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MANAGERS AND BOOKING AGENTS
Nothing begets success like success. If your act is performing locally, garnering some decent press, expanding your following, and generally making a little noise, odds are that you'll be met by a variety Of people who wish to attach themselves to your gravy train. But be careful. Your manager and your agent will play key roles in your success as a musician. If you want to be successful, you must be well informed in order to choose a manager and an agent who are right for you.
THE MANAGER'S JOB Managers are probably one of the most important, yet least understood functionaries in the music business. Technically, a manager is employed by an artist to act on his or her behalf. The manager also heads up the support team, which includes the lawyer, agent and business manager, and is responsible for the coalition of all elements of his client's career. The manager is also responsible for long-term career plans and aspects of financial planning, along with the business manager.
In addition to business functions, a manager acts as a buffer between the artist and the cold realities of the real world. The manager field?equests for time and money and acts as a confidant, partner, psychologist and cheerleader. Since management is very much a personal business, involvement in the artist's life is an important factor. For many beginning performers, the function of manager is often assumed by a friend who has some concept of business, publicity, marketing and, hopefully, music. Beginning bands or artists can be aided by having someone else take care of their business (or at least appear to) since it in- creases their credibility. Because your manager represents you in all dealings, always be sure to discuss every business move, decision and venture completely, and never assume that your manager knows more than you do. Educating yourself about the music business is crucial. There is a language and a code to be learned. A good manager can work with you to learn the ropes. There are legal limits to how much responsibility a manager can take on. In California, managers are prohibited by law from actually obtaining work for clients. They may function strictly in an advisory position, though they are permitted to negotiate recording contracts on their client's behalf. This statute is meant to differentiate the role of the manager from that of the agent, who books entertainers into venues for performances. It is not possible, therefore, for someone to be both a manager and an agent. However, some managers still get work for their clients, although they are prohibited by law from doing so. Beginning performers often spend more money than is coming in, creating negative cash flow. At this point, managers can invest in their act, usually for a share of the profits if the act is signed to a record deal. This is not mandatory in a managerial relationship, but it does occur.
THE MANAGER'S CONTRACT Successful managers are rewarded handsomely for their time, expertise and efforts. Payment comes from gross receipts of records, tours, merchandising, publishing and ancillary income. Fifteen to twenty percent of gross income is considered a standard fee, though no rules apply. Many managers actually reduce their percentage the higher their client's income. However, Elvis Presley's long-time manager, Colonel Tom Parker, helped himself to 50 percent of the king's assets for many years.
The term length for a personal manager can be from three to five years, but artists often prefer a shorter term in case the relationship doesn't work to the artist's satisfaction. There should be minimum performance standards to warrant renewing a contract with a manager: Either certain goals must be achieved or a minimum earning standard. It is generally the artist's decision to renew with his management company, and contracts don't renew automatically. Surprisingly, many managers, even superstar ones, prefer to work with- out a contract. Kenny Rogers' manager, Ken Kragen, has had a handshake deal with Rogers for twenty odd years. He feels that if the only bond between a manager and an artist is on paper, then the relationship is not a fruitful nor trusting one and should be reevaluated. Usually, as long as the manager properly represents his client's interests, all is harmonious.
HOW TO CHOOSE A MANAGER
Since the first person a potential record company, booking agent, music periodical, publishing company, etc., sees is your manager, make sure that he or she is the correct person to properly advance your musical vision. Expertise in other businesses does not necessarily translate to success in the music business. If someone presents themselves to you as a potential manager, don't be hypnotized by symbols of wealth or promises of fame; take your time in making this vital decision.
Since proper career moves are particularly crucial for the beginning artist, make sure that your manager shares your artistic vision. If you're a hard- core rap group, for instance, you obviously wouldn't choose a manager whose expertise lies in working with lounge acts from your local Holiday Inn.
For an example of what can happen, take this brilliant singer/songwriter that lived in New York City. He had a rough-hewn charm and a literary bent that showed through his music, lyrics and presentation. Under the misguided direction of his manager (the first one he'd ever worked with), he was soon adorned in a tuxedo, singing cabaret songs in front of a bored band for patrons of upper east side dining establishments -an audience that his manager most identified with. This unlikely duo eventually went their separate ways, but the singer had tarnished his reputation and lost valuable time. He never regained his footing or his original inspiration. Don't let this happen to you.
THE AGENT'S JOB
Agents in the music business are involved in touring and performing, but don't participate in the fields of songwriting or recording. If you're a successful recording act, your agent will work with your personal manager and concert promoters to set up lucrative tours in different national and international markets. Agents' terms for this type of arrangement are generally one year, and they take a standard 10 percent of the gross income for efforts related to live performances. For the local or regional band, agents generally book par- ties, clubs and concerts. Successful agents working on this level may have acts of different types. They may also book a specific club or chain of clubs on a regular or exclusive basis, or they may have a handle on the lucrative corporate or casual scene. In the case of all agents at all levels though, keep one thought firmly in mind: The agent's primary loyalty is to his buyer, not to the talent. Talent changes, but buyers remain consistent for longer periods of time, and it's the buyer who pays the agent, though indirectly.
In California, as mentioned previously, law from finding work for their clients, so an agent fulfills this function prohibits managers. To be an agent in California, the applicant must post a $10,000 bond and be recognized by the state: a practice that separates the fly by niters from the big boys quite handily. An agent, as a middleman, will be most interested in what slots he can fit you into to accrue instant or immediate income for himself
Do all of your research before contacting an agent. Find out what he books, who he handles, what types of acts he specializes in and if he will listen to your work. Some agents don't represent clients on an exclusive basis, and it is possible to be signed to more than one agent, particularly on the local or regional level. If an agent will only work with you on an exclusive basis, how- ever, make sure that he's indeed the correct agent for you and can keep you working continually. Keep the contract as short as possible, preferably one year or less, with an option for renewal pursuant to your evaluation of his success in booking you.
When choosing an agent, use the same considerations you used when choosing a manager. If you're an industrial trash/funk band, don't go with an agent who books heart-shaped bathtub resorts for honeymooners in the Pocono?Be selective. You can be sure that the successful agent will be.
THE SUBMISSION PACKAGE OR PRESS KIT
The most advantageous time to look for management is when your career has gained some momentum. Below is a list of questions to ask yourself before submitting:
1. Have I taken my career as far as I can on my own?
2. Am I generating income that would make me attractive to an agent or a manager?
3. Can I explain who my target audience is?
4. What empirical information can I provide to support my marketability to this audience?
5. Can I describe my act in five words or less?
6. Is my audiotape radio ready?
7. Is my videotape 100 percent representative of my show? (If you have to apologize for anything you're presenting, don't present
it; redo it instead).
8. Are my pictures current?
9. Are all materials legible, neat and professional?
10. Am I confident that I can sell myself effectively?
11. Can I deliver the goods once I've opened the door?
7he Letter
The first element, of course, is your letter.
Remember these simple guidelines: 1. Keep it short!
2. Don't use superlatives ("The greatest, the best")
3. Follow up within a week after sending. If your contact has received it but hasn't reviewed it, your calls can be a gentle reminder to do so.
4. Persistence is good; abrasion is not.
5. Don't be over solicitous in correspondence.
6. Don't be too casual -when in doubt, generally the more conservative approach to letter writing is preferred.
7. Agents are buyers and sellers; keep to commerce, not art.
8. Let the music sell itself
The Photograph You'll need a professional black-and-white picture. Good photographers don't come cheap. Three hundred fifty dollars is standard in Los Angeles for a couple of rolls of black and white, a contact sheet and maybe one or two 8 x 10s. Your selection should include both studio and action shots. It is vital that the photographer understands the type of music that you're creating and has heard it so the picture will best represent what you do. Keep in mind that a potential buyer of talent or prospective audience member who doesn't know anything about a band or a singer should have some idea about what the act does from only seeing it represented in a black-and-white photo. Be sure to select at least one print that will look good in a newspaper or newsprint format also; since thousands of readers see these mediums of print, make your efforts count. Use common sense and plan your shot, with different outfits, props and locations. Wear clothing that compliments and represents what you do, and consult friends whose opinions you trust. Don't include anything that would make a potential manager question your taste or your sanity. Bare mid- riffs and glistening pecks are great if the singer spends long hours in the gym, and if the music is equally muscular, but use some restraint (not to be confused with conservatism) and a modicum of taste.
Bios
"Bio" is short for biography and is a short sketch of your recent past, your current accomplishments and your future. Never include a bio of over two pages, since it won't get read. Less is more, so keep it concise and to the point. Make sure that your bio is directly related to information concerning your music, since the reader won't care about much else. Above all:
1. Make the truth sound as good as possible. 2. Keep your reader well entertained. The more the reader is entertained, the better the chance that he'll actually read your bio and come away with a positive impression of what he is about to hear.
Superlatives have a place, but not in your bio or your press materials. Describing your band as "the best" or "the greatest" is a real turn off and probably not true. Just as you do when writing a song or a poem: Make every word count.
Typewritten and offset copies of your biomaterials are acceptable, but access to a computer and a laser printer can really make your written words shine. Never hand print a bio. Always make sure there are no misspellings and that punctuation, grammar and syntax are correct. Don't change subjects or possessives halfway through the page. Have a knowledgeable person proof- read all of your materials, or if using a computer word processing program, call up your trusty spell-checker. Sloppy cross-outs, misspelled words, cheap copies, smeared printing and bad quality paper represent the misguided efforts of amateurs. Since the person receiving your press kit begins making judgments about your act immediately, make the press kit count.
Either as a part of your bio, or as another separate piece, list recent performances of your act. Reviews of your shows, newspaper and magazine articles are a real plus, but make sure that they're duplicated legibly and professionally. If you have a number of reviews or articles, you may want to duplicate only a few in complete forms and pull quotes from the others to print on a single page. This is also a handy way to keep the good and chop out the bad. And since a press kit is not a legal document, it lends itself to creativity.
Business Cards
A business card is a convenient way to keep your contact information always on hand for potential managers or agents. Keep them tasteful and simple. Don't use needlessly distracting graphics or ugly type styles. Avoid using the hideous "Olde English" font (unless maybe you represent heavy metal bands), nor any other font that makes the reader wonder if he should have his eyes checked. The card stock doesn't have to be fancy. Glossy is nice if it's within your budget, but don't use the holographic, ribbed, rainbow or affected look. A well-designed logo can add to a card, but avoid the tacky standard "clip art," such as music note designs, that your printer probably has in a book he hasn't changed since 1956.
Computers and laser printers can be an asset if you're designing your own card; you can set the type, then take the camera-ready card to your duplicating facility. This will allow you to experiment with your creation before you commit it to boxes of product.
Finally, never cross out a telephone number. If you're going to be moving often, get cards without phone numbers and then write the numbers in as needed. Cross-outs are easily read signposts of amateurs. Logos. Most big-time acts have a logo, or specially designed written representations of their names. A logo can be used on stationery, posters, flyers, pictures, stage backdrops and T-shirts. Although logo designers are well-paid specialists, the revolution of computer art and graphics have put logo design in the hands of the computer user. Maybe a friend or acquaintance who attends a design school and actually knows your music could design a better logo for you than someone with more experience who doesn't. A logo is useless unless it can be read by the naked eye, preferably from a distance for onstage use. All elements of your press kit should bear your logo. Copies should be made for every conceivable use and, if you're using computers, have a copy of your logo scanned for use on computer-generated materials. Have veloxes made also: These are high-quality prints on shiny sturdy paper, which you can then paste on your materials when you have them copied.
Band and Artist Names. Of course, on the business card, you'll have the name of your group. Naming your act is directly related to your future success. It must reflect your music. Think of it as a brand name, one that would interest and attract the buyer at first glance. Product names, such as Roach Motel, Tide, Pledge, etc., deliver a specific set of responses from a supermarket shelf, billboard or television set. Likewise, U2, Metallica and Guns 'n' Roses deliver a concise picture of the music that these acts create. For the solo act, sincerely devote some time to the decision of keeping or changing your family name. Robert Zimmerman (Bob Dylan) and David Jones (David Bowie) changed their names to make themselves more marketable. On the other hand, Bruce Springsteen, Bruce Hornsby and John Cougar Mellencamp (who incorporated the moniker that an early manager gave him) all kept their family names. Single name acts like Hammer, Madonna and Prince have the advantage of being most easily remembered.
Cassette Tapes
For music acts, a cassette tape is crucial to your press kit. In chapter one you read a detailed account of putting together the best possible demo tape, so we won't duplicate that information, but your labeling of the tape, your tape box, your J-card and, of course, the music is your bottom line. You will definitely be prejudged on your music if-
1. You use a ninety-minute tape for three songs.
2. Your label is sloppy, badly printed or some ghastly color (unless this is a part of your marketing scheme).
3. Your tape box is scratched, cracked or fingerprinted.
The same rules apply to your videotape if you present one. Make sure to have custom labels printed for both audio- and videotape;
Have your phone number and, if possible, a logo on absolutely everything. Lyric sheets are not essential in press kits; however, if the lyrics to an act's songs are vital to the image or marketing strategy, they can be included. Consider reducing them to fit on one page if they can still be read at that size. Never include lead sheets or chord sheets
'Video Killed the Radio Star" In 1981, a whole new era in rock and roll began with the formation of MTV, Music Television. Originally presenting only videos, the network has since widened its format, but the primary focus remains video presentations of songs, twenty-four hours a day. Video can be a boon to the act looking for representation from either a manager or an agent. In the case of an agency that books clubs or casuals, the agent may want to use a video when presenting an act to potential buyers.
Since video is so accessible to amateurs, there is a tendency to overvideo, particularly live performance. Although it is much easier for an agent or manager to review potential signings in the privacy of his office, he certainly won't want to sit through a taped hour-and-a-half set. Keep your presentation concise; one or two songs should do it.
Live performance videos can be very strong, but not for all styles or acts. Some acts are better heard than seen - in that case, the use of a video can be downright damaging. Musicians are not necessarily actors. If you don't have the visual appeal, don't be forced into an uncomfortable situation; find another way to let your music speak.
Sound wise, video doesn't have the capabilities of flexible multitrack recording, unless an act has a mobile recording truck present (a very expensive proposition). Certain types of music lose their impact on the small screen - especially rock and roll, so keep the images interesting, using different angles, and if possible, more than one camera.
If you opt for the MTV impressionistic form, avoid these clich? dry ice, smoke machines and women in cages. Make sure that your music and images are in sync with the soundtrack also. Higher ticket videos are usually shot on 16mm film, edited in this format, and then transferred to video. Shooting directly to video can establish a certain immediacy, especially if using 3/4' industrial tape.
Although big-budget videos typically run in the $100,000-and-up bracket, a band with a little ingenuity can produce a match able video for around $1,000. Schools, colleges and recording schools usually have film and television production classes. Try becoming someone's pet project and work with them to produce a visual representation of your music. An inspired friend with video equipment can be a strong ally in the production of your visual image.
The same care must be shown in packaging videotape as in audio; make sure your box, label and sticker are top of the line. Always put your phone number on everything!
Binders The most common binders for press kits are 8X2'x11' folders with inside pockets. They can be different colors or adorned and printed with your act's name. An example of an effective and striking press kit might use a white glossy folder with a color photocopy of the act's name attached via a permanent spray or fixative to the front of the folders. Folders retail for about $1.00 each, but they are a little cheaper if bought in bulk from a stationery supply store.
When sending press kits by mail, always use bubble envelopes to protect your materials. These cost about $1.29 or so, but are lightweight and keep the corners of your folders and tapes from tearing through the envelope. Always use typewritten stickers, preferably with your logo, and make sure that you know the correct name, title and spelling of the person you're writing. If you've put together a professional, striking visual package for your act, the chance that your package will be looked at and ultimately listened to is very high.
Stationery Any music-related business needs stationery with the company name or logo, telephone number, address and FAX number, if applicable. Again, the object is to unify every element of your presentation, so go for the better bond stationery.
Avoid trendy colors and make sure that your typewriter or printer is adaptable to the type of paper you're using. White, off-white, wheat and oyster gray stationery give a professional and easily readable impression. Your company name/logo can be at the top of the page, the right corner or the bottom, whichever position works best with the art. Matching envelopes are a nice touch, preferably embossed with your company name.
A laser printer can be used to design your own stationery. You can then take the master to a printer to have it reproduced. Whether you purchase the stationery or design it yourself, remember that readability is the most important consideration.
LIVE SHOWCASES A performance specifically geared to presenting an act to potential buyers is commonly referred to as a showcase. An agent, especially, will usually want to see you perform live to determine your adaptability and performance skills and see how well you fit his particular set of needs.
Although live showcases can be presented in a club, often they are more like miniconcerts. The main objective is to make your act look and sound as good as possible, and the more control you can exert over these factors in presenting your show, the better the result. If you have access to the rental of a small theater in your area, this can be a good alternative to the smoke filled environment of a club. You can also bring in your own sound and hopefully use the lights of the theater to coordinate a professionally staged visual show. In the case of a controlled venue showcase performance, invite your buyers and enough fans and friends so that the room doesn't feel empty. Try to overcome the artificiality of the situation and be natural. Yelling "howya doin' Toledo" to ten people won't work.
If you do present your act in a club and invite the individuals you want to impress, make sure that the sound and lights are exactly what you want; insist on a sound and technical check. In Los Angeles, pay to play is the rule. A promoter books three or four bands per night and sells them advance tickets, which they in turn must sell or give away (at $10 or so a pop) to their friends, family and fans. Since each band pays approximately $800 to $1,000 (times three or four bands), the promoter usually does all right. Add to this the cost of paying the sound and light man and, sometimes, for rental of the dressing rooms, and you have some idea of the economics involved.
Rather than condemn this practice (which many bands do), it's important to find alternatives. Since so many bands follow the same routes, there is little press appeal in doing the same old thing. Outdoor festivals, street fairs and other cultural and community events have the advantage of higher visibility. You'll be playing for larger and more diverse audiences than the friends you can cajole to come down and see your act at a high-priced club. Benefit performances are also a great way for agents and managers to see your act. Capitalizing your press on top of an event's can give you credibility and expo- sure that you'd never obtain in years of performing at clubs.
This is all about show biz; every element of your live performance must be coordinated in order to look professional. Live performance is a great way to sell your act -but don't follow other's well-worn paths. Your creativity and your originality are the keys to your future. Let it come from the heart.
SUBMITTING MATERIALS TO MANAGERS FOR A SPECIFIC ARTIST Getting your songs in front of recording artists can be difficult. Many artists and major record companies no longer accept unsolicited materials. The reason for this is simple: Record companies were sued so often that is was easier to remove this potential form of aggravation from their business. It is possible, however, to use a management office to submit materials if the writer follows the guidelines for submissions, knows his song is perfect and presents himself professionally.
Timing is important. It is essential to know when the artist is recording, when they are in preproduction for the album and when they will be reviewing material. Typically, artists begin working on albums at least a year before they see the light of release. The artist looks for material at least a month before the recording process begins.
You will need to track this information through music trade magazines, such as Billboard, or by calling the management office. Be sure that the artist records outside material and that you have a song that is consistent with the new album project, not a clone of a song on the last album.
Keep in mind that many artists don't make the final decisions on what they record. The artists and repertoire (A&R) department of their record label, and especially their producer, make the ultimate decision.
Again, as with any submission, make sure your phone number, name and address are prominent on the package. If the Mahalos like the song and intend to record it, the publishing information may be crucial to making the deal if the band requires the writer to assign a percentage of the publishing revenues to them.
In the rock and roll arena, most bands write their own material. This is not always so much an artistic decision as an economic one; the band will make considerably more money from songs on which they control the copyrights. However, one superstar British artist writes very few of his best-known hits, but his name appears on songs as a co-writer. This is a continuation of the 1950s way of doing business: A songwriter, in order to ensure that his song would be recorded, would allow the recording artist to be listed as a co-writer, thus giving up 50 percent of his income. This practice is no longer common and should not be condoned.
TELEPHONE TOOLS Blindly calling or submitting to agents or managers is a waste of time, postage and money spent on the phone bill. If you have done your homework, established yourself, built up your credibility in your local market and have a plan, then it may be time to contact agents or managers. First, contact the manager or agent's office to inquire into their submission policies. for new acts. Many times you'll be given the standard answer "we're not accepting new clients at this moment." Think of this response as the moment when the fun begins, because now it's up to you to say the right thing to open the door back up.
Speaking with a manager or agent's secretary may be the most important conversation you'll ever have, because it's up to them (the gatekeepers, as they're called) to decide whether or not you'll ever speak with their bosses. Always treat them with as much respect as you'd give their employers. Learn their names and the best times to contact them and be respectful of their time on the phone. If you keep getting the response "we're not accepting material at this time," ask if you can submit directly to them. Odds are that if your presentation is on the money they'll be glad to submit it on your behalf to their superiors - it could make them look good, too. When submitting materials, make sure you've done your homework: You should know who is with the company, who reviews materials (gather this information in your original phone call) and how to pronounce the names. This may seem obvious, but a letter or package sent "To whom it may concern" will certainly wind up in the circular file of any reputable company.
To attract the interest of agents and managers, presell your name and establish yourself in their minds before you submit to them. Make them the target of your mailings send them brief notes inviting them to your local shows. They may actually attend (prepare yourself for that possibility by giving an RSVP number for your guest list), but even if they don't, they'll see your name. Send periodic press releases and performance reviews also.
FOLLOWING UP ON SUBMISSIONS One of the hardest parts of the submissions process is following up on submission packages. To track your submissions, use a large calendar to mark all correspondence, dates of follow-up calls and dates when to make the calls. Within one week after sending out a tape/video or press kit, make your initial follow-up call. Ostensibly, this call is simply to find out if the materials were received; however, the real purpose is to cement your name in the recipient's mind and to remind them to look at/watch/listen to your package. The call is also to show them that you mean business.
A word about music industry communication habits: Since the music business is often viewed as a hard-bitten world (and for damn good reason), there is no need to adopt a pushy or obnoxious persona. Indeed, good manners, a personable phone voice, a sense of timing (always ask or determine whether the person to whom you're speaking is pressured for time; if so, ask if you can call them at a better time) are valuable. Maintain a sense of humor on the phone. Put a mirror near your phone and monitor your facial expressions during your phone calls. A smile can actually be heard over the phone, so make yourself smile, and often. If you have trouble reaching someone at the management office or agency, try calling in the early evening hours after the secretaries have left; you may be surprised who answers the phone. |
