RIP - Rest In Profit: Why Musicians Are Richer Dead Than Alive.
In 2015, the Michael Jackson estate made $115m. This year, following regulatory approval on the sale of his 50% stake in Sony/ATV Music Publishing, his estate is set to make just under $1bn and will be – by some considerable distance – the most profitable celebrity estate in history. Jackson is not, however, an anomaly. A well-run artist estate can be highly lucrative for decades after an artist dies – and often prove more lucrative than when they are alive. But, as the current in-fighting over control of the Prince estate shows, nothing is ever straightforward here. How do artist estates work? How do they strike the balance between keeping the artist’s legacy alive without tarnishing it by doing the kind of deals the artist would never have considered in their lifetime? Which artist estates are run best? And which are a towering disaster?
Eamonn Forde is a freelance music business writer and has been writing about all areas of the music industry since 2001. He is currently a regular contributor to Music Ally, The Guardian, Observer, Q, The Big Issue and IQ. He has also written for The Times, The Sunday Times, The Word, Music Week, The Music Network, Classic Rock and Esquire. He was twice named Music Business Writer Of The Year at the Record Of The Day Awards. He was previously in academic, gaining his PhD from University Of Westminster in 2001.
The Music Research Series is designed to help postgraduate students advance their research and careers. The events stimulate exchange, hones skills, facilitates the creation of professional networks and helps to consolidate the department’s postgraduate community, all over a glass of wine! Attendance is strongly recommended for all postgraduate students (MA, MMus and PGR) in Music but of course undergraduates, music researchers, and visitors from across the college and the community are also most welcome to these public lectures.
Dates & times
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|11 Oct 2016||5:00pm - 6:30pm|
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