Managing stars for a living is glamorous and exciting many people forget it is a business After noticing the number of young, talented artists emerging in Uganda’s creative industry, in comparison to the low talent and skill among the managers and promoters, I think there is big gap to be filled. For many who are unlucky not to have real artistic talent of their own, becoming an artiste-manager is the ultimate dream. So they hit all the hot spots – karaoke bars, night clubs, recording studios, beauty pageants, etc – looking to score the undiscovered talent that needs a manager to ride to the top. A few hit the big time. Most don’t. But what does it take to become an artist-manager and succeed at it? How does one go about finding artistes? Do you sit and wait around for them to find you? What does one need to do to find them? Aspiring managers - especially younger and less experienced ones - have as many hurdles to clear as new artistes, and three key skills are a must: the ability to spot and win promising talent, a realistic view of the industry, and willingness to take advice and work hard. It is not easy competing against the networks, reputation and track record of more established managers. In spite of the fact that music is a business, an artiste manager must think a little differently from a manager in the corporate world. An artiste manager deals mainly with creativity, in a rather unstructured environment. But he must draw the line between being a business manager and a personal assistant to their client. While an artiste manager has to deal a lot with the individuality of the artiste, not just the business aspect - understanding the artist as a person and connecting with them on that level, knowing what works for him/ her, learning how to get them excites – they must remember that theirs is first and foremost, a business, not a friendship. The artiste-manager is a planner, adviser, organizer, manipulator, co-coordinator, detail person, travelling companion and friend. Where do I start? Aspiring managers often ask. Like any other profession, there are dues to pay and contacts to make. In this regard an aspiring manager bears a close resemblance to a new artiste. One must gain as much practical experience in the entertainment business as possible. Good managers oversee the big picture of their client’s career, therefore whatever experience one can get in the business is valuable - whether in management, booking, recording, engineering, producing, music publishing, public relations, or a number of other capacities. All these are training grounds that provide essential knowledge of the industry and allow one opportunities to build a valuable network. An integral part of being an artiste manager is being ‘educated’ about the entertainment business, the creative and commercial forces that drive it; able to deal knowledgeably with attorneys, accountants, distributors, media, etc. Currently Uganda has no vocational institutes that offer training in managing artists, but for best practices, it is advisable for aspiring (and established) managers to regularly read books, magazines and internet articles about the industry, its movers and shakers, the latest trends, the failures, history and future. No matter how talented or experienced, it is important to keep up with the latest in the business. Making friends has never been as important for any other professional. Attracting clients, winning favorable referrals from established managers, publishers, booking agents, producers, etc, calls for a knack for making friends – especially communication skills. Friendships with established artistes will provide recommendations to new talent. Social media networks like Facebook, Twitter, Myspace and others on the Internet, are also particularly effective, as are major events and social places where artistes network, including club events, launches, recording studios, galas, etc. Networking will help one know as many people as possible in the industry – from record companies to publishers, promoters, journalists, film and advertising people and collection societies – which may open doors when least expected. However, young managers need to be careful not to make over-ambitious promises to new talent that they may not be able to deliver, or they won’t be trusted. The initial approach should be business-like and reserved. In fact a new manager should be extremely cautious about the type of artiste they approach. There are the egotistical and uninformed, and then the ones who see music as a way out, not career. Many artistes don’t have the willpower, maturity, or ability to make it, and carrying them can be a drain, especially on a manager with limited resources. There is money to be made becoming an artiste manager, but first one has to be a good manager: Honest, an enabler that finds opportunities their artist wouldn’t alone, a good administrator and financial manager, a good negotiator and communicator, a net worker, and businessman/woman. Contact: Email: [email protected] Website: stars.twinkle.ug (independent.co.ug/society/society/4846-behind-the-glamorous-career-of-artist-manager)
Posted on: Thu, 04 Sep 2014 07:27:59 +0000
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