| A very important person on your successful | | | | front, or a monthly retainer/salary. If they |
| team is your manager. Finding a good, | | | | do, chances are they are trying to start up |
| responsible and reputable manager is not an | | | | their own business and don't have the level |
| easy task. If you don't already have a | | | | of experience you need to succeed. |
| manager, you may not need one. Experience | | | | |
| proves, however, that you can only go so far | | | | Asking for money up front is also a way of |
| without one. But how do you obtain a manager | | | | stating they do not believe in you enough to |
| if you don't already have one? | | | | take a risk. Why would you want to work with |
| | | | anyone who does not believe in you? And, why |
| That's a tricky one. While I have a huge | | | | should they work for you if they are already |
| list in my book, The Indie Guide To Music, | | | | getting paid, whether or not they get work |
| Marketing and Money, you also need to get | | | | for you? The main point is managers only |
| references. Once you obtain a list of | | | | make their money if they make you money. |
| managers you want to talk to, that are also | | | | That should be motivation enough for a |
| interested in having a meeting with you, and | | | | manager. |
| here is a partial list of questions you | | | | |
| should ask a manager to find out if they will | | | | Once your package is submitted to a manager, |
| be a good fit for your musical career. | | | | give them a few weeks to review it before |
| | | | following up. When you do your own personal |
| • What style of music do you represent? | | | | follow-up, make sure you ask them what they |
| • How big do you think for your | | | | thought of your press kit. Ask them if |
| clients? • Do you consider and pursue | | | | they've listened to your CD. Your follow-up |
| corporate sponsorships, etc.? • What | | | | can also provide an excellent opportunity for |
| territory do you cover? • How are you | | | | constructive criticism on how you can make |
| paid - what is your percentage rate? | | | | the improvements your press kit or CD. |
| | | | |
| Before you can even question a manager, | | | | If both parties (you and they) decide you |
| you'll probably have to send them a press kit | | | | would like to work with each other, you'll |
| in order to get your first appointment. As | | | | need to sign a contract. It is essential that |
| always, be sure to contact them prior to | | | | you get a lawyer involved at this point. You |
| sending out packets. Most unsolicited press | | | | should never sign any contract until you let |
| kits either end up coming back unopened or | | | | an entertainment attorney who has the |
| are simply thrown away. | | | | expertise you need advise you. |
| | | | |
| If you find that you decide you want specific | | | | The same rules apply to booking agencies, as |
| recommendations for management, contact major | | | | do managers. Never sign a contract until you |
| record labels and ask the staff who they use. | | | | have had your lawyer look it over and examine |
| That will help you determine who you should | | | | it for any hidden clauses. Once I was given |
| contact for management. At least then you | | | | a contract that actually stated the booking |
| will be dealing with a manager who already | | | | agent would receive 5% on any and all money I |
| has a working relationship with a major label | | | | earned, in addition to the 15% that the |
| and who can hopefully get you a contract. | | | | booking agent would receive for any venues |
| Most managers, however, who are associated | | | | they procured for me. That meant 5% of |
| with major-labels, will not accept | | | | anything I earned, even if it had nothing to |
| submissions from anyone other than the record | | | | do with music would go to them. Protect |
| labels themselves or high profile industry | | | | yourself. Read your contract even before you |
| contacts. | | | | hand it off to your attorney for review. |
| | | | |
| That doesn't mean you shouldn't or can't | | | | Finally, never sign an exclusive contract. |
| contact the managers the major labels | | | | If you sign an exclusive contract, you will |
| recommended and pitch your music anyway. | | | | not be able to accept any gigs from outside |
| Someone may say yes! Most managers will take | | | | firms. It also means you will not be allowed |
| a percentage rate of any venues or money they | | | | to follow through on any gigs that you |
| are involved in bringing in for you and your | | | | negotiated yourself or already had in place |
| band. When selecting a manager make sure your | | | | as standing gigs. If you sign an exclusive |
| contract is very explicit on this point. You | | | | booking contract you could also wind up with |
| should never pay your manager for income you | | | | a booking agent who may not even negotiate |
| receive that you developed on your own. Make | | | | any work for you and your band. Then you're |
| sure you are not locked into a contract that | | | | stuck. |
| will compensate them for money or gigs they | | | | |
| had nothing to do with negotiating for you. | | | | There are only a few major booking agencies |
| | | | that will require you to sign an exclusive |
| Steer clear of anyone who asks for money up | | | | contract. One is the William Morris Agency. |
| front or states that they want a percentage | | | | Their names will speak for themselves. You |
| of any and all money you earn. I have spoken | | | | can rest assured that if you sign with on of |
| with some of the largest mangers and | | | | these agencies your chances are very high for |
| management firms in the industry who stated | | | | getting work. If an unknown booking agency |
| this clearly is not reputable or ethical | | | | requires you to sign an exclusive contract, |
| behavior for a manager. There are no | | | | just say NO! |
| legitimate managers who ask for any money up | | | | |