ISBN: 978-1-4614-5899-9
Online ISBN: 978-1-4614-5900-2
eBook Packages: Business and EconomicsBusiness and Management (R0)