PERFECT MATCH

California and Mexico, and spent six months touring
Japan. Their unique fusion of hip-hop Latin soul
got them a nomination as “Best Breakout Band” by
MTV’s Tr3s, and gave them the opportunity to open
for several Grammy winners––all while managing
themselves.
WHY DO YOU MANAGE YOURSELVES
We really had no choice. When we started
there was no other option. No one stepped up, so
we did it ourselves. We’ve had unofficial managers
who specialized in certain areas, but never had a
full time manager. Over time, we not only learned
how to do it, we learned to like it. It gives you a
sense of power and accomplishment that you can’t
get any other way.
HOW MUCH TIME DO YOU DEVOTE TO
MANAGEMENT
I give 150 percent every day. If there were more
hours in a day, I would do even more. The fact is
no one cares as much about your career as you
do. So, if you don’t invest the time why should
anybody else?
YOU BUSK ON THE STREETS––IS THAT
PART OF YOUR PLAN
Playing the streets is a great experience. Every
artist should try it. It’s the best gig you can do. You
really find out how strong your material and performance
chops are because you have to get people’s
attention. You have to get them to stop, listen and,
hopefully, buy something. We try to do it at least
once or twice a week. We’ve built a nice fan base
that way and sold quite a bit of product. In Japan
we played the streets so often we were arrested for
disturbing the peace. But that got us media attention
and paying gigs.
OTHER WAYS TO GENERATE INCOME
I’m a producer and songwriter for other artists too.
I’ve worked with Universal Records, some well
known acts and a few up-and-coming artists. My
company, btwn musik, does original material in
various genres, remixes, and just about everything
but mastering. Song placements are also important
to us, and we’re starting to focus more on that area.
THE KEY TO SUCCESSFUL
SELF-MANAGEMENT
Learning the biz is very important, and networking
is essential. I go to conferences and industry functions
to meet people and learn everything I can.
You have to love the business as much as your art
if you want to be successful.
DO YOU SEEK OUT ADVICE
We’re open to what people have to say. But, you
need to be true to your vision. Many times advisors
(i.e. potential managers) have their own agenda that
may or may not suit you. In fact, the entertainment
industry in general, especially those associated
with popular culture, has its own perspective. For
example, we were asked to audition for America’s
Got Talent by the show’s producer. We did one of
our songs and they asked us to play “La Bamba.”
It was such a cliché, it was sort or funny. But, that’s
not what we do, so we didn’t do the show.
WOULD YOU EVER CONSIDER
A MANAGER
It really depends. If they had something to offer that
we couldn’t do ourselves we might consider it. I mean
it’s cool to have a manager who has great connections,
but it’s not really necessary if you can do it yourself.
And, any manager would have to let us be who
we are. That seems to be the biggest problem. Often
they want you to be true to “their” vision, not yours.
MORAL COMPASS MANAGEMENT
Karl Louis
(moralcompassmgmt@gmail.com)
http://moralcompassmgmt.wordpress.com/about
A veteran manager who formed Moral Compass Management over a decade ago, Karl
Louis developed his skills at Warren Entner Management and Lindy Goetz Management,
and has also worked on the label side as A&R for Flip Records, A&R for Victory Records
and in the promotions department at the world famous rock station, KROQ. Over the years
Louis has been involved with a prestigious list of acts including Limp Bizkit, Rage Against
the Machine, Deftones, Red Hot Chili Peppers, Collective Soul, Creed, Sevendust, Matchbox
Twenty, David Bowie, Paul Rodgers and Bubba Sparxxx.
HAS YOUR APPROACH TO MANAGEMENT CHANGED
In the past most managers, including myself, would either manage an artist full on, or not at
all. Nowadays, however, the landscape has changed. New tools and technology have made
things a lot more interesting. But, they’ve also created more work for everyone. Because of
that, I’m more likely to co-manage an act
and handle part of their career rather than
their whole career, or simply consult with
them on an as needed basis.
HAVE MANAGEMENT FUNCTIONS
CHANGED
They have, and it has made the job much
harder. A manager today has to know
something about everything. In fact, most
managers function like a label. It’s not just
about giving artists advice and guidance
anymore. Today, managers have to assemble
a team that will expand an act’s
reach and create a sustainable model.
THE MOST IMPORTANT TEAM
MEMBERS
You need a balanced team today. There
was a time when a manager was all you
needed and A&R execs were kings. Now,
the most important players are a manager,
a booking agent and a song placement
specialist. You can build a career with
those team members.
WHAT MAKES A SUCCESSFUL DIY
ARTIST
A successful DIY artist knows who they are
musically and artistically. They also know who their fans are and who comprises their community,
or tribe. They’re usually business savvy and are driven to succeed. They’re creative,
obsessive and work every day on their career as if their life depends on it––because it does.
ARE MANAGERS ATTRACTED TO DIY ACTS
I am; they inspire me. Some old-school managers are threatened, though, because it presents
a challenge to their authority. But, self-management is part of the new landscape. Most
modern managers would welcome an artist who is a real team player, especially one who
takes an active part in their own career.
WHAT TYPE OF MANAGER WORKS BEST WITH A DIY ACT
The best management for a DIY artist is not always the biggest company. You need someone
who is passionate about the artist and their music. You need a visionary who understands
that the business has changed significantly. You need someone who will help the
artist realize their vision and develop their career in creative ways.
BEST BUSINESS ARRANGEMENT FOR A DIY ACT
DIY acts might want to consider joint ventures between a manager and a label. It’s more
of an equal partnership. And artists who have achieved success on their own have greater
leverage in negotiations. That way you get to have more control over your career and you
don’t have to rely on someone else for everything.
ADVICE FOR ARTISTS WHO WANT TO SELF-MANAGE
Do it. In the beginning, you really have no other choice. If you have real talent and a
compelling work of art that gets results, you will attract people who want to work with you.
In fact, I advise every artist to check out the concept of “1,000 True Fans.” Even a few
hundred fans––if they’re true fans––can build a career and generate income. Artists who
have the right stuff and are willing to work at it can make from $20,000 to $200,000 per
year. And that should be the goal of every artist and manager––in other words, to create
and maintain a sustainable career.
March 2013 www.musicconnection.com 43