Tag: Music Management

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News

The Manager’s Role: What every artist and manager should know

Music Management, Music Manager, Music Business

Managers are known to play an essential role in developing an artist’s career, but what exactly is it that they do?

As an entertainment attorney, it is amazing what I see from the sidelines of the music business. I feel like it is hard to shock me anymore due to all the craziness that has come across my desk. We have all heard horror stories about record labels label that treats a band wrong. Yet what surprises me, is how frequently I consult with a band about a bad manager experience but I hardly hear about that in public. Entertainers think it is a quasi-parasitic relationship where they accept that they are getting used for profit, but they are getting the career benefit of label support. The sharp difference for when a manager does something wrong is that they are supposed to be on your team, so the entertainer almost never sees it coming. The hit hurts most when it comes from someone you trust. 

There is a fundamental lack of understanding of the roles and duties required of a manager  – even by practicing managers today. I would argue that very few are well versed in the legal relationship that is formed between them and their entertainers, not by contract, but virtue of fiduciary duty laws throughout the country. If the phrase fiduciary duty is new to you and you are managing or being managed someone right now, start Googling for more details but please read on. I want to be clear. There are lots of good managers who know what they are doing and operate ethically and legally. Its just that there are enough bad apples out there, that folks need to fully understand what is required of them or risk getting hurt.

What does a manager do? This is a fundamental question that is so very often answered incorrectly. A manager is akin to a CEO (Chief Executive Officer) or COO (Chief Operating Officer) of a corporation. An artist hires a manager to run their business for them much like Coca Cola hires executives to run their business. Thanks to their position, a manager often has unrestricted access to a band’s money and can legally make binding decisions for them. Due to the nature of extreme trust required, the law says that positions like this have higher duties and responsibilities placed on them. For example, they can do no harm, they cannot personally benefit from the relationship other than agreed compensation, they cannot put their interests above the band and they always have the duty of loyalty. 

As an example, I recently consulted with a very successful band whose manager was attempting to start a side business with them while remaining their manager. The manager and the band were going to get equal shares in a separate company they were forming. What is the big deal? Well, how is the manager looking out for his band’s best interests when his interest now competes with theirs as a partner? Who was now looking out for the band? Who would the manager have been loyal to in this situation? The conflicts are plenty and unfortunately so are situations like this one. 

In another example, I worked with a band that was leaving a management company. The manager made a compensation claim and without permission changed the band’s Tunecore password and took the money he thought he was owed from the band’s account. Eventually he returned the account minus the money, but it is hard to imagine a court anywhere that would not have called that illegal. It is conversion (theft) at a minimum and without a doubt it is a violation of almost every legal duty he had to the band. His management company was exposed to major liability. All it would have taken is an enterprising attorney to go after them.

For an artist, it is a VERY large leap of faith that the stranger they are hiring is a good and trust worthy person who is also qualified to do the job. So what does an artist do to make sure a manager is competent or worthy of their trust these days? It seems not much. Usually they tell me,  “the manager works for this big agency so we thought they must be good.” It is hard to imagine Coca Cola’s board of directors using such logic to hire such an important person without making sure they were trustworthy or qualified. 

If you are at the point of hiring someone, there is not one all-inclusive list that could tell you what makes a great manager. Often it is a combo of the experience, their education (formal or on-the-job) and a lot of times it is just the art of being a great manager. Many times, entertainers feel lucky that a manager is even interested in them, so they think this is a take it or leave it predicament. That attitude is dangerous. Bad deals are bad deals no matter who proposes them. Taking the time to understand who you are working with and what makes them qualified to do the job are key. Determining if they are trustworthy may be the difference between a career with longevity or one riddled with problems.  

What to look for in a manager:

Resume: Request a written resume to look over. Hiring someone who wants complete access to your life and at least 15% of everything you earn should be professional enough to have one. Look for valid work experience. Business education is a major plus. 

Maturity: It is VERY important to note that age does not determine maturity. I know and work with quite a few twenty-ish year old folks who are more mature than people in their forties. As an artist you want to be sure your manager is mature enough to check emotion and concentrate on business. Your manager is often your first point of contact for the rest of the world and you. You do not want childishness or foolishness for the face of your business.

Background Check: I recommend this all the time and no one does it. I cannot fathom working with someone who has access to all of the deepest recesses of my business without making sure they have a clean record. People do not do it because they think the manager will get offended. I say if they get offended maybe you should reconsider. This is a high position of trust. You need to be sure it is well placed. This is why Attorneys and Accountants are moving into the managing game so strongly like they did in sports. The Governmental agency’s that regulate them often have very strict background checks before they are given a license. They have to maintain that clean record. Any wrong doing on their parts and they risk losing that license. If you won’t do a background check, make your manager sign and swear in a document that he has never been accused, arrested or convicted of a crime dealing with fraud, dishonestly or truthfulness.  

Roster: Check out who they manage and maybe more importantly check out who they have managed. Ask for the manager’s alumni contact info so you can contact them and get a first hand account of his or hers performance. Anyone who won’t give you a full list and contact info is hiding something. There are always relationships that go sour so you won’t find one manager that is loved by everyone, but you will see patterns. Be fair in this assessment. One bad review is not enough to run, a couple though should raise an eyebrow.

Education/Experience: Education comes in many forms. So it is not reasonable to judge someone by how the obtained his or hers. What is important is what they know now. If someone is formally educated, that is a great start. Notice I said start. Look for business courses. Those are great building blocks. If someone doesn’t have a formal education, then the chronology and depth of their music business experience is vital. For example, tour manager is great stepping-stone position because they deal with the day-to-day business at the street level. A good tour manager is well versed in contracts, personal interactions, merchandising as well as the “it factor” of getting things done. 

Now I will offer a caveat here, there are tons of people who “manage” that are just starting out with no experience. This is a double-edged sword. If they are smart, motivated and have the ability to recognize that they don’t know everything, then you are on the right footing. If they do not possess all of the aforementioned traits, you may want to pass until they ripen a bit. They may do more harm than good.

Personality: This one is subjective. On the one hand, you want someone who is friendly and can counsel you through the ups and downs of a career. On the other, you want someone tough enough to represent your interest to third parties. It is tough to find someone who can do both well. This one is on you and what you feel matches best with you or your band. Just remember, this person is the business face of your brand; make sure he/she is a good reflection of your values and persona.

Manager Do’s and Don’ts:

Be a window – be transparent: Being transparent and telling your entertainer everything you are doing is the key to avoiding legal problems when it comes to your duty. If they know everything that is going on, the likely hood of someone finding you did something wrong is reduced significantly. You work for them. You owe them the duties of good faith and loyalty. 

Conflict of Interest: Do not put yourself in a position where you use your band for personal gain. If there is something you want to do that could possibly be a conflict disclose that to your entertainer in writing so they are on notice. They should have a say in the matter and you should come t a written agreement.

Confidentiality: You have the duty to keep the artist’s private dealings private. Seems logical, but too often I hear managers over talking about their band’s private dealings. It is an easy way to get sued.

Avoid Improper Compensation: It is too easy to cross the line here. You may have access to the bank account or the royalty checks come to your office and you can deposit them, etc. If the entertainer can afford it, higher a business manager. This is the best way to get your hands out of he money jar. You should only be getting paid what was agreed to. Your best friend is a contract. It will tell everyone how you are compensated and it is all out in the open.

Avoid Competition: It is really tempting to make money off your relationship with your entertainer. As they rise in notoriety the potential to make money off them or with them rises also. It is best to stick to your commission. If you get them better deals with more money, its stands that you are making more money. If you just have to do the deal, recuse yourself from the band for that deal, disclose the information and do not take any commission from the band’s portion of the earnings for this deal. Always put the above in writing.

STUDY: Learn everything you can about business law. Concentrate on agency law and fiduciary duty. Please remember ignorance of the law is never a defense in a lawsuit. You can’t just say I didn’t know. If you hold yourself out as a manager, you will be held to a manager standard. It is a high bar and one you do not want to take lightly.

This article is for educational purposes only and not legal advice.

This article was crafted with the help of attorney Danny Alvarez. Known to his friends and clients as Danny, he is the managing member of The Alvarez Legal Group, P.L. and President of The Vindicated Group, LLC. Danny has earned a Bachelors Degree in Journalism from The University of Florida, a Masters degree in Education from Troy State University, a Juris Doctor degree from Stetson College of Law and LL.M. (Masters in Law) in Estate Planning from the University of Miami School of Law. Danny focuses his legal practice on Entertainment, Business and Personal Injury Law and has clients as varied as actress/singer Brooke Hogan and bands such as Go Radio, Broadway and War Generation. Danny is also the full-time manager for the up and coming band, Stages and Stereos.

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Job Board News

Music Industry Job Board (12/11/16)

A lot has been written about the supposed dire state of the music industry, but truth be told there are a number of successful and growing companies, including record labels, that are thriving in 2016. In this column we bring together every job opening we can find from the companies responsible for building the future of the business and present them to you, our reader, in hopes of aiding you on your journey to join the global music industry professional family.

Each week we scour the internet for the latest and greatest job postings throughout the music industry. You can help us better serve our community by sending any job openings you find or have to james@haulix.com. Be sure to include the name of the company hiring, a detailed description of the position being offered, a desired start date, contact information, and any additional supplemental information you feel may be needed.

New openings:

Marketing Coordinator (Capitol Records – Hollywood, CA)

Job summary: In this dynamic position, the Marketing Coordinator will serve as key component of the marketing team, acting as the administrative support point person for Capitol Music Group’s marketing department. The ideal candidate will possess strong administrative, organizational, and creative skills. Prior marketing and administrative experience in the music/entertainment field is required. 

Marketing Coordinator (Goldenvoice – LA) 

Job summary: The Marketing Coordinator is responsible for marketing, social media, online e-marketing public relations, promotions for venues, radio promotions, clubs, theaters, festivals, shows and one-offs. This position will develop promotional initiatives with artists and the community, to promote positive brand image. The Marketing Coordinator may also be responsible for coordinating the work of interns and street team for show promotions. 

Administrative Assistant (Live Nation – Beverly Hills)

The Administrative Assistant will provide a full range of administrative support including scheduling meetings, maintaining calendars, making travel arrangements, processing expense reports and assisting with special projects.

To Provide top notch support to the Chief Communications Officer. The Executive Assistant/Administrative Assistant will support the Executive along with other executives on the team.  Responsibilities include executive scheduling, travel, expense reports, meeting setup, event planning and other administrative support as needed.  The position requires someone who has a professional communication style, pays close attention to detail, has great organizational skills, and the ability to juggle multiple high priority requests and meet tight deadlines.  It requires a high level of integrity and discretion in handling confidential information, professional decorum to represent and interface with senior executives both inside and outside the Company.

Sr. Manager, Subscriptions (Pandora – Oakland, CA) 

Job summary: Pandora is looking for a Sr. Manager within the Subscription team to help lead the business strategy across internal Marketing and Product teams and our external channel partners. This analytical all-star will report to the Vice President of Subscription and be at the forefront of Pandora’s exciting new Subscription growth strategy.

Music Outreach Director (Univ. of Evansville – IN) 

Job summary: The University of Evansville announces a part time staff position for a Music Outreach Director, beginning January, 2017. Duties include oversight and coordination of Department of Music outreach efforts, including the Summer Music Camp and single-day workshops during the academic year that target area middle and high school students.  The Music Outreach Director will work with faculty to plan and execute events, coordinate marketing and recruiting, and assist in budget planning/funding efforts.  The Director will also be involved in exploration of new initiatives and outreach possibilities.  Candidates should have excellent communication and organizational skills, strong writing skills, and the ability to work independently and multi-task.  A bachelor’s degree is required. One to three years of professional experience is desired. A background in music would be an asset.

General Manager (Eureka Symphony Orchestra – Eureka, CA) 

Job summary: The Eureka Symphony Board of Directors is seeking a General Manager for oversight and management of the Eureka Symphony marketing, funding and operations. The General Manager works closely and in partnership with the Music Director & Conductor and an active Board of Directors, and its’ Committees, providing information and linkages. Responsibilities include ticketing, playbill & web page development, cultivation of sponsors, marketing and advertising activities, event oversight, budget development and supervision of staff. This is a 10 month per year position.

Producer, Media Brand Development (Kenedy Center – Washington DC) 

Job summary: The Kennedy Center is looking for an ambitious, organized self-starter to become the vibrant voice and ringmaster of an exciting new digital video content offer focused on the performing arts.Functioning within a Start-Up atmosphere coordinating with video production and development departments, you’ll help devise and execute plans that not only leverage the best of in-house programming, but provide live and original experiences, as well as curating the best examples of music, dance and theater video from across the web.You’ll analyze audience data and determine lucrative segments to target. You’ll mine our inventory for web video to edit and add value, as well as work with outside partners to co-create video content we can both leverage for brand exposure.

Product Manager (Yonder Music – NYC) 

Job summary: Yonder Music is looking for a talented Product Manager to join its growing team. This role is a full-time professional position that will translate Yonder’s business initiatives and product feedback into priorities. The Product Team is responsible for defining, guiding, and driving future product vision and strategy, then executing against that vision. The role works closely with the both the New York and Asia-based teams.The ideal candidate will be entrepreneurial, analytical, curious, a great communicator and willing to get his/her hands dirty. Must be passionate about music and excited about working in international markets.This position reports to the President & Chief Technology Officer.

Manager, Collaborative Learning (LA Philharmonic) 

Job summary: The Manager, Collaborative Learning will be responsible for the conception and creation of programs related to “collaborative learning” within the LA Phil’s education department. These programs include, but may not be limited to: concerts for families and students at Walt Disney Concert Hall; programs for young musicians – school orchestras, bands, individual musicians and young composers; pre and post concert lectures and talks/stand alone adult music education such as Music 101. Manager, Collaborative Learning is responsible for building and overseeing the budget for all programs in this area, connecting this area of the department with the social innovation area of Education, and for appropriately assigning 2.5 full time staff to implement projects within each program. Working collaboratively with the Director of Educational Initiatives and Manager of Social Innovation to contribute to the development of long term strategies for the Education Department will be vital.

Sales Assistant/Front Desk (Townsquare Media – Kalamazoo, MI) 

Job summary: Partner with media account executives and on-air staff to ensure the long term success of our customers and operations by providing sales support. The Sales Assistant provides general support to the radio/digital Sales Department including but not limited to assisting with correspondence, answering phones, account history, and maintaining contract files. The position is also responsible for entering commercial schedules in the traffic system, while assisting the promotional process and managing the loyalty prize claim system. 

Manager, Marketing Events (Sony – Nashville)

Job summary: Do your friends and colleagues know that if they put you in charge of an event, it will come off without a hitch, on-time, and on-budget?Do you have a “roll-with-the-punches” attitude and don’t get flustered no matter what the day brings?Do you have experience dealing with big personalities?Do you love working behind the scenes, helping others be successful, keeping tracking track of large amounts of details and varied tasks?If so, consider this position as a Manager of Marketing Events. We are looking for the just the right person to manage the planning and execution of events which support the marketing strategy for Sony Music Nashville artists. In addition, you will support the marketing team with key tasks on artist projects.

Marketing Prod Producer – Apple Music, iTunes, Apple News ( Apple – CA)

Job summary: This person will work collaboratively across Apple Music, iTunes, and Apple News marketing, business, label relations, legal, and engineering teams. They will be responsible for leading and producing high-profile projects with a focus on collaborating across the various internal cross-functional teams. This person will see projects through from concept to execution, and make sure every team understands the role they play and the expected timelines and deliverables. The person in this role must continually be collaborating across teams to be the definitive point person on all projects. Experience working cross-functionally and under demanding (and constantly shifting) deadlines is a must. This position requires someone who has a drive and passion for their work, as well as a track record of leading, taking responsibility, solving problems, and thriving in a high-pressure team environment. This producer will join a seasoned and established team of Producers who work across Apple Music + iTunes Production functional teams (Creative, Editorial, UI, Programming, Localization, Engineering, and Original Content) to lead, develop, and execute projects from inception to completion.

Account Director (Spotify – Chicago)

Job summary: We are looking for an outstanding Ad Sales Account Director to join our team in Chicago. We’re looking for someone with a proven record of revenue generation and a deep interest and passion for online media and innovation. We want someone who loves our product and knows how to sell creative solutions for clients and partners. You should be confident without ever being arrogant and you work hard, but know how to have fun.  Above all, your work will impact the way the world experiences music.

Manager, Accounting (Live Nation – Hollywood)

Job summary: The Accounting Manager is responsible for all areas relating to financial reporting. This position will be responsible for developing and maintaining accounting principles, practices and procedures to ensure accurate and timely financial statements. This position addresses tight deadlines and a multitude of accounting activities including general ledger preparation, financial reporting, year-end audit preparation and the support of budget and forecast activities. He/She establishes financial status by developing and implementing systems for collecting, analyzing, verifying, and reporting financial information; managing staff. The successful candidate for this position will report directly to our Director, Finance and play an instrumental role in the financial future of the company.

Marketing Assistant (LA Philharmonic – Los Angeles)

Job summary: Seeking an engaged and proactive individual to provide effective administrative and organizational support to the Vice President, Marketing & Communications, and assist with general marketing functions as needed by other Marketing directors and managers.

Creative (Vice – NYC)

Job summary: VICE Media is seeking a Creative to work in our Brooklyn, NY Office with a strong copywriting background to be responsible for developing ideas for video show franchises, events, media properties and 360 programs that we can partner with brands to create. This particular Creative role will interact with many departments of the company (marketing, sales, design, production, and others) but will focus on working with VICE’s in-house agency, Virtue Worldwide. They will assist in creative development and overseeing execution of integrated projects from concept to production. We are looking for a creative hybrid with various backgrounds and specific deep interests in youth culture and music, with a focus on electronic/dance music.

Music Editor (Amazon – Seattle)

Job summary: Amazon Music is looking for a creative and organized copywriter to craft homepage, email, and other editorial copy, as well create, write, record, and post content for all Amazon Music social platforms. The copywriter will collaborate with leaders across Amazon Music’s editorial, engagement, marketing and label relations teams to conceive and execute thoughtful, innovative, on-brand copy for our homepage, emails, and all social platforms.



Manager, Music Publishing Business Development, YouTube(Google – USA)

Job summary: As Manager, Music Publishing Business Development, you will build and maintain strategic relationships with our music publishing partners, including leading negotiation on complex licensing and partnership agreements, managing existing publisher partnerships, launching new relationships, driving new business opportunities, resolving business issues, and analyzing and tracking key metrics to identify trends. You are as comfortable negotiating complex licensing agreements as working cross-functionally with colleagues across multiple disciplines to ensure our music partners are positioned for success and our users enjoy the best experience possible.

Sponsorship Coordinator (Live Nation – Bala Cynwyd, PA)

Job summary: This position will provide support and sales assistance to Local Sponsorship Sales, overseeing the fulfillment of local, regional, and national accounts by ensuring the delivery of contractual elements and providing excellent customer service. Coordinators will also be responsible for managing all sponsorship inventories.

A&R Coordinator (Disney Music Group – USA)

Job summary: The Coordinator will provide day-to-day administrative support to the Senior VP and Executive Director, A&R and Music Publishing, and others A&R executives as necessary, which duties may include, but are not limited to: Answering and screening calls, maintaining calendar, scheduling meetings and travel arrangements, assisting in the preparation of meetings and presentations, preparing expense reports and supporting other departmental executives as necessary.

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News

Inside Music Podcast #56: Jan Powers (Artist Manager)

On this episode of INSIDE MUSIC, host James Shotwell connects with fast-rising artist manager Jan Powers to discuss the current music industry and what it takes for a young band to quote/unquote ‘make it.’ Jan has built his career from the ground up and now spends his time helping others to do the same. Whether you’re interested in management or wondering if a manager could help your career, this is one episode you should not miss!

The music hear in this episode of INSIDE MUSIC is provided by Before The Streetlights. Learn more about their unique brand of pop punk by picking up Westward through Antique Records.

You may already know this, but ‘Inside Music’ is now available on iTunes! Click here to subscribe.

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News

What Exactly Does An Artist Manager Do?

We have become big fans of Andrew Jones’ work in recent months, and every week or so we like to share some of his unique industry insight on our blog in order to provide a different perspective on this crazy place we call the entertainment business. Today’s post is a little sillier than the others, but it still has a good message to share.

This blog exists to promote the future of the music industry, and to do that we need input from people like you and your music-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.

“So, what do you exactly do all day?”

As an artist manager people ask me this all the time, and it’s always a little complicated to answer. There are a variety of answers to this question, and honestly every manager is different. Even one manager may handle slightly different tasks for different clients or handle something for one season but hire a third party for another.

However to me being a manager ultimately means doing whatever it takes to break your artist. Whatever.

To that effect here are a few of the things I have done as an artist manager:

1. Network
2. Encourage artists
3. Route tours
4. Try to get bands on large tours
5. Invite other bands onto tours
6. Help pick singles
7. Give notes on demos
8. Give notes on mixes
9. Help determine track order
10. Record video
11. Edit video
12. Design websites
13. Consult on social media strategy
14. Apply for grants
15. Deign posters
16. Design merch
17. Book dates (don’t do this if you live in California or New York…)
18. Find sponsors
19. Speak into band conflict
20. Talk to publishers
21. Take songs to music supervisors
22. Find publicists
23. Work with publicists
24. Track songs to radio
25. Stall for time
26. Negotiate into a record deal
27. Negotiate out of a record deal
28. Buy digital advertising
29. Chase down money from promoters
30. Design webpages
31. Find local bands to join bills
32. Work with promoters on advertising
33. Line up radio station visits
34. Line up newspaper interviews
35. Blog
36. Maintain email lists
37. Write email blasts
38. Pitch to agencies
39. Write bios
40. Create presskits
41. Create riders
42. Go to conferences
43. Submit music to podcasts
44. Stay on top of digital trends
45. Edit press releases
46. Write press releases
47. Solicit album reviews
48. Set-up photo sessions
49. Approve photos
50. Approve album artwork
51. Upload music to all platforms
52. Find sponsors
53. Track stats
54. Fill and update calendars
55. Set-up interviews
56. Promote local shows
57. Fill showcases
58. Take the blame
59. Text a lot
60. Increase Hype
61. Build a street team
62. Write letters
63. Work with charities
64. Create pre-order packages

…And most importantly….

65. WHATEVER IT TAKES

This post was written by Andrew Jones, editor of Checkered Owl. It originally ran on his blog, but we loved it so much we felt it deserved to shared once more on ours. If you like his work and want to read more of his writing, or if you want to be super cool and offer him full time industry employment, reach out and connect with him on Twitter.

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News

Industry Spotlight: Andrew Jones (Checkered Owl)

Hello, everyone! Thank you for taking a few minutes from your hectic schedule to scroll through the latest content on our blog. Today’s feature just so happens to be the first interview of the month, and I think it sets the bar pretty high for everything that will follow. 

This blog exists to promote the future of the music industry, and to do that we need input from people like you and your music-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.

If you have been following the blog on a fairly regular basis over the last two months you have no doubt noticed a handful of guest columns contributed by a man known as Andrew Jones. We typically feature our guest writers through interviews ahead of their content’s debut, but Andrew’s schedule has been so hectic we ended up running his work before letting you know anything about the man who brought it all to life. Today, that long-awaited insight into the mind of the man behind Checkered Owl is ready to be shared.

Not long ago, Andrew Jones and I connected over the phone and spent thirty minutes discussion the music industry. Andrew told me about his childhood in Canada, his earliest memories of music, the years he spent making a name for himself in the states before heading back north, and beyond. We talked about his efforts to help independent artists gain the exposure they deserve, as well as the problems with the way labels and management groups approach working with talent today. You can read those thoughts, as well as comment on a number of additional topics, below.

The world needs more people like Andrew Jones. He is a brilliant and passionate music fan who puts the creative endeavors of the artists he supports before everything else. He’s setting the curve for how artist management will be handled in the future, and it’s an honor to share his journey up to this point with you today. If you would like to learn more about Andrew, please follow him on Twitter. Additional questions and comments can be left at the end of this post.

H: Before we begin, go ahead and introduce yourself.

A: Sure, my name is Andrew Jones and I run Checkered Owl Media. I do a mix of artist management, artist development, video production, and everything in between.

H: You wear a lot of hats.

A: I think that is the modern manager’s goal, to be able to handle whatever tasks are present. Sometimes you book a show and realize you need someone to do a poster design. It all ties together, so it’s all worth learning.

H: When you think about your earliest memories of music, what experiences come to mind?

A: I was always into music, but the first thing I clearly remember is being at a garage sale and finding a turntable. We took it home and my dad put on The Beatles’ White Album. I knew the band, but I had not experienced a lot of music in depth, and listening to that album just completely blew my mind. I fell in love with music in a big way, and it has been that way ever sense.

H: Do you remember your first concert?

A: My first concert was actually a local band. I don’t know how to pronounce their name, but it is spelled K-Y-R-I-E. They were a band that had members who just so happened to work with my dad and he took me to see their show.

H: When you say local, what are you referring to? Where are you from?

A: I’m from Alberta (Canada). Edmonton is the nearest place people may have heard of. I’ve been here most of my life, though I did spend a few years in Calgary and even worked in Nashville for a while. I’ve thought about going to the west coast, but haven’t gotten there yet.

H: We have not had many opportunities to speak to people from Canada about working in the music industry. Tell me, did you experience any kind of ‘lightbulb’ moment when you realized a life in music was the one for you?

A: I was in high school and I was playing in bands, but I eventually realized that I was not going to be the guy who grew up to play in bands professionally. I still wanted to be involved in music, so I decided to promote a show, and sense I was in high school and didn’t know any better I booked a national touring band called Thousand Foot Krutch. There were flights, a $5000 guarantee, and a huge venue to fill, but for whatever reason I don’t think their booking agent ever caught on to the fact I was 16. Luckily, things were really well. better than most first shows could hope to go, and from then on I was pretty much hooked on music.

H: I started in booking as well, but I only worked with local bands at first. Taking on all the responsibility associated with bigger productions must have been daunting, especially for someone your age.

A: I probably should have started with local bands (laughs), but I was 16 and did not know any better, so I went for it. I’m happy I did. There was a moment before the show when the sound and lights company explained they were double booked and had to pull out. I panicked, but it came together, and it was in that moment I learned that no matter what you have to do whatever has to be done in order to make sure shows happen.

H: Did you pursue any secondary education? Perhaps to study the music business?

A: I did go to college, but my degree is in Performing Arts.

H: That’s pretty close.

A: Mine was mostly in theater. You know, a mix of everything.

H: I’ve interviewed at least four publicists who have degrees in Performing Arts, so I think you’re in good company. Did you continue booking through college, or was it more off and on.

A: It was off and on for a while. I was eventually running a family theater program, and during that time I started booking heavily again. In college I had no money, so that had to wait until I could start working again. One of the bands that came up was fronted by Luke Dowler, who I now manage, and it was there that my journey in that area of the industry began.

H: What is the origin story behind Checkered Owl?

A: I’d been working from Nashville for about a year, and to be honest I was getting tired. I wanted to be more involved than my career as an agent would allow, so I decided to start my own Management group. I spoke with my wife about it, and together we came up with the name.

H: Is there a story or any kind of significance to the name Checkered Owl?

A: Not really. We liked that owls are up at night and the fact the industry is usually most active at night, but that’s about it. My wife thought of it, we both thought it was rad, and we decided then to run with it.

H: I think that was a good decision. Even in the last week there has been at least one occasion when the name crossed my mind and captured my imagination. It’s the kind of name that you want to know more about, even if you cannot explain why. Kudos for that.

A: I like that. Thanks.

H: The reason I wanted to talk to you about Checkered Owl is because I believe it’s built on an idea that many companies will begin to follow in the years to come. It’s not about doing one thing for artists, but doing as many things as you can under one roof.

A: That’s completely right. I think that as labels start to change in the years ahead that management groups are going to become hubs in the industry. Artists are pulling from a number of revenue streams these days, and as we move forward I want to create a place where we can handle a wide array of tasks for artists. If you have a management, publicist, and booking agent there is a lot of down time in those people’s various roles. What I want to do is create a place where all that is happening through one time. Working with artists to develop and grow their career.

H: There is a blog element to Checkered Owl that I also wanted to touch on. Could you tell us a bit about this part of your efforts and what you hope to accomplish through your content?

A: The goals are 1. To really help artists out and give them one more place to learn from a slightly different angle. Everyone has their own preferred writing style to learn from, and I just wanted to add my voice. 2. Is just to connect with artists and other in the industry. It’s a great way to network and meet other people in music.

H: What are your current career goals?

A: I would say my goal is to reach a place where I have all the tools needed to be able to help the artists I discover and want to work with.

H: That’s pretty selfless.

A: What can I say? I want to work with artists and help culture by giving it more of the art and creativity it needs.

H: What would you say is the biggest problem in the music industry today?

A: I think too often, and this is improving in recent times, but too often the business and creative side of the entertainment industry do not always jive as well as they should, and if they don’t the business side of things will take over. That is bad for art and bad for people, as well as bad for the industry over a long enough timeline.

H: Do you have anything in the immediate future should be checking out from you and Checkered Owl?

A: My artists all have releases in the coming months. I will also be releasing a music video from a country artists I am working. There will be more blogging too. I also offer artist consultations and lyric videos, so I’ll do those as well.

H: Thank you for talking to me today. It’s been great learning about your journey.

A: Thank you for the opportunity. I’m sure we will be in touch in the weeks ahead.

Categories
News

How Do I Attract The Attention of A Manager?

Hello and welcome to the final regular content day of the work week. You may been too busy to notice this, but today also happens to be the final day of July, which was one of our busiest months to date. We’re thankful for all you’ve given us the ability to accomplish, and we’ve decided to say goodbye the hottest month of the year with a double set of guest posts from one our of favorite online music writers.

This blog exists to promote the future of the music industry, and to do that we need input from people like you and your music-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.

One of the most common questions I am asked by people is how an artist can attract a manager, or, how to best pitch a manager that they are interested in working with. 

Much like everything in this business there isn’t one simple answer and everyone’s process is different but here a few things I appreciate and a process that can be employed to connect with a manager (or any other music business professional).
1. Have great music. No one is interested in representing something they don’t LOVE. Find your sound and hone it, make it stand out. Everyone I know in the music industry gets pitches every week (if not every day), if you want to make an impression the music has to stand out.
2. Connect on social media. I tweet a lot. So do many other people in the music industry. Join in discussions, be friendly. You don’t need to push anything, the goal is just to get on people’s radar. But remember, as soon as you get people paying attention to your social media…they are paying attention to your social media.
3. Create some videos. The reality is, when most people decide to check out a band, their first move is to head over YouTube. Watching a video can tell me more about a band in 30 seconds than 30 min of searching text. You get the image, the sound, the feel and even see play count & engagement all in one place. It’s always worth having quality video content.
4. Send an initial e-mail. Include your story (short version), a few links to music (not attachments), and why you would be interested in working with the person you are pitching to. As our good friend Steve Rennie always says “If You Don’t Ask, You Don’t Get”!
One Extra note: Make sure you actually specify what you are looking for; emails that tell a story but don’t have a clear pitch get deleted every time.
5. Pick up the phone. Some people may disagree with me on this but, I don’t think there is anything wrong with placing a call. Ask if they got your e-mail; sell the story with a little more passion than the cold e-mail allows. Try to make a more personal connection.
6. Keep working, make a good name for yourself. Remember, at this point hopefully you have people paying attention to what you are up to. Promoters are always talking to agents, agents are talking to labels, labels are talking to managers and every other combination. Work hard, word will spread.
7. Send occasional notes. E-mail is great for this! When you drop a new single or video reach out! Pop in an another e-mail to the people you have talked with in the past. If you get a placement, send something friendly updating them on the project. Success breeds success and if you stay persistent you never know when the timing will make sense.
Remember there is no formula for this (hopefully these tips help), primarily you need build relationships and make “the ask” when the time is right! For that matter, if you build relationships well, and do impressive work, you may end up being on the other side of that ask!
BONUS TIP: If the manager (or any one in this industry) says “No” it means “Not right now”. Still take the time to say thank you. Still build the relationship. Still send occasional updates. Whatever you do, don’t just disappear when things don’t work out immediately.
This post was written by Andrew Jones, editor of Checkered Owl. It originally ran on his blog, but we loved it so much we felt it deserved to shared once more on ours. If you like his work and want to read more of his writing, or if you want to be super cool and offer him full time industry employment, reach out and connect with him on Twitter.
Categories
Job Board News

A Manager’s Duty: What Every Artist And Manager Should Know!

Hello and welcome to our second Advice column of the week. This feature is a bit extra special because it also serves as our first collaborative piece with Daniel Alvarez, attorney at law and music business aficionado. We will be working with Daniel a lot in the months ahead, and we think the perspective he has on the business today is one that can aide both artists and industry professionals. If you have any questions about the content of the blog, or if you would like more information regarding the distributional services offered by Haulix, please email james@haulix.com and share your thoughts. You can also find us on Twitter and Facebook.

As an entertainment attorney, it is amazing what I see from the sidelines of the music business. I feel like it is hard to shock me anymore due to all the craziness that has come across my desk. We have all heard horror stories about record labels label that treats a band wrong. Yet what surprises me, is how frequently I consult with a band about a bad manager experience but I hardly hear about that in public. Entertainers think it is a quasi-parasitic relationship where they accept that they are getting used for profit, but they are getting the career benefit of label support. The sharp difference for when a manager does something wrong, is that they are supposed to be on your team, so the entertainer almost never sees it coming. The hit hurts most when it comes from someone you trust. 

There is a fundamental lack of understanding of the roles and duties required of a manager  – even by practicing managers today. I would argue that very few are well versed in the legal relationship that is formed between them and their entertainers, not by contract, but virtue of fiduciary duty laws throughout the country. If the phrase fiduciary duty is new to you and you are managing or being managed someone right now, start Googling for more details but please read on. I want to be clear. There are lots of good managers who know what they are doing and operate ethically and legally. Its just that there are enough bad apples out there, that folks need to fully understand what is required of them or risk getting hurt.

What does a manager do? This is a fundamental question that is so very often answered incorrectly. A manager is akin to a CEO (Chief Executive Officer) or COO (Chief Operating Officer) of a corporation. An artist hires a manager to run their business for them much like Coca Cola hires executives to run their business. Thanks to their position, a manager often has unrestricted access to a band’s money and can legally make binding decisions for them. Due to the nature of extreme trust required, the law says that positions like this have higher duties and responsibilities placed on them. For example, they can do no harm, they cannot personally benefit from the relationship other than agreed compensation, they cannot put their interests above the band and they always have the duty of loyalty. 

As an example, I recently consulted with a very successful band whose manager was attempting to start a side business with them while remaining their manager. The manager and the band were going to get equal shares in a separate company they were forming. What is the big deal? Well, how is the manager looking out for his band’s best interests when his interest now competes with theirs as a partner? Who was now looking out for the band? Who would the manager have been loyal to in this situation? The conflicts are plenty and unfortunately so are situations like this one. 

In another example, I worked with a band that was leaving a management company. The manager made a compensation claim and without permission changed the band’s Tunecore password and took the money he thought he was owed from the band’s account. Eventually he returned the account minus the money, but it is hard to imagine a court anywhere that would not have called that illegal. It is conversion (theft) at a minimum and without a doubt it is a violation of almost every legal duty he had to the band. His management company was exposed to major liability. All it would have taken is an enterprising attorney to go after them.

For an artist, it is a VERY large leap of faith that the stranger they are hiring is a good and trust worthy person who is also qualified to do the job. So what does an artist do to make sure a manager is competent or worthy of their trust these days? It seems not much. Usually they tell me,  “the manager works for this big agency so we thought they must be good.” It is hard to imagine Coca Cola’s board of directors using such logic to hire such an important person without making sure they were trustworthy or qualified. 

If you are at the point of hiring someone, there is not one all-inclusive list that could tell you what makes a great manager. Often it is a combo of the experience, their education (formal or on-the-job) and a lot of times, it is just the plain art of being a great manager. Many times, entertainers just feel lucky that a manager is even interested in them so they feel this is a take it or leave it predicament. That attitude is dangerous. Bad deals are bad deals no matter who proposes them. Taking the time to understand whom you are working with and what makes them qualified to do the job are key. Determining if they are trustworthy may be the difference between a career with longevity or one riddled with problems.  

What to look for in a manager:

Resume: Request a written resume to look over. Hiring someone who wants complete access to your life and at least 15% of everything you earn should be professional enough to have one. Look for valid work experience. Business education is a major plus. 

Maturity: It is VERY important to note that age does not determine maturity. I know and work with quite a few twenty-ish year old folks who are more mature than people in their forties. As an artist you want to be sure your manager is mature enough to check emotion and concentrate on business. Your manager is often your first point of contact for the rest of the world and you. You do not want childishness or foolishness for the face of your business.

Background Check: I recommend this all the time and no one does it. I cannot fathom working with someone who has access to all of the deepest recesses of my business without making sure they have a clean record. People do not do it because they think the manager will get offended. I say if they get offended maybe you should reconsider. This is a high position of trust. You need to be sure it is well placed. This is why Attorneys and Accountants are moving into the managing game so strongly like they did in sports. The Governmental agency’s that regulate them often have very strict background checks before they are given a license. They have to maintain that clean record. Any wrong doing on their parts and they risk losing that license. If you won’t do a background check, make your manager sign and swear in a document that he has never been accused, arrested or convicted of a crime dealing with fraud, dishonestly or truthfulness.  

Roster: Check out who they manage and maybe more importantly check out who they have managed. Ask for the manager’s alumni contact info so you can contact them and get a first hand account of his or hers performance. Anyone who won’t give you a full list and contact info is hiding something. There are always relationships that go sour so you won’t find one manager that is loved by everyone, but you will see patterns. Be fair in this assessment. One bad review is not enough to run, a couple though should raise an eyebrow.

Education/Experience: Education comes in many forms. So it is not reasonable to judge someone by how the obtained his or hers. What is important is what they know now. If someone is formally educated, that is a great start. Notice I said start. Look for business courses. Those are great building blocks. If someone doesn’t have a formal education, then the chronology and depth of their music business experience is vital. For example, tour manager is great stepping-stone position because they deal with the day-to-day business at the street level. A good tour manager is well versed in contracts, personal interactions, merchandising as well as the “it factor” of getting things done. 

Now I will offer a caveat here, there are tons of people who “manage” that are just starting out with no experience. This is a double-edged sword. If they are smart, motivated and have the ability to recognize that they don’t know everything, then you are on the right footing. If they do not posses all of the aforementioned traits, you may want to pass until they ripen a bit. They may do more harm then good.

Personality: This one is really subjective. On one hand you want someone who is friendly and can counsel you through the ups and downs of a career. On the other, you want someone who is tough enough to represent your interest to third parties. It is really hard to find someone who can do both well. This one is on you and what you feel matches best with you or your band. Just remember, this person is the business face of your brand, make sure he/she is a good reflection of your values and persona.

Manager Do’s and Don’ts:

Be a window – be transparent: Being transparent and telling your entertainer everything you are doing is the key to avoiding legal problems when it comes to your duty. If they know everything that is going on, the likely hood of someone finding you did something wrong is reduced significantly. You work for them. You owe them the duties of good faith and loyalty. 

Conflict of Interest: Do not put yourself in a position where you use your band for personal gain. If there is something you want to do that could possibly be a conflict disclose that to your entertainer in writing so they are on notice. They should have a say in the matter and you should come t a written agreement.

Confidentiality: You have the duty to keep the artist’s private dealings private. Seems logical, but too often I hear managers over talking about their band’s private dealings. It is an easy way to get sued.

Avoid Improper Compensation: It is too easy to cross the line here. You may have access to the bank account or the royalty checks come to your office and you can deposit them, etc. If the entertainer can afford it, higher a business manager. This is the best way to get your hands out of he money jar. You should only be getting paid what was agreed to. Your best friend is a contract. It will tell everyone how you are compensated and it is all out in the open.

Avoid Competition: It is really tempting to make money off your relationship with your entertainer. As they rise in notoriety the potential to make money off them or with them rises also. It is best to stick to your commission. If you get them better deals with more money, its stands that you are making more money. If you just have to do the deal, recuse yourself from the band for that deal, disclose the information and do not take any commission from the band’s portion of the earnings for this deal. Always put the above in writing.

STUDY: Learn everything you can about business law. Concentrate on agency law and fiduciary duty. Please remember ignorance of the law is never a defense in a lawsuit. You can’t just say I didn’t know. If you hold yourself out as a manager, you will be held to a manager standard. It is a high bar and one you do not want to take lightly.

This article is for educational purposes only and not legal advice.

Daniel A. Alvarez, Sr. is an attorney, music manager and business law professor based out of Tampa, Florida. Known to his friends and clients as Danny, he is the managing member of The Alvarez Legal Group, P.L. and President of The Vindicated Group, LLC. Danny has earned a Bachelors Degree in Journalism from The University of Florida, a Masters degree in Education from Troy State University, a Juris Doctor degree from Stetson College of Law and LL.M. (Masters in Law) in Estate Planning from the University of Miami School of Law. Danny focuses his legal practice on Entertainment, Business and Personal Injury Law and has clients as varied as actress/singer Brooke Hogan and bands such as Go Radio, Broadway and War Generation. Danny is also the full time manager for the up and coming band, Stages and Stereos. 

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