| -- End Ad Box ---> | | | | The point, of course, is that it's not always easy |
| Great Managers & How to Find Them | | | | to trace or gauge the manager's positive effect. |
| A rock headliner-turned-artist manager shares her | | | | As Billig points out, "There are little |
| insights into the business side of music. | | | | accomplishments that seem insignificant to the |
| By Maureen Herman | | | | artist or outside world but are gigantic for the |
| August 9, 2006 | | | | artist's career. It's hard for anyone, even an artist, |
| In 1991 I was living in a drafty warehouse on | | | | to see that opportunity the manager gained for |
| Chicago's South Side, practicing with my band in | | | | him or her." |
| the basement and playing local clubs -- until I got a | | | | "I think there's a quote from Andy Gould |
| call that would change my life. | | | | [manager of Rob Zombie and Monster Magnet] |
| An old friend phoned with news that the bassist | | | | that says, 'A manager's job is to be the thing that |
| had quit the band and asked if I'd like to join. That | | | | gets between the bullet and the artist's foot,'" |
| band, Babes in Toyland, had just signed to Reprise | | | | laughs Hutton. "I think that's true, combined with |
| and was about to record their major label debut. I | | | | contributing to the artistic process. That doesn't |
| joined. In two weeks I was on tour, with a | | | | necessarily mean creating the music, but |
| recording session scheduled immediately after we | | | | representing the music in the proper spirit and in a |
| got off the road. | | | | creative way." |
| In true punk rock fashion, we split all of the work. | | | | Managers essentially work for free until they can |
| But things soon became hectic, and it became an | | | | create financial opportunity and exposure. |
| overwhelming responsibility to keep on top of our | | | | "You want me to pay you what?!" |
| business -- touring, recording, upgrading | | | | Commission: Anywhere from 5% to 20%, with |
| equipment, something about ASCAP, and needing | | | | the norm being 15%. |
| someone to tell us that A&R didn't stand for | | | | This is how the manager is able to afford to |
| Artists & Restaurants. We wanted an ally, | | | | work for you and still pay the phone bill and eat |
| someone like us who understood what we were | | | | out once in a while. In the early days, it can be |
| doing, who knew the business and could help us | | | | tough: The client doesn't have income, which is |
| protect our interests and image. | | | | why he or she wants a manager. The manager |
| It was time to get a manager. | | | | essentially works for free until he or she can |
| In all my previous bands, I'd never thought of | | | | create financial opportunity and exposure. |
| having a manager or even known what music | | | | At this stage, it's important for all parties to be |
| business people really did. Entrenched in the DIY | | | | realistic. In the beginning of his career, manager |
| ethic of Chicago's indie scene, when I pictured a | | | | Chris Moon [Josh Rouse] still worked a second job |
| manager, I saw a cheap suit, a cigar, and a snake | | | | -- and for as long as it took, so did his client. "I've |
| holding someone else's money. | | | | talked to several people who made big money on |
| Fast-forward a few years, and today I'm a music | | | | big deals," he says. "They still have to work on |
| business executive. I dress pretty cheaply | | | | the side because of the initial investment of |
| sometimes, and I do smoke cigarettes -- but I | | | | getting to that point. Unless the artist gets a |
| know now that most managers out there are not | | | | signing bonus you can commission, all the money |
| thief-like Svengalis. By and large they're | | | | from a record deal goes toward making a record. |
| hard-working people from all walks of life, with a | | | | You can only commission what is actually income, |
| passion for music and a respect for artists. How | | | | not expenses. That's why it's good to get a |
| do you find one of these managers -- someone | | | | publishing deal and get some money up front for |
| who has the drive, if not the experience, to | | | | you and your client. Either way, you have to have |
| nurture your career? | | | | someone administer your publishing or you're |
| Glad you asked. | | | | never going to take all your money in -- that's a |
| Where do I find a manager and what does it look | | | | given. So you either sell your publishing or you |
| like? | | | | hold onto it and get an administration deal. In the |
| 'Be clear early on about where you could use | | | | leverage for that money, you give up ownership |
| some help. Look at the people around you -- can | | | | for 'x' amount of years." |
| any of them offer you that help?' | | | | How many years? "That depends," Moon says. |
| Calling up a big coastal management firm is not | | | | "Do you want to wait to earn the money, or do |
| the best first step in finding representation -- | | | | you want somebody to pay up front? Other than |
| especially if you're a "baby band" (which is an | | | | that, income comes only from merchandise and |
| unappealing term used by the industry to describe | | | | live performance -- and that's where your |
| a band that's just starting out or shopping for a | | | | management efforts should be focused after the |
| deal). The best thing to do is look at the people | | | | deals are done." |
| closest to the band -- people who appreciate | | | | As Billions points out, "For every one of those |
| what you're doing and can offer constructive | | | | deals, there's 30 other tasks that have absolutely |
| support. It may be the friend who's always helping | | | | no income related directly to them. For me, the |
| you put up flyers and load out equipment at the | | | | reward is in the relationship itself. Of course |
| end of the night. Or maybe it's the woman who | | | | there's satisfaction in having something become a |
| books the club you call home and awards you the | | | | success from a fiscal standpoint, but there's a lot |
| primo slots. Those situations can grow naturally | | | | of little victories, and lots of little to medium |
| and successfully into management/client | | | | frustrations. You miss out on the fun of managing |
| relationships. Witness Maggie McPherson, formerly | | | | if you don't see the process as worth it." |
| booking agent for the Uptown Bar in Minneapolis, | | | | Sometimes artists forget how they got to be |
| now manager of then-local bar band and current | | | | successful. To them, their first manager |
| Columbia artists the Jayhawks. | | | | transforms into something like an old guitar they |
| Many managers, like me, become involved with no | | | | want to trade for a shiny new red one. In both |
| intention of full-time management. Instead, they | | | | sides of this scenario, the artist has forgotten |
| see a talent, become passionate about its | | | | how their old association helped them get to |
| potential, and feel they can contribute something | | | | where they are, and that history -- especially the |
| to that artist's drive for success. Steve Hutton of | | | | trust and communication built into a manager |
| Upper Cut Management was a friend of Kid | | | | client relationship -- is priceless. |
| Rock's back in Detroit and, until recently, his | | | | This is not to say that you should never change |
| manager. "There was a local band that I really | | | | management or fire your manager. If you feel |
| liked," Hutton recalls. "I started working with them. | | | | your needs are not being met, or that your |
| I used that as an excuse to network and teach | | | | interests or money are no longer protected, or if |
| myself the business." | | | | you plain don't like each other anymore, you |
| Like Hutton, Janet Billig at Immortal Entertainment | | | | should part ways. But associating humble |
| has an eye for indie talent and has learned about | | | | beginnings with the "small time" can put you in the |
| how to develop it on the job. One of her first | | | | hands of someone who wasn't there when you |
| clients in the early '90s was Courtney Love and | | | | were broke, unknown, and losing faith. Even if |
| her band Hole; she now works with Lisa Loeb, | | | | things are on the upswing with your next |
| Cibo Matto, and Guided by Voices, and partners in | | | | manager, the minute things look shaky, you could |
| a film production company with Love. "At | | | | find yourself deserted by someone whose |
| different stages of an artist's career, you need a | | | | allegiance to you began after all the toughest |
| manager to do different things," Billig says. | | | | work was done. |
| "Sometimes newer artists think, 'I need someone | | | | 'I don't have a problem picking up an artist with no |
| to help me design flyers.' Well, some managers | | | | deal; I have a problem picking up an artist without |
| might be really good for making flyers, but that | | | | experience.' -- Janet Billig |
| may not be the best use of their time or abilities. | | | | How do I get a manager interested in me? |
| Think of how they can facilitate your goals | | | | If you have no record deal or solid interest (a |
| instead of thinking of them as your personal | | | | negligible term in the flaky netherworld of A&R), |
| assistant." | | | | and depending on how far you are in your career, |
| In other words, be clear early on about where | | | | you may not be able to attract a higher-level |
| you could use some help. Look at the people | | | | manager unless you really blow him or her away. |
| around you -- can any of them offer you that | | | | Even so, there's a lot you can -- and should -- do |
| help? What could you give them in return? | | | | to make your band appealing to a good manager, |
| 'A manager needs to love and appreciate the | | | | regardless of your label status. |
| music of an artist, but they also need to be able | | | | "I tend to not pick up really small artists that |
| to tell them the truth.' -- Danny Goldberg | | | | haven't accomplished a certain number of goals |
| Is experience necessary in a good manager? | | | | by themselves," says Janet Billig. "It's really |
| Let's say you're thinking about asking someone | | | | important that an artist go through the process |
| who has a track record with other artists to | | | | of recording an album, generating press, building a |
| manage you. The fact that this person has been | | | | buzz, and booking and promoting shows. I don't |
| in the music business gives you grounds for doing | | | | have a problem picking up an artist with no deal; I |
| some research. Danny Goldberg, currently | | | | have a problem picking up and working with an |
| Chairman & CEO of Artemis Records, founded | | | | artist without experience." |
| Gold Mountain Management and counted Nirvana, | | | | Steve Hutton's approach adds some gut instinct |
| the Beastie Boys, Bonnie Raitt, and Rickie Lee | | | | to the mix. "I get in trouble and have problems if |
| Jones among his clients. "If someone's dishonest | | | | I have to convince myself to manage a band and |
| with other people," he warns, "they're going to be | | | | don't feel it immediately. I look for a good rock |
| that way with you. Bands should also avoid | | | | band with great songs, with relatively attractive |
| managers who are intimidated by them. A | | | | people who are of a certain age, have a similar |
| manager needs to love and appreciate the music | | | | vibe, and look like a part of the same team. You |
| of an artist and like them, but they also need to | | | | don't want a bass player that looks like he's in |
| be able to tell them the truth, which sometimes | | | | Korn and a guitar player that looks like he's in |
| includes bad news or advice they don't want to | | | | Backstreet Boys -- that won't work. And this |
| hear." | | | | cliché will always be true -- it's all about the |
| Sometimes these qualities can compensate for a | | | | songs." |
| lack of experience. "Depending on how far along | | | | 'If you can't get your brother-in-law's indie label to |
| the artist is in their development, the manager | | | | get back to you about the three demos CDs you |
| should have some skills and expertise in the | | | | sent them, you just might need someone with |
| business," Goldberg continues. "If they don't have | | | | contacts.' -- P. W. Long |
| direct expertise, they should have a temperament | | | | Do I really need a manager? |
| that makes them open-minded and able to learn." | | | | My former management client P. W. Long came |
| Steve Hutton agrees. "People should not look | | | | up with the following definitive checklist that you |
| down on managers who haven't had success yet. | | | | can use to answer this question for yourself. |
| Everyone has to start somewhere, and frankly, a | | | | Your band is finally getting some label interest. |
| lot of times a new manager may be better than | | | | You're wondering if it's time to get help navigating |
| an experienced one, because you're probably | | | | those perilous waters. Most certainly, if you do |
| going to be their only act and their most | | | | end up on a major label you'll need someone to |
| important work. The experienced manager has | | | | protect your integrity from the A&R person who |
| other acts and more things on their plate." | | | | wants your techno-metal-hop outfit to fill a |
| Beyond honesty and respect for the artist, what | | | | support slot for Ani DiFranco's tour and a radio |
| qualities are important for the novice -- and | | | | department clamoring for you to do a Hooter's |
| veteran -- manager? "Patience and perseverance | | | | grand opening. Maybe, on the other hand, you |
| are the two most essential qualities," says Hutton. | | | | can't even get your brother-in-law's indie label to |
| "You cannot be tenacious enough. At the same | | | | get back to you about the three demos CDs you |
| time, you have to be diplomatic, creative, and | | | | sent them. If so, your career just might need a |
| intelligent." | | | | kick-start--someone with contacts. |
| That's just the beginning, according to Boche | | | | You Need A Manager If
|
| Billions, a.k.a. David Viecelli, of Billions Corporation in | | | | 1. You have a major label deal. If you somehow |
| Chicago, a booking & management firm whose | | | | swung your record deal without a manager, the |
| roster includes Nick Cave & the Bad Seeds, | | | | label will either recommend or demand that you |
| Southern Culture on the Skids, Wire, Calexico, and | | | | get one -- now. |
| the now disbanded Jesus Lizard. "Besides the | | | | 2. You have more success with indie-label |
| obvious things, it is about finding someone who | | | | releases, gig earnings, and merchandise proceeds |
| understands who the band is, what they want to | | | | than you can keep track of efficiently. |
| get out of being a band, and what the realistic | | | | 3. Your band's income and popularity are |
| expectations for that band are in the | | | | stagnating, and you need to get your music into |
| marketplace." | | | | the hands of people who can generate income for |
| 'Good managers are worth a great deal to an | | | | your band (record labels, music publishers, film |
| artist. And bad managers are worth zero." -- | | | | music supervisors, etc.). |
| Danny Goldberg | | | | Manager Criteria |
| What exactly do managers do? | | | | 1. Make sure your manager will be readily |
| "A lot of work goes into the public hearing the | | | | accessible and have the necessary time to |
| music," states Danny Goldberg. "It's time-sensitive, | | | | devote to your project. If your selection pool is |
| and it requires finesse and intelligence to avoid | | | | limited to friends and acquaintances, realize that |
| disasters. Whether it's something going wrong in a | | | | your friendship will likely become strained if not |
| club, the relationship with the media, the record | | | | entirely jeopardized. |
| company, the attorney, or the booking agents, I | | | | 2. Find someone whose reputation and methods |
| don't know if artists are always aware of how | | | | will not compromise your band's image. A good |
| much work it is. It's the kind of profession where | | | | manager is aggressive and firm, but also careful |
| anything good that happens is credited to the | | | | not to embitter a lot of people. |
| artist and anything that goes wrong is the fault of | | | | 3. Make sure he/she is an ardent fan of your |
| the manager. | | | | music. Your manager's enthusiasm and confidence |
| "It's hard sometimes to measure a manager's real | | | | about your future should be infectious. |
| contribution, impact, and value in a tangible way," | | | | What to Know Going In |
| Goldberg admits. "Therefore, you're hoping that | | | | 1. The band and manager should agree on what |
| there's an intuitive grasp of it. There's no chance | | | | to expect from each other. Define "manager." |
| for an It's a Wonderful Life run-through of what | | | | Does it include booking gigs, mailing posters, |
| your career would be like without the manager. | | | | sending press materials, etc.? |
| That's the most frustrating thing for both parties. | | | | 2. Sign an agreement that's fair to everyone. This |
| The artist always wonders, 'Am I getting my | | | | should prevent misunderstandings when -- after a |
| money's worth?' The manager wonders, 'Do they | | | | term of failed efforts -- the manager says, "You |
| appreciate what I'm doing or not?' I believe good | | | | owe me $5,000.00." You say, "Not according to |
| managers are worth a great deal to an artist. And | | | | this contract we don't." |
| bad managers are worth zero. So the profession | | | | 3. Pay the manager the agreed percentage for his |
| is extremely valuable -- when done correctly." | | | | or her efforts whenever you can. This keeps |
| Good managers are networkers; they understand | | | | everyone interested in staying actively involved. |
| that the business is all about relationships. Though | | | | 4. Demand performance from your management. |
| it may be your song in the movie, the path it | | | | At the same time you must show the same |
| followed to get there may be this convoluted: | | | | commitment you expect from them: Do what |
| Your manager is backstage at the Foo Fighters | | | | you say you're going to do. |
| show, which he got into because he used to book | | | | In all cases, use common sense. Trust the |
| bands at the club part-time. He runs into his | | | | instincts of the band-member with the best |
| ex-girlfriend's brother, who works for a film | | | | judgment of character. If you don't have a solid |
| company. They talk about a film that's under | | | | list of management candidates, ask friends in |
| production there, and it turns out they're looking | | | | other successful bands for guidance. If those |
| for a song with a train theme for the soundtrack. | | | | efforts turn up nothing, Pollstar's quarterly |
| The manager remembers that your band has a | | | | "Agencies" issue offers an exhaustive list of |
| train song on their demo. Phone numbers are | | | | management and booking agencies. Good luck. |
| exchanged. | | | | |