How would you describe your management style? What makes Prodigy International and Robbie Danzie different from other managers out there?
What makes Prodigy different is that I am an artist that was fairly well in the mix — maybe not established, but fairly deep into the mix. I got a chance to experience quite a bit of the industry as an artist: not only as a singer, but also as an actress. I met quite a lot of people, and benefited from their wisdom. I like to make that a part of my management — and I do tell people that want me to manage them that with me comes that side. I can’t separate the fact that I was an artist. So, if I hear a bad note, I’m going to mention it. If I see you stay too long in center stage, and you’re doing theater, and I think you should have thought more about that, I’m gonna say something.
This can be good; it can be bad. It can be frustrating for artists whom I represent, but they need to know that up front. So, I would like to believe that I will forever only represent artists that I feel are truly gifted: don’t need gimmicks, tricks and games, diversions and distractions. I have felt strongly about the artists that I have had the opportunity to manage — K.D. Brosia, Ron Clements — and I’m actually going to take on another artist very soon. She’s an awesome singer and dancer.
I don’t care how old a person is; I don’t care about their religious background or ethnicity, it doesn’t matter to me. I just want to represent people that are truly gifted, are focused, are willing to sacrifice to make their degree of success happen. Whatever success is to them, I want to be able to make that happen.
You mentioned bringing your own artistic experience to the table. Let’s talk about your professional beginnings with the group Krystol. How did you come to join them?
When I was at Drake University in Iowa, I met their previous manager, Kevin Thomas, who started managing me. He said, “Robbie, if you ever go to L.A., I want you to look these girls up, call this number, and let them know who you are.” So, after I graduated from Drake, I went to St. Louis and spent some time with bands there for a year. Then, I got antsy and went to Los Angeles. I immediately contacted Krystol’s manager, Myrna Williams. She informed me that the lead singer, Karon Floyd, was about to go on maternity leave, while they were completing their second album, Talk of the Town. They needed a replacement lead vocalist to do some of the promotion work. I said I’d love to audition.