 Kenny Kerner Entertains and Informs at L*A*M*P's
"Essential Jobs in the Music Industry" Series
by THE G-MAN, MusicDish Associate Writer
Artist manager and industry veteran Kenny Kerner shoots from the hip but is always on-target. Thirty-four years into his
career, he's still discovering new talent, shaping their acts, guidingtheir careers, and getting them signed.
 As a record producer, Kerner has credits on an impressive list of certified Gold albums for a wide range of artists, including Badfinger, Gladys Knight, KISS, and Teena Marie. Prior to
being head of his own firm, he worked with Aucoin Management on the careers of KISS and Billy Idol.
He is also director of the Music/Business Program at the Musicians Institute as well as the author
of "Going Pro: Developing a Professional Career in the Music Industry," available in bookstores and on Amazon.com.
Speaking as part of Leslie Waller's Los Angeles Music Productions (L*A*M*P) "Essential Jobs in
the Music Industry" series, Kerner was always entertaining, often shocking, and consistently insightful. Here are some highlights (profanities deleted, damn it):
What's the process of becoming a personal manager for an artist? "I practice what might be called guerrilla management - I like to find artists before they're ready to sign a record deal.
I work with them a while, usually six months, for free. That way, you find out all the good things and potential bad
things about the people, their work habits, their friends, their family, and how they learn. If things are working out
between us, if there's a feeling of respect and trust, then I write up a contract and I insist they take it and have a lawyer review it."
What kind of artists do you like to manage?
"I only want to work with unsigned artists who are young, between the ages of 15 and 21. I want to work with people
who are unjaded, who are unafraid to take chances. People who have the attitude that they are going to conquer the world. They have to have that feeling that they can and will do anything to succeed."
What's it like after you've signed a contract but there's not yet a deal in sight?
"It's when we work. Work on material, rehearse, perform, then work on material some more. It can take time."
Do you get asked to put money into your acts?
"Sure. And you say 'no.' And artists have to understand that this is not personal, it's a business decision. If they need
money for strings, sticks, rehearsal rooms, clothes, food, or whatever, I have three words for them: Get a job. The three
most feared words for any young artist. Well, actually, with me it's usually four words: Get a xxxking job."
Who makes the best managers?
"People with no management experience. Bill Aucoin was in advertising before managing KISS. Scott Anderson had
no background in management before working with The Knack. But they would kill for their artists. They would kill for
their artists' music. Sure, it takes some knowledge of the music business, but you can learn that. You also have to be
objective about their work. You have to be able to tell them nicely but firmly, 'You know that new song you just
played? That really sucked.' And then, and this is very important, you need to say: 'And here's why . . . ' and give them concrete reasons."
How does an artist know when they need a manager?
"You make two lists. List A is all the things you do as an artist. Write songs, rehearse, perform, and so on. List B is all
the things you do as a business person. Book shows, do accounting, run a publicity campaign, and on and on. When
the time you spend on the things on List B is greater than the time you spend on the things on List A, you know you need a manager."
What makes the difference between artists who make it and those who don't?
"You have to be great. You have to be great. A manager can help you become great, but we can't do it for you. We
help you develop, we help expose your talent. I will tie knots around the record company for you, help you get the right merchandising deal, and get a booking agent . . . but you have to be great."
The evening was lively and jam-packed with helpful information. And only one person was unable to handle the
sometimes rough 'n' tumble language. Kenny Kerner's words may be profane, but his advice is sacred.
The G-Man is on iTunes and at: http://www.gmanmusic.com.
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