There are, of course, unscrupulous people in the business who will contract to manage anyone, worthwhile or not, if that person has plenty of money. But such agents seldom last, as their word does not carry any weight after they fail to keep faith with other managers and the public. Although the manager must serve the artists under his banner, he must also keep faith with the public in every respect, or he will soon find that he cannot sell the services of any of his artists.

Some managers are excellent in the case of one artist, yet cannot seem to put over another who is perhaps quite as meritorious. The singer who wishes to appear frequently must be sure that he is in the hands of a competent, honest, and interested manager.
The young artist must help the manager in every way, singing whenever and wherever necessary, paid or free of charge, entertaining, and entering into any publicity schemes wholeheartedly. There are times when an unknown artist is more of a troublemaker than a money-maker to a manager. For, alas! the unknown must be recognized by the public before he becomes a paying proposition.

Many managers earn all the money they receive from their artists and deserve a good bit more. It is quite legitimate for a reputable manager to ask a retaining fee from the young or not well-known singer. This fee should be credited to the artist’s later earnings, but it is only natural that the agent should demand some assurance that he will be paid for his work. For, excepting in the case of outstanding genius or distinction, the possibility of putting over an artist is always a gamble, and the time expended by the manager on a novice would pay him far better and more regularly if expended upon another artist already established in the public esteem.

"A word to the wise" is, in these days of great publicity campaigns, not sufficient. The public today must be told and told again and again. Advertising has become a fine art, and to a great extent the basis of business. Before a singer can command any sort of a salary he must be "known," that is, his accomplishments must be known to the public and to the managers who will engage him, and this can be attained only through the medium of the press, the columns of newspapers and magazines, and their paid advertising pages.

Few beginners have the necessary cash for an advertising campaign, and fewer still realize the importance of such a move. But most artists could, with intelligent help, get more publicity than they do. Widespread publicity campaigns are subscribed to by all the famous artists, however well established they may be, in addition to the gratuitous publicity they receive in the daily press. They advertise skillfully in the papers and magazines of the musical world and "tell" the public. Expert publicity advice is worth its weight in gold. Although the process may be expensive, such publicity can be paid for by one valuable engagement that it may bring.

If the artist is worth advertising, he is worth advertising well, in an ethical and professional manner that will bring results. It is foolish to think that an artist can run his own publicity campaign. This is highly specialized work and must be handled by an expert.

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