Seeking Artist manager - When and How to Seek Representation From an Artist manager For Your Music

I just watched 10 minutes of an 18 miniature video blog from an artist who is seeking a personal (music) manager. He says he hasn't gotten ahead like he should since he has not had a manager- and this hereafter owner needs to make him a priority client, yet he doesn't say whatever about his own success or what he is doing that needs management.  I turned it off. I had heard it all before.

Seeking Artist manager - When and How to Seek Representation From an Artist manager For Your Music

Seeking Artist manager - When and How to Seek Representation From an Artist manager For Your Music

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Seeking Artist manager - When and How to Seek Representation From an Artist manager For Your Music

Seeking Artist manager - When and How to Seek Representation From an Artist manager For Your Music

On a weekly basis I get up to 20 myspace friend add-requests from artists who say "I need a manager. Listen to my music." I hit "deny" approximately every time. I meet artists all the time who want a owner because they want the owner to "take us to the next level" or "hook me up with labels" or "get me shows."

Enough is enough. They all are singing the same tune. Artists- if you seek a owner and don't fully understand artist management, not sure what your needs are and don't know how to go about properly introducing yourself to a prospective manager, this description is for you. So that artist managers like me won't turn off your video blogs, deny you on myspace, and duck out of sight in a networking situation.

Understanding Artist Management

Incredibly, so many artists who seek supervision positively have no idea what it is. They just know that the owner is their marker to greater success. Managers help guild the artist's career towards the accomplishment of established goals. Managers are an integral part in finding new ways for an artist to effectively compete in the marketplace. The artist owner is complicated in establishing, promoting and sustaining the artist's career in conjunction with the efforts of the artist. But managers do a varying degree of this as their is no industry standard.

Qualifying

The first step is qualifying yourself (the artist). Qualifying yourself means sizing your (music artist) self up. What are your accomplishments? Have you complete a demo, together with mixing and mastering and manufacturing it or are you in the first stages of recording? Have you been performing live? Have you sold songs on iTunes or had radio play? Do you have a buzz with press? What is suited about you? Do not start bragging you are the hottest, best so&so to hit the streets, because to us managers that means nothing if you have nothing concrete to back it up with. You need real, measurable develop that we can back-check. There should be some momentum to your career before you seek management; that is, something to manage. This doesn't mean you have to be wildly flourishing yet, but you should be able to say clearly and directly what you have achieved in your career so far and also be able to say what goals you have for your career increase and development.

 After you qualify yourself, you also need to qualify the owner you seek. Just getting "a manager" should not be the goal. Managers tend to be linked better in safe bet regions, and also many focus their work within a particular genre. Time to find out who fellow artists are represented by. Do explore on these managers. Do they have good reputations? If so, ask for a meeting with them explaining your success and why you seek representation from this particular manager. There are many good managers out there, but there are just as many unqualified, unprofessional managers too. I realize so many acts write me because they see "manager," but know nothing else about me- together with the genres I work with or the state I work in. Knowing who you are pursuing is a necessary first step.

Needs

When you did your self-analyzation, you should have identified your strengths and your weaknesses. It will be imperative for you to be able to say what needs you have beyond the broken description of the your desire to get to "the next level." Managers have separate strengths (some have great sense developing an act, some have industry ears and can help you pick a song, and some have strengths in touring, ie) and so by you identifying what you need, you can get closer to finding a owner who is the right fit.

Many hungry artists think their success rests in some manager's rolodex and they seek this someone out for one speculate only- to get entrance to the manager's connections in the business. A good owner will, in fact, have a large sense list of suited professionals. But as managers, we guard these contacts like high-priced gems. The owner must have a strong trust in the artist's hereafter success before he/she would be willing to set up meetings and engage their colleagues about you.

A better focus for you to have is to start with self-management or have a friend support you in the business parts of your career. Work on your artistry and your popularity (fans online and offline). Seasoned managers keep their eyes and ears open to who's next and if you are creating a lot of buzz (selling out shows, selling Cds independently, thousands of hits on YouTube, etc.), that owner will find you. Another selection is to seek a supervision consultation which will allow you to tip-toe into a working connection with the manager. Sometimes managers will be willing to consult you on a project-by-project basis and that way you have some business withhold why you audition for the owner and they audition for you to see if it's a right fit.

Reciprocal

The best supervision connection is built on trust and respect. If the owner truly believes in the artist's talent and the artist wholly trusts the guidance of the manager, it can be a very rewarding relationship. Both parties should work equally hard. Remember, managers are paid a commission of the artist's income. So, if you have no earnings arrival in yet, make an offer to pay for the managers time in a separate way (like hourly or by project), until some earnings is generated. Make that be the first benchmark, for you both to perform together, finding earnings streams for the artist and their music.

So to recap:

• Identify your strengths & weaknesses and qualify yourself.
• Be able to clearly say who you are and what success you have had.
• Learn what artist managers do.
• Consider self-management while you build your fan base.
• Have something to manage before approaching a manager! recognize what your needs are.
• Research managers to coming that work in your genre of music and have good reputations.
• Build trust and respect with the owner before demanding they open their rolodex, and come up with a fAir way to pay the owner for their services.

These few things will set you apart from the zillion other artists out there aimlessly reaching out to "a manager" in cyberspace. And hopefully help you start a mutually rewarding connection to added your career.

Seeking Artist manager - When and How to Seek Representation From an Artist manager For Your Music

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The Artists Behind Avatar the Last Airbender

Avatar The Last Airbender is an American show as it is released by Nickelodeon but maintains a Japanese style of animation. The plot of Avatar is a typical fantasy performance plot, one spellbinding super powers and one main character that holds the secrets to having approximately god-like power but needs to go through a journey to unlock them.

The Artists Behind Avatar the Last Airbender

The Artists Behind Avatar the Last Airbender

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The Artists Behind Avatar the Last Airbender

The Artists Behind Avatar the Last Airbender

This show has a very superior cast of artists. This includes Bryan Konietzko, a 29 year old powerhouse of creativity through artistic design. He was featured along with Michael DiMartino in an Animation Insider interview in 2005. He first worked for the Film Roman assosication as a character designer where he got into the grove of animation productions and how they are run. From there he moved on to become a character designer for more influential shows. This includes house Guy and King of the Hill which helped him to coordinate his style. Konietzko also has palpate story boarding with the series Invader Zim and has studied at animation schools. For Avatar, he is the director of art and the character designer; also he is the co menagerial producer.

Michael DiMartino is another one of the influential members of the Avatar creators and designers. He's 31, and has used many of those years studying about animation output (he spent 12 working at Film Roman). He is the other co menagerial producer and the story editor for Avatar. He has worked with Konietzko on shows like King of the Hill and house Guy as the director. He has also created his own animation called, Atomic Love; and it has featured in many film festivals.

In the interview with Animator Insider, both men discussed what went into Airbenderonline.com">Avatar The Last Airbender. Before even starting to work on Avatar, the team knew that they wanted it to be Asian based rather than EuroPean based and they wanted to give it some elements of Asian mythology. They started out by creating the mythology for this show, such as how things worked by using their supernatural powers. They make it clear that it isn't called "magic" in the show, but it is along those lines as they are using elements and supernatural powers. One of the most spellbinding parts of the creating of the show is that separate types of martial arts are used. There are four separate elemental powers in the show: water, fire, earth, and wind; all of them have their own distinctive fighting styles.

The Artists Behind Avatar the Last Airbender

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Franz Marc - The Cubist and the Futurist Abstract Artist

Franz Marc, the admired German Expressionist and the son of a landscape painter, Wilhelm and Sophie, a Calvinist, was born in Munich, Germany on February 8, 1880. As a youngster, Franz Marc aspired to be a priest. He also tried his hands at philosophy, but later stirred towards artistry, especially painting and printmaking.

Franz Marc - The Cubist and the Futurist Abstract Artist

Franz Marc - The Cubist and the Futurist Abstract Artist

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Franz Marc - The Cubist and the Futurist Abstract Artist

Franz Marc - The Cubist and the Futurist Abstract Artist

In 1900, Franz enrolled himself in the Munich Academy of Fine Arts. In his first trip to Paris in 1903, he was impressed with the works of Vincent Van Gogh and Henri Rousseau. Thereafter, Marc made frequent trips to Paris until 1907. In 1910, the artist made friends with August Macke. In 1911, Franz Marc founded the 'Der Blaue Reiter (The Blue Rider)' circle of artists along with Wassily Kandinsky. Soon, Macke, Gabriele Münter, Alexeji Jawlensky, and other artists also joined the Der Blaue Reiter. Franz's first Der Blaue Reiter exhibition was at the Thannhauser Galleries in Munich, from December 1911 to January 1912. The exhibition was also displayed at Berlin, Köln, Hagen, and Frankfurt.

Franz Marc met Delaunay's in 1912, and was significantly influenced by his works, vis-à-vis his color techniques and 'Futurism.' He once said that, "the irreligious humanity which lived all colse to me did not excite my true feelings, whereas the virgin feeling for life of the animal world set alight everything good in me." Inspired by 'Cubism' and 'Futurism,' a year later, Franz industrialized to landscapes and abstract art forms. His vocation soon ended on March 04, 1916, on the battlefield at Verdun during the First World War. He was all of 36 years when he died, but had already canvassed some legendary painting for us to admire.

Franz Marc's works often reflect the spiritual bond between nature and animals, particularly horses. His work is characterized by the kind use of tantalizing former colors, a 'Cubist' depiction of animals, downright simplicity, and an intense sense of emotion. One of Franz's predominant paintings is the "Tierschicksale (Animal Destinies or the Fate of the Animals)," which he completed in 1913, and is now at exposition at the Basel Kunstmuseum. The artist also has sixty prints in woodcut and lithography to his credit. "Fighting Forms (1914)" was Marc's last painting, which clearly indicated that he had abandoned figural painting.

"Pferd in der Landschaft," "Gelbe Kuh," "Little Yellow Horses," "Two Cats," and "Deer in the Forest I" are a few of his many critical pieces. In 1998, more than a few of Marc's paintings earned record prices at Christie's art auction house in London. "Rote Rehe I (Red Deer I)" and "Der Wasserfall (The Waterfall)" are two of the record- breaking paintings that were sold at .30m and .06m, respectively.

Franz Marc - The Cubist and the Futurist Abstract Artist

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