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