Kenwop/cold Kutz Getting A Manager ?????
- Thread starter KENWOP
- Start date
-
Beat This!The next Beat This! Competition is from November 27-28th!
BROUSSARD BEATS
BroussardGoHard
ill o.g.
Before seeking out and hiring a personal manager, it’s important to understand the various types of management options that are available to you. The most common, depending on how far along you are in your career, are: self-management; start-up management by an individual attempting to break into the music business; and established professional management.
In the early stages of your career, unless one of your relatives happens to be the President of Warner Bros. Records, NO ONE IS GOING TO HELP YOU UNTIL YOU FIRST HELP YOURSELF! Remember that GOOD MANAGEMENT MUST ALWAYS BEGIN WITH THE ARTIST. Too often musicians believe that the solution to their problems is finding some third-party person to magically whisk them up from rehearsal room to superstardom. It’s true that an experienced manager can make good things happen fast, but a manager cannot be an excuse for laziness. First you must seriously ask yourself if there's anything you can be doing yourself. For example:
*Have you written a large repertoire of songs and developed them to the best of your ability?
* Have you demo’ed your songs and gone as far as selling your own CDs at live performances and over the Internet?
* Are you booking your own shows and doing everything you can to promote them?
* Are you building a strong fanbase and getting fans excited about your music?
* Are you stimulating interest in the press and over the Internet?
* Have you given serious thought to your career vision or goals and do you know exactly what you want to accomplish?
* Are all members of your band united in a common goal?
You must acquire a basic knowledge of the music business and devote some good old-fashioned hard work on your own before ever thinking about getting a personal manager. Even the members of Motley Crue, whose chaotic demeanor made them appear completely incapable of functioning at a professional business level, worked their butts off early on and generated career momentum—long before ever getting involved with their first manager.
So, when is the right time to get a personal manager? Perhaps you’ve reached a point in your career where the time spent running your business is inhibiting your creative development—or maybe you’ve done everything in your power to advance your career and can’t go any further without a helping hand. If so, perhaps finding a personal manager is the right solution. But the reality is that, until you’re a signed act or are close to being signed, most managers with any clout or power won’t usually be interested in working with you. These managers are simply too busy handling artists that bring them an immediate return on their investment of time. Surely there are always exceptions to this rule, but generally your first manager will most likely be:
* A close friend who’s willing to make phone calls and help promote shows without getting paid for the first few months or years. In fact, he may not even be called a “manager” at all, working with the understanding that as soon your career progresses, he will be replaced by an established professional manager and offered some other position in the band.
* An experienced musician who wants to “right all the wrongs” she’s encountered in her professional career and has got all the passion and drive needed to set you on course. Or a businessperson who’s always dreamed of being in a band and has the desire to live those dreams through you.
* A club owner in your hometown who sees hundred of bands perform each year. This individual has a good idea of what works and what doesn’t and is willing to offer you an objective point of view and career guidance.
* An intern or junior assistant of a professional manager by day who’s looking to cut his teeth on managing his own band on his downtime by night. He’s got the advantage of having his boss’s ear for guidance and sees how a professional office is run all day.
Regardless of the possibilities here, these people all share one thing in common—they are relatively newcomers to the management business—or, as I once heard someone devotedly refer to them, they are known as “start-up managers.” Start-up managers are usually young, aggressive, and ambitious individuals who are willing to work their tails off for you. They’ll devote every minute of their day towards helping you reach your goals. They’re business savvy, good talkers, and eager to learn. These traits are exactly what’s needed from a manager in the early developmental stages of your career.
BUT TAKE NOTE—THE EARLY STAGES OF YOUR CAREER ARE WHEN YOU’LL HAVE TO BE THE MOST CAREFUL WITH PICKING YOUR MANAGER! A lot of wannabes will feel that they can adequately manage your career. Despite their good intentions, they may end up costing you time and money due to their inexperience and lack of connections. They may promise you everything, but deliver absolutely nothing. Keep in mind, there are no licenses, or state certifications required to become a personal manager—anyone from a used car dealer to a snake oil salesman can be one—so proceed with caution when making your choice!
If you’re ambitious and able to develop your career on your own to the point where you’re creating a buzz in your hometown clubs, in the press, and on college radio, and perhaps record companies are beginning to ask about you or you’ve gone as far as signing a record deal, then your management options are going to open up considerably. At this point in your career, things are going to begin moving fast for you and you’ll need an experienced pro to take the reins. Keep in mind that managers are in business to make money just like anyone else, and now that you’re in a position to potentially make them money, there’s more of a reason to work with you. You’ve come a long way on your own, and unless your ego starts to expand drastically or you decide to start shooting drugs (hey, it’s been known to happen), you’ve already proved you have what it takes to go the long haul. The term “established professional management” covers a broad spectrum, but for the sake of clarity here we’ll divide it into two distinct categories: “mid-level managers” and “big league managers.”
Mid-level Managers. Mid-level managers are those who have a great deal of experience in the industry but have not quite broken a band into superstardom. Maybe they have one client on their roster who was able to sell a respectable couple hundred thousand records, but still don’t have a gold or platinum record hanging on the walls—and that’s what they’re shooting for! These are the guys who are typically very well liked in the industry for their enthusiasm and well-connected enough to open some doors for you. They may be exactly what you need to get the record companies from just being interested in you to actually closing a deal. Mid-level managers usually have a great understanding of the business and perhaps were even A & R representatives or marketing managers at a label before getting involved in the management business. They enjoy the entrepreneurial spirit and freedom provided by managing bands. The problem here is that they are not as powerful as someone like a big league manager and therefore it may take them longer to get things done.
Big league Managers. Big-league managers are, needless to say, very well connected in the industry. The relationships they’ve formed, the respect they’ve earned, and the favors they can trade, give them the power to make things happen for you with just a few phone calls. These guys have been around for years and have lots of gold and platinum records hanging on their walls. They may even run a large firm and have a number of managers working under them. The clients these managers represent provide a number of touring opportunities for your band. In addition, these managers have established strong relationships with record companies over the years representing other clients, and the labels are happy to have them representing you. If a big league manager is truly dedicated towards making you a huge success, then it’s a pretty good bet that things are going to start moving fast for you. Everyone from your peers to people in the press are in awe that you’ve signed with such a powerful management company and you're already planning your getaway house in the Nevada desert. It’s very possible that you’re going to become a huge star!
BUT TAKE NOTE: THE DANGER WITH A MAJOR LEAGUE MANAGER IS THAT YOU MAY NOT ALWAYS GET THE ATTENTION YOU DESERVE. Perhaps you were taken on as a favor to someone else in the industry? Maybe you’re going to be turned over to a less experienced manager of the firm? Either way, when push comes to shove, you can bet that your manager is going to prioritize his or her more successful clients before you. After all, this is how the mortgage on that summer home in Hawaii is paid. One group, signed to Atlantic Records and managed by one of the most successful rock management firms in the world, was actually told that it should not even think about going on the road until it had three singles released to radio and three videos in rotation at MTV. (Most bands are lucky to have one single in rotation!) Needless to say, the band bit the big one! Was the manager unhappy with the record the band delivered and wanted to see if the album “had legs” with minimal effort? Or was it just not worth their time to send the band out in a passenger van and slowly build a buzz over the next two years? Who knows really. But one thing is for sure—a manager who’s been involved with a band from the very beginning has much more invested emotionally than someone who comes aboard later. These are typically the guys that will go down with the sinking ship before giving up. In the long run, this may be exactly what you may need.
In the early stages of your career, unless one of your relatives happens to be the President of Warner Bros. Records, NO ONE IS GOING TO HELP YOU UNTIL YOU FIRST HELP YOURSELF! Remember that GOOD MANAGEMENT MUST ALWAYS BEGIN WITH THE ARTIST. Too often musicians believe that the solution to their problems is finding some third-party person to magically whisk them up from rehearsal room to superstardom. It’s true that an experienced manager can make good things happen fast, but a manager cannot be an excuse for laziness. First you must seriously ask yourself if there's anything you can be doing yourself. For example:
*Have you written a large repertoire of songs and developed them to the best of your ability?
* Have you demo’ed your songs and gone as far as selling your own CDs at live performances and over the Internet?
* Are you booking your own shows and doing everything you can to promote them?
* Are you building a strong fanbase and getting fans excited about your music?
* Are you stimulating interest in the press and over the Internet?
* Have you given serious thought to your career vision or goals and do you know exactly what you want to accomplish?
* Are all members of your band united in a common goal?
You must acquire a basic knowledge of the music business and devote some good old-fashioned hard work on your own before ever thinking about getting a personal manager. Even the members of Motley Crue, whose chaotic demeanor made them appear completely incapable of functioning at a professional business level, worked their butts off early on and generated career momentum—long before ever getting involved with their first manager.
So, when is the right time to get a personal manager? Perhaps you’ve reached a point in your career where the time spent running your business is inhibiting your creative development—or maybe you’ve done everything in your power to advance your career and can’t go any further without a helping hand. If so, perhaps finding a personal manager is the right solution. But the reality is that, until you’re a signed act or are close to being signed, most managers with any clout or power won’t usually be interested in working with you. These managers are simply too busy handling artists that bring them an immediate return on their investment of time. Surely there are always exceptions to this rule, but generally your first manager will most likely be:
* A close friend who’s willing to make phone calls and help promote shows without getting paid for the first few months or years. In fact, he may not even be called a “manager” at all, working with the understanding that as soon your career progresses, he will be replaced by an established professional manager and offered some other position in the band.
* An experienced musician who wants to “right all the wrongs” she’s encountered in her professional career and has got all the passion and drive needed to set you on course. Or a businessperson who’s always dreamed of being in a band and has the desire to live those dreams through you.
* A club owner in your hometown who sees hundred of bands perform each year. This individual has a good idea of what works and what doesn’t and is willing to offer you an objective point of view and career guidance.
* An intern or junior assistant of a professional manager by day who’s looking to cut his teeth on managing his own band on his downtime by night. He’s got the advantage of having his boss’s ear for guidance and sees how a professional office is run all day.
Regardless of the possibilities here, these people all share one thing in common—they are relatively newcomers to the management business—or, as I once heard someone devotedly refer to them, they are known as “start-up managers.” Start-up managers are usually young, aggressive, and ambitious individuals who are willing to work their tails off for you. They’ll devote every minute of their day towards helping you reach your goals. They’re business savvy, good talkers, and eager to learn. These traits are exactly what’s needed from a manager in the early developmental stages of your career.
BUT TAKE NOTE—THE EARLY STAGES OF YOUR CAREER ARE WHEN YOU’LL HAVE TO BE THE MOST CAREFUL WITH PICKING YOUR MANAGER! A lot of wannabes will feel that they can adequately manage your career. Despite their good intentions, they may end up costing you time and money due to their inexperience and lack of connections. They may promise you everything, but deliver absolutely nothing. Keep in mind, there are no licenses, or state certifications required to become a personal manager—anyone from a used car dealer to a snake oil salesman can be one—so proceed with caution when making your choice!
If you’re ambitious and able to develop your career on your own to the point where you’re creating a buzz in your hometown clubs, in the press, and on college radio, and perhaps record companies are beginning to ask about you or you’ve gone as far as signing a record deal, then your management options are going to open up considerably. At this point in your career, things are going to begin moving fast for you and you’ll need an experienced pro to take the reins. Keep in mind that managers are in business to make money just like anyone else, and now that you’re in a position to potentially make them money, there’s more of a reason to work with you. You’ve come a long way on your own, and unless your ego starts to expand drastically or you decide to start shooting drugs (hey, it’s been known to happen), you’ve already proved you have what it takes to go the long haul. The term “established professional management” covers a broad spectrum, but for the sake of clarity here we’ll divide it into two distinct categories: “mid-level managers” and “big league managers.”
Mid-level Managers. Mid-level managers are those who have a great deal of experience in the industry but have not quite broken a band into superstardom. Maybe they have one client on their roster who was able to sell a respectable couple hundred thousand records, but still don’t have a gold or platinum record hanging on the walls—and that’s what they’re shooting for! These are the guys who are typically very well liked in the industry for their enthusiasm and well-connected enough to open some doors for you. They may be exactly what you need to get the record companies from just being interested in you to actually closing a deal. Mid-level managers usually have a great understanding of the business and perhaps were even A & R representatives or marketing managers at a label before getting involved in the management business. They enjoy the entrepreneurial spirit and freedom provided by managing bands. The problem here is that they are not as powerful as someone like a big league manager and therefore it may take them longer to get things done.
Big league Managers. Big-league managers are, needless to say, very well connected in the industry. The relationships they’ve formed, the respect they’ve earned, and the favors they can trade, give them the power to make things happen for you with just a few phone calls. These guys have been around for years and have lots of gold and platinum records hanging on their walls. They may even run a large firm and have a number of managers working under them. The clients these managers represent provide a number of touring opportunities for your band. In addition, these managers have established strong relationships with record companies over the years representing other clients, and the labels are happy to have them representing you. If a big league manager is truly dedicated towards making you a huge success, then it’s a pretty good bet that things are going to start moving fast for you. Everyone from your peers to people in the press are in awe that you’ve signed with such a powerful management company and you're already planning your getaway house in the Nevada desert. It’s very possible that you’re going to become a huge star!
BUT TAKE NOTE: THE DANGER WITH A MAJOR LEAGUE MANAGER IS THAT YOU MAY NOT ALWAYS GET THE ATTENTION YOU DESERVE. Perhaps you were taken on as a favor to someone else in the industry? Maybe you’re going to be turned over to a less experienced manager of the firm? Either way, when push comes to shove, you can bet that your manager is going to prioritize his or her more successful clients before you. After all, this is how the mortgage on that summer home in Hawaii is paid. One group, signed to Atlantic Records and managed by one of the most successful rock management firms in the world, was actually told that it should not even think about going on the road until it had three singles released to radio and three videos in rotation at MTV. (Most bands are lucky to have one single in rotation!) Needless to say, the band bit the big one! Was the manager unhappy with the record the band delivered and wanted to see if the album “had legs” with minimal effort? Or was it just not worth their time to send the band out in a passenger van and slowly build a buzz over the next two years? Who knows really. But one thing is for sure—a manager who’s been involved with a band from the very beginning has much more invested emotionally than someone who comes aboard later. These are typically the guys that will go down with the sinking ship before giving up. In the long run, this may be exactly what you may need.
Yo You The Man Thanks He Does Not Want Us As An Artist He Actually Has Many Artists And Wants Us To Be The Producers Of There Tracks But I Dont Know Im Gonna See What He Is About And Wjats The Deal Thing Is I Work Full Time And So Does My Partner So I Was Thinking It Might Be Good We Will See
BROUSSARD BEATS
BroussardGoHard
ill o.g.
mmmm sound like he needs a in-house producer
in-house producers don't get payed until you get a hit song out
but you do get alot of work and your name out
in-house producers don't get payed until you get a hit song out
but you do get alot of work and your name out
Greg Savage
Ehh Fuck you
ill o.g.
BROUSSARD BEATS said:
^^ thats true
my boy was an in house producer for some studio they were giving him like $1,000 a week advances just enough for him to live off of until they start hittin goals
inrctyhoodmusic
Muzik Militant
ill o.g.
Battle Points: 5
the going rate for a manager is 15 to 20% of what you make if you're going to be in house producers and he offered 1g a track is unclear to me but if he shops your tracks and gets a buyer say foxxy brown wants one of your joints and def jam gives 10,000 to buy it of that money your manager should get 15 to 20% of that nothing more be clear on what % he'll be taking because there are some real grimies and strong arm gangsters in the managment feild in nyc