Comments on: The Truth about Managers http://www.musicalamerica.com/mablogs/?p=842 Wed, 12 Dec 2012 04:48:46 +0000 hourly 1 http://wordpress.org/?v=3.0.6 By: Chrissie DiAngelus http://www.musicalamerica.com/mablogs/?p=842&cpage=1#comment-87026 Chrissie DiAngelus Wed, 09 Feb 2011 18:28:53 +0000 http://www.musicalamerica.com/mablogs/?p=842#comment-87026 Hi there, I'd also like to chime in that the use of terms manager and agent can mean different things to different people. In theory they do have different meanings. Take for example Entourage -- E is the manager and career consultant and Ari is the agent (the one booking). We tend to see a lot of both in our industry but it's helpful to know what you as an artist are signing up for. I work with two children's theater artists and while I have background as an agent and a manger, my roster is brand new. I am both to my artists and I take the manager part very seriously. To Robert's point, everyone needs to do their part. Communication was something I stressed early on. I also wanted to suggest to "Unmanaged" to really do as much research as possible when considering rosters and management. A roster might look like an ideal fit but it's also possible that the last thing it wants/needs is another modern dance company for example. Understanding the vision of one's roster is very helpful and can make your attempts more strategic. If you are unsure, ask around, talk to other managers/agents or artists on that roster. Hi there, I’d also like to chime in that the use of terms manager and agent can mean different things to different people. In theory they do have different meanings. Take for example Entourage — E is the manager and career consultant and Ari is the agent (the one booking). We tend to see a lot of both in our industry but it’s helpful to know what you as an artist are signing up for. I work with two children’s theater artists and while I have background as an agent and a manger, my roster is brand new. I am both to my artists and I take the manager part very seriously. To Robert’s point, everyone needs to do their part. Communication was something I stressed early on.

I also wanted to suggest to “Unmanaged” to really do as much research as possible when considering rosters and management. A roster might look like an ideal fit but it’s also possible that the last thing it wants/needs is another modern dance company for example. Understanding the vision of one’s roster is very helpful and can make your attempts more strategic. If you are unsure, ask around, talk to other managers/agents or artists on that roster.

]]> By: Robert Besen http://www.musicalamerica.com/mablogs/?p=842&cpage=1#comment-84725 Robert Besen Fri, 04 Feb 2011 20:49:16 +0000 http://www.musicalamerica.com/mablogs/?p=842#comment-84725 Another manager chiming in here on Daniel Teitler's question. I agree with Edna 100% on all her points and insights. In this case there at least is the silver lining that the artist in question is evidently doing what I attempt to teach in a course called "Booking Your Own Concerts" (makes me feel good, anyway). The main point I'd like to make, however, is that I feel that artists frequently have a misunderstanding about where bookings come from. "I could have gotten that date on my own," (based on the artist's existing relationship with the presenting organization) and "I gave that referral to my manager, so it was just a matter of follow-up" are common gripes, and often quite accurate. But in fact artists and their managers must make the most of what the artist brings to the table on an ongoing basis, and parley that into a developing career. That is the backbone of every career; a lot of bookings do - should, must! - happen that way. Yes, engagements must also come from the manager's initiative and relationships, and always there should be plenty of sweat on the manager's part whatever the starting point. But it must always be remembered that the artist-manager relationship - at every career stage - is a team effort. If you have a manager and you haven't contacted him lately with ideas, you aren't doing an important part of your job. If your manager isn't responsive to or following up on your ideas, the manager isn't doing a crucial part of his job. The process, if successful, is (alas) relentless. Another manager chiming in here on Daniel Teitler’s question. I agree with Edna 100% on all her points and insights. In this case there at least is the silver lining that the artist in question is evidently doing what I attempt to teach in a course called “Booking Your Own Concerts” (makes me feel good, anyway). The main point I’d like to make, however, is that I feel that artists frequently have a misunderstanding about where bookings come from. “I could have gotten that date on my own,” (based on the artist’s existing relationship with the presenting organization) and “I gave that referral to my manager, so it was just a matter of follow-up” are common gripes, and often quite accurate. But in fact artists and their managers must make the most of what the artist brings to the table on an ongoing basis, and parley that into a developing career. That is the backbone of every career; a lot of bookings do – should, must! – happen that way. Yes, engagements must also come from the manager’s initiative and relationships, and always there should be plenty of sweat on the manager’s part whatever the starting point. But it must always be remembered that the artist-manager relationship – at every career stage – is a team effort. If you have a manager and you haven’t contacted him lately with ideas, you aren’t doing an important part of your job. If your manager isn’t responsive to or following up on your ideas, the manager isn’t doing a crucial part of his job. The process, if successful, is (alas) relentless.

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